Keywords: docked spacecraft spaceship digital concept art illustration design art painting by jaime jones sample portfolio image from cghub.com
четверг, 28 февраля 2013 г.
Docked by Jaime Jones
Docked by Jaime Jones: New ship illustration by Jaime.
Keywords: docked spacecraft spaceship digital concept art illustration design art painting by jaime jones sample portfolio image from cghub.com
Keywords: docked spacecraft spaceship digital concept art illustration design art painting by jaime jones sample portfolio image from cghub.com
среда, 27 февраля 2013 г.
siobhan-dillon:In the 1930s the Nazis were gaining ground in...
siobhan-dillon:
In the 1930s the Nazis were gaining ground in...:
siobhan-dillon:
In the 1930s the Nazis were gaining ground in...:
siobhan-dillon:
In the 1930s the Nazis were gaining ground in Europe. Many chose to ignore or had a laissez faire attitude to the National Socialist policy of expansionism, known as Lebensraum or the threat of war that Germany now posed to the world. John Heartfield, a German citizen born Helmut Herzfeld, was one who chose to criticize the regime through art. He produced a remarkable series of photomongages (decades before Photoshop it should be noted), the audacity of which can still astonish today.
воскресенье, 24 февраля 2013 г.
среда, 20 февраля 2013 г.
Dinotopia: The Fantastical Art of James Gurney at NHIA
Dinotopia: The Fantastical Art of James Gurney at NHIA:
Long time readers of Lines and Colors will know that James Gurney is one of my favorite contemporary illustrators, as well as being a superb landscape painter and the author of several books on art technique.
Dinotopia: The Fantastical Art of James Gurney is an exhibition that opens today at the New Hampshire Institute of Art that features work from his iconic series of beautiful adventure picture books.
In them, Gurney brings a sensibility of 19th century Gilded Age painting to the contemporary fascination with dinosaurs, and the results are quite wonderful.
Two of the titles from the series have recently been reissued in deluxe editions: Dinotopia: The World Beneath 20th Anniversary Edition and Dinotopia: A Land Apart from Time 20th Anniversary Edition.
Though I haven’t seen this particular exhibition, I had the pleasure of seeing a similar exhibition in Delaware in 2010.
Even if you haven’t a taste for the subject, or for fantastical art in general, Gurney is first and foremost a terrific painter, and seeing his work in person is a treat.
Though the Institute unfortunately hasn’t posted a gallery of work from the show on their site, you can see more of Gurney’s work from Dinotopia on the official Dinotopia website, as well as Gurney’s website and his always fascinating blog, Gurney Journey.
As part of the Institute’s Distinguished American Artists Discussing Art series, Gurney will be delivering a lecture tonight, February 20, 2013 at 7:00 pm titled Worldbuilding: How to Developa Fantasy Universe. Tickets are $20 and available online.
The opening for the exhibition is at 5:00 pm and is free to the public.
Dinotopia: The Fantastical Art of James Gurney will be on view at the NHIA until March 13, 2013.
Long time readers of Lines and Colors will know that James Gurney is one of my favorite contemporary illustrators, as well as being a superb landscape painter and the author of several books on art technique.
Dinotopia: The Fantastical Art of James Gurney is an exhibition that opens today at the New Hampshire Institute of Art that features work from his iconic series of beautiful adventure picture books.
In them, Gurney brings a sensibility of 19th century Gilded Age painting to the contemporary fascination with dinosaurs, and the results are quite wonderful.
Two of the titles from the series have recently been reissued in deluxe editions: Dinotopia: The World Beneath 20th Anniversary Edition and Dinotopia: A Land Apart from Time 20th Anniversary Edition.
Though I haven’t seen this particular exhibition, I had the pleasure of seeing a similar exhibition in Delaware in 2010.
Even if you haven’t a taste for the subject, or for fantastical art in general, Gurney is first and foremost a terrific painter, and seeing his work in person is a treat.
