Sharks in art. I am a Shark Collector in the way of collecting shark art online. I used to have a shark art book. Now I don’t. But, each great shark image or shark post (including the cause of shark conversation) I post to Snip.it: Sharks. Above is a shark done in text art. It’s not the only text or ASCII art shark I’ve seen. Tonight I’m creating a post to display a whole gallery of ASCII art sharks.
This pixel art shark comes from Sixteen Colors.
This was in an email from my Mother.
Scissors. At least that was my first thought upon seeing this work by Louise Bourgeois.
Continuing my interview with Robin Blum, founder of In My Book® — the bookmark and greeting cards in one…
Happy Ending In My Book Bookmark & Greeting Card
How do you go about getting the art for the bookmarks and cards?
I am fortunate to work with illustrator (and Brooklyn neighbor) Meredith Hamilton. I found her on a wonderful listing of artists for hire called The I Spot. I love the New Yorker-y style of her pen and ink illustrations and feel that they are perfectly suited to the slightly irreverant nature of the cards.
How do you select the images? How tied to literary themes — and puns — are they?
There are presently fifteen styles of In My Book. When we first worked together in 1999, I gave the text of the greetings to Meredith and we brainstormed what type of images would work. In My Book, you’re a classic ended up with marble busts of distinguished and scholarly types, reading books of course; you’re a mystery clearly called for one of the great wonders of world (Stonehenge) and you’re some dish was teamed up with a red-hot mamma having fun cooking up a storm. More styles are presently in the works and will be available in Spring of 2012.
Are there any designs that seem most popular? Any trends in terms of the art, or it is mainly a matter of book genres?
The most popular styles are the ones that seem to suit the greatest number of people. Who wouldn’t be flattered by the notion of being ‘rare’ or ‘a classic’?? Publishers Weekly says: “Multi-tasking as both bookmark and greeting card…illustrated with charming pen-and-ink drawings by artist Meredith Hamilton, these sentimental greetings make endearing enclosures especially when the present is a book.”
How often do you add new designs? And when you add new ones, do you discontinue any older ones?
The line began with twelve styles in 2000 and added three more styles in 2003. Next year three additional styles will be added, so there will be a total of eighteen styles. Although obviously some sell better than others, I have chosen not to discontinue the older ones. This is different than most greeting card companies who base their inventory on sales; I tend to think that book readers are more or less traditional and that “you’re a character”, “you’re a hero”, “you’re the last word” will never go out of style.
I think so too, Robin.
The cards have sold for $3.95 (including envelope) since the company started in 2000; buy them now and get a jump on holiday gift giving –and the upcoming price increase in 2012!
I don’t usually post the Doodle Weeks; and, like too many of you, I am a sad participating in them as well. (Shame on all of us!) But, as coincidence (or my weird psyche) would have it, I had a bad dream last night — so bad I had to blog about it at my nearly dead dream blog. And the rule at that blog, such as it is, is that I’m to sketch or doodle a little part of the dream or otherwise illustrate the post. (Perhaps this is where my self-direct art therapy comes into play; why this art moves me so and maybe even why I was prompted forced to have such a strong dream, one strong enough to force me to post and therefore doodle.) So anyway, I had to draw a basset hound.
Amazing facts about the doggie doodles: One, they are done in pen! Amazing feat for anxious me. Two, the first one, posted at the dream blog, is the one I like best.
Perhaps these were so easy today because I needed this art therapy so badly; it was easy to bark away the bad spell. Or, perhaps they were easy because I used to doodle dogs all the time. Some sort of muscle-memory thing. As a kid (what we’d call a “tween” today), I used to doodle dogs like this:
In any case, I do seem to have shaken the worst of the after affects of the nightmare.
In fact, I feel rather light and — dare I say it! — joyful.
So, kiddos, I challenge you to doodle your bad dreams away. Doodle something little that cheers you up. It could be a dog, something you once doodled as a kid, or whatever pops into your head.
When you doodle, be sure to share it with us as part of Doodle Week. (Come back here and leave a comment, a link to where we can find it!) You can share your doodle, share your thoughts on the doodle exercise — both! I look forward to seeing and hearing how the doodle drawing works for you!
