YoAz
Three Goblin Art

❣ Chile in a Photography ❣

Product Placement
I'd rather be in outer space 🛸
YOU ARE THE REASON
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Claire Keane
occasionally subtle
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Janaina Medeiros
we're not kids anymore.

Origami Around
Xuebing Du

pixel skylines
Today's Document
Sweet Seals For You, Always
Game of Thrones Daily
DEAR READER
PUT YOUR BEARD IN MY MOUTH
taylor price
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@stevenaffleckfails
YoAz
The Lord of the Rings - comic book project by AZED
Hi everybody! I'm looking to do some digital commissions of pretty much any size and scope. Please reblog and hmu if you want a very special good piece of digital art.
Big Cat Round Brush by Yohann Schepacz
Jacque Tardi In the France I grew up in, Art was everywhere. I was interested in Graphic novels so I looked at everything I could. Not always understanding what I was looking at. Not always realizing the impact it had on me. Some of the books I liked a lot have left very little mark on me.
Other books made a huge impact on me but it is only as an adult that I realized how much.
The work of Jacque Tardi is this second kind.
I would see his take on Nestor Burma in the pages of “A Suivre” and never read them.
It was gray. Dark, there was an inherent sadness seeping through the pages. Something about a world where people got the short end of the stick and knew about it
Tardi captured an essence of what French Life was like, away from the glamour of the Rivera or the lights of the Champs Elyse. This was NOT Louis De Funes.
It was all about small streets, rainy weather, cheap motels, the other side of the tracks. Literally!
The number of images depicting industrial warehouse by train tracks, around the Paris area are innumerable in my mind’s eye.
I never EVER understood the stories. I don’t think my 12 year old brain was experienced enough to relate to the seemingly depressed mood permeating this world, and why people did what they did because they always seemed sad in the end
No matter what the outcome was.
BUT
The artwork!!! It was palpable. The smell of rain, the feeling of long, cold winter Sunday afternoons in a city. The mood of the nights, the smell of alcohol and cigarettes( which every French kid knew since it was EVERYWHERE , the smell of hard wood floor and worn out leather. The scope of the relationships. So human you could see it on the page.
The drawings were simple, clear. They were deliberate.
I didn’t find them pretty, but it was clear they were MEANT to be this way. They WROTE the feelings.
I collected everything I could find of his and barely read any. I would make my own trips in his world. It was that powerful.
Much later, Tardi started doing books on World War 1. Memories of his father who had served.
The French perspective paralleled with the German perspective. Just like his Burma days, there was nothing pretty about it. It was gruesome, cold, and it felt real.
The people spoke the way people speak in the street. They looked like real people, they drank, lived and die without pizzaz.
I find his later work to be some of his stronger works.
His art is visual writing.
It is not for everyone, I understand this. It is probably an acquired taste I didn’t ask for, but I love seeing his work and try to read/watch everything he comes out with. #Jacque Tardi
L’Autoroute du Soleil, by Baru.
This graphic novel was published in 1995.
At the time, I hadn’t yet read a graphic novel like this.
Black and white, it was long too. Over 400 pages. It felt real.
I had known of Baru’s work for a while by then. He had done a book or a series, I can’t remember called “Quequette Blues” I think it was published in a magazine like A suivre or Pilote. I wasn’t interested in it. I was probably too young then to connect to stories that felt SO MUCH like real life.
But when L’Autoroute du Soleil came out, it felt like I knew the characters in the book.
Not only that, but it felt like this was a story that could’ve really happened.
Put back in the context of the time, most of the stories in graphic novel form I was exposed to were either super hero comics or stuff like Tintin and Asterix( I mean, not JUST that but mostly that). The OTHER type of comic form I would see in stores was adult only stuff.
So when I found L’autoroute du Soleil, it was a shock. It felt like a movie on paper.
Everything about it worked. The graphic nature of the characters, They were not pretty. Not all of them. Some were down right ugly, just like in real life.
People coming in and out of the story. Having an impact then disappearing, like a person you meet on the train and is gone at the next stop. I grew up in the south of France and when the main characters stop for a while in the South, I thought I could hear the cicadas and feel the heat of long summer days
The staging, editing, the rhythm of the story felt like it was shot with a camera. The story itself was a very urbane, believable story with (almost) believable human reactions. There was just enough “extra” to make you want to read more. The night shots felt moody and real and the sequences where the characters relax on the beach feel breezy, sunny and fun. I wasn’t used to author who were so comfortable in light sequences as well as moody, tense moments.
