Thursday, December 30, 2010

The Illustrated Ampersand

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    This ampersand illustration is a practice session. I plan to use this effect of rough surface and off registered inks on the next promo poster currently in the works.



    This ampersand version is the one I decided to use for a 7.5" x 8" Giclée print on cold press watercolor paper.Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

Painting of the Day - Keck Abstract Art

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Posted by arrae
Sunday, December 26, 2010

Cap W for LetterCult AlphaBattle

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    arlier this year I uploaded some cap letters to Alphabet Playground. As the year progressed I got swamped with commercial work and the cap letter projects had to be put on hold. Now that I have some time available I will be uploading new cap letters to Letter Playground. and AlphaBattle.



    The screen shot shows a sketch of the W as a drawing template. The vector lines were imported to Photoshop and filled in several layers. Various 3rd party filters were used to create the surface texture, offset shapes and distortion of the illustration.

    Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Saturday, December 25, 2010

Old Dudes Rule

    Happy Holidays to everyone out there!

    The past few weeks have been rather hectic with many rush deadlines and little free time to experiment with alphabets. Lately I have been thinking about printing a series of 13" x 19" posters. This one is the first and was created for a friend I worked with for many years. His creative mind gets better as the years progress.



    This is the quick layout sketch used for the drawing template.

    Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Sunday, December 19, 2010

Melting ears (on Cory Arcangel's two works)

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    The one I liked was this:


    while the one that goes further is this:


    Both are fragments of works by Cory Arcangel.
    The difference between them is significant. The first one is a joke - it is a repetition, a trick played on the idea of reproduction or universality.
    The other one too. But the other one moves towards something else. It provides us with the doubt as to what it should be like. I don't know Schoenberg's op. 11, 3. I might have heard it, but I'm not sure how it sounds. Yet it certainly doesn't sound like these cats. Or does it? What is it about Schoenberg that makes him sound like Schoenberg? And why do we need him to sound like Schoenberg? (Why do we call artists people who interpret in the most faithful way? And no, this is not a rhetorical question. What is it about repetition that still makes it move us aesthetically? And no, any form of the answer "the difference within the repetition" will not satisfy me as long as I keep putting the same piece on my mp3 player and enjoy it beause it is the same, and still appreciate its freshness, not its "difference".) The thing, here, is not just about the cats, it isn't the old elephant-making-oil-paintings trick. It is rather about other possibilities of listening, of paying attention, of defining what you hear. Can we hear the Schoenberg in the original cat videos? Can we hear Bach in the original music versions? The Bach composition, in that sense, says too much - it states a clear correspondence between the original YouTube videos and Bach's work. The second says less: it says "it is out there, but it's hard to say where exactly, and why exactly we would stop there". (And does it while being damn funny). And that's when our ears melt and reconsolidate, they become other ears, and other, and other. We are forced to listen to what might be there, and not what we think is there.
    So why do I like the first video more? Maybe because I still enjoy what is there a lot.
    Or because I'm not a fan of Schoeberg.
    Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

Melting ears (on Cory Arcangel's two works)

Labels:

,
    The one I liked was this:


    while the one that goes further is this:


    Both are fragments of works by Cory Arcangel.
    The difference between them is significant. The first one is a joke - it is a repetition, a trick played on the idea of reproduction or universality.
    The other one too. But the other one moves towards something else. It provides us with the doubt as to what it should be like. I don't know Schoenberg's op. 11, 3. I might have heard it, but I'm not sure how it sounds. Yet it certainly doesn't sound like these cats. Or does it? What is it about Schoenberg that makes him sound like Schoenberg? And why do we need him to sound like Schoenberg? (Why do we call artists people who interpret in the most faithful way? And no, this is not a rhetorical question. What is it about repetition that still makes it move us aesthetically? And no, any form of the answer "the difference within the repetition" will not satisfy me as long as I keep putting the same piece on my mp3 player and enjoy it beause it is the same, and still appreciate its freshness, not its "difference".) The thing, here, is not just about the cats, it isn't the old elephant-making-oil-paintings trick. It is rather about other possibilities of listening, of paying attention, of defining what you hear. Can we hear the Schoenberg in the original cat videos? Can we hear Bach in the original music versions? The Bach composition, in that sense, says too much - it states a clear correspondence between the original YouTube videos and Bach's work. The second says less: it says "it is out there, but it's hard to say where exactly, and why exactly we would stop there". (And does it while being damn funny). And that's when our ears melt and reconsolidate, they become other ears, and other, and other. We are forced to listen to what might be there, and not what we think is there.
    So why do I like the first video more? Maybe because I still enjoy what is there a lot.
    Or because I'm not a fan of Schoeberg.
    Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Tuesday, December 14, 2010

The Beginning Phase Of A New Promo Poster

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    These two photos represent the preliminary sketch process and layout for my next illustrated promo poster.

