Archive for the 'illustration' Category

13
Jul
12

Royale : Howlin’ Wolf – “Evil” (Animation & Music Video)

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We recently created this music video for “Evil” by Howlin’ Wolf as part of the Videophonic session at the 2012 PromaxBDA Conference. The catch? All of the nine videos could only feature music that rocked out pre-MTV. Most of us weren’t even born then. Ha. We envisioned a Western narrative that felt more analog than digital. Our all-CG video featured high contrast white on black “scratch board” imagery. Ext

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Royale : Vimeo

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14
May
12

Alvin Lustig : Illustrations (The Ghost in the Underblows)

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“Ghost in the Underblows” (1940) for Ward Ritchie Press, echoed Constructivist typecase
experiments from the early twenties yet revealed a distinctly native American aesthetic.

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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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‘The Ghost in the Underblows’
Typographical illustrations
Alvin Lustig
1940
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Alvin Lustig introduced principles of modern art to graphic design that have had a long-term influence on contemporary practice. He was in the vanguard of a relatively small group who fervently, indeed religiously, believed in the curative power of good design when applied to all aspects of American life. He was a generalist, and yet in the specific media in which he excelled he established standards that are viable today. If one were to reconstruct, based on photographs, Lustig’s 1949 exhibition at The Composing Room Gallery, in New York, the exhibits on view and the installation would be remarkably fresh, particularly in terms of the current trends in art-based imagery. Lustig created monuments of ingenuity and objects of aesthetic pleasure. Whereas graphic design history is replete with artifacts that define certain disciplines and are also works of art, for a design to be so considered it must overcome the vicissitudes of fashion and be accepted as an integral part of the visual language. Though Lustig would consider it a small part of his overall output, no single project is more significant in this sense than his 1949 paperback cover for Lorca: 3 Tragedies. It is a masterpiece of symbolic acuity, compositional strength and typographic craft that appears to be, consciously or not, the basis for a great many contemporary book jackets and paperback covers. [Extract : Born Modern by Steven Heller]

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Alvin Lustig : Website

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14
Apr
12

Borja Bonaque : Graphic Design Series

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‘Structure 3’
Borja Bonaque
Illustration
2009
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‘Circle’
2 inks screen print
Borja Bonaque
2011
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‘Structure 2’
Borja Bonaque
Illustration
2009
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‘Square’
2 inks screen print
Borja Bonaque
2011
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‘Structure 1’
Borja Bonaque
Illustration
2009
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‘Triangle’
2 inks screen print
Borja Bonaque
2011
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‘Structure 4’
Borja Bonaque
Illustration
2009
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Spanish artist Borja Bonaque has developed a personal and remarkable body of work. Looking to create projects with some kind of visual atmosphere, he is inspired by pure lines and geometric shapes. Always motivated to get the best possible results. He has produced artwork for companies such us Elwood, Financial Times, Wallpaper, Zoo York, New Scientist, Rioja Wines, Bancaja and Wired Magazine.

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Borja Bonaque : Website

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20
Dec
11

David Ralph Simpson : ‘Ink Studies’ Series

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David lives just a hair’s breadth away from the rugged Devon coast at Harland Point and his
highly abstract work is certainly influenced by the powerful landscape that surrounds him.

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‘three houses’
david ralph simpson
ink-study series
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‘different moons’
david ralph simpson
ink-study series
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‘sea edge’
david ralph simpson
ink-study series
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‘two forces’
david ralph simpson
ink-study series
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‘two forces’
david ralph simpson
ink-study series
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‘three houses’
david ralph simpson
ink-study series
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‘three houses’
david ralph simpson
ink-study series
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David Ralph Simpson : Website

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25
Oct
11

Sander Steins : ‘Producers For Consumers’ (Mixed Media)

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The industrial revolution brought us prosperity but these days factories are acting more and more like dealers. Our modern society is completely built around them. Factories producing high-tech wares to feed the empty souls for a new controlled and addicted generation. This series shows the portraits of the producers for consumers.

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‘producers for consumers’ 2
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 5
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 4
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 1
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 8
mixed media print
40 x 50 cm
2011

‘producers for consumers’ 3
mixed media print
40 x 50 cm
2011

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It was the summer of 1980 when I was seven years old that I sat in the back seat of my father’s blue Opel Kadett coupé and saw the first smoking chimneys of the German Ruhrgebiet. Those were the declining years of one of Europe’s biggest and heaviest industrial areas and I will never forget the impression it left imprinted on my retina. As a child I rebuilt entire cities including large factories with my building blocks and then lay on the floor to see the chimneys emerge on the horizon. Later I started drawing complete maps with of course lots of space for industrial areas.

That fascination with industry and factories has ever since remained, even though these days – with today’s knowledge – I see things very differently. Most factories in the Ruhrgebiet have been pulled down and a lot of former industrial terrains have been cleaned up and/or have had a change of use. It shows that we, as human beings, continuously build, demolish and rebuild, but still the world is none the better for it. New threats such as overpopulation and the blurring of traditional standards and values through the emergence of the internet are seriously endangering our habitats and have a fundamental influence on life here on earth. This theme plays a crucial role in most of my art. Where for me it started with admiration for all those huge factories and smoking chimneys there now is the realization that mankind should use its knowledge much more to ensure an enjoyable future on this planet for the next generations.

The rapid technological developments make it possible for me to apply new digital techniques in my work. Besides these new techniques I still use traditional techniques and materials like pencils, paint, oil pastels and ink. My way of working also includes building, destroying and rebuilding. I scan paintings and drawings into the computer, cut them into pieces and rebuild and subsequently print them. After that process I can decide to start drawing and painting on the print again. I also can decide to work only the traditional way without using a computer. For me, the choice of medium and ways to edit my materials will always remain a source of experiment that will help me transform my themes into my personal visual language. [artists statement]

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Sander Steins : Website

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23
Sep
11

Azurebumble : “Coastlines” Series (Artworks)

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“Coastlines” Series
digital artworks
azurebumble
2011

“Coastlines” Series
digital artworks
azurebumble
2011

“Coastlines” Series
digital artworks
azurebumble
2011

“Coastlines” Series
digital artworks
azurebumble
2011

“Coastlines” Series
digital artworks
azurebumble
2011

“Coastlines” Series
digital artworks
azurebumble
2011

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Azurebumble : Website

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Ai : Series : Photography Book

aesthetic investig...
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