Computerlove™

Michael Jackson Tribute

César Moreno (from Golpeavisa) has done this awesome illustration as a tribute to the now defunct pop legend that needs no introduction.

MWM "Parallel Universe" Brazil Exhibition.

I have just returned from a month in Sao Paulo, Brazil for my Solo-Show “Parallel Universe” at POP Gallery (ROJO). VIEW ALL PHOTOS/INFO. I rocked a full series of 17 large canvases (all spraypaint), a Mega-Mural at POP Gallery (2 day affair), and did a whole lot of exploring in the biggest city I’ve ever been to (cachaça, forró, graffiti, hip hop, etc.) Amazing trip! Muito obrigado Brasil! Eu voltarei em breve.

Source: mwmgraphics

Left Hand Rotation 360+1

360+1, a multi-media experience of rotation, developed in May of 2008 in the University Carlos III of Madrid. The video doesn't really do this justice, but have a good look around the rest of the weird and wonderful LHR site while your there.

Sebastian Wiernick

Forwarding thinking Interior Design from Paris based Sebastian Wiernick’s on-site-00 programmatic furniture ... his residency project “This is the end” brings together form, function and unique creativity to public seating.

Merijn Hos x Hugo & Marie

Hugo & Marie just updated their website, and Merijn Hos has now joined their already great roster.

International Society For Human Rights

Advertising Agency: Scholz & Friends, Berlin, Germany

more subjects on ibelieveinadv.com

[Gallery] All Day I Dream About Sneakers

The world's most original range of sneakers, created for adidas Originals. By Chris Cork & Dimitri Kalagas. More images

The Seed

Mickey and Johnny got their website up and running, and guess what we found there?
A two-minute animated voyage through nature's life cycle, following the trials and tribulations of a humble apple seed. The film was kindly funded by Adobe, produced at Nexus Productions and features a soundtrack by Jape. It was made using a mixture of stop motion papercraft and 2D drawn animation.

Source: neuronstudio

Picasso: Drawing With Light

These are drawings made with light by Picasso.

LIFE photographer Gjon Mili visited Picasso in 1949. Mili showed the artist some of his photographs of ice skaters with tiny lights affixed to their skates jumping in the dark -- and Picasso's mind began to race. The series of photographs that follows -- Picasso’s light drawings -- were made with a small flashlight in a dark room; the images vanished almost as soon as they were created.

Source: annaka

White Swan

In the depths of a dark machinery world lies Lolly Jane Blue, exhausted, soaked. As she starts to sing of escaping her situation a mesmerizing world unfolds.

White Swan is Sil van der Woerd's second music video for singer Lolly Jane Blue. The video was shot in a dead coal mine in Belgium with the Red One camera. The post production was done in collaboration with students from Gnomon School of Visual Effects.

Let's Talk, Ryan Cox

New York City illustrator Ryan Cox captures a childlike sense of wonder in his brilliant body of work.

By Matthew Newton, Senior Editor

Ryan Cox' art looks like it could have been pulled from the lost archives of Hanna-Barbera studios. Well, perhaps the not-so-safe-for-kids archive, the one located at the end of the hall past all The Flintstones and Hong Kong Phooey animation cells. His knife-wielding hippies and cigarette-chomping bikers have a more R-rated vibe than the villains Scooby and the gang encountered, but they inhabit the same aesthetic space. There is a certain power and clarity in Cox' work that appeals to our desire as humans to view things that are beautifully rendered. His color choice is one of the hallmarks of his work. Without it, his characters would not leap out at you with the same type of immediacy. But Cox also displays a great sense of story in his illustrations. When you look at his work, you get the sense you're only being shown a small slice of a larger, more complicated world. I recently caught up with Mr. Cox, just as he was settling in for a relaxing New York City summer.

What I really like about your work is how it succeeds on two levels: It's fun and bright and colorful, but it also tells a story. What do you do to prepare for creating a new illustration?

Obviously, for the client-based work my first objective is to communicate what they've hired me to communicate. My job is to do that, and to make sure it looks good.

I always start a project by asking myself "what would I want to see?" I begin by trying to please myself, assuming that if I like it, chances are somebody else will too. Hopefully.

What first attracted you to art and what about it has kept your interest?

Everybody always says this, but as a kid I drew all the time. Constantly. I'd draw on anything. It was like a sickness, like I was afflicted or something and I was kind of embarrassed about it. My teachers used to scold me because I'd hand in my homework and the margins of the paper would be filled with doodles. They would tell me that I should be an artist when I grew up. And so I said "OK. I will. That's what I'll do." And that was that.

There's a great 1970s era vibe to a lot of your work -- I get a sense that you watched a lot of Hanna-Barbera cartoons as a kid. Can you talk about some of your influences and how honed your style?

I could talk for days about influences, but, yeah, I was definitely exposed to a lot of Saturday Morning television as a kid. And, yes, I had a strong affinity for the Hanna-Barbera stuff. I had an unhealthy love for Fred Flintstone, McDonald's Happy Meals, Nickelodeon, and weird PBS programming from the 1970s & 1980s. And, quite honestly, I still do.

There is a certain warmth to things from that era (1970s & 1980s) that I definitely try to instill in my drawings. And I do like to play around with a kind of visual vocabulary that's familiar to people. That being said, it's never been my intention for my work to be too overtly "retro" or nostalgic. I'm not at all interested in trying to copy stuff from the past, stuff that's already been done. But, yeah, my influences are definitely in there.

I saw that you collaborated with Digital Kitchen to have your illustrations animated for a Target spot. Your work seems perfectly suited for animation. Do you have any other plans for such projects?

I have actually been doing some character design work lately for a few animated projects. Some of them are top secret and some of them should be ready to show the world soon.

You've exhibited your work in forums like Pictoplasma. Do you have any more exhibitions on the horizon?

I really don't get invited to participate in a lot of those. I'd love to though.

What do you like about your job and what do you dislike?

Sounds cliché, but I feel really lucky to be able to do what I love for a living. Even if I sold insurance or worked construction or something totally unrelated, I'd still constantly be drawing in my spare time (like I said, it's a sickness). I love what I do so much, I sometimes feel like I'm getting away with something; like the cops are gonna bust in at any minute and force me to get a job in an office somewhere.

Dislikes? Dorky art directors that don't know what they're talking about. Luckily, those are few and far between, and I've been lucky enough to work with some super smart, super cool, super talented people.

What projects are you working on that have you really excited?

Summer's finally come to NYC, and to be perfectly honest, I'm really looking forward to taking things slow for a little bit -- but just for a little bit.

Related links: www.ryancoxusa.com | More Interviews