    When discussing the lettering process I often mention the importance of drawing and to do a lot of it. All the sketches on my office wall are basically rough concept studies to learn how elements of the illustration may or may not work together. No fancy or refined sketches in the beginning of a project. Just a lot of quick thoughts and ideas to scribble on paper.



    The layout I will use for a drawing template took only a few minutes to sketch. However, I had to sketch all the preliminary studies to create a layout for my intended use. I now have the information I need to begin drawing vector art. As this project progresses I will probably do additional sketching for the complex areas of the illustration.

    Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Monday, December 13, 2010

The Embroidered Logo

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    Finally finished the RA logo embroidery project. This was an interesting project and my first attempt to produce a large size embroidery logo for a jacket.Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Thursday, December 9, 2010

ABSTRACT ART - Keck Abstract Art Giclee of the Day

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Posted by arrae
Wednesday, December 8, 2010

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Posted by arrae
Monday, December 6, 2010

KECK Abstract Art - Giclee of the Day

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Posted by arrae
Saturday, December 4, 2010

The RA Music CD Art

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    Finally got the CD art ready to go for my brother Rick who requested that a dragon nano be included in both his CD design and logo. The next step of this project iwill be the embroidered jacket which I will pick up from the stiching shop early next week.Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Wednesday, November 10, 2010

What you like is to look

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    What you like is to look.
    You like to suck it up in your gaze, you like to smear your innocent mind with the flesh of sight.
    What you like is to become dependent. To let go of the constructions and make them make you.
    This is the universe of the aesthetic. It is where you can always find a haven. Where you can let go of your constrained negotiations with what surrounds you, and be indulged, and be spoiled, and be challenged just safely enough to get back home.
    What you like is when necessity becomes an ice-cream cone. Be it vanilla-flavored or razor-edged.
    What you like is the place which is a place but requires no consequences. Of you.
    Where the fish sing gentle songs and have human heads and human breasts, so you can see this is not real, and you can join the part of it that is real enough to be like you.
    And you can be like you. Only less conspicuous. Or less conspicuously limited to what you believe you are.
    What you like is to look, to admire, to appreciate, what you like is to jump in, when you were keeping yourself outside for some absurd reason. What you like is to overcome the feeling of absurdity through the feeling of empathy. You like to believe the thing there brings you closer to the thing here. And when you're back - well, when you are back, you leave.

    (The video features work by Harrisson and Wood)Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

What you like is to look

Labels:


    What you like is to look.
    You like to suck it up in your gaze, you like to smear your innocent mind with the flesh of sight.
    What you like is to become dependent. To let go of the constructions and make them make you.
    This is the universe of the aesthetic. It is where you can always find a haven. Where you can let go of your constrained negotiations with what surrounds you, and be indulged, and be spoiled, and be challenged just safely enough to get back home.
    What you like is when necessity becomes an ice-cream cone. Be it vanilla-flavored or razor-edged.
    What you like is the place which is a place but requires no consequences. Of you.
    Where the fish sing gentle songs and have human heads and human breasts, so you can see this is not real, and you can join the part of it that is real enough to be like you.
    And you can be like you. Only less conspicuous. Or less conspicuously limited to what you believe you are.
    What you like is to look, to admire, to appreciate, what you like is to jump in, when you were keeping yourself outside for some absurd reason. What you like is to overcome the feeling of absurdity through the feeling of empathy. You like to believe the thing there brings you closer to the thing here. And when you're back - well, when you are back, you leave.

    (The video features work by Harrisson and Wood)Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae
Thursday, November 4, 2010

Five sentences concerning ghosts

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    Both pictures by Ujin Lee, from the Dust series.

    There is never enough time or effort or vision to make sure things are fixed.

    We must suppose they are (or were) somewhere here, in the vicinity of the place we are (or were) standing, in the present continuous, within the limits of what we are ready to appreciate.

    I can hardly imagine a memory that has no stills.

    The trick is in admiring the thing the trick tricks you into believing, while knowing the trick.

    Ghosts : the need for accompanied presence.

    (via)Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

Five sentences concerning ghosts

Labels:


    Both pictures by Ujin Lee, from the Dust series.

    There is never enough time or effort or vision to make sure things are fixed.

    We must suppose they are (or were) somewhere here, in the vicinity of the place we are (or were) standing, in the present continuous, within the limits of what we are ready to appreciate.

    I can hardly imagine a memory that has no stills.