Though the Institute unfortunately hasn’t posted a gallery of work from the show on their site, you can see more of Gurney’s work from Dinotopia on the official Dinotopia website, as well as Gurney’s website and his always fascinating blog, Gurney Journey.
As part of the Institute’s Distinguished American Artists Discussing Art series, Gurney will be delivering a lecture tonight, February 20, 2013 at 7:00 pm titled Worldbuilding: How to Developa Fantasy Universe. Tickets are $20 and available online.
The opening for the exhibition is at 5:00 pm and is free to the public.
Dinotopia: The Fantastical Art of James Gurney will be on view at the NHIA until March 13, 2013.
вторник, 19 февраля 2013 г.
Le carnet du Mat / The Fool’s notebook
Le carnet du Mat / The Fool’s notebook:
Voici quelques images d’une partie de mon projet de fin d’etudes a l’ESAG. Inutile de dire que c’est poussiéreux a souhait puisque ca remonte a bientôt 10 ans mais j’ai toujours fait preuve d’une indulgence coupable a l’égard de ce carnet. Le projet, intitulé « Hero » racontait 4 fois la même histoire vue par quatre narrateurs differents, dans 4 styles graphiques et sur 4 supports différents. Je venais de finir « Le cercle de la croix » de Iain Pears et, sans réaliser que le concept avait déjà ete utilisé dans Rashomon et dans la Bible (entre autres), j’avais trouvé le concept passionnant et voulais en faire une version où chaque narration serait graphiquement aussi différente que possible des autres. Je commence ici par la fin puisque le carnet du Mat est la dernière des quatre. A la base je voulais réaliser un pliage compliqué qui revèlerait des images différentes selon la facon qu’on aurait d’en superposer les images. Après plusieurs semaines passées à essayer de le réaliser, je me suis retrouvé a court de temps et ai décidé de changer d’idée. Je me suis rabattu sur une idée de carnet de voyage ou une espèce d’ermite fondu d’ésotérisme racontait entre tirage de cartes et thèmes astraux sa « vision » de l’histoire.
J’ai donc été obligé de faire très vite et ai rempli le carnet en une semaine. J’avais déjà raconté l’histoire trois fois, je savais donc quels éléments je voulais illustrer. Mais j’avais très peu de temps, j’ai donc utilisé beaucoup de ce que j’avais ramené d’Ecosse lors d’un voyage préparatoire, des morceaux de bois, d’écorce, un crâne de bélier, j’ai travaillé extensivement au brou de noix et á l’aquarelle, repoussant aussi loin que possible les limites du flou mouillé pour remplir mes pages.
Bref, je me suis bien amusé et ce carnet fait partie de mes préférés. Pendant un moment, je l’emmenais avec quand je partais en voyage dans la crainte d’un cambriolage ou d’un tremblement de terre (au passage, merci a mon amie Noëlle Triaureau qui me l’avait offert quelques mois auparavant). Quand le carnet a été exposé au musée Thomas Henry lors de l’exposition « Presqu’une île » en 2005, il a été intégralement numérisé par Arkhenum, j’en garde donc dans le pire des cas une version digitale…
And now some seriously dusty stuff. This was part of my ESAG graduation project, « Hero ». After I read « An instance of the fingerpost » from Iain Pears I wanted to use the same concept (as used in Rashomon and the Bible among others) for a graphic work where each version of the story would be visually as different as possible from the others. Different graphic styles, different supports also : I built a polyptych, created a jigsaw puzzle, drew a short comic. This very last narration was originally a complicated origami but after I spent way too much time working on that I decided that it would take me too long to finish, I then decided to switch to something different and made this notebook. Since I had very little time, I ended up filling it in one week, using a lot of the stuff I brought back from Scotland (pieces of bark, rocks, a ram skull and a LOT of memories), I also used extensively the evocation power of walnut ink and watercolor in order to fill the pages.