It was the beginning of an era where I could see graphic novels as a full art. Not for kids, not for bizarre stories that no one would read or care for, but for very mature, skillfully crafted movies on paper. This book didn’t have color and I didn’t even notice. It was that engrossing.
I re read the book a few weeks ago and I am STILL completely involved in the story.
I feel these stories are more common today.
I find similar real life feelings in some mangas. There are some American Graphic Novel artist that have been going down that road as well and I love it.
Baru has done other amazing books since then.
He did one about a boxer a little later that I find absolutely amazing as well.
I believe he is still active and whenever I get a chance to find some of his work, I’ll read it.
#Baru #L’autoroute du Soleil
get to know me ➣ movies Chicago (2002) “The name on everybody’s lips is gonna be Roxie”
This Impressions numériques item by LouisLanne has 2 favorites from Etsy shoppers. Ships from France. Listed on 24 nov. 2022
Instagram : @louislanne.riso.arg
MINT
©2022, Kirsten Rothbart
A drawing I did a few weeks ago. Just for fun. Graphite, acrylic, & digital.
Illustration I did for this years Gobzine ♥ The theme was cult films ;)
…so here’s Heathers!
In the end I decided to have all three as a final and approach the project more as what I would pitch for the article rather than a final illustration seeing how in industry I would be working with an editor. I feel it is better to leave the project open and the fact that I can’t make a decision as I am not the client. I feel all of them as well work well as final pieces. Simple little project that has some nice finals for my portfolio.
For my last and final idea for my editorial I decided to go back to the textural and more hands crafted feel. I started looking at Jade Schulz work and her sketchy printmaking style. I don’t know whether she actually is a printmaker or fakes them digitally but the feeling is there. This is the type of quality I wanted to experiment with and try and not be so perfect with my illustrations.
For this idea I was trying to capture the tranquil contemplation that astronomers have for space and how the signals we are receiving we can’t even hear but they are there. I wanted to balance the harsh technology with a softer, dreamier feeling. This is my least favourite of all of my ideas however, I feel it is also the most out of my comfort zone.
The printed textures were added digitally from a reserve of printing textures I made this year for the penguin project.
So for my second editorial I went off of the colour scheme that I developed in the first illustration and decided to try and visualise space and sound waves in a different form. I decided to play with planetary charts and orbits to suggest sounds of sorts. I went a bit literal with the headphones and the figure however, I decided to follow Janne and try and not be too clever about it all.
I looked at Richie Pope’s work for he does these lovely and soft portraits but has a harsh digital colouring that breaks up the hand made textures in his work. His illustrations also I feel bigger and grander with his use of figures and that is something I wanted to translate too.
This started off as a simple ink illustration that I then digitised and coloured digitally. The texture I brough in for this illustration were also digital unlike the first illustration but I feel that they fit more in tone with this one as it is more digitally inspired than the first.
Again not much development but again I did this in an hour.
Manjit Thapp again influenced my just with her beautiful style but also with how subjective and open to interpretation her illustrations are. I feel that the mild, dreamy abstraction and the soft, textural colours just creates a stylish vagueness to them that allows the viewer to fill them with whatever they like.
I especially love the subtle textures and lines she puts in her work as I feel it adds such a depth but also sweetness to her otherwise minimal figures.
Like all of my last minute projects I just kind of rushed through this and produced last minute deadline finals so the development is lacking. However, I did have a lot of fun playing a round with this illustration; experimenting with layers and blending modes. I did this guy in about an hour start to finish and I feel that he came out very well.
He is very different from my normal style but that was the intention of the project and I like and hate at the same time how sketchy and messy he is.
The concept behind this illustration is the fact that his ear is a black hole because black holes are possible one of the sources of the space radio waves.
Lisk Feng is an illustrator who has a beautiful and dreamy style that charms you with all the texture and softness of the colours. I feel over the course of this year even though my illustration has improved I feel it has lot some texture and depth to is from mostly working on the computer. I feel editorial illustration is allowed to be messier and they seem to prefer more textural and “artsy” work nowadays. So I thought about trying to push out of my new comfort zone and bring texture and mark making back into my work.