robertogreco + illustration   323

Different by Design | Rachel Hawley
"Beyond the realm of electoral politics, design plays an important role in spreading leftist messages and catching the attention of the potentially persuadable. Leftist media, still emerging from the cocoon of the subcultural, is now faced with the challenge of synthesizing their messaging with visual interest—without reverting to the all style, no substance aesthetics of liberalism. Since 2011, Jacobin’s covers and spreads have worked to reclaim the minimalist, kinetic style that big tech has spent the better part of a decade laying claim to, while Current Affairs (as well as this magazine) meets Jacobin’s minimalist elegance with its own brassy opulence and lush illustration. Over on the cesspit that is YouTube, Natalie Wynn of the sometimes controversial ContraPoints channel delivers anti-right-wing diatribes while performing camp extravagance, with high production-value costume, set, and lighting design in the mix.

The challenge for leftist design is to chart a visual course distinct from both the garishness of the right and the empty sleekness of the center.

Some of the more grassroots-level innovations in leftist political design can be found in the orbit of the Democratic Socialists of America, whose membership has grown exponentially since 2015. The DSA embraces its socialist legacy with a black, white, and red color palette. Its iconography—the quintessential red rose, hands clasped in unity or raised in a fist, bread and/or grain (a reference to the iconic 1912 Bread and Roses Strike, during which textile workers in Lawrence, Massachusetts, fought for better wages and overtime pay)—is presented across myriad DIY pamphlets, posters, and booklets, in just as many styles, freeing it from the fuss endemic to a design system like Pete Buttigieg’s.

“It turns branding on its head,” says Pressman. “Whereas usually branding is about a consistency of application and approach, this is about a consistency of intent and spirit.”

But the most revolutionary aspect of the DSA’s design is not so much what appears on the page or poster or screen, but how it came to be there. With the visual assets made widely available across the organization, the brand attributes limited in number and easy to build off of, and the pressure for perfection or strict consistency absent, the realm of design is open to a wider range of perspectives while remaining rooted in the goal of facilitating political action. “People talk about democratizing design tools, and usually they mean making it so that anybody can make a pamphlet or a poster, and that’s great,” says Pressman, “but I think the more interesting part of democratizing design is that participants in political action are themselves designing the stuff that’s being used by those actions and those people.”

Today, many of America’s young leftists are working to bring about a more radical continuation of the New Deal ethos. Should that history serve as any indication, the proliferation of art and design will play a crucial role in the years to come, as we find our footing and grow our ranks. For it is bread we fight for, as the song goes—but we fight for roses, too."
design  elections  dsa  control  graphicdesign  socialism  leftists  jacobin  liberalism  illustration  logos  2020  rachelhawley  elitism  centrism  grassroots  democraticsocialistsofamerica  alexandriaocasio-cortez  organizing  unions  labor  petebuttigieg  2026  hillaryclinton  berniesanders 
11 weeks ago by robertogreco
“On a Sunbeam,” the Sci-Fi Comic That Reimagines Utopia | The New Yorker
[Full comic available to read online:
https://www.onasunbeam.com/ ]

[See also:
https://www.tilliewalden.com/
https://www.instagram.com/tilliewalden/
https://twitter.com/TillieWalden ]

"Tillie Walden is an almost shockingly young (born in 1996) comics creator who received wide attention last year for “Spinning,” a beautiful, melancholy graphic memoir about her years as a pre-teen and then teen figure skater. That book excelled in its tactful line work and use of white space; it looked neither superhero-ish nor ugly-on-purpose nor nearly realist but utterly sympathetic, with vast cold rinks and faces whose expressions you could share. “Spinning” was also a coming-out story, and a school story, and what scholars call a Künstlerroman, the story of how a young person becomes an artist—although, like most Künstlerromanen, it left unresolved the question of what she’d make next.

“On a Sunbeam” is the magnificent, sweeping, science-fictional answer. The big, densely plotted volume has all the virtues of “Spinning,” plus the scale, the sense of wonder, and the optimism intrinsic to what’s called space opera or science fantasy. (Think “Star Trek” and Starfleet Academy.) As with “Spinning,” it can be hard to equal in prose the comic’s inviting, spare line work, use of black-and-white, and expressive qualities. (Walden can make one pen stroke on one character’s face equal two pages of dialogue.) “On a Sunbeam” is at once a queer coming-of-age story, a story about how to salvage lost love and youth, and a multigenerational story about how to thrive in a society that does not understand who you are or what you can do. It is the kind of story that adults can and should give to queer teens, and to autistic teens, and to teens who care for space exploration, or civil engineering, or cross-cultural communication. It is also a story for adults who were once like those teens, and the kind of story (like the Aeneid, but happier) whose devotees might occasionally return to it, hoping for divine advice from a randomly chosen line, or panel, or page.

But I’m getting ahead of myself. “On a Sunbeam”—whose five hundred and thirty-eight pages, rendered in three colors, first appeared serially, online, where it can still be read for free—begins, like some Victorian novels, with two separate plots and settings, years apart. In the A plot, we meet three adult engineers and construction workers who fly their own fish-shaped spaceship from job to job, rebuilding and restoring architecture from their past (which is our distant future). The charismatic, impulsive Alma reports to Charlotte, their cautious commander; Elliot, “our very own mechanical genius,” is nonbinary (taking they/them pronouns) and non-speaking, like many autistic adults in our day. Formerly a trio “together for ages,” the team now has two younger employees: Jules, Alma’s voluble niece, and the anxious newbie Mia, fresh out of her space-based boarding school.

We see through Mia’s eyes, and through Walden’s pen, the comforting intimacy of their sleeping quarters, with its Teddy bears and bunk beds; the sublime ruined space cathedral and the other flying buildings they restore; and the realistic tasks that Mia and Jules slog through—hauling rubble, sharing sandwiches, and trying to “get through a whole day without turning into jelly” from overwork. We worry when Mia worries, and we have fun when she has fun. Jules puts into words the way Mia feels: “We don’t actually do this job to fix things,” she says. “We do it ’cause we get to climb and jump off stuff.”

Before she joined this close-knit crew, Mia attended an élite boarding school. This is where Walden sets her B plot, a place of crushes, mean girls, shifting rivalries, vast halls, anti-gravity stations, and a school-wide, slightly Quidditch-like sport called Lux, whose fish-shaped flight craft race and dodge through tunnels and in midair. Almost as soon as we meet Mia, she falls hard for a new and far more academically talented student named Grace, who reciprocates. Grace convinces a forbidding coach to let Mia chase her dream of playing Lux. The sport is normally off limits to first-years, but our couple won’t let that rule stop them. “We may be freshmen,” Grace declares, “but you can’t put an age limit on passion and dedication.”

“On a Sunbeam” is less like any other American comic, page by page, than it is like a film by Hayao Miyazaki. For Walden, faces and bodies are not types or dummies for action scenes but ways to convey emotion and expression, even as the backdrops—speleological, astronomical, aquatic, or forested—flourish and shine. Walden’s dialogue—never talky, but never too sparse to follow—complements her characters’ body language; it also brings out the feeling of ninth and tenth grade, when every impediment seems like an apocalypse, and every kind word like an angel’s violin. But that dialogue is also a clue to a set of cosmic mysteries that connect younger and older characters, present and backstory, A plot and B plot. Why does Charlotte’s employer distrust her? What does Elliott fear, and why can’t they go home? Can Mia and Jules adjust to life with this tightly knit, and apparently romantic, triad? Will Mia find love?

Mia has already found it, with Grace, and then lost it. Just as in “Spinning”—and in several other comics by Walden, short and long—our point-of-view character fell hard for a smart, dark-skinned girl when both were in their teens, and then that girl left, suddenly, and without much explanation. In “Spinning,” the real Walden goes on with her heartbroken life. In this much longer but equally heartbreaking epic, the school-age couple of Mia and Grace break up for far more complex reasons, and a mission to a secluded planet of volcanic tunnels and warriors with Amish hats (really) is required to rescue Grace, who may not want to be rescued.

It’s probably no coincidence that this comic, so sensitive to its characters’ feelings, is also uncommonly sensitive to newly visible identities: non-speaking autistics, people in triads, people trying to make queer romance work under pressure and across a racial divide. One identity Walden doesn’t draw: men. There are none here, and no one asks why, which means—as in earlier utopias—that all romantic love in this universe would read as queer, or gay, in ours. (Since there are no men, there are no gay men or trans men; perhaps they live on other planets, or in other books.)

Like all science-fictional utopias, “On a Sunbeam” feels imperfect, even (to quote Ursula K. Le Guin) “ambiguous.” But it also feels magnificent: it’s a world in which many readers would want to live, and a way to envision solutions to real-life problems that seem intractable now. It’s a queer love story in a universe where benevolent authorities still get things wrong; it’s also, for all its spacecraft and planets and xenogeology and (eventually) aliens, a story that purists might label not as science fiction but as science fantasy. But such genre labels—though inevitable—seem beside the point. As always for Walden, even when she is writing and drawing pilots and engineers, the point is not how things work but how people feel, and what choices they help one another make.

Comics critics and would-be comics sophisticates—especially the kind who spurn superheroes—may think we have to choose between realistic characters who experience permanent loss and change, on the one hand, and escape, sublimity, and sheer wonder, on the other. Those sophisticates are wrong. “On a Sunbeam” is not the first American science-fiction comic to say so (consider “Finder,” or “Saga”), but it may be the most consistently beautiful, the most self-assured, the one with the best love story, and the one most vaultingly effective in its transitions between small-scale and large, between the deadly caverns under an exoplanet’s mountain and the look on a hopeful girl’s face."
comics  toread  stephanieburt  tilliewalden  2018  illustration  storytelling  utopia  queer  autism  sciencefiction  scifi  hayaomiyazaki  emotions  expression  nonbinary  künstlerroman  comingofage  teens  youngadult  fiction  srg  emotion  bodylanguage  howwewrite  ambiguous  ursulaleguin 
june 2019 by robertogreco
San Francisco; or, How to Destroy a City | Public Books
"As New York City and Greater Washington, DC, prepared for the arrival of Amazon’s new secondary headquarters, Torontonians opened a section of their waterfront to Alphabet’s Sidewalk Labs, which plans to prototype a new neighborhood “from the internet up.” Fervent resistance arose in all three locations, particularly as citizens and even some elected officials discovered that many of the terms of these public-private partnerships were hashed out in closed-door deals, secreted by nondisclosure agreements. Critics raised questions about the generous tax incentives and other subsidies granted to these multibillion-dollar corporations, their plans for data privacy and digital governance, what kind of jobs they’d create and housing they’d provide, and how their arrival could impact local infrastructures, economies, and cultures. While such questioning led Amazon to cancel their plans for Long Island City in mid-February, other initiatives press forward. What does it mean when Silicon Valley—a geographic region that’s become shorthand for an integrated ideology and management style usually equated with libertarian techno-utopianism—serves as landlord, utility provider, urban developer, (unelected) city official, and employer, all rolled into one?1

We can look to Alphabet’s and Amazon’s home cities for clues. Both the San Francisco Bay Area and Seattle have been dramatically remade by their local tech powerhouses: Amazon and Microsoft in Seattle; and Google, Facebook, and Apple (along with countless other firms) around the Bay. As Jennifer Light, Louise Mozingo, Margaret O’Mara, and Fred Turner have demonstrated, technology companies have been reprogramming urban and suburban landscapes for decades.2 And “company towns” have long sprung up around mills, mines, and factories.3 But over the past few years, as development has boomed and income inequality has dramatically increased in the Bay Area, we’ve witnessed the arrival of several new books reflecting on the region’s transformation.