    The trick is in admiring the thing the trick tricks you into believing, while knowing the trick.

    Ghosts : the need for accompanied presence.

    (via)Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

ABSTRACT ART OF THE DAY

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Posted by arrae
Tuesday, November 2, 2010

ABSTRACT ART OF THE DAY

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Posted by arrae
Saturday, October 30, 2010

Alevtina Kakhidze - Revolutionary Obedience

    "Art must concern itself with the real, but it throws any notion of the real into question. It always turns the real into a facade, a representation, and a construction. But it also raises questions about the motives of that construction." - Mike Kelley

    Here is how it went:
    Ukrainian artist Alevtina Kakhidze has been working on value and power for a while. In one of her charming projects (The Most Commercial Project), for instance, she drew objects that she liked, most of them she couldn't afford, and gave the drawings the same value that the objects had. So, a drawing of a Louis Vuitton handbag had the same value as the object itself. And when she brought her goods into her marriage, the lawyers confirmed that her estate was worth much more than her entrepreneur husband's.
    In one of her projects, back in 2008, Alevtina drew the earth seen from the sky. No, this needs more precision: the earth seen from an airplane which is not her own private airplane.
    Once she made the drawing, Alevtina Kakhidze wrote to some of the richest people in Ukraine - Rinat Akhmetov and Viktor Pinchuk (who has his own adventure in the art world now) - and asked them to make a drawing for her of how the earth looks from a private plane. It was a nice portfolio she sent them, very professional and smooth. She tried encouraging them, telling them it wasn't about drawing well. If anyone can draw, so can you!
    This (and the obvious silence afterwards) made for a nice work. A clean statement about what we see and the position we see it from.

    But two years later, unexpectedly, an answer arrives. Akhmetov decided to make his huge foundation to support artists' projects. And Alevtina's project was thought perfect for a beginning. Unfortunately, Mr. Achmetov is too busy/shy/untalented to make a drawing, but he will be happy to rent a private plane for Ms. Kakhidze, so she can make her project herself.
    And make it she did.
    The project, called "I'm Late For A Plane That Cannot Be Missed", started with Alevtina going by collective transport from her house in the suburbs to the airport. She hitch-hiked a little, took a suburban mini-bus, a suburban train, and (as expected) arrived late at the small private airport near Kiev. There was already a TV crew traveling with her by then, asking everyone on the way who they were and if they knew Alevtina. At the airport, there were several more crews, and over a dozen news photographers. After all, this was an important day for art and culture in Ukraine: the richest man around decided to support real artists, and started by allowing this innocent-looking girl to realize her dream.

    And off she went. Onboard, she took only a few reporters. (There was even a struggle for the seat.)

    The anxious journalists were mad when, upon returning, Alevtina declared only one thing: she will tell the whole story and answer all the questions tomorrow during her lecture performance. That made no news story at all! Disappointed and frustrated, they could do nothing but wait.

    However, the next day arrived quite quickly. And here they were, the journalists, and tens of artists gathered at the conference in one of the most prestigious places in Ukraine (a part of the Saint Sophia Cathedral complex). Waiting mainly to learn how to get money for their projects. And, also, to hear what Alevtina has to say. And to see the drawings.
    Alevtina starts describing how she prepared for the trip, how she got clothes specially designed for the occasion, she talks about the cost of the plane rental (10 000 euros). And then she declares:
    I felt so calm on the way to the airport and in the sky but now I have to account for this tranquility. What have we done on the plane? We were there. There is no result. I have nothing to show for what actually happened there.
    The journalists were confused. This is surely a scandal? No drawing!
    But also - no demolition! No shocking performance! No reaction! Nothing! Alevtina did strictly nothing - she did not change the game, she did not make the plane fly somewhere else, she did not paint it red, she made no drawing. She took the flight.
    Did I say she didn't change the game?
    Of course she did.
    Her non-action was performative. It created a new reality. It brought about a challenge to the system, keeping up the power struggle between the art and the money. Who is the boss here? And why?
    Certainly, they want us to do what we want. But if we do what we want our way, we are the ones defining what they want. And for a fraction, it becomes our game. And this fraction, for me, is the work.

    In one of her works, Alevtina writes (or quotes, the origin is unsure): “And do you remember, I found 10 roubles, and ran home to show mom. Not the 10 roubles, but how lucky I am.”
    It is not the thing we find. It is about how lucky we are.
    And how we subvert this luck.


