Vid

Vidism is the art style which emerged in the early 21st century. Based on swift
line drawings and fast associative compositions, it usually lacks realism and
common sense. Although the founder was Vid Rajin (who arguably always drew in
the Vidism style), the first true representative (and critic) was Milan Ristic,
also known as Reestah. During an Evening Nude drawing class, Reestah drew a
perfect sketch in Vid’s manner, thus making his colleagues recognise a new art
style known as Vidism. It is approved by Milica Vuckovic and Vladimir Lalic.
Critics of Vidism say it’s a 5-minute-nonsense. Time will tell if they were right.

Notes on visual arts and human behaviour

Considering this is a BLOG, I might as well share a note or two…

While observing casual behaviour of various groups during animation workshops, one idea came to my mind: people who don’t practice drawing in everyday life would much rather make an animated film than illustration. Why is this so, I asked myself. Let’s try to find out.

I’m sure that each kid born in a “…-stable” family (put any number of things that pops to mind in front of the stable part, like “financially, psychologically…” et cetera) held crayons, coloured pencils or pencils, pens or markers and made drawings. Beautiful, honest and very personal drawings, I might add. So, what is it that makes them give up their drawing pads and move on to other spheres of interest? Lack of motivation, will to progress to the next stage of artistic life, parental wishes that strive towards other fields? Either way, these once very creative children (I’m considering creativity in visual media) turn into teenagers with less and less interest in drawing or painting. When asked, they refuse to draw with swift, simple elaboration: ‘I can’t do it’, or ‘I don’t know how to do it’. They are immediately discouraged, especially when surrounded by “better” works of art. Instead, they leave it to the artists, or those who have dedicated their desires to exploring the vast possibilities art has to offer.

Animation, on the other hand, seems more available to youth. When asked to animate something, they are less reluctant to draw, even though they’d hesitate to do so if drawing was the end and not the means. Therefore, it may not be far from truth that the end result answers our debate. When observer stands before a static image of a weird drawn figure, he could easily criticise proportions, anathomy, distorted lines… However, watching figures in motion tends to compensate for lack of drawing knowledge (or let’s use the word ‘drawing expertise’) with it’s movement, fun and sheer pleasure of standing before something as close to life simulation as art could get (apart from film, arguably another form of animation).

To be continued…