I’ve been working with ASCII Art again this year. It’s been awhile since I was active in the old ASCII art groups or wrote about it for WZ.com as a newsletter. I can’t even find a mention of my ASCII art section with the Wayback for WZ.com. Anyway, too long ago to keep track of I guess. ASCII art itself is considered pretty old fashioned in the evolving world of online art/ digital illustration. I miss it. Those days before HTML email and Flash on websites. ASCII art gave the Internet images without clogging up the loading speed for email or web pages. It was nice. The irony is that we have so much faster speeds now but it really doesn’t load much faster than I remember from 10 years ago with a 14K modem. The bloated files slow it down.
ASCII art is basically keyboard art, text art, created with the characters on the standard computer keyboard. The letters, numbers and range of punctuation available at the touch of your fingertips. Some people use more characters and create ANSI art. I’ve always felt that was a bit of a cheat, adding more characters takes away the challenge of sticking to the limits set by the keyboard.
Back when IRC (Internet Relay Chat) was popular people used the ASCII Art to add images to their lines of chat. Using some Java and some HTML they created ASCII pictures in colour. The downside was that they used ASCII art, coloured it and then claimed it as their own work. This caused friction between the original artists and the colourists. The artists didn’t want their work reclaimed, with the artist initials removed (forgotten). The colourists said they just wanted to make pretty pictures. Of course, I’m a bit biased.
ASCII art began with typewriters, before the computer age. If you search online you can find some examples for typewriter art.
I’ve been using my own ASCII Art (old and new) as well as the art of others on my blog, Word Grrls.
I’ve known Collin David for like 5-6 years now; we met when we both started writing for Collectors’ Quest. I quickly discovered his passion for comics, action figures, robots, cephalopods, etc. was entwined with something more… His art.
In the past year, Collin’s art work has been getting him more attention, respect, and, yes, money. So it seemed now was the time to sit down with him — you know, before he’s too busy for a “remember me” request for an interview. *wink*
Call me old, uncool — old and uncool, even — but I can’t seem to follow all your art news, projects, events, etc. on Facebook. (I am, after all, a Twitter girl *neener neener*) So help me out and give me a general run down about you, ResonantFish, what the heck you do as a freelancer art and design dude. You drop names like “Ninja Turtles show in Philly” and “Gallery1988″; so don’t forget those.
Well, my business cards say “Collin David makes stuff”, because that’s the most accurate phrase I could come up with.
This includes comics, sculpture, digital design (like icons, iPhone games, business cards), ink portraiture, painting, and even animation occasionally—every project calls for some new approach. I’ve never seen the merit of those artists who approach very different problems with the same approach, over and over. It’s completely marketable, but it’s transparent. There’s a way to find a balance, and it’s not by being creatively lazy.
As a freelancer, I tend to do a lot of digital art, because that’s what the freelance market wants right now. As far as my portion of the freelance market goes, a majority of it is technology-based, and people trying to make their technology pretty. While my brain is fueled by robots and meat and monsters, my bank account relies on icons for travel websites and improving old logos for businesses. Every so often, a project comes along where I serve as an art director and have total creative freedom, or I get to use real paper and ink, but those are far less common.
It all comes back to “making stuff”, for whatever purpose it may serve in the end. Every project is an education towards greater things. In my free time, I’m sometimes invited to do group art shows all around the world about things that I love: toys, Ninja Turtles, pretty girls, Star Wars. I don’t know how that happened, honestly, because that was just a natural progression.
Custom Robolucha For International Show
Ah, you sort of glossed over those art show invitations… Where have you your works, been seen recently? What’s it like to get the invite?
Right now, I have three ink pieces in Gallery1988 in California, in a show centered around Beetlejuice, Back to the Future and Bill & Ted.