These titles, while focusing on the Bay, offer lessons to New York, DC, Toronto, and the countless other cities around the globe hoping to spur growth and economic development by hosting and ingesting tech—by fostering the growth of technology companies, boosting STEM education, and integrating new sensors and screens into their streetscapes and city halls. For years, other municipalities, fashioning themselves as “the Silicon Valley of [elsewhere],” have sought to reverse-engineer the Bay’s blueprint for success. As we’ll see, that blueprint, drafted to optimize the habits and habitats of a privileged few, commonly elides the material needs of marginalized populations and fragile ecosystems. It prioritizes efficiency and growth over the maintenance of community and the messiness of public life. Yet perhaps we can still redraw those plans, modeling cities that aren’t only made by powerbrokers, and that thrive when they prioritize the stewardship of civic resources over the relentless pursuit of innovation and growth."



"We must also recognize the ferment and diversity inherent in Bay Area urban historiography, even in the chronicles of its large-scale development projects. Isenberg reminds us that even within the institutions and companies responsible for redevelopment, which are often vilified for exacerbating urban ills, we find pockets of heterogeneity and progressivism. Isenberg seeks to supplement the dominant East Coast narratives, which tend to frame urban renewal as a battle between development and preservation.

In surveying a variety of Bay Area projects, from Ghirardelli Square to The Sea Ranch to the Transamerica Pyramid, Isenberg shifts our attention from star architects and planners to less prominent, but no less important, contributors in allied design fields: architectural illustration, model-making, publicity, journalism, property management, retail planning, the arts, and activism. “People who are elsewhere peripheral and invisible in the history of urban design are,” in her book, “networked through the center”; they play critical roles in shaping not only the urban landscape, but also the discourses and processes through which that landscape takes shape.

For instance, debates over public art in Ghirardelli Square—particularly Ruth Asawa’s mermaid sculpture, which featured breastfeeding lesbian mermaids—“provoked debates about gender, sexuality, and the role of urban open space in San Francisco.” Property manager Caree Rose, who worked alongside her husband, Stuart, coordinated with designers to master-plan the Square, acknowledging that retail, restaurants, and parking are also vital ingredients of successful public space. Publicist Marion Conrad and graphic designer Bobbie Stauffacher were key members of many San Francisco design teams, including that for The Sea Ranch community, in Sonoma County. Illustrators and model-makers, many of them women, created objects that mediated design concepts for clients and typically sat at the center of public debates.

These creative collaborators “had the capacity to swing urban design decisions, structure competition for land, and generally set in motion the fate of neighborhoods.” We see the rhetorical power of diverse visualization strategies reflected across these four books, too: Solnit’s offers dozens of photographs, by Susan Schwartzenberg—of renovations, construction sites, protests, dot-com workplaces, SRO hotels, artists’ studios—while Walker’s dense text is supplemented with charts, graphs, and clinical maps. McClelland’s book, with its relatively large typeface and extra-wide leading, makes space for his interviewees’ words to resonate, while Isenberg generously illustrates her pages with archival photos, plans, and design renderings, many reproduced in evocative technicolor.

By decentering the star designer and master planner, Isenberg reframes urban (re)development as a collaborative enterprise involving participants with diverse identities, skills, and values. And in elevating the work of “allied” practitioners, Isenberg also aims to shift the focus from design to land: public awareness of land ownership and commitment to responsible public land stewardship. She introduces us to several mid-century alternative publications—weekly newspapers, Black periodicals, activists’ manuals, and books that never made it to the best-seller list … or never even made it to press—that advocated for a focus on land ownership and politics. Yet the discursive power of Jacobs and Caro, which framed the debate in terms of urban development vs. preservation, pushed these other texts off the shelf—and, along with them, the “moral questions of land stewardship” they highlighted.

These alternative tales and supporting casts serve as reminders that the modern city need not succumb to Haussmannization or Moses-ification or, now, Googlization. Mid-century urban development wasn’t necessarily the monolithic, patriarchal, hegemonic force we imagined it to be—a realization that should steel us to expect more and better of our contemporary city-building projects. Today, New York, Washington, DC, and Toronto—and other cities around the world—are being reshaped not only by architects, planners, and municipal administrators, but also by technologists, programmers, data scientists, “user experience” experts and logistics engineers. These are urbanism’s new “allied” professions, and their work deals not only with land and buildings, but also, increasingly, with data and algorithms.

Some critics have argued that the real reason behind Amazon’s nationwide HQ2 search was to gather data from hundreds of cities—both quantitative and qualitative data that “could guide it in its expansion of the physical footprint, in the kinds of services it rolls out next, and in future negotiations and lobbying with states and municipalities.”5 This “trove of information” could ultimately be much more valuable than all those tax incentives and grants. If this is the future of urban development, our city officials and citizens must attend to the ownership and stewardship not only of their public land, but also of their public data. The mismanagement of either could—to paraphrase our four books’ titles—elongate the dark shadows cast by growing inequality, abet the siege of exploitation and displacement, “hollow out” our already homogenizing neighborhoods, and expedite the departure of an already “gone” city.

As Beat poet Lawrence Ferlinghetti muses in his “Pictures of the Gone World 11,” which inspired Walker’s title: “The world is a beautiful place / to be born into / if you don’t mind some people dying / all the time / or maybe only starving / some of the time / which isn’t half so bad / if it isn’t you.” This is precisely the sort of solipsism and stratification that tech-libertarianism and capitalist development promotes—and that responsible planning, design, and public stewardship must prevent."
cities  shannonmattern  2019  sanfrancisco  siliconvalley  nyc  washingtondc  seattle  amazon  google  apple  facebook  technology  inequality  governance  libertarianism  urban  urbanism  microsoft  jenniferlight  louisemozingo  margareto'mara  fredturner  efficiency  growth  marginalization  publicgood  civics  innovation  rebeccasolnit  gentrification  privatization  homogenization  susanschwartzenberg  carymcclelland  economics  policy  politics  richardwalker  bayarea  lisonisenberg  janejacobs  robertmoses  diversity  society  inclusivity  inclusion  exclusion  counterculture  cybercultue  culture  progressive  progressivism  wealth  corporatism  labor  alexkaufman  imperialism  colonization  californianideology  california  neoliberalism  privacy  technosolutionism  urbanization  socialjustice  environment  history  historiography  redevelopment  urbanplanning  design  activism  landscape  ruthasawa  gender  sexuality  openspace  publicspace  searanch  toronto  larenceferlinghetti  susanschartzenberg  bobbiestauffacher  careerose  stuartrose  ghirardellisqure  marionconrad  illustration  a 
march 2019 by robertogreco
TOUCH MELBOURNE by Andrew Gleeson, haraiva
"Explore the city of Melbourne through its various, tiny everyday interactions."
melbourne  art  games  gaming  videogames  everyday  andrewgleeson  cecilerichard  illustration  toplay 
march 2019 by robertogreco
U.S. Department of Agriculture (USDA) Pomological Watercolor Collection
"The USDA Pomological Watercolor Collection documents fruit and nut varieties developed by growers or introduced by USDA plant explorers around the turn of the 20th century. Technically accurate paintings were used to create lithographs illustrating USDA bulletins, yearbooks, and other series distributed to growers and gardeners across America.

Fast Facts:

• Time period: 1886 to 1942, with the majority created between 1894 and 1916.
• Content: 7,584 watercolor paintings, lithographs and line drawings, including 3,807 images of apples.
• Fruit origins: The plant specimens illustrated originated in 29 countries and 51 states and territories in the U.S.
• Artists: The paintings were created by approximately twenty-one artists commissioned by USDA for this purpose. Some works are not signed."
archives  art  food  illustration  fruit  nuts  drawing  lithographs 
february 2019 by robertogreco
Ricardo Cavolo - Periferias en El Independiente - YouTube
[See also:
https://www.elconfidencial.com/cultura/2017-01-28/ricardo-cavolo-periferias-libro-ilustracion_1320492/
Este libro, subraya, "es un ejercicio de amor que quiero que sirva de protesta para levantar la voz y hacer ver a la gente que tiene que cambiar la mirada, pero evidentemente es un ejercicio para darles cariño". De esta selección destaca esas periferias humanas con las que arranca el libro como las más personales. Especialmente los gitanos, pero también la comunidad trap —"en Estados Unidos los negros son como los gitanos para lo bueno y para lo malo. Es un colectivo en el que me fijo e inspiro"— o las mujeres soldados kurdas — "una nueva versión de aquellos 300 espartanos que se hicieron valer con coraje y honor por un fin superior"—.

https://www.elnacional.cat/ca/cultura-idees-arts/ricardo-cavolo-periferias_134232_102.html
Ricardo Cavolo publica el seu àlbum Periferias (Lundwerg) que es presenta com un homenatge als "altres", a aquells que per motius geogràfics, físics, d'orientació sexual o pel motiu que sigui se surten de les pautes de la normalitat. Per les seves pàgines hi passen presos, siamesos, albins, gitanos, guerrilleres kurdes... Però no només hi ha individus i col·lectius, també inclou territoris, com les illes Fèroe, o Tristao d'Acunha; i animals poc coneguts, com el tapir, el pangolí o la hiena. O fins i tot afegeix el que anomena "perifèries vegetals", plantes i bolets que tenen formes insospitades, com les molses, els bolets fosforescents o les roses de Jericó (unes petites plantes que es conserven durant anys seques i que reviuen quan se les mulla)... I el llibre es clou amb un homenatge a artistes i literats fora dels circuits habituals, com Lovecraft, William Blake o Sam Doyle. Tot un cant a la diversitat del món, dels seus éssers, dels seus homes i dels seus creadors.

https://www.youtube.com/watch?v=W5g9Uoo4k8s
https://guardianadelibros.blogspot.com/2017/01/periferias.html
https://www.amazon.com/Periferias-Gran-libro-ilustrado-extraordinario/dp/8416489696

https://ricardocavolo.com/
https://www.instagram.com/ricardocavolo/
https://twitter.com/RicardoCavolo

https://elpais.com/cultura/2013/04/17/tentaciones/1366194108_667727.html ]