Instead of the stress I was fearing because of the short time I had to do it, I had a lot of fun (thanks Noëlle by the way for giving me the actual sketchbook a few months before I actually filled it with all that!). For a while, this was my favorite sketchbook, I even used to travel with it just in case some burglars or earthquake would take it off my hands. Fortunately, when the notebook was displayed in the 2005 « Presqu’une ile » exhibition in Cherbourg, it was scanned entirely by the guys from Arkhenum, worst case scenario I will always have a digital version of it.
Voici quelques images d’une partie de mon projet de fin d’etudes a l’ESAG. Inutile de dire que c’est poussiéreux a souhait puisque ca remonte a bientôt 10 ans mais j’ai toujours fait preuve d’une indulgence coupable a l’égard de ce carnet. Le projet, intitulé « Hero » racontait 4 fois la même histoire vue par quatre narrateurs differents, dans 4 styles graphiques et sur 4 supports différents. Je venais de finir « Le cercle de la croix » de Iain Pears et, sans réaliser que le concept avait déjà ete utilisé dans Rashomon et dans la Bible (entre autres), j’avais trouvé le concept passionnant et voulais en faire une version où chaque narration serait graphiquement aussi différente que possible des autres. Je commence ici par la fin puisque le carnet du Mat est la dernière des quatre. A la base je voulais réaliser un pliage compliqué qui revèlerait des images différentes selon la facon qu’on aurait d’en superposer les images. Après plusieurs semaines passées à essayer de le réaliser, je me suis retrouvé a court de temps et ai décidé de changer d’idée. Je me suis rabattu sur une idée de carnet de voyage ou une espèce d’ermite fondu d’ésotérisme racontait entre tirage de cartes et thèmes astraux sa « vision » de l’histoire.
J’ai donc été obligé de faire très vite et ai rempli le carnet en une semaine. J’avais déjà raconté l’histoire trois fois, je savais donc quels éléments je voulais illustrer. Mais j’avais très peu de temps, j’ai donc utilisé beaucoup de ce que j’avais ramené d’Ecosse lors d’un voyage préparatoire, des morceaux de bois, d’écorce, un crâne de bélier, j’ai travaillé extensivement au brou de noix et á l’aquarelle, repoussant aussi loin que possible les limites du flou mouillé pour remplir mes pages.
Bref, je me suis bien amusé et ce carnet fait partie de mes préférés. Pendant un moment, je l’emmenais avec quand je partais en voyage dans la crainte d’un cambriolage ou d’un tremblement de terre (au passage, merci a mon amie Noëlle Triaureau qui me l’avait offert quelques mois auparavant). Quand le carnet a été exposé au musée Thomas Henry lors de l’exposition « Presqu’une île » en 2005, il a été intégralement numérisé par Arkhenum, j’en garde donc dans le pire des cas une version digitale…
And now some seriously dusty stuff. This was part of my ESAG graduation project, « Hero ». After I read « An instance of the fingerpost » from Iain Pears I wanted to use the same concept (as used in Rashomon and the Bible among others) for a graphic work where each version of the story would be visually as different as possible from the others. Different graphic styles, different supports also : I built a polyptych, created a jigsaw puzzle, drew a short comic. This very last narration was originally a complicated origami but after I spent way too much time working on that I decided that it would take me too long to finish, I then decided to switch to something different and made this notebook. Since I had very little time, I ended up filling it in one week, using a lot of the stuff I brought back from Scotland (pieces of bark, rocks, a ram skull and a LOT of memories), I also used extensively the evocation power of walnut ink and watercolor in order to fill the pages.
Instead of the stress I was fearing because of the short time I had to do it, I had a lot of fun (thanks Noëlle by the way for giving me the actual sketchbook a few months before I actually filled it with all that!). For a while, this was my favorite sketchbook, I even used to travel with it just in case some burglars or earthquake would take it off my hands. Fortunately, when the notebook was displayed in the 2005 « Presqu’une ile » exhibition in Cherbourg, it was scanned entirely by the guys from Arkhenum, worst case scenario I will always have a digital version of it.