Piece From 3B Show at Gallery1988
I also currently have an acrylic Ninja Turtles piece in Philly. Both of these shows are through The Autumn Society, a collection of great illustrators who just happen to do lots of shows together that seem to focus on 1980s pop culture. Recently, I was honored enough to show alongside Wallace & Grommit’s Nick Park in the UK for a group show (via a Twitter invite), an arcade in Texas, and a few other places I don’t remember. I’m horrible at keeping track, but should probably comb my e-mails in order to get my stuff back. I don’t want to say something stupid like “art is so pure that I keep it separate from business”, but 100% of my focus is on creation, and whatever happens outside of that to get it out there is fate and luck and whatever momentum gravity has granted me, or if Facebook is behaving properly.
MUMM-RA! For The Autumn Society's '80s POP!' Show
Invites always come with a sense of dread. Can I make something worthwhile? Will this show be worth my time? Will my art get destroyed by the gallery or post office again? Do I have enough time to make something? How do I approach this uniquely? I’ve had so many bad gallery experiences that it’s a process I’ve learned to hate, so I do far fewer showings than is ideal, and I don’t seek them out. I love a challenge, but I’d rather that challenge be creative over diplomatically begging for my art back for a year from an unscrupulous gallery director like Rocket Pop’s David Rodriguez or APW’s Hans Yim.
How is the invitation to group art shows “just a natural progression”?
It’s momentum. If you really do things that you love and believe in, it’s infectious. Eventually.
It’s a long, long crawl towards respect, and if you ever stop digging your nails in, you’ll slip backwards into anonymity. Some people (who I’m not going to name here) market themselves raw and have absolutely no skill to back it up, but they get a ton of work and notoriety. I’m just not the kind of person to write press releases in the third person or describe myself as “up-and-coming”. It’s one way to progress, and it’s tried and true and not invalid, but it’s not natural. There’s no foundation in that, and you don’t get a realistic perspective of yourself or your work. Some promotion, sure – but not a full-time marketing machine.
I make stuff constantly, and people see it, and sometimes they like it, and share it, and eventually, it falls onto the right eyes. And I wish it were more profitable, but I’ll take truth over an elaborate self-deception any time.
In-progress sculpt for "Into the Darkness"
"Into the Darkness @ 1:AM Gallery in SF
I’ve known you for awhile now, and there’s been a big change in the amount of work you’re now doing. I wouldn’t say this, but you recently commented to me that you somehow see this as “awful,” as if this wasn’t just one of the risks of going pro; explain to me how you see the increase in work, recognition, and, I presume, pay.
About six months ago, I was spread out everywhere, doing work-for-hire for a ton of different venues—most of it writing, and I burnt out. I decided to drop (mostly) everything and focus on seeing how far my art could get me, because that’s what really matters to me, at my core. I wouldn’t say it defines me, and I wouldn’t call myself an “artist” (because I hate that word), but it definitely made me feel the most complete.
As it turns out, the rise to credibility was faster than I expected, and it was great. I’d been doing spot illustrations for magazines and things like that since high school, just to experiment with the wide world of art publishing, but the Internet enabled me to pursue these things in earnest, at least 40 hours a week and in parallel with a full-time job. The “Artist’s Market” books never did me any good except for a rejection letter from Cricket Magazine.
The process of making art is never “awful”, but it becomes awful when other people start sticking their hot little fingers in it. As a freelancer, you’re doing work for someone else, and you’re being paid to serve. I don’t have a problem with that, at all, ever. Ideally, one would be hired on the merits of their talents, and not their ability to parrot their employer. It’s the difference between having a hard-working employee and a yes-man, and it shows in the final product.
From the VinylPulse Dragon Eats Knight Show
In terms of “awful”, I was recently hired to design a series of monsters for an iPhone game. The project started out with the client telling me that I had total creative freedom, because he liked my work. When the first drafts came around, he had changes to make : facial expressions, colors, and the like. In the freelancing world, these kinds of changes are acceptable. The employer has a vision which they weren’t able to articulate before (thought they should have probably tried harder), but now that they see the product, they can understand what they want better. A second round of changes was made, and I was sent back screencaps from Pixar films, which bore no resemblance to any prior work, and a few notes that essentially said, “Make it look like this.”
