Emily Deutchman‘s 44 watercolors liven up the genre of presidential portraiture with — you guessed it — boobs. Each take on the president’s official portrait becomes a super easy, lowbrow Where’s Waldo. But, you know, with boobs. While seated portraits can often be elitist, the results here are a great reminder on Election Day: just because you may have held one of the highest offices in the world, your image is still very much in the hands of the people.
The pages of Nicholas Stevenson‘s sketchbooks feel more complete than most. Rather than distract, the thoughtful use of bright colors and intricate patterns help pull the scenes together. Each spread portrays a private moment in which viewers may pass unnoticed and draw their own conclusions. (via)
Nate Turbow‘s drawings are released every few days via his blog and Tumblr. Each “cartoon joke” feels raw, off-the-cuff and honest. The blog format works well for the quick, one-off style of each cartoon as the post titles often act as captions.
The resulting collection is an acute sense of bumming through life — being both painfully aware one’s mediocrity and simultaneously not giving a shit.
NSFW if cartoon boobs are forbidden in your place of work.
There’s a lot to look at in Stephanie Kunze‘s illustrations. Minnesota-based Kunze draws with pencil and colors with Photoshop for an overall style that is contoured and slightly textured. The compositions are feminine and detailed and should feel busy, but the dream-like subjects still seem rested and calm. Worth a look is Kunze’s personal blog for a clearer picture into her thought and execution processes.
Casey Ruble‘s cut-out paper collages are “more or less” true, according to the artist. Inspired by Truman Capote‘s “nonfiction novel” genre, Ruble bases her work on real imagery: photographs, books, magazines. She selectively omits, adds, and mixes facts and fiction, constructing scenes best read by their details.
Sarah Burwash‘s watercolors weave elements of the past and the present. Her compositions read like narratives, merging elements of community, tradition, and gender into modern mythologies.
Caleb Brown paints real things — sharks, diving tigers, track stars — in a realistic manner. Deviation lies in the implausible situations he inserts his subjects into. Brown uses what he calls “elements of contemporary life” to set the stage for a bigger, more interesting angle on current events.