    PS. The struggle continues: in the description of the event on the Foundation's site, the actual request for Akhmetov to draw the earth is not mentioned, making it all seem slightly more like making "Dreams come true in art". What dreams, exactly?Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

Alevtina Kakhidze - Revolutionary Obedience

    "Art must concern itself with the real, but it throws any notion of the real into question. It always turns the real into a facade, a representation, and a construction. But it also raises questions about the motives of that construction." - Mike Kelley

    Here is how it went:
    Ukrainian artist Alevtina Kakhidze has been working on value and power for a while. In one of her charming projects (The Most Commercial Project), for instance, she drew objects that she liked, most of them she couldn't afford, and gave the drawings the same value that the objects had. So, a drawing of a Louis Vuitton handbag had the same value as the object itself. And when she brought her goods into her marriage, the lawyers confirmed that her estate was worth much more than her entrepreneur husband's.
    In one of her projects, back in 2008, Alevtina drew the earth seen from the sky. No, this needs more precision: the earth seen from an airplane which is not her own private airplane.
    Once she made the drawing, Alevtina Kakhidze wrote to some of the richest people in Ukraine - Rinat Akhmetov and Viktor Pinchuk (who has his own adventure in the art world now) - and asked them to make a drawing for her of how the earth looks from a private plane. It was a nice portfolio she sent them, very professional and smooth. She tried encouraging them, telling them it wasn't about drawing well. If anyone can draw, so can you!
    This (and the obvious silence afterwards) made for a nice work. A clean statement about what we see and the position we see it from.

    But two years later, unexpectedly, an answer arrives. Akhmetov decided to make his huge foundation to support artists' projects. And Alevtina's project was thought perfect for a beginning. Unfortunately, Mr. Achmetov is too busy/shy/untalented to make a drawing, but he will be happy to rent a private plane for Ms. Kakhidze, so she can make her project herself.
    And make it she did.
    The project, called "I'm Late For A Plane That Cannot Be Missed", started with Alevtina going by collective transport from her house in the suburbs to the airport. She hitch-hiked a little, took a suburban mini-bus, a suburban train, and (as expected) arrived late at the small private airport near Kiev. There was already a TV crew traveling with her by then, asking everyone on the way who they were and if they knew Alevtina. At the airport, there were several more crews, and over a dozen news photographers. After all, this was an important day for art and culture in Ukraine: the richest man around decided to support real artists, and started by allowing this innocent-looking girl to realize her dream.

    And off she went. Onboard, she took only a few reporters. (There was even a struggle for the seat.)

    The anxious journalists were mad when, upon returning, Alevtina declared only one thing: she will tell the whole story and answer all the questions tomorrow during her lecture performance. That made no news story at all! Disappointed and frustrated, they could do nothing but wait.

    However, the next day arrived quite quickly. And here they were, the journalists, and tens of artists gathered at the conference in one of the most prestigious places in Ukraine (a part of the Saint Sophia Cathedral complex). Waiting mainly to learn how to get money for their projects. And, also, to hear what Alevtina has to say. And to see the drawings.
    Alevtina starts describing how she prepared for the trip, how she got clothes specially designed for the occasion, she talks about the cost of the plane rental (10 000 euros). And then she declares:
    I felt so calm on the way to the airport and in the sky but now I have to account for this tranquility. What have we done on the plane? We were there. There is no result. I have nothing to show for what actually happened there.
    The journalists were confused. This is surely a scandal? No drawing!
    But also - no demolition! No shocking performance! No reaction! Nothing! Alevtina did strictly nothing - she did not change the game, she did not make the plane fly somewhere else, she did not paint it red, she made no drawing. She took the flight.
    Did I say she didn't change the game?
    Of course she did.
    Her non-action was performative. It created a new reality. It brought about a challenge to the system, keeping up the power struggle between the art and the money. Who is the boss here? And why?
    Certainly, they want us to do what we want. But if we do what we want our way, we are the ones defining what they want. And for a fraction, it becomes our game. And this fraction, for me, is the work.

    In one of her works, Alevtina writes (or quotes, the origin is unsure): “And do you remember, I found 10 roubles, and ran home to show mom. Not the 10 roubles, but how lucky I am.”
    It is not the thing we find. It is about how lucky we are.
    And how we subvert this luck.


    PS. The struggle continues: in the description of the event on the Foundation's site, the actual request for Akhmetov to draw the earth is not mentioned, making it all seem slightly more like making "Dreams come true in art". What dreams, exactly?Source URL: https://tattoosnyong.blogspot.com/2010/
    Visit tattoos nyong for Daily Updated Hairstyles Collection
Posted by arrae

Halloween tattoo on arm

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Posted by arrae

Halloween tattoo on back

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Posted by arrae
Friday, October 29, 2010

ABSTRACT ART OF THE DAY

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Posted by arrae
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