I obliged, while still giving these monsters their own uniqueness. When these monsters met his descriptions dead-on, he sent me back a picture of Spongebob Squarepants and asked me to trace it for his game, instead of all of the work I’d previously done. When I asked him to sign a contract to free me from all legal and moral responsibility when Nickelodeon came down to smite him and completely crush his business on the grounds of copyright infringement, we ended the project. I walked away with character design and consultation fees and a clean slate. He walked away with the sudden understanding that it wasn’t actually okay to plagiarize well-known cartoon characters for profit.
These are the “awful” things, and they’re pretty common, but not universal. Sometimes, you spend more time justifying yourself or explaining how “art” works than actually putting together work.
[Interviewer Aside: Check out Collin's The Nine Circles Of Freelancing Hell for more on this; I giggled an groaned through the whole true thing.]
"The Golden Faces" for Multiple Personalities 2 @ LIFT Gallery, MI. "The Jello didn't making the trip because of last-minute damage, alas!"
And you can’t work on one project at once. Four seems to be the magic number, given the amount of time that clients can take to get back to you with revisions. You start on one project, work on a couple of others, and close out another one. This way, you generally always have something to do and a way to generate profit. It helps if your clients are in different time zones as well. Qatar is great if you work early in the morning or very late at night. It also helps to take breaks to play GoldenEye.
It’s all about momentum. Once you actually land a project or two by mastering the art of crafting a proposal, and can show these products off to other relevant jobs, the work will come.
"Something From Long Ago" by Collin David
Why do you hate the word “artist”?
The word “artist” is used like it’s an excuse for erratic behavior or a refusal to be a productive member of society. “Artists” don’t have to maintain jobs – not because they’re highly skilled, but because they’ve appointed themselves to the title of “artist”. It’s not a universal perception of the word, but it’s definitely not uncommon, and I really want no part of it.
I once had someone come up to the desk at the library where I worked who refused to pay late fees because she was an “artist”, and “artists” break all of the rules. I refrained from “artistically” punching her in the face, even though by her own definition it would have been perfectly acceptable.
I make stuff, and some of it is “art” because it’s totally impractical and self-indulgent. I don’t have any misperceptions that I’m making the world better by making pictures, but I hope I’m making tiny little parts of peoples’ lives better. Either way, it’s something I can’t stop doing, and I enjoy doing it.
APW Arts on Record Vol. 2: The Skeletron
“Sometimes, you spend more time justifying yourself or explaining how “art” works than actually putting together work.” Like this interview?
Though, I imagine this sort of thing is preferable to schooling a client in the ways of intellectual property… At least it’s more fun!
But seriously, in terms of being a guy who makes stuff, how important are interviews? First, in terms of making the stuff — do you find reading interviews inspiring or motivational or helpful at all? And second, what makes participating in an interview worth the time away from making stuff? Is it just the promotional aspects? (Links: How the internet was won!)
Interviews are fun! They force you to take a look at why you do what you do, and they open up your eyes to how others might perceive you, and every shade of this will color your work, whether you like it or not. Observing it changes the experimental results.
My favorite interviews are in Hi Fructose Magazine, because I find myself reading things I’ve been thinking for years coming from artists who I admire. It’s inspiring to know that I’m on the right path, and it’s always useful to be reminded to stay true to yourself.
I don’t think I’ve ever landed any work through an interview (yet), but the introspection makes them worthwhile to participate in. A lot of what I feel like I have to say about art may sound negative or like I don’t respect other artists, but it’s just passion for good, true creators and an impatience with the imitators – so I have to bite my tongue a lot.
Plush Custom Art Called Either "Fuckface the Fucknificent" or "You & Your Ugly Heart"
For many, making some money off a creative gig seems like the ultimate goal, the real mark of professional success; but as you’ve discussed there’s a clear divide between creative expression, making stuff for the sake of making it, and commerce, selling stuff &/or making stuff to sell. How do you best balance what can be at times such contradictory positions and determine success for yourself?
Well, I’m not yet in a place where I can turn down well-paying jobs, so they’ve taken over. About six months ago, I decided to focus on making commercially viable stuff and hunting down clients, and perfecting the skills necessary to work on the highly technical professional stuff. I’ve always done paintings on commission, and small works for small magazines, but I really needed to conduct a concentrated test about the viability of doing this kind of thing for a living. So, I dropped everything (including personal projects and writing gigs) and started researching what people want right now in the creative world, and how to do those things. Art school didn’t provide a single iota of information that was useful in finding an art-related job, so it’s a very do-it-yourself kind of education.
