Jeff Faerber’s naughty painting series based on traditional Japanese Shunga prints capture the look of the original prints but update it with western figures and modern day gadgets, products, and food. It’s truly modern shunga.
Took me a while to figure out what was going on in this image (well actually, they’re almost all videos) but it’s an awesome visual trick. The rest of Michael Guidetti’s work is along the same vein. Kind of 2D into 3D…so 2.5D?
Typographer, graphic designer and businessman Erik Spiekermann has created timeless, influential and, yes, Meta-physical work over the past three decades.
Next to founding MetaDesign and FontShop, the latter being the first ever digital distributor of fonts, and designing more instant classic typefaces than any other, he has been recognized as an outstanding expert internationally as a lecturer and professor.
Listen to the design genius talk about new visual languages, design processes, the analogies of music and typography, and why we need better client culture in this fantastic short documentary by our friends over at Gestalten. Watch the full video after the jump!
Colorful, textured creatures imagined by designers Andy Reisinger and Ezequiel Pini from The Six and Five Studio. The series called “Morbo” is a rendering of 3D printing and digital coloring. The result is bluffing. Easily mistaken for real existing sculptures or hyperrealistic paintings, the designers have had to explain themselves a lot about the disturbing aspect of their work.
Pushing the limits of art and design, the Argentinian duo Andy Reisinger and Ezequiel Pini like to explore the three dimensional world. Stranded on the beach after an apocalyptic episode, the creatures are found as they are presented to us. Raw, shapeless and twisted by the centrifugal force of nature, they mix elements which has nothing to do with each other. Hair, coral, gelatinous paste, plastic, porcelain and more are harmonized in objects that, in the end, make sense to the eye.
At first glance, the creatures seem ugly. Part of it is due to the fact that we can envision a living hairy animal coming out of it. Once the process of creation is understood, the look on it changes. The designers are interested in that shift. From unpleasant to attractive, our curiosity grows as we discover that these fantasy ‘things’ do not really exist. Leaving us wondering if beauty is better off restrained within our minds instead of being exposed out there. (via booooooom)
I like how UK based artist Anthony Zinonos plays with substitution- many of his pieces play with Minimalism and subject by playing off size, color and shape variations. I also like that something as simple as a triangle becomes the inspiration for a series. Anthony works alot with photo-collage but you can also find a few other media gems on his site, including a short video montage.
Tokyo’s subway is infamous for its cramped conditions but the psychological effects of the uncompromising close human proximity experienced daily by thousands of workers are rarely depicted. Michael Wolf’s Tokyo Compression captures the moment and reaction when individuals are forcefully sandwiched between their fellow commuters and the parameters of the carriage. Heads are bowed, sometimes contorted unwillingly into unnatural positions of supposed rest. Noses, fingers and knuckles are compressed against the glass, eyes are almost always shut.
Dylan Rabe is a fellow artist and friend and colleague of mine. His illustrative works contain all things one could hope to see in a painting. Executed with bold colors and painstaking attention to detail, they fuse together theatrical narratives with assemblages of eccentric subjects, symbolic props, aged furniture, and elaborate décor; he successfully fits all such things into a single painting, typically creating medium to large-scale works. Dylan derives influence from a variety of sources such as 1950’s pulp art, soap operas, science fiction and romance novels. His work is enigmatic and enchanting, and I hope to see Dylan’s work gain further recognition in the future.
Bowling Green’s Jordan Speer creates spacious worlds of clumps and lumps that bring to mind what would’ve occurred if Philip Guston had happened to have access to a 3D modeling program. Jordan starts in a subdivision modeler called Wings 3D where he creates each element of the image, and he then stages them in Cinema 4D, which allows him to apply lighting and various textures. Once the file is complete, he tweaks the image in Adobe Photoshop, prints the image out, and then scans it back into his computer at either a high or low resolution setting. In spite of its heavily digital origin, Speer’s work physically manifests itself in the forms of zines, short-form comics, show posters, and publication covers.
Speer’s isometric view strengthens the image’s technical origins, while his comically gory content and grainy finish give it an organic touch. With the colors of a clown’s wardrobe Speer arranges mysterious peeks into a world where dismemberment and assembly are spontaneous and painless. His vision is uniquely his, sitting somewhere between the fashionably crude renderings of the many artists dabbling in 3D programs, and the professionally-polished films of Dreamworks and Pixar. He just released QCHQ through Space Face Books, a 68-page full-color book, and he created the wrap-around cover image for the eagerly awaited Happiness #4. It’s exciting to think about where Speer will continue to push this unique look, be it into a long-form animation or a graphic novel.