REFERENCES

Tucker, I. (Ed.)(2018). FF DOT: The pixel art of final fantasy. Dark Horse Books.

Hendrix, G. (2017). Paperbacks from hell: The twisted history of ‘70s and ‘80s horror fiction. Quirk Books.

Chatziioannou, A. (2023). From ants to zombies: Six decades of video game horror. Bitmap Books.

Gianni, G. (2017). Gary gianni’s monstermen and other scary stories. Dark Horse Books.

Kochman, C. (Ed.)(2012). Mars attacks. Abrams ComicArts.

Vallejo, D. (2000). The art of rowena. Paper Tiger.

Voger, M. (2015). Monster mash: The creepy, kooky monster craze in America 1957-1972. TwoMorrows Publishing.

Jones, Stephen (2015). The art of horror: An illustrated history. Applause.

Allie, S. (Ed.)(2004). B.p.r.d.: The soul of venice and other stories. Dark Horse Comics.

Saunders, D. (2009). Rudolph belarski (1900-1983). Illustration, 7(27), 8–61.

McVittie, A. (2014). The art of alien:isolation. Titan Books.

Sadowski,G. (Ed.)(2017). Four color fear: Forgotten horror comics of the 1950s. Fantagraphics Books

Nourmand, T. & Marsh, G. (Eds.) (2006). Film posters: Horror. Evergreen.

Hodge, T. (2015). Vhs video cover art. Schiffer Publishing, Ltd.

Weist, J. (2002). Bradbury: An illustrated life. William Morrow

Boyreau, J. (2002). Trash: The graphic genius of exploitation movie posters. Chronicle Books.

Salisbury, M. (2014). Alien the archive: The ultimate guide to the classic movies. TitanBooks.

Ferris, E. (2016). My favorite thing is monsters: Book one. Fantagraphics Books.

Morton, R. (2005). King kong, the history of a movie icon: from fay wray to peter jackson. Applause Theatre & Cinema Books.

Landis, J. (2011). Monsters in the movies: 100 years of cinematic nightmares. Dorling Kindersley Limited.

Ortiz, L. (2011). Jack Gaughan. Illustration, 9(33), 2–27.

(2009). Deco devolution: The art of the bioshock 2. 2k publishing.

Humphreys, G. (2019). Hung, drawn and executed: The horror art of graham humphreys. Korero Press Ltd.

Gammil, K. & Spurlock, J.D. (2005). Famous monster movie art of basil gogos. Vanguard

Tucker, I. (Ed.) (2021). The art of arkham horror. Dark Horse Books.

D’Agostino, N. (2020). Sex and horror volume four. Korero Press.

Hulse, E. (2021). The art of pulp fiction: An illustrated history of vintage paperbacks. Elephant Book Company

Rodriguez, S. (2021). The art of goosebumps. Dynamite.

Nolen-Weathington, E. (2010). Modern masters volume twenty-four: Guy davis. TwoMorrows Publishing

REFERENCES

White, R. (2003). Prehistoric Art: The Symbolic Journey of Humankind. Harry N. Abrams Inc.

Clottes, J. (2008). Cave Art. Phaidon Press Limited. 9780714845920

Neumayer, E. (1983). Prehistoric Indian Rock Paintings. Oxford University Press. 9780195613872

Ruspoli, M. (1987). The Cave of Lascaux: The Final Photographs. Harry N. Abrams Inc. 0810912678

Myron, R. (1964). Prehistoric Art. Pitman Publishing Corporation. 0273438611

Stokstad, M., & Cothren M. W. (2011). Art History: Ancient Art (4th ed.). Pearson Education. 0205744222

Art Nouveau was a stylistic movement in the late nineteenth century characterized by highly ornate and decorated designs. Inspired by Japanese woodblock prints, Celtic manuscripts, The Arts and Crafts Movement, and the development of the lithograph, Art Nouveau, or New Art, was applied to everything from architecture to biscuit tins.

Though widely applied, posters that make up a great part of Art Nouveau history.The development of lithography meant posters could be large illustrations filled with bright colors and elaborate designs, even though they were advertisements for anything from events to consumer products. While Paris, France was Art Nouveau’s epicenter, it spread to England and eventually the United States. Along the way, several illustrators made a name for themselves and were pivotal to Art Nouveau’s popularity. Some of their posters were, and still are, collected as fine art.

