Illustrator Sophie Blackall on Subversive Storytelling, Missed Connections, and Optimism by Maria Popova What Aldous Huxley’s misogyny has to do with children’s books, darkness, and modern love. Australian illustrator Sophie Blackall remains best-known for her warm, wistful, and whimsical Missed Connections: Love, Lost & Found (public library) — a visual paean to modern love by way of illustrated Craigslist missed connections, which you might recall as one of the best art and design books of 2011.
5 tips for making great animations for 2D games In this era dominated by 3D games, when even the latest versions of Street Fighter and Super Mario Bros. are made up of polygonized characters, quality sprite-based 2D games are rare. Many now consider the process behind making beautifully animated productions like Metal Slug or Aladdin to be a lost art, forgotten and undervalued as developers chased the excitement and economy of 3D graphics. But there are still a handful of gorgeous sprite-based games that release every once in a blue moon, and a few have had the fingerprints of animator Paul Robertson all over them, like Ubisoft Montreal's highly-regarded Scott Pilgrim vs. the World: The Game. Robertson's style is immediately recognizable, featuring short and stocky figures that look like River City Ransom characters brought up to modern standards, with much more detail and personality packed into each frame. "I just try to make the most awesome and ridiculous thing I can think of," explains Robertson.
Polish School of Posters Beginning in the 1950s and through the 1980s, the Polish School of Posters combined the aesthetics of painting with the succinctness and simple metaphor of the poster. It developed characteristics such as painterly gesture, linear quality, and vibrant colors, as well as a sense of individual personality, humor, and fantasy. It was in this way that the Polish poster was able to make the distinction between designer and artist less apparent. Posters of the Polish School of Posters significantly influenced the international development of graphic design in poster art. Their major contribution is in their use of the power of suggestion through clever allusions.
One1more2time3's Weblog my first post about RUSSELL PATTERSON’S work was in december 2009 – ‘the patterson girl’, you can see it here. below is now the complete collection I got from JOE GRANT. © russell patterson Like this: Like Loading... The gory and grotesque art of Soviet antireligious propaganda The images below are from the Soviet anti-religious magazine, Bezbozhnik, which translates to “Atheist” or “The Godless.” It ran from 1922 to 1941, and its daily edition, “The Godless at the Workplace,” ran from 1923 to 1931. The scathing publication was founded by the League of Militant Atheists, an organization of the Soviet Communist Party members, members of its youth league, workers and veterans, so while it was in many ways a party project, it was not state-sponsored satire.
5 Costly Mistakes That Will Stop You From Selling Your Art Email You and I – and pretty much every professional artist in the history of the universe – understand how hard it is to make a living from original work… The pain comes in different ways: The disappointment of boxing up your books after a slow convention.The extended embarrassment of a failed crowdfunding campaign.The frustration of a dormant web store.Crickets instead of commissions… …but they all bring the same sense of rejection.
The Origins of Japanese Illustration Japanese illustration, particularly manga, has gathered a huge, global fan base in the last few decades. As its influence continues to spread, we take a look back at how it all began, where it is now and what might happen in the future. The Origins of Japanese Illustration The beginning of modern Japanese illustration can be dated back to a series of medieval scrolls created in the 10th century that contain drawings of animals. Is De-Skilling Killing Your Arts Education? F. Scott Hess, Time, 2005, oil on canvas, 54 × 66 inches, Number 6 in The Seven Laughters of God series. In 1974, when I was a freshman art student at a small Midwestern liberal arts college in Wisconsin, I wanted to learn to draw the human figure. One untenured professor took me under his wing and encouraged that process, but the department chair, an alcoholic abstract painter, stumbled into the studio late one evening while I was studying a plaster head that showed the muscles of the face.