[via:
"“Periferias” tells the stories of people (and places and plants and animals) that sit outside of what’s typically understood as “normal,” living at the periphery. I bought it even though I can’t even read it properly. I love that this exists."
https://www.instagram.com/p/BpfYl5UBIem/ ]
ricardocavolo  periferias  periphery  margins  liminality  liminal  2017  comics  illustration  gypsies  sexuality  outcasts  edges  outsiders  betweenness 
october 2018 by robertogreco
Heather Penn
"Heather Penn is a designer and artist living in Los Angeles. She is currently working on the game Overland and other various personal projects in her spare time. If you're interested in keeping up with her work check out https://momoss.tumblr.com "

[See also: https://twitter.com/heatpenn ]
heatherpen  illustration  art  games  gaming  overland 
october 2018 by robertogreco
Los Angeles trees and flowers: An illustrated guide - Curbed LA
"From palm trees to sweet jasmine, get to know some of the flora that give LA its distinctive local color"
losangeles  plants  illustration  trees  2018  monicaahanonu  paulineo'connor 
september 2018 by robertogreco
‎Procreate on the App Store
"Apple Design Award winner and App Store Essential – Procreate is the most powerful sketching, painting and illustration app ever designed for a mobile device, built for creative professionals. This complete artist’s toolbox helps you create beautiful sketches, inspiring paintings, and stunning illustrations anywhere you are. Procreate features ground-breaking canvas resolution, 136 incredible brushes, an advanced layer system, and is powered by Silica M: the fastest 64-bit painting engine on iOS.
Create a canvas and start painting with any of Procreate’s exclusive dual-texture brushes. Use the immediately responsive smudge tool to perfectly blend colour with any brush in your library. With Procreate’s incredibly high-resolution canvases you can print your artwork at massive sizes. Experience the revolutionary selection, transform, and perspective tools built exclusively for multitouch and finish your illustration with stunning cinema-quality effects. Procreate’s powerful and intuitive interface always puts your art in focus.

With a deep range of professional quality features, Procreate has all the power a creative needs."
applications  ios  ipad  photoshop  painting  paint  drawing  illustration 
august 2018 by robertogreco
Krita | Digital Painting. Creative Freedom.
"Krita is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone.
• concept art
• texture and matte painters
• illustrations and comics"
opensource  via:lukeneff  applications  windows  linux  mac  osx  illustration  painting  software 
february 2018 by robertogreco
Diana Sudyka
"Diana Sudyka (pronounced soo-dee-kah) is a Chicago based illustrator. She started out by designing and screen-printing posters for musicians including: Andrew Bird, St. Vincent, The Black Keys, Neko Case, and The Decemberists. Examples this early poster work can be seen in Gigposters Volume 1: Rock Show Art of the 21st Century (Quirk Books). Following, she began illustrating YA books, illustrating several volumes of the award winning and NYTimes bestselling series The Mysterious Benedict Society by Trenton Lee Stewart, The Secret Keepers also by Stewart, and Circus Mirandus by Cassie Beasley. She is currently illustrating the first of several upcoming children’s picture books to be released in 2018 and 2019. Working mainly in gouache, ink and watercolor, subject matter and aesthetic choices for her paintings are largely informed by a deep passion for the natural world, and inspired by a love of various folk art traditions. When not working or with her family, she volunteers in the Chicago Field Museum of Natural History bird lab. Her instagram feed sometimes has a disproportionate amount of pictures of lichens and moss."
multispecies  morethanhuman  art  illustration  artists  dianasudyka  nature  animals  plants 
october 2017 by robertogreco
Nicky Case: Seeing Whole Systems - The Long Now
"Nicky Case is an independent game developer who creates interactive games and simulations including Parable of the Polygons (02014), Coming Out Simulator (02014), We Become What We Behold (02016), To Build A Better Ballot (02016), and LOOPY (02017).



Nicky Case’s presentations are as ingenious, compelling, and graphically rich as the visualizing tools and games Nicky creates for understanding complex dynamic systems.

Case writes: “We need to see the non-linear feedback loops between culture, economics, and technology. Not only that, but we need to see how collective behavior emerges from individual minds and motives. We need new tools, theories, and visualizations to help people talk across disciplines.”

Nicky Case is the creator of Parable of the Polygons (02014), Coming Out Simulator (02014), We Become What We Behold (02016), To Build A Better Ballot (02016), and LOOPY (02017).



How to finesse complexity

HE BEGAN, “Hi, I’m Nicky Case, and I explain complex systems in a visual, tangible, and playful way.” He did exactly that with 207 brilliant slides and clear terminology. What system engineers call “negative feedback,” for example, Case calls “balancing loops.” They maintain a value. Likewise “positive feedback” he calls “reinforcing loops.” They increase a value

Using examples and stories such as the viciousness of the board game Monopoly and the miracle of self-organizing starlings, Case laid out the visual basics of finessing complex systems. A reinforcing loop is like a ball on the top of a hill, ready to accelerate downhill when set in motion. A balancing loop is like a ball in a valley, always returning to the bottom of the valley when perturbed.

Now consider how to deal with a situation where you have an “attractor” (a deep valley) that attracts a system toward failure:

[image]

The situation is precarious for the ball because it is near a hilltop that is a reinforcing loop. If the ball is nudged over the top, it will plummet to the bottom of the balancing-loop valley and be stuck there. It would take enormous effort raise the ball out of such an attractor—which might be financial collapse or civil war. Case’s solution is not to try to move the ball, MOVE THE HILLS—identify the balancing and reinforcing loops in the system and weaken or strengthen them as needed to reconfigure the whole system so that the desired condition becomes the dominant attractor.

Now add two more characteristics of the real world—dense networks and chaos (randomness). They make possible the phenomena of emergence (a whole that is different than the sum of its parts) and evolution. Evolution is made of selection (managed by reinforcing and balancing loops) plus variation (unleashed by dense networks and chaos). You cannot control evolution and should not try--that way lies totalitarianism. Our ever popular over-emphasis on selection can lead to paralyzed systems—top-down autocratic governments and frozen businesses. Case urges attention to variation, harnessing networks and chaos from the bottom up via connecting various people from various fields, experimenting with lots of solutions, and welcoming a certain amount of randomness and play. “Design for evolution,” Case says, “and the system will surprise you with solutions you never thought of.”

To do that, “Make chaos your friend.”

--Stewart Brand"
systems  systemsthinking  nickycase  2017  illustration  visualization  longnow  maps  mapping  stewartbrand  games  gaming  gamedesign  capitalism  socialism  monopoly  economics  technology  culture  precarity  chaos  networks  evolution  socialtrust  voting  design  complexity  abstraction  communication  jargon  unknown  loopiness  alinear  feedbackloops  interconnectedness  dataviz  predictions  interconnected  nonlinear  linearity  interconnectivity 
august 2017 by robertogreco
Uli Westphal: Elephas Anthropogenus
"After the fall of the Roman Empire, elephants virtually disappeared from Western Europe. Since there was no real knowledge of how this animal actually looked, illustrators had to rely on oral and written transmissions to morphologically reconstruct the elephant, thus reinventing an actual existing creature. This tree diagram traces the evolution of the elephant depiction throughout the middle ages up to the age of enlightenment."

[via: "Uli Westphal's study of elephants as imagined by medieval illustrators: top-notch visual research"
https://twitter.com/golan/status/900625941243842560 ]
animals  art  arthistory  drawing  elephants  history  illustration  uliwestphal  classideas 
august 2017 by robertogreco
Fair Use Too Often Goes Unused - The Chronicle of Higher Education
"When you are writing a book analyzing images from Kurosawa’s Rashomon, you should include images from the classic 1950 film. The logic behind that seems straightforward — but the logistics can be less so.

For Blair Davis, an assistant professor of communications at DePaul University who edited Rashomon Effects: Kurosawa, Rashomon and their Legacies, published in 2015 by Routledge, getting permission to use the stills in the book turned out to be almost as difficult as ferreting out the truth in the film itself.

"I spent at least a year dealing with the Japanese corporation Kodansha, which owns the rights," Davis told me by email. He had to "hire someone who spoke Japanese to conduct face-to-face negotiations in Japan." Worse, in the end, Davis wasn’t even allowed to use the images he had asked for. Kodansha insisted he choose from a small selection of publicity photos, rather than the scenes actually analyzed in the text.

Davis’s acquisition process was more arduous than most, but the general predicament will be familiar to many academics who work with film, art, comics, or other visual materials. Many academic presses and journals require permission for the reprint of any images. For instance, Julia Round, a principal lecturer at Bournemouth University and editor of the journal Studies in Comics, told me that, at the request of its publisher (Intellect Books), "we always seek image permissions." Only if authors can’t track down permissions holders, Round said, does the journal consider printing small images under the legal doctrine of fair use.

But while publishers want authors to get permission, the law often does not require it. According to Kyle K. Courtney, copyright adviser for Harvard University in its Office for Scholarly Communication, copyright holders have certain rights — for instance, if you hold rights for a comic book, you determine when and by whom it can be reprinted, which is why I can’t just go out and create my own edition of the first Wonder Woman comic. But notwithstanding those rights, fair use gives others the right to reprint materials in certain situations without consulting the author — or even, in some cases, if the author has refused permission.

Courtney explained that courts have used a four-factor test to decide whether or not the reproduction of artwork, or other elements, falls under fair use. Judges look first at the purpose of the use; then at the nature of the copyrighted work itself; then the amount of the work reproduced; and finally at the effect of the use upon the market. Thus, when you publish — for scholarly purposes — a single image from a feature-length film that will not affect the market of the film, you have a good chance of being covered under fair use.

In the last decade, courts have also used the concept of transformative use, Courtney said. If you are using an image for a different purpose than it was originally intended, and thereby transforming it, you have a strong fair-use argument. "So if a comic book at the time period was to entertain, but you’re doing a critical/social analysis of what the comic means today," he said, "you’re applying a new meaning, a new message — you’re transforming the original for a new purpose."

In some recent court cases, judges have upheld fair use after the copyright holder had explicitly denied permission. In the early 2000s, DK publishing was refused permission to reprint Grateful Dead posters for an illustrated history of the band. The publisher reproduced the images anyway, and then defeated the lawsuit in court. Asking a copyright holder for permission does not mean that you vitiate your fair-use rights. (Courtney has created a handy explanatory comic about the case, available here.)

Betsy Phillips, sales and marketing manager at Vanderbilt University Press, said that it evaluates fair-use questions on a "case by case basis." In particular, Vanderbilt treats marketing images very differently from reproductions inside the book. "There’s a difference between a film still on the inside of a book that’s discussed in that book, and a page from a comic book on the cover," she said. The amount of material reproduced is also important: A black or white thumbnail of a detail of a painting would probably be fine, but a high-resolution, full-color image of an entire work might require permission.

Phillips also emphasized that the press tried to keep a clear paper trail of its use of images, including discussions about the rationale for fair use of each image, and why permission did or did not need to be sought. She noted that professional societies often have useful guidelines. For instance, the Society for Cinema and Media Studies discusses fair-use policies on its website.