REFERENCES

Cramsie, P. (2010). The Story of Graphic Design: From the Invention of Writing to the Birth of Digital Design. Abrams. 9780810972926

Eskilson, S.F. (2012). Graphic Design: A New History (2nd ed.). Laurence King Publishing. 9780300172607

Müller, J. (2017). The History of Graphic Design: Vol. 1 1890-1959. Taschen. 9783836563079

Selz, P., & Constantine, M. (1960). Art Nouveau: Art and Design at the Turn of the Century. The Museum of Modern Art. 0405015739

Duncan, A. (1994). Art Nouveau: World of Art. Thames & Hudson Inc. 0500202737

Capcom, a Japan-based maker of successful game properties, made a tremendous impact on the business of video games world wide, and helped usher in the current boom in Japanese-based visual media like manga and anime as much as fellow cultural exports like Pokemon, Sailor Moon, Speed Racer, and the Dragon Ball series.

The art team behind the bulk of Capcom’s fighting game imagery began in the late 80s and lasted until the early 2000s. The team’s story includes an eccentric artist remembered almost as much for his habits as his skills and leadership, a draftsperson capable of taking stereotypes and rendering them with profound emotion, an up and coming artist possessed of an incredible work ethic and mammoth ability to produce images, and numerous other talented artisans all brought together to form the Capcom Design Team.

REFERENCES

Hendershot, S.. (2017). Undisputed street fighter: The art and innovation behind the game-changing series. Dynamite Entertainment

Dyer, S. (2022). The king of fighters: The ultimate history. Bitmap Books Ltd.

Lapetino, T. (2016). Art of Atari. Dynamite Entertainment

Leone, Matt (2020, July 7). Street fighter 1: An oral history. Polygon. https://www.polygon.com/2020/7/7/21270906/street-fighter-1-oral-history-takashi-nishiyama

Hayashi, M. K., & Moylan, M. (2009). SF20: The Art of Street Fighter. Udon Entertainment Corp.

Moore, G., & Hodgson, A. (2021). Street fighter memorial archive: Beyond the world. Udon Entertainment Corp.

Leone, Matt (2014, February 3). Street fighter 2: An oral history. Polygon. https://www.polygon.com/a/street-fighter-2-oral-history/

Hayashi, M.K. (2019). Darkstalkers: Official Complete Works. Udon Entertainment Corp.

Leone, Matt (2021, April 14). X-Men: Children of the Atom: An oral history. Polygon. https://www.polygon.com/2021/4/14/22336505/x-men-children-of-the-atom-an-oral-history

Ferriere, G. & Zubkavich, J. (2005). Street Fighter: Eternal Challenge. Udon Entertainment Corp.

Famitsu Book Editorial Department (2001). Capcom Design Works. Enterbrain, Inc.

Various (2020). UDON’s Art of Capcom . Udon Entertainment Corp.

TIMELINE

* A broad timeline spanning centuries is used to account for imprecise dates in the Ottoman Empire from multiple sources.

• 14th Century (1300s): The beginning of the Ottoman Empire. This period marks the initial blending of Islamic art with Byzantine and Persian styles, forming the basis for the unique Ottoman artistic and traditional geometric elements appearing as a symbol of Islamic art.
• 15th Century (1400s): Further development of the Ottoman style, with increased prominence in mosques and palaces in Istanbul.
• 16th Century (1500s): The peak of Ottoman art.
• 1520-1566: Reign of Suleiman
• 1548: The Şehzade Mosque completed with the best geometric
• Suleymaniye Mosque (completed in 1557).
• 1570s-1598: The Qur'an's decoration is the primary artistic expression in the Ottoman Empire.
• 1600: 1600: This period sees advancements in ceramics known as Iznik tiles, textiles, calligraphy, and manuscript illumination.
• 19th Century (1800s): The decline of the Ottoman Empire. Western influences begin to appear in Islamic art, introducing new styles and techniques.
• Early 20th Century (1900s-1922): The end of the Ottoman Empire

The Topic

A general view of the perspective on Islamic art that was shaped throughout the Ottoman Empire's peak, particularly during Sultan Suleiman's reign. Istanbul, Turkey, became known for its exceptional display of geometric symbolism in Islamic art. I want to explore the important mosques that displayed some of the most extraordinary works of art still known to the Islamic community.

