Shaun Tan, born in 1947, is an Australian painter and illustrator. He writes articles and books (THE LOST THING)in 1999, and (THE RED TREE)in 2001. His father is of Chinese heritage and was born in Malaysia. Shaun Tan, mother was an Anglo Irish. His wife has finished some time ago. He always lived in the same place but his Asian feature.
The article Arrival Shaun Tan was published in Melbourne in 2006. And it won the best album price in Angouleme In 2008. And Then Tan published a book of the Arrival nameless land which translated was Dargaud the following year. (about the nameless novel) A man has decided that he must leave his daughter and wife behind for as long as it takes. with a heavy heart, he sets off from his home and his native land to seek a better future elsewhere in a “NEW WORLD”.THE MAN HAS NO NAME.
Album of Shaun Tan
Neither does the country or place where he leave. And there is a reason for this album say’s silence Album which no word written or uttered. “I dThis city appears so highly phantasmagorical in every respect that the readers begin to wonder if the newly arrived protagonist is experiencing all these disconnecting occurrences or if he is dreaming. The bewildering environment not only allows Tan to express his penchant for the fantastical but also acts as a metaphor for the sense of nonbelonging felt by a foreigner. decided it is better than the others.
There are no names, and not even an initial, as is the case of some of Kafka’sheroes. There are no mustaches, or glasses, no distinctive features. With his suit, his trilby, and his suitcase, he is an everyman. The man with no qualities, with whom anyone can identify. He looks like a commercial traveler. Tan has given man his own, not especially ethnically stereotyped, physiognomy. Although comics are generally acknowledged to be by their very nature a mixed, hybrid language, a meeting point between text and image, silent works are nothing new there have always been many wordless short-form comics and scripts.
Drawing of novels
In the nineteenth century, Carand’Ache convinced a project of a” novel in drawings; instead to be over three hundred pages long with not a single line of text. The book was to be called Maestro, but t was never caused “that true any city of a foreign eye”. This could no longer be said today in the area of globalization, when the skylines of most big cities look alike and when a pizzeria or branch of MCDONALDS can be found on a street corner anywhere. The emotion expressed must have been felt. It is, in that regard, interesting to note that the authors situate of cultures and where national, and even local characteristics have been preserved in aspic time.
“Whosoever holds this hammer, if he is worthy, shall possess the power of Thor.”
Ideas of the book by Shaun Tan
Many ideas for the books were inspired by old photographers of peoples and places that have long since passed away, and those even been tigers for other planings of mine. The upper part of the image consists of a large semi-circular veduta display a cityscape towards which fly balloons. There are five regular pages with nine panels, thirty-eight with twelve panels, and others are four and sixteen panels. The artist has imbued his album with almost a musical dimension. I will conclude on the first of the large “splash panels”. It appears on a right-hand page, the third in the first chapter. The man and his wife were standing at each of our a table.
Their hands clasped on top of a closed suitcase they seem resigned this melancholy brings together everything that makes up the home that the man is preparing to leave and prefigure his departure. the products that are represented (clock, hat, origami, folding, children drawing) have all been previously introduced to us in a separate panel on the first page, new objects have been prepared based on different design principles favoring circular floral and solar shapes. Shaun tan invites the reader to negative from one end of the book to the others and to compare, terms for a term, two images, which condense the situation of departure and arrival. The endpoint of the book, the arrival, is a mirror image.
“Words than and pictures are yin and yang. Married, they produce a progeny more interesting either parent.”