Of course, some publishers may still prefer to ask for permission each and every time you want your book to reprint an image — it seems safer. If you get permission, you know for sure that you won’t have legal struggles. Why mess about with fair use, where there is at least a small risk of unpleasantness?

Seeking permission may seem safe, but it can have serious ethical and practical downsides.

Consider the case of David W. Stowe, a professor at Michigan State University who wrote Swing Changes: Big-Band Jazz in New Deal America, a 1994 book about the cultural milieu of big-band jazz. Stowe wanted to reproduce cartoons from Down Beat magazine to illustrate the racism and sexism of the era. Down Beat had approved reprint requests for such materials from other scholars. In this instance, however, according to a 2000 account by Lydia Pallas Loren in Open Spaces Quarterly, the magazine refused because "the drawings made the magazine ‘look bad.’" Stowe feared a lawsuit, and so did not use the images. Asking for permission gave the magazine a chance to stifle criticism.

Copyright holders may also try to force a press or an author to cough up exorbitant fees for reprints. That can be a financial hardship for a scholar, or simply make it impossible to use the images — which isn’t censorship per se but does damage scholarship.

As Julia Round explained, "Having to describe an image wastes so many words! And it simply doesn’t substitute for seeing the image itself. It’s so complicated trying to talk about complex page layouts, or attempting to explain a particular effect, or describing the idiosyncrasies of a font, or a precise shade of color."

Omitting the image also prevents readers from analyzing it for themselves. If a critic says a particular shade of green in the image is sickly and disturbing, the reader has no choice but to take the writer’s word for it, unless the image is reproduced. Of course many images today are online and can be easily Googled, but many other comics, film stills, and paintings remain offline and inaccessible. If you can’t show the image right in the text, Round concludes, "it makes it hard for any reader to fully understand and critically engage with what is being said."

Books and journal articles about visual culture need to be able to engage with, analyze, and share visual culture. Fair use makes that possible — but only if authors and presses are willing to assert their rights. Presses may take on a small risk in asserting fair use. But in return they give readers an invaluable opportunity to see what scholars are talking about."
copyright  fairuse  publishing  film  academia  2017  noahberlatsky  rashomon  blairdavis  juliaround  images  kylecourtney  transformativeuse  betsyphillips  cinema  media  davidstowe  lydiapallasloren  illustration 
may 2017 by robertogreco
Urban Omnibus » City as Playground
"How does the design of your childhood environment affect you? For the better part of a decade, painter Julia Jacquette has been excavating memories of her childhood playground on the Upper West Side. Her family history dovetails with a chapter in New York’s built environment that has been largely forgotten: a “playground revolution” in the 1960s and ’70s. Designers like Paul Friedberg, Richard Dattner, and Jacquette’s own father created innovative adventure playgrounds, child-size cities for imaginative play.

Adventure playgrounds appeared all over New York City, from Central Park to residential buildings and vacant lots. They were part of larger changes in the design and use of the city’s public spaces during the Mayoral administration of John V. Lindsay (1966-1973) that responded to accelerating suburbanization, changing demographics, displeasure with the functionalist environments of urban renewal — in short, a sense of impending “urban crisis.” The playgrounds were meant to make the city more inclusive, more attractive, and more malleable: a place where everyone could thrive.

What happens to a playground when it’s torn down? Many of the playgrounds are now gone, others have been renovated beyond recognition. In her graphic memoir, Playground of My Mind, Julia Jacquette revisits and reconstructs the playgrounds that marked her childhood and have stayed with her ever since. We are pleased to publish an excerpt of Playground of My Mind in the slide show above. Then, Jacquette and writer James Trainor, who is also at work on a book on the city’s playgrounds, explore their childhood memories and grown-up investigations of a critical chapter in the history of New York’s public spaces."
cities  urban  urbanism  2016  jamestrainor  juliajacquette  publicspace  playgrounds  sfsh  glvo  nyc  illustration  childhood  paulfriedberg  richarddattner  sesamestreet  rossryanjacquette  adventureplaygrounds  children  play  aldovaneyck 
march 2017 by robertogreco
Portfolios – Fahmida Azim
"I’m Fahmida Azim. I’m an illustrator, story-teller, designer, night-owl, magical realist – to name a few.

The short story is a philosophy that art is a language – a language of visual communication – and I’m here to use my fluency to give life to the unsung and underrepresented ideas.

For whomever it may concern: The long story starts in the dead of night at a far away and forgettable village town in Bangladesh where, in 1994, I screamed my first screams. Through the introductory plot lines of an immigrant tale as old as the US constitution, I grew up as an American-Muslim child in the suburbs of Virginia. After many chapters of fight scenes and coming-of-age tropes I attended VCUArts and graduated with a bachelors degree in Communication Arts. Currently I’m working as a designer and freelance illustrator in the river city of Richmond, while the rest of the narrative is a work in progress the plot-twists and character developments are never ending."

[See also: https://www.instagram.com/eemajin/
https://twitter.com/eemajin/ ]
illustration  fahmidaazim  graphicdesign 
february 2017 by robertogreco
Natsu - travel diary on Behance
"A travel diary in Japan with some watercolor sketches on location and silver photographies.

This is a trilingual Japanese/English/French version.

"A summer in Japan with a camera and sketchbook always close at hand. The heat is overwhelming and we can hardly move. So we let ourselves go, here and there, our eyes open wide, not knowing if this is all real or if we have simply lost our way.""
japan  ateliersentô  watercolor  illustration  photography  classideas  2016 
january 2017 by robertogreco
Void&Meddler | Nobody likes the smell of reality
[via: "#Top2016: Void&Meddler - episode 2 (by @NO_cvt ) for its musical and visual intensity. Let's vanish together in the night loop..."
https://twitter.com/AtelierSento/status/815133209793011712 ]

[See also: http://store.steampowered.com/app/377970/ ]
games  videogames  gaming  illustration  edg  srg  2016 
january 2017 by robertogreco
Maria Fröhlich
["Comic artist and illustrator from the dark woods of northern Sweden."
http://mariafrohlich.daportfolio.com/about/ ]

[See also:
https://www.instagram.com/mariafrohlichart/
https://twitter.com/MariaFrohlich ]

[via: http://us6.campaign-archive2.com/?u=88819455cab0b1139f96cec4d&id=6cb5179504

"The image above is part of the concept art for Maria Fröhlich's book Tales from Miraclecity. Her illustration blog features a society brimming with people of color — especially children — playing and exploring in a world both present and future." ]
mariafröhlich  illustration  sweden  peopleofcolor  scifi  sciencefiction  future  comics  graphicnovels  tumblrs 
november 2016 by robertogreco
K.T. Billey: Utmost Import: Instagram & the Future of the Icelandic Language - Guernica / A Magazine of Art & Politics
[about: https://www.instagram.com/everysinglewordinicelandic/

"Futbol vikings, moonbeams, Björk—Iceland has long-since captured the global imagination, often capitalizing on foreign fascination. Tourism has been essential to the country’s post-crash economic recovery and guerrilla activities in the form of social media have emerged as a complement to ad campaigns and travel initiatives. Put simply, the posted image is the new word of mouth and Iceland is Instagrammer heaven. When cabin porn is a noun-ed phenomenon, Grade-A bragging visuals have brought hordes of visitors and money to the Nordic island. However, the influx has not been without anxiety. One Instagram account embodies the bane and boon of tourism for contemporary Icelandic identity.

Every Single Word in Icelandic, @everysinglewordinicelandic, is one of the most charming mini-galleries around. The concept is simple: pictographs break down the etymology of Icelandic words, illustrating cultural personality and the magic of language while teaching interested followers a thing or two.

Created by Eunsan Huh, a graphic designer who began learning Icelandic in New York City, many Every Single Word entries are Icelandic symbology: wool sweater, hot dog, whale (peysa, pylsa, hvalur). Others reflect Iceland’s absorption of new practices. In a shepherding country, chopsticks are called matprjónar or “food knitting needles.” Idioms also pop up—in Icelandic a tough cookie could be called a harðjaxl, a “hard molar.” The ranks of the account’s followers has steadily grown. Particularly in terms of nature and ‘folk’ attitudes, we seem collectively predisposed to being amused by Iceland the way audiences at comedy shows come ready to laugh.

The interest in Icelandic is certainly welcome. A language spoken by about 300 000 people must work to preserve itself. Reliance on importation and a history of Danish rule make Iceland no stranger to fears of foreign influence. A vital function of the Icelandic Language Council is to establish Icelandic words for new inventions. Drawing on Old Norse and Icelandic roots, the goal is to prevent an influx of loanwords—once Danish, now English—from taking over. Some borrowed words have taken hold—the use of banani far surpasses bjúgaldin “sausage fruit”—but preservation efforts have paid off in terms of language survival and intrigue. The word for television is a popular example that reminds us of how strange tv was upon its invention, as well as of the beauty of the English word. Sjónvarp breaks down into “vision caster.” Tele-vision. It may seem obvious, augljós, (auga<, eye, + ljós, light), but is there anything we take more for granted?

Perhaps one thing. The internet, whose here-to-eternity English poses an unprecedented threat to Iceland’s notoriously difficult, poetic, and odd tongue. Icelandic schooling has long included English, Danish, Latin, and various other languages, but English is particularly alluring for young people looking to participate in global arenas. Not just the online, but in technology use in general. As the Icelandic writer Sjón put it in an interview I conducted with him for Asymptote International Literary Journal,“When the day comes that we have to speak to our refrigerators in English (which I believe is not far in the future), Icelandic will retreat very fast.”

Former President of Iceland Vigdis Finnbogadóttir drew an oft-repeated distinction: Icelandic is not a ‘small language’ but rather ‘a language spoken by few.’ According to Finnbogadóttir, an active linguistic advocate (and the world’s first elected woman head of state—fewer speakers often boast when they can), there are no small languages. This rings true to anyone who has been mouth-baffled in a land of extensive compound words. It is not a numbers game, but hundreds of years of Nordic literature—an immeasurable contribution to world culture and mythology—is contingent on linguistic knowledge."



"Tomorrow’s folk tale might be a cautionary yarn about the Pokémon hunter who fell into Goðafoss. Purists might cringe at the notion, romantics might refuse to read it—or watch the trailer. There is much to bemoan about the evolving tension between technology and our physical and social lives: bodily detachment, fractured attention, intimate dis-ease. Worries about Icelandic are well-founded, but its speakers are aware. Gerður Kristný responded to the ‘why not write in English’ question by explaining that language has so much to do with Icelandic independence and identity, she will always write in Icelandic. It is her language. Technology looms, but pride and artistry is made of different stuff. Human obstinacy is a phenomenon unto itself.

The fate of Icelandic and other languages spoken by few remains to be seen, read, and heard. For now, as with anything, we can take the mixed bag, if we believe we have a choice. Absorbing positive resonance when we can is a coping skill as venerable as sagas. Marveling at inventions creates space for thought about how to use them well.