"The Spacemen: Burn-Up Re-Entry Model" Custom Toys, Edition of Four, by Collin David
For me, it was a solid moment of decision, so the “real” art happens between gigs. There’s never a shortage of work if you know how to ferret it out, and I’m never at a lack of ideas for personal art. I have five sketchbooks full of projects that want to be done. I don’t think I’ve found the kind of success I want just yet, but I don’t think I ever will. That’s the kind of thing that keeps you moving and evolving, so the dissatisfaction isn’t all bad.
I’d love for art to be a full-time job, but I don’t think I could do the corporate letterhead design thing for more than a few weeks at a time before losing my mind. There are too many ghosts in my head for that, and they all want to be painted.
Detail from 'Queen of the Bees', which is "about a cheating, lying ex-girlfriend."
If you had to pick one piece or project that you feel marked professional success or otherwise signified success to you, what would it be and how does it reflect success to you?
Star Wars cards. During middle school, and high school, and college, there were a few things that I held in such high creative regard that I never envisioned myself touching them, and Star Wars was way up there. Last year, I was asked to draw a whole bunch of original sketch cards which were randomly packaged with packs of Star Wars cards. They’re quirky and fun drawings of aliens, and they had to be done quickly so they’re not top quality, but I don’t think I could ever do anything cooler than official Star Wars art. Being accepted into such an established and impenetrable universe marks success for me.
Star Wars Series V Sketch Card by Collin David
Here at The Ungulate we try to focus on adding creativity and art (making and buying/owning) to your life, on inspiring people to just make stuff and to delight in stuff that’s made. One of the things we hear most often is how hard it is to just start. How do you respond to that, what advice do you have?
This is probably an answer that’s been given a hundred times, but just do it. I’ve created thousands of embarrassing drawings, and had even more terrible ideas, but you have to realize that creativity is flawed, and that’s just par for the course, like anything else. It’s not a perfect, pristine, inaccessible spirit that needs to be handled delicately. It’s a dirty, frustrating thing that you can’t be afraid to smack around. You need to throw away any delusions of preciousness.
I remember the moment in high school when I realized that I’d been holding back because I didn’t want to embarrass myself by drawing something dumb. And then I realized that no one ever had to see it but me. As long as art fits in the garbage, you’re safe, so just go for it. Also realize that no time spent creating is wasted time, because every second is an enormous education: how materials work, which lines are beautiful, which ideas are disasters, how to use color and space. These things are much more visceral when you’re doing them, and you really can’t learn them from a book without doing them.
And there you have it, good advice from
an artist a busy guy who “makes stuff.”
I’d like to thank Collin for sharing all this — and encourage the rest of you to visit all the links to “all things Collin David” in this interview. (He’s got so much going on, if you only have time for two, it’s these two: ResonantFish and ResonantFish on Facebook.)
I first met Sam at Tumblr, where I immediately was attracted to the dark yet whimsical works…
Mr. Gerald Beaufort, the rat, making plans to break in:
A robot suicide:
A dog who finds scary movies too scary:
But Sam, it turns out, is more known for his role as The Otter Keeper, the creator of I Am Otter.
Tell us a little about yourself, Sam… Did you go to art school? How long have you been doing I Am Otter?
I’m 28 and have an office job by day but also work as a freelance illustrator. I graduated from Derby University with a degree in illustration in 2005. I’m obsessed with otters and I enjoy putting sweets in the freezer so they last longer (especially jelly tots). I’ve been doing I Am Otter for about 2 years now!
How would you describe I Am Otter in terms of a project?
I am Otter is a website dedicated to a modern day domestic otter who lives with her Otter Keeper in the London suburbs. Nobody (not even me) can quite remember the day I became obsessed with an otter and decided to dedicate a rather unhealthy amount of time to her. I have a theory it happened when walking to work one day but you can’t be too sure about these things.
