The art of quilling, a technique that involves rolling, shaping and gluing strips of paper to form decorative designs, has been around for literally hundreds of years. Russian-born, UK-based designer and artist Yulia Brodskaya has a masterful handle on the time-honored art form, and brings it into the twenty first century through use in advertising, publishing and even CandyCrush-inspired art and animated replicas of her work (seen here and here and here). Her three-dimensional work is vibrant, highly detailed and really thoughtfully crafted. Brodskaya explains her passion for paper in her own words, “Paper always held a special fascination for me. I’ve tried many deferent methods and techniques of working with it, until I found the way that has turned out to be ‘the one’ for me: now I draw with paper instead of on it”. Brodskaya’s reputation is unmatched, with an impressive list of clients to prove it.
More paper art posts here and here.
Infographics, by design, are meant to present complex information quickly and clearly. And given our ever shortening attention span (digesting information in the form of Tweets, texts, etc.), the proliferation of infographics is upon us. Munich-based design studio Kurzgesagt (German for “in a nutshell“) is particularly adept at breaking down information and presenting it in an engaging and comprehensible fashion. When applied to traditional cornerstones of education like the solar system, or even current topics of interest like fracking or the situation in Iraq, infographics from Kurzgesagt, led by Philipp Dettmer and Stephan Rether, are able to inform and captivate in extraordinary ways. Kurzgesagt says it best when describing their terrific piece The Solar System: Our Home in Space: “The solar system – well known from countless documentaries. 3D animation on black background. This infographic videos tries something different. Animated infographics and a focus on minimalistic design puts the information up front. We take the viewer on a trip through the solar system, visiting planets, asteroids and the sun.” This piece should be a primer for all secondary school-aged students when learning about basic astronomy. From a design perspective, their sense of typography and color, as well as their use of flat animation, are spot on. Be sure to check out their piece on Iraq… we certainly learned a thing or two.
Creating an original typeface is no easy feat. And one that is animated, engaging and thematically relevant to the concept at hand? You guessed it… tremendously challenging. Madrid-based designer/art director Noelia Lozano has created one such design for a project entitled Curiosity is the Key. Lozano worked in collaboration with The Poool magazine, part of the OFFF Festival 2014, an international festival held in Barcelona every year that attracts offline/online designers, motion designers, thinkers, sound designers, graphic designers, theorists, developers, professionals, students (basically curious creative types). Noelia was given the magazine statement, along with the theme, and off she went: “We hate expectations. We are bigger than reality. We want to dive in what’s behind the real world. Dive deeper with what we want to know without expecting it. The Poool is the place to be, it is your escape, your answer, and the feeling of scratching your itchiness.” In her own words, Lozano explains: “My work is in relation to that which helps me to keep working every day …curiosity.”
IS THE KEY</a> from <a href=”http://vimeo.com/user4948198″>NOELIA
LOZANO</a> on <a href=”https://vimeo.com”>Vimeo</a>
Collage work, though we’ve all created some form of it from an early age, is way more difficult than it looks… especially at a masterful level of fine art. Barcelona-based artist Sergio Albiac is one such master, who marries traditional media and generative computer code in unexpected ways. Albiac’s series “You are not in the news” explores the relationship between self-worth and media exposure. These compositions are striking, to say the least. And a glimpse into Albiac’s process makes them that much more special. In his own words: “When I code a generative sketch, I introduce control (the sentences that govern the sketching action) and also a degree of randomness in the code. This is a machine control/randomness balance. Then, I select certain outputs (again, human control) and I paint a canvas using the selected generative images as an starting point, without the aim of exact reproduction. The act of painting is a struggle between control and randomness because, depending of the painting technique, paint behavior cannot be totally controlled by the painter. In this way, I explore a fascinating “dialogue” between control/randomness and machine/human interaction. It makes sense to me. I feel connected to artistic tradition but using the generative sketchbook process, I can create in a very contemporary and innovative way that deeply reflects the ideas I need to express.” Just brilliant
Previous post about a very different approach to generative art here. And more collage work here.