Rarity may protect languages via the kind of cult interest Icelandic enjoys. Print was supposed to be dead by now, or the realm of fetishized art objects and eccentric collectors. Yet book-devices haven’t supplanted books themselves. There are simply more ways to read. The internet is akin to Borges’ Babel in both threat and potential—it cultivates a browsing attitude that eats its children but also offers a place to be intentionally communicative. Never have we had such a grand chance to self-define or such an audience for our own terms.

“Orchestra” is a pertinent Every Single Word in Icelandic entry. Hljómsveit, literally “sound team.” The ancient chorus persists, in one form or another, and it is what we make of it."

[See also: http://grapevine.is/author/eunsan-huh/
https://www.behance.net/gallery/28612451/Every-Single-Word-In-Icelandic ]
iceland  icelandic  language  languages  instagram  ktbilley  eunsanhuh  symbols  symbology  history  linguistics  audio  pronunciation  translation  english  illustration  via:tealtan  instagrams 
august 2016 by robertogreco
bubble103 on Scratch
[Specifically these projects:

"The Colour Divide - Trailer"
https://scratch.mit.edu/projects/70058680/

"Two | The Colour Divide"
https://scratch.mit.edu/projects/97663280/

"[Now out] A Colour Divide Q & A!"
https://scratch.mit.edu/projects/111996769/

"Vectoring Like A Pro #1"
https://scratch.mit.edu/projects/75539018/

"Vectoring Like A Pro #2"
https://scratch.mit.edu/projects/102075619/

"Ya Gotta ♥ Variables"
https://scratch.mit.edu/projects/80209136/ ]

[See also:

https://twitter.com/bubble103_

"Hi, I'm @bubble103's evil clone.
jk... this is my test account...

Follow my main account, @bubble103!
*currently not taking any voice acting requests*"
https://scratch.mit.edu/users/bubbie103/ ]

[via: Thursday Keynote
http://webcast.mit.edu/sum2016/scratch/1631/index-d1.html ]
scratch  vectors  tutorials  coding  drawing  illustration  howto  tarynbasel 
august 2016 by robertogreco
TRUMPTRUMP
"Donald drawn daily until this nightmare ends"
donaldtrump  tumblrs  illustration  via:austinkleon 
july 2016 by robertogreco
Here Comes Hilda - The New Yorker
"It began, as adventures often do, with a trip: a family holiday in Norway, parents and their teen-agers, that seemed entirely straightforward at the time. “My imagination was really going for it on that trip—the landscape of the place stuck with me,” Luke Pearson, the British author of the Hildafolk series of graphic novels, told me. “At the time, I was reading about trolls and daydreaming, knowing I wanted to do something with that one day.”

Next, there was a map. “When I was at university, everyone who studied illustration was given a project to do an illustrated map of a country, and I was given Iceland,” he said. “I made a map of Icelandic folktales—you can still play it.” Move the digital clouds on Pearson’s “Hidden Iceland” and see, in their shadows, the giants and sprites and Viking ships just beneath that country’s peaks and fjords.

Finally, there was a girl: Hilda, now the star of four (soon to be five) comics. Netflix is planning a twelve-episode animated series, based on the first four books, for early 2018. The fifth book, “Hilda and the Stone Forest,” comes out in September.

When Pearson was still in school, in 2009, he submitted a one-page drawing to a competition run by Nobrow, now his publisher. “She’s basically wearing her outfit”—beret, scarf, red top, blue skirt, and big red boots—Pearson said, of Hilda. “She’s standing at the end of a pier, with a Scandinavian-esque city behind her and all kinds of creatures around, including a giant troll and a zeppelin in the sky.” A similar scene occurs in the third Hilda book, “Hilda and the Bird Parade,” but at the beginning Pearson didn’t have a story, just this “curious image” of a small girl with blue hair and a question: “Where is she and what does she get up to?”

What she gets up to is a string of adventures, first in the Heidi-esque hills above Trolberg, and then in the city itself—a move made (spoiler alert!) after a giant steps on the cozy ancestral cottage that she shares with her mother. That Hilda herself has long been a giant to a set of thumb-size invisible elves, living on the same patch of grass that her cabin sits on, is just another part of a life in which mythical creatures hide within mountains and behind bureau drawers. (There’s a lot of unused space in Hilda’s house, you see.)

For such a small girl, Hilda is about to get very big, and I am not at all surprised. My five-year-old daughter brought the first book home from a friend’s house, and it took reading only the first few pages, beautifully laid out, with the rich color palette of a Nordic sweater, to know that Hilda was something special. Trolberg may have a complex of bell towers (bells keep trolls at bay, we learn), but it also has a glassy downtown à la Houston. “All of these stories are riffs on folktales that are as old as time, that have taken a hard left turn through Luke’s imagination and all of these contemporary pop-cultural sensibilities,” Kurt Mueller, the executive vice-president at Silvergate Media, which will produce the Hilda series, said. (The company’s other series include “The Octonauts” and “Peter Rabbit.”) “Like the movies of Miyazaki, she feels totally of the moment, but she’s reacting to something that feels ancient and archetypal,” Mueller said. The nostalgic Northern European setting recalls Miyazaki’s romanticism, while Hilda’s communion with the conjoined natural and spirit worlds recalls San from “Princess Mononoke” or Satsuki from “My Neighbor Totoro.”

My first point of comparison was Lewis Carroll’s Alice, though Pearson said that he never thought of her. But, greeted by a little girl in an unchanging outfit, who is confronted with all manner of creatures great and small, in landscapes giant and miniaturized, who else are we to think of? What’s markedly different with Hilda is the attitude with which she greets her wonderland. She does not fall down a hole but strides, prepared with sketchbook and satchel, into the wind and weather. The first words of the first book, “Hilda and the Troll,” are delivered by a radio announcer: “But tonight clouds rolling in from the east . . . temperatures remain mild . . . with the likelihood of heavy rain.” Hilda, reading a tome on trolls at the breakfast table, rushes outside her red, peak-roofed cabin to see storm clouds forming over an adjacent peak. “Mum! Mum! It’s going to rain tonight! Can I sleep in the tent?” And Mum says yes.

Pearson’s aesthetic is sophisticated for the often candy-colored world of children’s animation, and the plots fit neatly into a number of present-day parenting preoccupations. Do children need dream time or organized activities? Nature or urban exploration? Pearson himself is too young to have friends with kids, so one suspects that his sensitivity to children’s desire for independence, combined with a need for a secure nest, may stem from his own childhood. Hilda’s mum wants her to have friends, to go to school, to participate in organized activities, but Hilda is always wandering off, learning Scout lessons on her own terms. Pearson says the scenes of the Sparrow Scouts were taken directly from his own Cub Scout experiences, down to the design of the church hall in which they meet (made of Nordic wood rather than Tamworth brick).

In the countryside, Hilda runs free, but the city brings greater conflict between her and her mother—who works from home at a drafting board, perhaps as an architect or an illustrator. Pearson’s panels are filled with such suggestive details, rewarding the close and repeated reading of small children. One of my daughter’s favorite spreads is at the back of the paperback version of “Hilda and the Troll”: a glimpse of Hilda’s realistically messy desk and shelves, stocked with Easter eggs from this and future tales, allowing young readers to put a few things together for themselves. Pearson extends the respect he has for Hilda to his audience, giving it room to discover the good kind of troll for themselves.

Pearson’s utter lack of pretension keeps Hilda feeling fresh, while his reading of folktales and Tove Jansson’s Moomin series embeds Hilda in the long history of children’s stories. Spunky heroines abound, but they don’t always speak to the present day. Hilda’s dilemmas, while fantastic, also feel real: Does she throw a rock at a pigeon to fit in? Does mother know best? Can one, or both, of them draw their way out of their latest adventure? Pearson has found a lovely new way to dramatize childhood demons, while also making you long for your own cruise down the fjords."

[See also:
https://islingtoncomic.blogspot.sg/2012/05/hilda-and-midnight-giant.html
http://www.tcj.com/i-wanted-a-character-who-was-very-positive-an-interview-with-luke-pearson/
http://www.hoodedutilitarian.com/2014/09/how-to-read-hilda/
http://comicsalliance.com/learning-and-inspiring-in-luke-pearsons-hilda-comics-review/
https://thebookwormbaby.blogspot.com/2016/02/the-amazing-world-of-hilda.html ]
books  childrensbooks  childhood  alexandralange  2016  lukepearson  comics  graphicnovels  toread  hilda  nordiccountries  hayaomiyazaki  girls  heroines  aliceinwonderland  lewiscarroll  play  maps  mapping  parenting  sfsh  iceland  pippilongstocking  tovejansson  princessmononoke  myneighbortotoro  studioghibli  scandinavia  illustration  folktales  moomin  childrensliterature 
june 2016 by robertogreco
Gravit
"Use the world's most advanced design tool for beginners and design professionals. Easily create beautiful logos, business cards, websites, flyers and social media covers to impress your customers, family and friends."
illustration  illustrator  onlinetoolkit  chromebooks  webapps  gravit 
june 2016 by robertogreco
How a Car Engine Works - Animagraffs
"Did you know that your car will take in 20,000 cubic feet of air to burn 20 gallons of fuel? That’s the equivalent of a 2,500 sq. ft. house! If your only experience with a car engine’s inner workings is “How much is that going to cost to fix?” this graphic is for you. Car engines are astoundingly awesome mechanical wonders. It’s time you learned more about the magic under the hood!"
motors  encines  visualization  animation  cars  jacobo'neal  illustration 
april 2016 by robertogreco
turnislefthome
"3D Illustrator currently living in the Midwest. turnislefthome.com"
tumblrs  low-polyart  illustration  3d  low-polygon  low-polygonart 
april 2016 by robertogreco
The Trouvelot astronomical drawings: Atlas - NYPL Digital Collections
[via: http://qz.com/635419/dreamy-drawings-of-space-by-a-19th-century-scientist/

"A century before NASA launched the Hubble Space Telescope, French artist and astronomer Etienne Leopold Trouvelot captured the night sky by hand.

Images released for high-res download today by the New York Public Library show celestial objects and phenomena through Trouvelot’s eyes. The illustrator (who was also a problematic entomologist) moved to the US from France in the 1850s. He worked at Harvard as an astronomer and drew based on studies as well as late-night observations he made in the 1870s and 1880s. See a selection below."]

"This digital collection draws upon the materials selected for an exhibition called "Seeing Is Believing," held in the Library's Gottesman Exhibition Hall, October 23, 1999 - February 19, 2000. Natural history materials were included very selectively in that exhibition; however, natural history materials have their own separate presentations in NYPL Digital Gallery, devoted to plants and to animals respectively.

BACKGROUND

The digital presentation reprises the exhibition's overarching premise: pictures, as Leonhart Fuchs noted in the introduction to his great herbal of 1542, "can communicate information much more clearly than the words of even the most eloquent men."