It’s a basic html site but I have also got quite into flash recently, so there are games and interactive elements too. At first you could be mistaken for thinking the site is directly aimed at children, but upon closer inspection you’ll find there is plenty of humour that will appeal to adults too. The site also has a built in blog where you can find lots of mini Otter stories, which I update frequently.
When did you start your shop? When did you feel you (and Otter) were ready for a shop?
People would ask me to buy prints so I decided eventually a shop was the best option, sadly me and Otter don’t get too much custom these days and there is a monthly fee. I keep meaning to change over to etsy or a free service but I spent quite a long time customizing this one so I’m reluctant to change for that reason.
What’s the story behind your Tumblr… Not only is the art different, but it’s rather orphaned from the rest of Otter’s world.
Well believe it or not I haven’t always drawn an Otter and her Teddy!
I’m actually very fond of a darker palette and enjoy more sinister and serious themes. There is just no place for that in otters world and so I really wanted somewhere I could be more myself and not be tied down. There is also the fact that lots of kids follow Otter and I wouldn’t want to scare anyone.
It’s gone well so far, but I’m still getting used to using Tumblr which is very different from WordPress.
The otter series is rather unusual… It’s almost like a graphic novel, more than an art series, isn’t it? Did you plan on this narrative sort of storytelling from the start, or did that evolve more organically?
It all sort of evolved organically to be honest. I Never set out with a master plan. I just started drawing otter and after a while my imagination just took over – I then had to keep drawing her to get the stories out of my head!
I never thought I could write particularly well (and I’m not saying I can) but it was quite a surprise how much I enjoy writing the text that comes along with the picture. I now feel the pictures require the story and vice versa. It does take me a while though – I’m constantly re-writing sentences to get the pacing right and I’m very picky over the words I use.
Do you have any plans to do this sort of presentation with the darker works? Any plans to sell prints of these works?
I would always sell prints to anyone who wanted them. I have my special printer I invested in and it creates great prints.
Sadly printing, packaging and trips to the post office take up time! And after doing otter shop for a while I’ve begun to find the whole process a bit tedious. But, unfortunately, I also have a bit of a dislike for the third party printers. “We print on anything and post to your customer” – great! “We also take 70% of your profit” – not so great. And I don’t like to use them either.
If I sell anything, I like the customer to be happy and get a good deal. It’s almost impossible to do this and make it worthwhile with the middle man too!
How do you feel the commercial aspects, selling prints, running sites, etc., have affected or impacted your work?
The creation of the websites and learning software like Photoshop are half the fun for me, if I’m honest. I guess they have impacted on my work in so much as I don’t do as much drawing because I’m learning WordPress or trying to make a new flash game for Otter. But If I didn’t do this, then it’s not like anyone would know about Otter in the first place!
And, like I said, the process of selling prints is a bit of a pain. I’d rather spend the time learning/drawing something new.
Do you feel more obligated to produce new works or, in the case of blogging, new posts?
I start to feel guilty after a week or so goes by with no Otter story. Half of this is because I know a few fans really enjoy the stories and are waiting for the next; the other half is that I actually feel bad for Otter! I need to make up her next adventure to keep her world alive… and I take this responsibility very seriously.
I don’t think I’d ever be able to stop writing about Otter… It would make me feel too sad?
As an artist, what is your definition of success?
For me success would be to make enough money out of my art that allowed me to do it full time! This would be fantastic as I have so much in my head I want to get out, but just not enough time. I’m sure this is the same for most artists. And I envy the ones that get to that level very much.
It also makes me very happy that my work can affect people in a positive way. For example, I get really nice messages from people saying that reading about Otter has really turned around a bad day they were having, or similar things to this. I’m not sure my darker stuff has this affect on people but hopefully it still invokes a positive or inspiring reaction of some kind.
It sure does, Sam; it inspired this interview.