REFERENCES

Kuban, D. (1987). The Style of Sinan’s Domed Structures. Muqarnas, 4, 72–97. https://doi.org/10.2307/1523097

Neci̇poğlu, G. (2007). Creation of a National Genius: Si̇nan and the Historiography of “Classical” Ottoman Architecture. Muqarnas, 24, 141–183. http://www.jstor.org/stable/25482458

Ersoy, A. (2007). Architecture and the Search for Ottoman Origins in the Tanzimat Period. Muqarnas, 24, 117–139. http://www.jstor.org/stable/25482457

Makdisi, U. (2002). Ottoman Orientalism. The American Historical Review, 107(3), 768–796. https://doi.org/10.1086/532495

Lewis, B. (1980). The Ottoman Empire and Its Aftermath. Journal of Contemporary History, 15(1), 27–36. http://www.jstor.org/stable/260456

AVCIOĞLU, N., & FLOOD, F. B. (2010). INTRODUCTION: Globalizing Cultures: Art and Mobility in the Eighteenth Century. Ars Orientalis, 39, 7–38. http://www.jstor.org/stable/23075922

Blessing, P. (2018). Presenting Islamic Art: Reflections on Old and New Museum Displays. Review of Middle East Studies, 52(1), 147–152. https://www.jstor.org/stable/26478488

Islamic Art. (1978). The Metropolitan Museum of Art Bulletin, 36(2), 3–48. https://doi.org/10.2307/3258866

Mehmed Ağa (Sedefkar Mehmet Aga, Ottoman architect, ca.1540-1622), & Ahmed I (Turkish patron, Sultan of the Ottoman Empire, 1590-1617). (1609-1616). Sultan Ahmed Camii. https://jstor.org/stable/community.23089080

Mehmed Ağa (Sedefkar Mehmet Aga, Ottoman architect, ca.1540-1622), & Ahmed I (Turkish patron, Sultan of the Ottoman Empire, 1590-1617). (1609-1616). Sultan Ahmed Camii. https://jstor.org/stable/community.23089076

The Ottoman Empire. (1968). The Metropolitan Museum of Art Bulletin, 26(5), 204–224. https://doi.org/10.2307/3258980

HOWARD, D. A. (1988). OTTOMAN HISTORIOGRAPHY AND THE LITERATURE OF “DECLINE” OF THE SIXTEENTH AND SEVENTEENTH CENTURIES. Journal of Asian History, 22(1), 52–77. http://www.jstor.org/stable/41932017

Denny, W. B. (1983). Dating Ottoman Turkish Works in the Saz Style. Muqarnas, 1, 103–121. https://doi.org/10.2307/1523074

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Witwer, M. & Newman, K., Peterson, J., Witwer, S. (2018). Dungeons & Dragons: Art & Arcana, A Visual History. Ten Speed Press.

Seeley, S. & Seeley, T. (2015). The Art of He-Man and The Masters of The Universe. Dark Horse Books.

Forster, B. & Sorenson, J. (2019). Transformers Legacy: The Art of Transformers Packaging. IDW Publishing.

Farago, A. (2014). Teenage Mutant Ninja Turtles: The Ultimate Visual History. Insight editions.

Heller, S. & Mungia, R. (2021). SF20: Toys: 100 years of all-american toy ads. Taschen.

Voger, M. (2015). Monster mash: The creepy, kooky monster craze in America 1957-1972. TwoMorrows Publishing.

Fawcett, C. (2021). Rad plastic. Tkaf productions

Reed, W. (2001). The Illustrator in America 1860-2000. The Society of Illustrators Inc.

Hudson, G.. (2019).Illustration on British and North American Printed Ephemera, 1900-1910. In S.Doyle, J. Grove, & W. Sherman (Eds.), History of Illustration (1st ed., pp. 198–214). Fairchild books.

Kane, B.M. (2019). Overview of Comics and Graphic Narrative, 1830-2012. In S.Doyle, J. Grove, & W. Sherman (Eds.), History of Illustration (1st ed., pp. 198–214). Fairchild books.