The exhibition posited three categories of scientific images. One allows viewers to "see" or understand information that defies direct observation by using different methods to show various kinds of theory or reality. For example, Copernicus's simple diagram of the solar system presented theory based on careful study. Other scientists, such as Vesalius, who elegantly depicted the muscles of the human body and Trouvelot' who gloriously attempted to present the wonders of the heavens, based their observations, though selective, on reality. A third type of image acts as a record of direct observation and communication, such as the steps for conducting an experiment or procedure, or simply the equipment needed, such as the apparatus Boyle used in his experiments on air.

The exhibition and this digital presentation share the same proviso. "Although not providing a comprehensive history of scientific and medical illustration, these images open a window on the radical shift in the cosmology of early modern Europe that began around 1543 with the publication of seminal works by Copernicus and Vesaliius, and continued with the work of Newton, Harvey, Darwin, Curies and others.""
via:kissane  etienneleopoldtrouvelot  space  illustration 
april 2016 by robertogreco
A Studio Visit with Charlotte Mei on Vimeo
"I spent some time with Charlotte Mei at her South London studio, where she produces ceramics, drawings and paintings, for both her personal projects as well as commissioned work for clients. We spoke about the approach she takes when making each, her process when doing so and also her studio space at the Aylesbury Estate near Elephant & Castle.

Charlotte Mei is a ceramicist and illustrator from Bristol, who currently lives and works in London, UK. See more of Charlotte's work and visit her online shop over at her website - charlottemei.com

Produced, filmed and edited by Joshua Whitelaw, 2015 - joshuawhitelaw.co.uk "
art  artists  charlottemei  edg  srg  glvo  illustration  clay  plaiting  sculpture  ceramics 
july 2015 by robertogreco
A 6-year-old totally owned the Financial Times over a 'Minecraft' error | Fusion
When you write about Minecraft, you’d better get it right, or millions of kids all over the world will be ready to pounce on your errors.

The Financial Times learned this the hard way. Last weekend, the paper published a story on the Microsoft-owned hit game, titled “The business behind Minecraft.” And this weekend, Zorawar Bhangoo, a 6-year-old from London, wrote in to correct the paper for a graphic it published to accompany the piece.

Bhangoo’s handwritten note, which the FT transcribed and reprinted in its letters section, reads:
Sir, Your big Minecraft picture on the front page of your Life & Arts section (July 4) is wrong.

In Minecraft, smoke does not come out of chimneys and doors cannot be a light colour. Doors need four boxes at the top of them. Trees have to be round and not any other shape and you put the trees a rectangle shape. The clouds have to be 3D. You put the clouds upright. The roof of a house cannot be blue.

Zorawar Bhangoo (age 6)

London SE21, UK

This kid’s got a bright future. And the FT may need to build itself a burn unit in Minecraft, because getting owned by a 6-year-old has got to hurt."
children  minecraft  illustration  reporting  journalism  2015  edg  srg  accuracy  games  gaming  videogames 
july 2015 by robertogreco
Gerd Arntz Web Archive
"The work of Gerd Arntz (1900-1988) is of great importance to the world of visual communication. His signs are drawn with preciseness and a wonderful feeling for dimensions. Ed Annink, Ontwerpwerk, repositioned two of them and made them available in the consumer market as doormats. Doing so the legacy of Arntz became visible for a wider audience."
archive  art  design  illustration  gerdarntz  graphicdesign  graphics  visualcommunication 
july 2015 by robertogreco
40 Ways The World Makes Awesome Hot Dogs | Food Republic
"It’s not just a sausage in a bun; it’s a beautiful blank canvas. It’s a hot dog, which is a foodstuff eaten worldwide. Here are 40 distinctive varieties from around the globe — from iconic NYC “dirty water dogs” to fully loaded South American street-cart dogs to Japanese octo-dogs. There is a tubesteak out there for every craving that ever was."
food  typologies  hotdogs  2015  illustration  jesskapadia  mikehouston 
june 2015 by robertogreco
A comprehensive history of low-poly art, Pt. 1 - Kill Screen - Videogame Arts & Culture.
[Part 2: http://killscreendaily.com/articles/poly-generational-2/
Part 3: http://killscreendaily.com/articles/low-poly-3/ ]

[See also: “Is low-polygon art the next pixel art?”
http://killscreendaily.com/articles/low-polygon-art-doesnt-have-look-awful/

"Pixel art has been having a renaissance for the past few years. Its less popular cousin, low-polygon art, is still finding a niche; these designs by Tim Reynolds have me convinced that it's a form worth pursuing."]
low-polyart  polygons  3d  art  illustration  edg  timschneider  2014  games  videogames  gaming  gamedesign  low-polygonart  low-polygon 
april 2015 by robertogreco
Dear Data
"Two girls who switched continents get to know each other through the data they draw and send across the pond

Dear Data is a year-long, analog data drawing project by Giorgia Lupi and Stefanie Posavec.

We are currently at week 29 and will be updating this site with regular deliveries, check back for more drawings!

New cards are delivered on Wednesdays."

[via: http://migurski.tumblr.com/post/114142193920/week-04-a-week-of-mirrors

See also: http://www.visualisingdata.com/index.php/2015/03/dear-data-pen-pals-in-a-data-age/ ]
data  art  visualization  illustration  dataviz  penpals  mail  giorgilupi  stefaniepsavec  datavisualizai  drawing  analog 
march 2015 by robertogreco
Niky Roehreke
"Hello, my name is Niky Roehreke and I am a german/japanese illustrator
currently living and working in Brooklyn, New York.

I graduated from the Central Saint Martins Graphic Design in London in 2008 and since then

I've been drawing, doodling, painting and making collages (almost) every single day.

There are so many new ways to communicate, but I strongly believe that hands remain the most powerful and honest, sometimes magical way to communicate, which is why my work is hand-made and 'hands' are often a recurring motif in my work."
fashion  illustration  nikyroehreke  drawing  srg  glvo  painting  doodling  collage 
january 2015 by robertogreco
Ikire Jones: Lagos 2081A.D. on Behance
"I was hired by Wale Oyejide, founder of the inimitable "Ikire Jones" menswear fashion line to create a series of illustrations that combine the crowded and chaotic knot of improvised settlements and ramshackle high-rises that define many burgeoning African Mega-cities such as Lagos, Nigeria with imposing and futuristic super-structures straight out of science-fiction."

[via: https://twitter.com/senongo/status/527167269986918400 ]
lekanjeyifo  scifi  sciencefiction  lagos  2081  design  illustration  ikirejones  conceptart  future  architecture  nigeria  africa  fashion 
november 2014 by robertogreco
deborah sussman interview
"DB: please could you tell us about your background and how you became interested in design?

DS: I grew up in brooklyn where my parents exposed us to the arts from a young age: we had dance lessons, piano lessons, french lessons, trips to museums, performances and galleries. after high school I went to study painting and acting at bard college in new york, which was a very radical school at that time. in those days I thought I’d become an actress or an artist but then I heard about a school in chicago, the institute of design, ran by lászló moholy-nagy and I really wanted to go there and see what it was all about. I got transferred to chicago and design completely took over my life from then on.

one of my teachers in chicago was konrad wachsmann, who was friendly with charles and ray eames. in my first year there the eames came to give a talk at our school and also afterwards asked konrad to recommend them a student who could work with them for the summer, as a graphic designer. he suggested it should be me.

DB: how was it to work at the eames office?

DS: I was extremely happy. as a young designer in my early twenties there was nobody I would rather have worked for. it was a dream job. originally I was only supposed to work there that one summer and then go back to finish my studies in chicago. at the end of the summer I approached charles to say goodbye and he said ‘goodbye? why? where are you going?‘ I told him ‘I need to go back to school and finish my degree‘ he simply replied ‘I don’t have a degree. why do you need one? ray and I are going to europe for a few months, why don’t you stay in our house until we come back?‘. I didn’t need any more persuading than that!

DB: what did you work on while you were there?

DS: a bit of everything; photography, graphic design, illustration, ads for herman miller, sets for films. many, many different things. after working there for three years I applied for a fulbright scholarship to study at the hochschule für gestaltang in ulm, germany and a year later I got it. so I was there for four years in my first stint.

DB: have the eames been the biggest influence on your work?

DS: ray and charles along with alexander girard who worked with us were great mentors to me. another experience from those days that really shaped me a lot was my first trip to mexico. I went there in the early 1950s to take photos as part of the research for ‘the day of the dead’ film and was really taken-back by the place, the people, the culture. the vibrancy of color that I discovered there has always stayed with me, the bright yellow and magenta icing on the sugar skulls and sweet breads – amazing! it was the first time I had been to another country and I absolutely loved it. that really whetted my appetite to travel more and before I knew it I was off to germany.



DB: what eventually made you want to start your own company?

DS: in my second stint at eames I worked on mathematica, then I went to india to work on the exhibition ‘nehru: the man and his india’ and then ended up back in california. at that time people started asking me to work on things for them and I was using my desk at the eames office after-hours to get these side projects done. as the side projects became bigger and more frequent I became uncomfortable working on them at their office, I didn’t want to disrespect them in any way so decided I’d go it alone. frank gehry offered me a space at his office and I started working from there. I worked with him on some projects and also with other architects, advertising agencies, shops and slowly ended up needing my own space. over the years the office has grown and switched locations several times and in the middle of it all I met my husband, paul prejza and we work together with our team on an interesting blend of civic, cultural and commercial projects.

DB: how would you describe your style to someone who hasn’t seen your work before?

DS: exuberant and bold.

DB: what traps should a young designer avoid when working on an environmental design project?

DS: one of the most common traps is not understanding scale. you need to test your design with physical scale-models and if possible at full scale. that’s a very important exercise, you can’t always understand scale on on a computer screen.

DB: what are your thoughts on specialization vs generalization?

DS: I’m most certainly a generalist. I enjoy all the different arts too much to only do one thing all of the time.

DB: what are you passionate about apart from design?

DS: poetry. I would have said photography some years back but now it’s definitely poetry. I write free verse poetry, often about the way I see things and for the last few years myself and juan felipe herrera (poet laureate of california) have been writing poems back and forth to one another, that’s something I have a lot of fun with.

DB: do you have any superstitious beliefs?

DS: I do and it’s a bit silly but I’ll tell you! I think that whatever you do on new year’s day, you will do for the rest of the year… so it’s nice to drink plenty of champagne.

DB: what’s the best piece of advice you have ever been given?

DS: a couple of pieces of advice that I often remember are:
‘stick to the concept’ – charles eames
‘the best thing we can do for our clients is not obey them, but inspire them’ – alexander girard

DB: what’s the worst piece of advice you have ever been given?

several people have told me over the years ‘just give them what they want‘ with regards to clients, and I just can’t bring myself to do it. I have to inspire them and that can sometimes be a very dangerous attitude to have because you can loose yourself a lot of money!"
deborahsussman  2013  interviews  charleseames  eames  eamesstudio  design  education  losangeles  graphicdesign  graphics  konradwachsmann  illustration  alexandergirard  generalists  specialization  specialists  california 
august 2014 by robertogreco
Jillian Tamaki
"I am an illustrator and cartoonist living in Brooklyn, NY. I grew up in Calgary, Alberta and graduated from the Alberta College of Art and Design in 2003. Currently I teach in the illustration Department of the School of Visual Arts.