Annette Kellerman, The Australian Mermaid, "the Diving Venus"
A few months ago I was contacted by Nick Bannikoff, a graphic designer in Sydney, Australia, who had recently worked on the refurbished Annette Kellerman Aquatic Centre in Marrickville. The centre is now finished, and Bannikoff was assisting with the creation of a graphic interpreting / explaining Annette Kellerman’s life to be installed at the pool. Because I’m rather well connected to Kellerman on the Internet, Bannikoff was hoping I’d be able to assist him finding decent quality images to include in the graphic; which I did, by connecting him to silent film collector Mary Ann Cade. Because I’m rather
nosy fascinated with Kellerman, film and art — and unable to get to Australia myself — I asked Bannikoff to tell me more about the project.
The redevelopment of the pool was undertaken by Marrickville council a while ago. The existing pool was only 33mm and a bit dilapidated. There’s plenty of information on the project here.
Annette was born in the council area and the centre (AKAC) was renamed after her in ‘94 (I don’t have any information on that process).
As part of the project a separate graphic design firm was engaged to design the logo for the AKAC (along with several other facilities), and we were engaged as specialists to design the signage and environmental graphics. For a better idea of what we specialise in, you can visit Society for Environmental Graphic Design.
We wanted to create an inviting entrance to the change rooms, and decided that the best way to do this was to create life-sized graphics of people standing at the entrances. In effect inviting people in (it also has the advantage of very clearly differentiating the male and female entrances). Annette was obviously a natural choice for the Female change room, but being such an extraordinary character it was difficult to select a male counterpart. In the end we settled on Cecil, a contemporary of Annette’s (this was important to us) who was sadly killed at the Somme in 1918. Had we not been constricted in our selection to an Australian, we would have recommended Jonny Weismuller, whose career so closely mimicked Annette’s.
Knowing what we wanted to do we were inspired by two sources. A photo of a confident young woman in a bathing costume with a very contemporary lighting scheme, and the work of mosaic artist Brett Campbell.
We particularly liked the confident pose and dynamic lighting for the young woman. We felt if we could present Annette in the same way it would convey more of her life and story (than any photo) and make her more relevant to a contemporary audience. We engaged the services of a talented illustrator, Justine Missen, who over 2-3 weeks developed sketches of Annette and Cecil with the stances, shading and attitude we wanted. I’ve attached a couple of images from the process. As we always knew we wanted to create the final work in mosaic, Justine sketched to that end, mapping out the broad areas of colour that we knew could only accommodate a limited amount of detail.
As I mentioned, we had decided early on that if we could execute the graphic as a mosaic we would. The material would fit beautifully within a swimming pool environment, and given Annette’s life was a perfect medium with which to portray her. Brett Campbell, being part of the inspiration, was then engaged to create the final pieces. Brett helped out a great deal with the selection of the tiles. There is actually a very limited range of colours out there, and we wanted a nice glossy finish and a ceramic tile which we felt matched our aims (there is a much greater colour selection available in glass tiles). Due to the fact the entrances were a little dark and out of the way, we also wanted nice bright colours which made the selection even more difficult. He worked in his studio in Queensland (about 1000km away) and would send photos of the progress on a weekly basis, which we would then discuss and occasionally make adjustments or suggestions. This part of the project took about 2 months.
Finally, Brett visited site in late November last year and installed the mosiacs over 3 days, along with another mosaic that formed the background for the main identification sign for the AKAC.
Other things you may be interested in:
As part of the project the council also commissioned artwork for a couple of locations. One of the artists, Mark Wotherspoon, took his inspiration from the life of Annette.
The piece is entitled “Silver Screen Mermaid” and a plaque will be installed soon that reads: Inspired by the collective consciousness of Annette Kellerman, the divine silver screen mermaid and Hollywood starlet (1887-1975)
I’m no comic expert, but ever since I saw both Ghost World and American Splendor (pretty much back to back), I’ve wanted to create a comic. I bought a basic black sketchbook to draft my ideas… And that’s about it. The crisp white pages were too intimidating. But when I came across this post at Bungy Notes , I had a fabulous Ah-ha! moment:
I am about twelve strips into a weekly comic I publish over at Black Magpie Theory called, “Klexmur, Alien Reporter.” It’s been a life-long fantasy of mine to create and publish a regular comicstrip. If you’ve paid attention here, you know I have more than a passing interest in comics. I also approach my work from a performance studies background, which holds (at least in some versions) that the best way to understand something is by doing it.
