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Illustration

From Croatia, with Love (and Inspiration): The Design Blog

Posted by Rebecca Blake on February 18, 2014

Croatian designer Ena Baćanović  (aka Ruby Soho) made a splash when her “If I Wanted to Work for Free…” poster went viral in the summer of 2012. Few realized then that she is also the founder and curator of The Design Blog, a collection of inspirations and resources from around the globe. The Design Blog seeks to live up to its mantra, “Don’t Just Be a Designer  – Be a Good One” by featuring beautiful work and resources. The homepage features selected projects, elaborated upon with text and photographs from the creators.

The site also has recurring sections, which showcase work and projects across a range of disciplines on selected days of the week, such as Designer of the Week, Web Design Wednesdays, UI/UX of the Week, Featured Video, and Friday Freebies. (The moniker “of the Week” is a bit ambitious. Although posts for each section are frequent, they don’t seem to appear on a weekly basis – hardly surprising considering the breadth of disciplines which are covered.) An extensive list of resources lists typography resources and inspirational blogs.

The Design Blog is all the more impressive when one considers that Baćanović is only 23 years old. She’s both energetic and multi-faceted. In addition to running The Design Blog and working on her own projects, she’s the drummer in the female band Punchke.

Images @ Ena Baćanović. Used with permission.

GIgapixel ArtZoom: Focusing on the Seattle Art Scene

Posted by Rebecca Blake on February 11, 2014

In October 2013, Microsoft teamed up with Seattle artists to create Gigapixel ArtZoom, an online panorama that shows off Seattle’s stunning vistas and vibrant art scene. Gigapixel ArtZoom was built on technology first demonstrated in 2006, when Johannes Kopf, Matt Uyttendaele, Oliver Deussen, and Michael Cohen at Microsoft Research improved upon existing gigapixel imaging. They figured out how to capture images of billions of pixels, and developed smoother panning and zooming technology that would permit viewers to properly explore the images.

The original image was beautiful, but stark in that the cityscape appeared to be sparsely populated. So in 2013, the team developed the Gigapixel ArtZoom, working with prominent people in the local Seattle artist scene. A plan was developed to create the panoramic shot of Seattle, and populate it with painters, fashion and costume designers, performance artists, dancers, and acrobats. On a beautiful day in October, from the top of a condominium tower in downtown Seattle, a team of photographers shot two panoramas using a Canon digital SLR camera, a professional 400 mm lens, and a Gigapan robotic tripod head. Since no single spot on the roof could yield a full panorama of Seattle, two shots were required and were later stitched together using Microsoft’s Image Composite Editor software.

During the next two weeks, the artists were posed in situ, photographed from the rooftop, and composited into the final image. Video crews also photographed and filmed the artists. The result is a stunning vista of Seattle, which viewers can pan and zoom in on from any computer or mobile device. The experience is a wonderful “Where’s Waldo” adventure; as an artist is centered in the screen, a pop-up window provides information and links to a video. The range depicts the diversity of Seattle’s art scene. Participants include landscape painter Tamara Stephas, filmmaker Wes Hurley, diva Sari Breznau, and the Kelly Lyles Art Cars, participants in the uniquely Seattle Art Car Blowout.

Gigiapixel Art is also memorable for the poignant scenes of everyday Seattle life that have been captured in the panorama. Panning across the image reveals a skateboarder mid-air, a father strolling with his infant, couples nestling by the river, and the crumpled sheets of an unmade bed, spied through a sunlit window.

Top right – GigaPixel artists from top left (going clockwise): landscape painter Tamara Stephas, actors in filmaker Wes Hurley's performance piece, opera diva Sari Breznau, and Kelly Lyles Art Cars.

Photos © Microsoft.
 

An Invitation: Intensive with Bob Gill, June 9-13

Posted by Rebecca Blake on January 31, 2014

Self portrait, © Bob GillAn invitation to the first six intrepid souls to spend an intensive week with Bob Gill in his New York City studio, June 9-13. The workshop will consist of the following:

  1. A comprehensive evaluation of each designer's portfolio.
  2. A discussion of each designer's goals (attainable and unattainable).
  3. A complete description of Gill's process of changing ordinary design and illustration problems into exciting, original solutions that really work.
  4. A series of one-day assignments tailored to each designer's needs.
  5. Frank criticism of each assignment.
  6. Bagels and coffee.

Fee: $850.

Gill is in the New York Art Directors Hall of Fame and is one of the founders of Pentagram Design. His latest book is Bob Gill, So Far.

www.bobgilletc.com   |   bobgilletc@nyc.rr.com   |   (212) 460-0950

Fine Art Appropriation and the Culture of Taking

Posted by Rebecca Blake on January 29, 2014

Recently the science and science fiction blog io9 posted on article that hit a nerve with illustrators.  In “How a Science Fiction Book Cover Became a $5.7 Million Painting,” Charlie Jane Anders reported on the sale of artist Glenn Brown’s 1994 painting, “Ornamental Despair (Painting for Ian Curtis)”. What hit a nerve with illustrators is that the painting is a faithful copy of  scifi illustrator Charlie Foss’ cover art for Isaac Asimov’s book Stars Like Dust. In light of continuous highly publicized cases of fine artists appropriating and profiting from the work of illustrators and photographers (Richard Prince, Shephard Fairey, Jeff Koons, etc), the ire is warranted.

Images © Charlie Foss (left) and Glenn Brown (right)

Glenn Brown's painting (right) is unmistakeably derived from Charlie Foss' original illustration. Images © the artists.

However, as with any circumstance that inflames, it’s advisable to take a closer look at the facts of the case. This is exactly what artist Glendon Mellow did in his  article ”How Plagiarized Art Sells for Millions“ on the Scientific American blog “Symbiartic.” Mellow first summarizes the history of contemporary art from Modernism through the “Internetz”, tracing the practice of appropriating cultural imagery through iconic artists such as Robert Indiana and Andy Warhol. He then revisits Brown’s offending painting, pointing out that what is lost in the translation to web is an understanding of the difference in scale and detail between the painting and the original illustration.

Anders then issued a follow-up article, in which she clarified the details of the story: Brown had received permission from Foss before creating the painting, and didn’t see a single penny from the recent sale. Some comments on the article have pointed out that Brown could have credited the original illustrator in the painting title – many works are labeled “After…” in recognition of the original source. However, as Mellow points out, the current state of affairs, in which fine artists churn out mediocre work largely based on others’ original creations, is a reflection of the our culture of mash-ups and repinning, reposting, and reblogging, with no thought to crediting the original authors. As Mellow wrote, “Fine art culture is holding up a big expensive mirror at you and Internet culture right now.”

Brought to our attention by @ColleenDoran.

Is that a Cell Phone in Your Leotard? — How Superheroes Use Social Media

Posted by Rebecca Blake on December 30, 2013

Batman Tweets, © Ed ShemsEd Shems, the illustrator behind EdNedFred (and former Boston Guild President), has answered a question for today: How would superheroes use social media? Shems’ answer spans the world of social media, from picture sharing to status updates. For example, in the superhero universe, Batman pauses during a particularly satisfying bust to take a selfie, Superman is outed as Clark Kent when his cell phone responds to a text from Lois, and Spiderman (poor Spidey!) doesn’t have many Facebook Likes.

The series started as a doodle in Shems’ sketchbook, and took on a life of its own. Shems is selling prints of his series on Etsy. We hope there’s more to come — after all, surely Wonderwoman is on Google+.

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