My two books of personal work are Gilded Lilies (2006) and Indoor Voice (2010). My cousin, writer Mariko Tamaki, and I are the co-creators of the graphic novel SKIM (2008); we are currently working on a new graphic novel project, This One Summer (2014)."
art  artists  illustration  comics  jilliantamaki  embroidery 
may 2014 by robertogreco
Microsoft made a secret book for Nokia employees before its takeover | The Verge
In the months leading up to Microsoft’s acquisition of Nokia’s phone business, the two compa"nies approached Shoreditch-based media company TCOLondon to secretly build a unique book for the nearly 20,000 Nokia employees set to join Microsoft. The 128-page book was edited and illustrated in London before being printed and shipped to employees in more than 90 cities in 53 countries.

It’s a celebration of the rich history that Nokia and Microsoft both share, including etchings of Nokia’s origins in a paper mill in Finland and Microsoft’s roots in New Mexico. Illustrations range from the first-ever GSM call to surgeons using the Kinect sensor for operations. Nokia and Microsoft approached TCOLondon in mid-December, with the original plan to have the book ready and finished for February 1st. A later-than-expected acquisition meant the book was delivered to employees at the deal closure in late April. Microsoft CEO Satya Nadella even visited Finland to present a copy of the “One” book to Finnish President Sauli Niinisto. Here are some of the many illustrations inside the 128 pages."
books  design  nokia  finland  microsoft  bookdesign  illustration  2014 
may 2014 by robertogreco
Mark Gerada | Artist
"Mark Gerada is an Australian artist, illustrator and teacher with a background in architecture, ceramics and design. He worked as an architectural designer and as a designer on a leading magazine, Interior Architecture, before graduating in Architecture with first class honours at the University of Technology, Sydney in 1993. Supporting his painting practice, Mark ran a successful ceramics business for many years, worked as an illustrator for magazines and newspapers, and produced commissioned paintings for private houses, offices and hotels. He has taught in architecture, illustration and visual communications at the University of Technology Sydney.

Mark has exhibited work in Sydney, Melbourne, London, Brussels and China, and in June 2007 had his Generation solo show in Malta. In 2008, Mark had his solo show Mounds and Caves at Gaffa, curated 888 to coincide with the opening of the Beijing Olympics, and in June 2009 curated 649 to commemorate the 20th anniversary of the Tiananmen Square protests.

In 2010, Mark exhibited his Post Exhibition Blues body of work at the new Gaffa, where he also coordinated the reconstruction of four levels of heritage building, including the design and construction of the new joinery and signage design. In 2012, Mark collaborated with Tega Brain and Diego Bonetto to create City Wilderness Trail, commissioned by the City of Sydney as a part of Arts and About, Laneways Arts Programme and Arts Month. Mark has just completed Koala Land, a blog, report and publication that investigates how humans and koalas can live together on the Koala Coast of South East Queensland in an attempt to stop one of our national icons from becoming extinct."
art  artists  illustration  design  australia 
may 2014 by robertogreco
BLACK IS BEAUTIFUL
"Hello my name is ALLISTER LEE.

BLACK IS BEAUTIFUL is a visual database of black markers that I have acquired over the past decade.

Featuring clean photography and simple descriptive text, the database will be updated with 9 new MARKERS each week.

You can sort through the markers alphabetically, enter a keyword through the search bar, or browse through the subsections dedicated to vintage and bootleg markers.

The BRANDS section is a growing compilation of international marker brands that feature company profiles and information.

The UNCAPPED section is a monthly feature profiling various people that share a connection with black markers.
B.I.BOUTIQUE is where you can purchase my B.I.B 500 Marker Poster, featuring an illustrated documentation of the first 500 black markers in my collection."

[via: http://www.laimyours.com/47337/questions-with-a-visitor-allister-lee/ ]
allisterlee  pens  illustration  art  markers 
november 2013 by robertogreco
Drei
"Three builders have to work together to build a tower. Drei is a game for the iPad.

Drei is an award-winning game about skill, logic and collaboration. It connects players across the world, to help each other in the battle against gravity.

Build a Tower: The mission is simple. But once again, things get in the way... Explosives, thunderstorms, completely incompetent colleagues. Oh, and did we mention gravity?

Speaking 18 Languages" Drei features an universal communication tool which allows to speak to other players, from where-ever they are.

Let's Dance! One of the best thing about Drei is how it sounds. Each character has its very own instrument. And as the characters work together they form Drei's unique universal orchestra, creating their very own musical landscape, inspired by archaic instruments and ancient melodies.

All instruments were performed and recorded live with some of Switzerland's finest musicians, painstakingly sliced apart, considered, and finally carefully placed between a lot of 0's and 1's."

[from the iTunes page: https://itunes.apple.com/us/app/drei-by-etter/id708388097 ]

"Three builders work together to build a tower. Drei is a game about logic, skill and collaboration.

( Winner of the Swiss Game Award 2013 )

The mission is simple. But once again, things get in the way... explosives, thunderstorms, completely incompetent colleagues. Oh, and did we mention gravity?

— Play with people across the world
— Master 48 fantastic levels
— Speak in 18 different languages
— Beautifully animated characters
— Real-time physics and 3D rendering
— Live instruments

Drei connects to the internet, if available. Charges may apply if this happens over mobile network."
drei  games  gaming  ipad  ios  illustration  design  collaboration  collaborativegames 
november 2013 by robertogreco
Acts of Knowledge — edgar/Endress
"The Celestial Emporium of Benevolent Knowledge is a Chinese Encyclopedia described by Jose Luis Borges, where an alternative taxonomy is listed:

1. those that belong to the Emperor,
2. embalmed ones,
3. those that are trained,
4. suckling pigs,
5. mermaids,
6. fabulous ones,
7. stray dogs,
8. those included in the present classification,
9. those that tremble as if they were mad,
10. innumerable ones,
11. those drawn with a very fine camelhair brush,
12. others,
13. those that have just broken a flower vase,
14. those that from a long way off look like flies.

This classification explore the arbitrariness (and cultural specificity) of any attempt to categorize the world and  demonstrates an "other" to our system of thought. In Foucault's book the "Order of Things", Foucault explicates an "archaeological" investigation of knowledge acquisition; he also comments on the fragility of our current means of understanding the world. For Foucault reasoning is the ultimate act of control, delivered through the power of representation to confirm an objective order. Acts of Knowledge begins with a text found in an old social studies text used in U.S. classrooms. This educational text delivers a structural form of knowledge and a series of narratives about the similar and the other. Acts of Knowledge uses the primary forms of knowledge -the encyclopedia- to question the structure imposed by the reasoning. In that context, the acts of estrangement and the visual structuring of the dictionary and the encyclopedias through collages questions the categorization, knowledge, and the arbitrariness of otherness. 

Acts of Knowledge is a collaborative project with: John Morgan, Bill Macmillan, Lori Lee, Aschoy Collective"
borges  taxonomy  classification  literature  art  illustration  via:thatstyping  encyclopedias  knowledge  johnmorgan  billmacmillan  lorilee  aschoycollective 
october 2013 by robertogreco
Cristina Martinez Byvik
"Cristina has been a newspaper illustrator since graduating from Ringling School of Art and Design in Sarasota, Florida. She currently lives in Encinitas, California and works for UT San Diego."
illustration  sandiego  encinitas 
september 2013 by robertogreco
We'll Be Loyal Scouts
"Andrew Reyes. I live in San Diego, California. I draw everyday."
andrewreyes  art  artists  illustration  sandiego 
september 2013 by robertogreco
UNDER TOMORROWS SKY
"UNDER TOMORROWS SKY IS A FICTIONAL, FUTURE CITY. SPECULATIVE ARCHITECT LIAM YOUNG OF THE LONDON BASED TOMORROWS THOUGHTS TODAY HAS ASSEMBLED A THINK TANK OF SCIENTISTS, TECHNOLOGISTS, FUTURISTS, ILLUSTRATORS, SCIENCE FICTION AUTHORS AND SPECIAL EFFECTS ARTISTS TO COLLECTIVELY DEVELOP THIS IMAGINARY PLACE, THE LANDSCAPES THAT SURROUND IT AND THE STORIES IT CONTAINS. ACROSS THE COURSE OF THE EXHIBITION INVITED GUESTS WILL WORK WITH THE CITY AS A STAGE SET TO DEVELOP A COLLECTION OF NARRATIVES, FILMS AND ILLUSTRATIONS. WANDER THROUGH THIS NEAR FUTURE WORLD AND EXPLORE THE POSSIBILITIES AND CONSEQUENCES OF TODAY’S EMERGING BIOLOGICAL AND TECHNOLOGICAL RESEARCH. THE EXHIBITION OPENS FOR DUTCH DESIGN WEEK ON OCTOBER 20TH. THE UNDER TOMORROWS SKY PUBLIC THINK TANK WITH LIAM YOUNG, BRUCE STERLING, WARREN ELLIS, RACHEL ARMSTRONG, PAUL DUFFIELD, BLDGBLOG, EDIBLE GEOGRAPHY, NEXT NATURE, THE CENTRE FOR SCIENCE AND IMAGINATION AND NEW SCIENTIST WAS HELD AT MU ON JUNE 16/17. YOU CAN WATCH THE VIDEOS OF THE EVENT HERE. IN COLLABORATION WITH MU ART SPACE, EINDHOVEN AND THE 2013 LISBON ARCHITECTURE TRIENNALE. GET IN CONTACT FOR MORE INFORMATION"
liamyound  architecture  art  designfiction  scifi  urbanism  sciencefiction  warrenellis  brucesterling  rachelarmstrong  paulduffield  bldgblog  geoffmanaugh  nicolatwilley  ediblegeography  cities  2013  future  urban  technology  futurism  illustration  writing  thinking  thinktank  landscapes 
april 2013 by robertogreco
Deep map - Wikipedia
"Deep map refers to an emerging practical method of intensive topographical exploration, popularised by author William Least Heat-Moon with his book PrairyErth: A Deep Map. (1991).

A deep map work most often takes the form of engaged documentary writing of literary quality; although it can equally well be done in long-form on radio. It does not preclude the combination of writing with photography and illustration. Its subject is a particular place, usually quite small and limited, and usually rural.

Some[who?] call the approach 'vertical travel writing', while archeologist Michael Shanks compares it to the eclectic approaches of 18th and early 19th century antiquarian topographers or to the psychogeographic excursions of the early Situationist International[1] http://www.mshanks.com/2012/07/10/chorography-then-and-now/ [2] http://documents.stanford.edu/michaelshanks/51.

