another enormous batch of links

I’m home, kids! Did you miss me?

Regular programming will resume tomorrow, with drawings from my traveling tacked on for a few days; I know I said I’d do architectural drawing, but that involves a lot of sitting outside and being conspicuous about drawing stuff, so mostly I drew museum exhibits and a couple landscapes :/ In the meantime, I have been keeping up with Google Reader, so here– have a whole ton of stuff. This isn’t even all the things I have starred; I’m gonna split this up into a couple of posts.

* From Photograph to Drawing, a post about the history of using reference photography and the relationship in general between photography and drawing. Highly relevant to what I’m doing on this blog right now!

* Scarp, by Jarod Charzewski. Is that a landscape made out of piles of clothing? I think it is.

* Robert Weaver and the uses of principles of abstraction in illustration. Illustration almost always needs to be at least somewhat figurative; it needs to portray something definite and recognizable. But it also needs, like any other form of art, to convey emotion, and this post is about illustrators borrowing principles of nonobjective art to help do that.

* I think this is a landscape painting. But the use of light and contrast is really striking and dramatic and moody. It looks like the beginning of an X-Files episode.

* Ping the Server, by Sterling Crispin. There may be something here I’m not getting, because I don’t know much about programming, but it seems to be drawing a parallel between pinging an online address and contacting a deity. Mostly I just find it oddly mesmerizing to watch the text scroll by.

* The Liars’ Bench. Just made me laugh.

* Two short films animated by Paul Julian, plus a montage of film credits by him. It’s bad enough movies and TV shows often don’t even have credits at all any more, but I especially miss the animated credits people used to do for live-action movies and TV– Charles Addams, Edward Gorey, most famously Maurice Binder, though he wasn’t an illustrator and his designs were more abstract. (Mad Men and Catch Me If You Can both have fantastic animated titles, but those are deliberately meant to look period; the only modern example I can think of is the credits for the show Covert Affairs, which are pretty cool.)

Er, the two short films are good too.

* Malwarez, by Alex Dragulescu. 3D visualizations of the behavior and growth of computer viruses. I dunno, they’re cool-looking.

* Red. Just a drawing of a shoe, but the texture is eye-catchingly well done.

* Rabbits by Andre Medina. Just what it says on the tin– rabbits.


an enormous batch of links

This week I discovered the magic of Google Reader, several millennia behind the rest of the Internet, and found some blogs to follow and some posts that I wanted to, I don’t know– sort of share and sort of leave here for myself, as an indication of what it is in other artists’ work that catches my eye, and why.

So these are the posts that caught my eye in the last few days:

* The Blank Page by George Metaxas, stop-motion animation done on cardboard. Such a great example of taking flat cartoony things and using them to construct a four-dimensional, believable world. Animation is not a huge interest of mine, but I just adore the little world Matexas makes here, and the lighting and the characters’ expressions and the everything.

* Some Tuomas Korpi paintings. One is a still life, but the others are fantasy art, and I love how the lighting and color are all soft and evocative and lovely but there’s still so much detail worked into every image.

* Illustrations by Sam Wolfe Connelly. His style isn’t necessarily the kind I’d usually go for, but he does some really neat, controlled stuff with texture.

* Art for a computer game called Machinarium. I am not specifically enthusiastic about steampunk per se, but I love historical or pseudo-historical settings and I love art that can take mechanical subjects and give them character. Which seem to comprise pretty much the entirety of this game art, so I’m happy.

* 10 Innovative Subway Advertisements. All interactive art to varying degrees, but interesting for conceptual if not aesthetic purposes. Potatoes growing out of the ceiling!

* Nicholas Marlet. His art has a really cartoony, lighthearted aesthetic and a caricature-like way of depicting people, and yet it still comes off as really sophisticated and I can’t yet figure out how. Something to do with clean lines and selective color palette, maybe.

* Anthony Lister and again in one of the paintings here. I find his aesthetic really fascinating; it’s very linear and . . . what’s “painterly” but for drawing? but the big wet splashes of color are definitely a painting thing, and the overall effect is more collage-like than anything.

* Wine label design by Shepard Fairey, who also designed the Obama HOPE poster. Much more detailed and textured than the Obama poster, and absolutely beautiful.

* James Gleeson. The first of his paintings I’m okay with– pretty clearly Dali-influenced– but it’s the other two that really caught my eye. As far as I can see there are no figurative forms in there at all, and yet there’s a very solid sense of color and form and motion and a completely fascinating impression that something is happening, even if I can’t tell what.

* Stereoscopic landscape photography. I’m not sure what that means, actually! Besides “really cool-looking.”

* This is a hybrid dot matrix printer/paintball gun that sprays pixellated art onto walls; I have no conceivable use for it, and yet I need it desperately. All the examples shown there are monochrome, but I bet designs in multiple colors– done in layers like silkscreening– would look fantastic.

* Alexandra Navratil, The Searchlights That Dazzled The Stars. This would be a beautiful striking photograph on its own– see, it is possible to make a symmetrical image visually interesting! sometimes– but what really sells it for me is the way it’s presented and how that draws the viewer, visually and physically, into the space of the photograph.

* Gayle Chong Kwan, Save the last dance for me. I don’t know what’s going on here, honestly, but I love it an awful lot. I’m not even sure whether the work is the card itself or the photograph of the card, or both; a glance at the artist’s website suggested she’s an installation artist, but I really don’t want to think about this one too closely. I like not “getting” it.

* Pascal Campion talks about drawing— about practicing, and not being afraid to show your work to people, and about how great technical skill doesn’t necessarily translate to compelling artwork or vice versa.

* How To Move a Character in Space, ColorJack, and Posemaniacs. Reference tools, not actual art, but still useful to keep around. I might take some time this weekend to play around with ColorJack, as working with color in general is not one of my strengths.

Also, on an honorary basis, an older thing by an artist I already loved:

* Sydney Padua draws covers for (fake) vintage adventure novels. I am really a huge admirer of Sydney Padua’s art– I know she’s also an animator, but as I’ve said that isn’t a big interest of mine, so I mainly mean her still art. She has a really fantastic capacity to convey character and mood and be really expressive in just plain black and white, and to convey hugely different moods from one panel to the next of a comic page while maintaining a consistent style, and I can only hope to someday be anywhere near as good at these things as she is.

My lists will probably not be this enormous every week; this one was the result of me subscribing to a couple dozen blogs all at once and then spending a ridiculous amount of time reading back through each one.