It’s that last line there, the “I also approach my work from a performance studies background, which holds (at least in some versions) that the best way to understand something is by doing it,” that’s the kicker.
I may just have to view the process as performance art — if only for an audience of one.
Lately I keep finding these photos of characters people have drawn on their fingers. They are cute, some are even very clever.
I posted two on my personal blog, Finger People and Finger Dancers.
I’m going to take this idea with me next time I visit my nieces. They will have a lot of fun, glad to have an excuse to draw on themselves. We will get out all the coloured markers, the construction paper too. I can make hats for them to cover the tip of each finger they draw a face on.
Here are some more. Mainly links to groups on Flickr where people have posted their own creations.
I find caricatures amazing things; so few lines precisely capturing the essence of a person’s appearance. (Via It’s All Happening…)
That * is a “but”… One of those “buts” those afraid to draw know well…
A very whimsical and somehow nostalgic work by Skottie Young.
This vintage art deco print of zebras is signed “May” and it’s still in the original faux bamboo rimmed frame.
I can’t tell from this photo if this vintage print is from an illustration or a painting; but I really love it!
Did Mulder or Scully ever own a cat? If so, its mysterious disappearance would be explained and the culprit caught in this illustration by Tim Tomkinson. (Via Don’t Stand There Gawping.)
Horses are not as easy to draw as you may think. There is a slim line between a horse and a donkey or a mule. Add a few stripes and it can look like a zebra. Extend the neck and you’ve got a giraffe. Here are two horses I have tried to draw.
I’ve caught some kind of a bug. Here is a drawing of the little beastie. Let’s see your own version of nasty little viral bugs.
In February, bhagvati drew one drawing a day of the same little stuffed white bunny. This one was especially worthy of an Easter mention.
This week for Doodle Week try to draw a car. Any style, any price range, any colour.
For inspiration have a look at the Flickr groups for Car Cartoons and Cars that never made it.
Doodle Week is open all week. Drive right on up!
This week it’s cityscapes. You can do some extra work, a little research and draw your own cityscape. Or make one up. Kind of nice to think of a unique way to present it. I drew this one on a big blue marble, representing the planet. Not quite to scale.
Want to know what Doodle Week is about? Read all about it.
What is it about lighthouses that draws people? People collect lighthouses figurines. People paint and draw lighthouses. People will stop to photograph a lighthouse even when there could be something else more interesting which they did not even notice in the shadow of that mystical, lonely, stark looking building poking the sky.
I think it is the romance, mystery, history and the feeling of adventure – surviving storms at sea and pounding waves. The idea of steadfast lighthouse keepers, daring rescues and pirates hiding their treasure exposed in the roving splash of a beam of light.
They are kind of fun to draw. Even more fun to be down at the water, hearing it, smelling it.
Photo Galleries of Lighthouses:
Lighthouses as Art:
Lighthouses Visited/ Documented:
Welcome to Doodle Week. You have a week to try the doodle challenge. This week it’s a toadstool, a fairy mushroom. Highly suggest you draw them and do not ever snack on them. Add a fairy, a gnome or just some every garden insects to your toadstool. Colour them, the traditional look is red with white spots. Just remember, bad things tend to happen to those who nibble on toadstools and just because those fairies are all magical and sparkly does not mean they are sweet, little angels.
From Wikipedia: The term “toadstool” was often, but not exclusively, applied to poisonous mushrooms or to those that have the classic umbrella-like cap-and-stem form.
This week it’s gargoyles. I’m about to catch the bus so I can attend a neighbourhood strategy session about saving some of the old buildings in my town. Will see how it goes. I love the old places and would like to see some of them refurbished if they can be saved from demolition. Anyway, that is why the doodle for this week is gargoyles.
You can find a simple gargoyle to draw, just search online for inspiration. No drawing has to be complicated, unless you want to be that way.
If you need to read about Doodle Week go back to the post all about it.
I always knew there was erotic subtext to He-Man.
Watercolor and colored pencil illustration by Christopher Tupa (available for purchase at the artist’s Tumblr).