воскресенье, 17 февраля 2013 г.
Keu Cha - Hex The Lost Tribe(Gallery)
Keu Cha - Hex The Lost Tribe(Gallery):
Attached Images
I have been working on my upcoming self-published book Hex the Lost Tribe, and I am pleased to say that it is near completion! Check it out in the images below!
This gallery is to showcase my works and to shamelessly self promote. Hey, why not? It's for you guys!
Hex Video Presentation
Hard at work...
The kickstarter project link; oh and look at the video for BTS!
We need YOU, that's right you. Find out how to be part of this project!
http://www.kickstarter.com/projects/...the-lost-tribe
If I get some interest from you guys I will be posting more artwork in this thread.
This gallery is to showcase my works and to shamelessly self promote. Hey, why not? It's for you guys!
Hex Video Presentation
Hard at work...
The kickstarter project link; oh and look at the video for BTS!
We need YOU, that's right you. Find out how to be part of this project!
http://www.kickstarter.com/projects/...the-lost-tribe
If I get some interest from you guys I will be posting more artwork in this thread.
Attached Images
вторник, 12 февраля 2013 г.
The Ballad of Bangkillporn
The Ballad of Bangkillporn:
I believe in sex, death, monsters, violence,
mayhem, nostalgia, daydreams, excess, and anything out of control.
And so I also believe in Bangkillporn: Japan’s next gen bonkura pop artists and purveyors of
bad taste and fine apparel.
Bangkillporn are three people – a power trio,
really – made up of illustrators + graphic designers Superlog and Utomaru, along with
cosplayer Omi K Gibson (below) providing planning and erotic vibes.
Each member has their own superpower:
Superlog’s work (above) depicts demonic women with automatic weapons, dangerous curves
and dynamite bodies. Utomaru’s designs nail the “pop ‘n cute” look of the
eighties with dazzling line work and a frankly astonishing color palate. Omi K
Gibson is the half-naked female shaman who bridges the gap and brings the
collective vision to life by acting as the group’s model and muse.
Typically in bonkura (slang
for B-movie and junk culture freak) anti-fashion, the black T-shirt is king,
but Bangkillporn’s stickers and shirts dare to run riot across the color
spectrum and break through to a new dimension of eye popping visual appeal.
Also, 2/3ds of Bangkillporn is female, and while I don’t think their work has
any underlying pretention or agenda, the results have more variety and range
than just raw objectification.
But how much of this is by design? How much by
accident? The gang was nice enough to answer a few
questions…
How did Bangkillporn get started?
Around 2004, Superlog lost everything he had
from gambling and was about to throw himself into Tokyo Bay. Luckily, Utomaru
passed by and prevented Superlog from dying. Afterwards, they realized that
they liked the same kinds of movies and manga and they started working together
on illustrations and designs. A while later in 2011, the pair came across OMI
in the middle of Tokyo where she was buck naked and scavenging through trash.
They managed to tame OMI’s savage animal-like nature and together, they become
what they are now.
How did you decide on the name “Bangkillporn”?
The name is a sequence of our three favorite
words: “bang”, “kill”, and “porn”. It’s also inspired by the atmosphere of
Spaghetti Westerns, like “The Good, the Bad, and the Ugly”.
How would you describe your brand’s image?
We take the influence of American movies from
the ‘70s to the ‘80s, and tokusatsu and anime from the Showa era up to 1989,
and we mix them together to create new art. We don’t see any other brands doing
this, so we’d like to be the ones who do it.
How can foreigners get your shirts and goods?
Please e-mail us at info@bangkillporn.com . We
will be sure to write back. Since we have gotten some good feedback from people
outside of Japan, we are planning to make a shopping web-site for them
eventually.
What's next for Bangkillporn?