A deep map goes beyond simple landscape/history-based topographical writing – to include and interweave autobiography, archeology, stories, memories, folklore, traces, reportage, weather, interviews, natural history, science, and intuition. In its best form, the resulting work arrives at a subtle, multi-layered and 'deep' map of a small area of the earth.

In North America it is a method claimed by those interested in bioregionalism. The best known U.S. examples are Wallace Stegner's Wolf Willow (1962) and Heat-Moon's PrairyErth (1991).

In Great Britain, the method is used by those who use the terms 'spirit of place' and 'local distinctiveness'. BBC Radio 4 has recently undertaken several series of radio documentaries that are deep maps. These are inspired by the 'sense of place' work of the Common Ground organisation."
via:selinjessa  writing  williamleastheat-moon  verticaltravelwriting  documentary  documentation  radio  photography  illustration  place  rural  michaelshanks  topography  psychogeography  situationist  autobiography  archaeology  stories  storytelling  memory  memories  weather  interviews  naturalhistory  bioregionalism  parairyerth  wolfwillow  wallacestegner  localdistinctiveness  bbcradio  bbs  radio4  deepmaps  maps  mapping  commonground  folklore  science  intuition 
march 2013 by robertogreco
Tettix - Solace
"Solace is a game you will never get to play. A world built from the music up.
Each song inspired a different piece of concept art/screenshot.
I see the composition and concepts of the game with great clarity. But you can imagine whatever you like."
games  gaming  videogames  sound  music  solace  via:bopuc  illustration  screenshots  tettix  ambient 
january 2013 by robertogreco
JORINDEVOIGT.COM » -NEWS-
"For the past decade, Jorinde Voigt has been creating large-scale drawings on paper, using traditional materials such as ink, oil stick, pencil, watercolor, and, more recently, collage. In the drawings that she did before incorporating collage, the artist combined line and text to diagram both factual and fictive activities, such as the flight of eagles, geographical directions, wind patterns, rotations, shifting horizon lines, top-ten pop charts, kisses, and electrical currents. Whirling across the paper, the sinuous patterns of lines and arrows—some of which may overlap—mark relentless change as well as convey the potential for chaos and ecstasy that resides within any system. Classification and pandemonium are inseparable. It is on the porous border of this vast abyss—what is called “infinity”—that Voigt investigates the caesuras between perception & knowledge, form and dissolution…"

[Text from PDF: http://jorindevoigt.com/blog/wp-content/wp-content/uploads/J.Yau_J.Voigt_EN2.pdf ]
meteorology  cartography  geography  collage  lines  nature  currents  wind  patterns  taxonomy  classification  johnyau  data  design  illustration  visualization  drawing  artists  art  memory  time  mapping  maps  jorindevoigt  via:selinjessa  from delicious
january 2013 by robertogreco
ESTUDIO TRICOTA
"Somos un estudio independiente que busca dar soluciones simples a problemáticas de comunicación visual complejas.

Desarrollamos de esta manera proyectos de identidad corporativa, branding, packaging, tipografía, editorial, web, ilustración y fotografía.

Para esto optamos por resoluciones con economía de recursos encontrando la inspiración fuera del pixel, asumiendo a los avances tecnológicos como una mera herramienta.

Diseñamos basandonos en una marcada aplicación de las formas, buen uso de las familias tipograficas, las paletas de color, la geometría y las estructuras como indispensables para la creación de una pieza gráfica de diseño.

Así mismo nos interesamos en la selección de soportes y materialidades, como en la exploración de técnicas de impresión y post impresión; claves para el acabado de una pieza.

En definitiva, aplicar al diseño contemporáneo nuestra preferencia por la simpleza y la estética vintage."

[via http://cosasvisuales.com/2012/11/23/estudio-tricota/ ]
photography  webdesign  packaging  illustration  typography  visualcommunication  visual  graphicdesign  garphics  design  argentina  palermo  buenosaires  webdev  from delicious
november 2012 by robertogreco
ARHOJ
"STUDIO ARHOJ was founded in Tokyo, Japan.
Currently based in Copenhagen, Denmark.

Established by Anders Arhøj in 2005 the studio
provides services that include:

+ Illustrations
+ Character design
+ Interior design
+ Industrial & object design
+ Concept ideas & styling
+ Fabric prints & patterns"
umamimart  copenhagen  denmark  illustration  print  patterns  portfolio  design  andersarhøj  from delicious
september 2012 by robertogreco
Åh
"Åh [o:h] is a platform for creative collaboration between Johanna Lundberg and Elin Svensson. From 2008 to spring 2012, it served as a studio practice for the two designers, producing award winning work from art direction to illustration, publications, branding, stationery and websites.

Their clients include The Architecture Foundation, Financial Times, The Finnish Institute in London, Grafik Magazine, The Guardian, Helsinki Arts Initiative, kulör, Newly Drawn, OK Do, Time Out Magazine and YCN.

As well as continuing together in a collaborative capacity, Johanna and Elin are now pursuing projects individually in the fields of design and illustration. To discuss potential projects, please contact either one"
finland  okdo  graphicdesign  Åh  johannalundberg  elinsvensson  uk  webdesign  typography  illustration  design  webdev  from delicious
may 2012 by robertogreco
if:book: Back to the Future -- In honor of Encyclopedia Britannica giving up its print edition
"These drawings date from 1982 (thirty years ago). Alan Kay had just become the Chief Scientist at Atari and he asked me to work with him to continue the work I started at Encyclopedia Britannica on the idea of an Intelligent Encyclopedia. We came up with these scenarios of how the (future) encyclopedia might be used and commissioned Glenn Keane, a well-known Disney animator to render them. The captions also date from 1982.

The most interesting thing for me today about these images is that although we foresaw that people would be accessing information wirelessly (notice the little antenna on the device in the "tide pool" image, we completely missed the most important aspect of the network -- that it was going to connect people to other people."
futurism  glennkeane  atari  britannica  encyclopediabritannica  intelligentencyclopedia  internet  ipad  illustration  1982  alankay  from delicious
april 2012 by robertogreco
Valentine's Day 2012 Cards - a set on Flickr
"For Valentine's Day 2012 we created approximately 75 unique cards for our friends, family, and business associates. Each card generates a custom valentine using the data from the person's name and address.

Don't read below this line if you don't want the "magic" ruined for you."
generativeart  illustration  images  valentines  kindandsmartpeoplemetontheinternet  beauty  design  processing  derrickschultz  from delicious
february 2012 by robertogreco
Dr. Chris Mullen, The Visual Telling of Stories, illustration, design, film, narrative sequences, magazines, books, prints etc
"A lyrical encyclopedia of visual proportions…Rugged design in opposition to elegance…It's bigger than you could ever think—just explore—no clues from me…big letter and no fancy-dan embroidery—on opposition to the fey…"

"This site records a range of material dedicated to the study of the Visual Narrative. The original site, intended by me for part-time students and other interested parties was closed down by the University of Brighton in 2004. I was subsequently denied access to the original images most of which, however, were in my own collection. I have developed the site on a daily basis thereafter. It remains exclusively educational and is in constant use. Many thanks to those in the UK and beyond who shared my irritation at events. Contact me on chris@fulltable.com "
writing  stories  narrativesequences  magazines  narrative  film  treasure  susia  philbeard  rebeccamarywilson  hypertext  ruthrix  janecouldrey  clarestrand  grammercypark  petruccelli  jackiebatey  jaynewilson  dickbriel  chrismullen  america  visual  visualcodes  advertising  comics  classideas  tcsnmy  srg  edg  glossary  reference  books  images  visualization  wcydwt  art  design  illustration  storytelling  via:litherland 
january 2012 by robertogreco
100%ORANGE
[Google Translate]

"Illustrator.
Takeuchi and Kenji Oikawa, Mayuko two people. Living in Tokyo.
Another picture book illustration, cartoon, as well as animation. "Yonda Shincho Bunko?" (Shinchosha) "road from Pan! back" (by theory) "Boo Usanno parts" (Fukuinkan) "cat sweater" (Gakken) , "Elephants are not writing whole "(文溪堂) "fruit room" (Kadokawa Shoten pre Vision /) "Sunao Sunao" (Heibonsha) "Homemade Animations" (TDK Core) "Yonda? NONSTOP" (Shinchosha) "100% ORANGE ILLUSTRATION WORK" GOOD SMILE "" (玄光社) Japan Picture Book Award 13th Grand Prize "will not be goodぎゅうにゅうをこぼしてしまったおはなし" (Iwasaki Shoten) "
photography  takeuchioikawa  kenjioikawa  100%orange  books  design  japan  illustration  from delicious
january 2012 by robertogreco
[ idea-mag.com ] » idea magazine » IDEA No.347 : The Garden of Bunpei Yorifuji
"Bunpei Yorifuji is a Japanese graphic designer who is known for art direction of advertisement using his unique illustrations. He is also known as a book designer and an illustrator. Besides, he writes books which are designed and put illustrations by himself. He told his wide sphere of activity as "Gardening". This means that he thinks design is like the earth of his garden and he grows various trees there such as advertisement, book design, illustration and so on. The trees are influenced one another and he likes to find common points and to connect them. In this issue, we divide his works into 4 categories; advertisement, illustration, book design and books and exhibitions, and we introduce these differences and the core of his creation in common."
illustration  graphicdesign  design  japan  bunpeiyorifuji  from delicious
january 2012 by robertogreco
How to Build the Pixar of the iPad Age in Shreveport, Louisiana - Technology - The Atlantic
As you get closer, the landscape gets scrubbier, with empty lots separating the buildings like gaps in a smile. A man may walk down the street in welding gear. Pull into the parking lot of BioSpaceX, a shiny new building originally intended to house biotechnology startups. Walk through the doors. You're at Moonbot.
moonbot  sarahrich  alexismadrigal  creativity  ipad  books  pixar  shreveport  louisiana  2011  brandonoldenburg  billjoyce  williamjoyce  art  illustration  lamptonenochs  christinaellis  storytelling  from delicious
november 2011 by robertogreco
Visipix: Mangas by HOKUSAI, Katsushika (1760 - 1849)
"This started one of the most ambitious projects in art: Teaching us all how to see things with our own eyes

Visipix.com publishes here the complete 15 volumes in facsimile quality. This is a world premiere in the internet

The success of western culture is based on the 'Enlightenment': Think with your own brain, find your religion in your own heart. I go that far: I prefer to be wrong with my own brain - and do my darndest to learn, especially learn from others - than to blindly depend on somebody else's belief. We learn this from Socrates, Luther, Lessing, Kant, Popper and others.]

What the western culture achieved verbally, Hokusai does visually. Artistic genius and wise teachings are well balanced. Nothing could be more difficult."
art  japan  illustration  manga  visual  hokusai  katsushikahokusai  graphic  via:preoccupations  1800s  1700s  noticing  learning  enlightenment  belief  balance  teachings  srg  edg  glvo  from delicious
september 2011 by robertogreco
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