Since we just started, our first goal is to let
as many people as possible to know about us. For starters, we will be living in
the mountains and fighting bears with our bare hands (not a joke, it is out of
respect to Mas Oyama). Also, we would like to participate in the San Diego
Comic Con in the near future.
Do you have a message for whoever is reading this interview?
All three of us love old Japanese pop culture,
especially from the Showa-era, so we hope to show and tell everyone about it
using our eyes as filters. T-shirts are part of that, but in the future, we
hope to make toys and create other kinds of designs. I’m sure there are many
other people who feel the same way we do, so we hope those people will wear our
shirts and us photos. That would make us very happy!
Bangkillporn Official website
Online Shop
I believe in sex, death, monsters, violence,
mayhem, nostalgia, daydreams, excess, and anything out of control.
And so I also believe in Bangkillporn: Japan’s next gen bonkura pop artists and purveyors of
bad taste and fine apparel.
Bangkillporn are three people – a power trio,
really – made up of illustrators + graphic designers Superlog and Utomaru, along with
cosplayer Omi K Gibson (below) providing planning and erotic vibes.
Each member has their own superpower:
Superlog’s work (above) depicts demonic women with automatic weapons, dangerous curves
and dynamite bodies. Utomaru’s designs nail the “pop ‘n cute” look of the
eighties with dazzling line work and a frankly astonishing color palate. Omi K
Gibson is the half-naked female shaman who bridges the gap and brings the
collective vision to life by acting as the group’s model and muse.
Typically in bonkura (slang
for B-movie and junk culture freak) anti-fashion, the black T-shirt is king,
but Bangkillporn’s stickers and shirts dare to run riot across the color
spectrum and break through to a new dimension of eye popping visual appeal.
Also, 2/3ds of Bangkillporn is female, and while I don’t think their work has
any underlying pretention or agenda, the results have more variety and range
than just raw objectification.
But how much of this is by design? How much by
accident? The gang was nice enough to answer a few
questions…
How did Bangkillporn get started?
Around 2004, Superlog lost everything he had
from gambling and was about to throw himself into Tokyo Bay. Luckily, Utomaru
passed by and prevented Superlog from dying. Afterwards, they realized that
they liked the same kinds of movies and manga and they started working together
on illustrations and designs. A while later in 2011, the pair came across OMI
in the middle of Tokyo where she was buck naked and scavenging through trash.
They managed to tame OMI’s savage animal-like nature and together, they become
what they are now.
How did you decide on the name “Bangkillporn”?
The name is a sequence of our three favorite
words: “bang”, “kill”, and “porn”. It’s also inspired by the atmosphere of
Spaghetti Westerns, like “The Good, the Bad, and the Ugly”.
How would you describe your brand’s image?
We take the influence of American movies from
the ‘70s to the ‘80s, and tokusatsu and anime from the Showa era up to 1989,
and we mix them together to create new art. We don’t see any other brands doing
this, so we’d like to be the ones who do it.
How can foreigners get your shirts and goods?
Please e-mail us at info@bangkillporn.com . We
will be sure to write back. Since we have gotten some good feedback from people
outside of Japan, we are planning to make a shopping web-site for them
eventually.
What's next for Bangkillporn?
Since we just started, our first goal is to let
as many people as possible to know about us. For starters, we will be living in
the mountains and fighting bears with our bare hands (not a joke, it is out of
respect to Mas Oyama). Also, we would like to participate in the San Diego
Comic Con in the near future.
Do you have a message for whoever is reading this interview?
All three of us love old Japanese pop culture,
especially from the Showa-era, so we hope to show and tell everyone about it
using our eyes as filters. T-shirts are part of that, but in the future, we
hope to make toys and create other kinds of designs. I’m sure there are many
other people who feel the same way we do, so we hope those people will wear our
shirts and us photos. That would make us very happy!
Bangkillporn Official website
Online Shop
Подписаться на:
Сообщения (Atom)