and-work-as-a-graphic-designer

Blue Sketch Commissions

The reason why I’m starting these commissions is because the paychecks that I got from my retail job goes to my bills and my savings account so i can move to somewhere else later this year. I just need some extra cash for food (since I’m a health nut) and other important things.

To make payments, just click on the Paypal button on the side.

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Benefits for me when doing these commissions.

  • More extra cash for me because it’s something that I enjoy doing on the side.

  • Gives me the reason to draw more frequently in my style and add new pieces to my illustration/graphic design portfolio.

  • If well received from my clients and fans alike, then I might do color commissions or character sheet commissions!

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More Examples of my work:

My Sketches and Finished Works

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Prices:

Bust Shots and Waist Shots: $10.00 USD

Full Body: $15.00 USD

Fully detailed sketch complete with background: $20.00 USD

More than one character: $2 per character

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Payment:

Send the payments to my Paypal account as pay for goods and services. Be sure to select no address needed and no shipping needed.

You must be able to pay 100% upfront.

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Rules:

  • I have the right to declined any commissions that I feel uncomfortable doing.

  • It’s important to be patient with me when it comes to commissions, especially when it comes to my job outside of my art blog. I will however keep in touch with you on my progress.
  • I am willing to draw: Anime/Manga style, Chibi, animals, suggestive content (ecchi level), nudity, fanart, or original characters.
  • I am not willing to draw :Hardcore Porn (Hentai), abuse, guro, photorealism, mecha, real life people, questionable fetish (i.e diaper fetish, inflation, etc).

  • You MUST be 18+ in order to get nudity or suggestive content (ecchi) commissions. NO EXCEPTIONS.

  • When requesting a commission drawing, please give me deep details on what you want. If any original characters or copyrighted characters is involved, you must provide me a clear reference.

  • I will also send you a WIP sketch to you in case if you need me to make any adjustments.

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I want a commission from you. Now what?

Send me a note through submit or by email introvert.ink7@gmail.com

.****Do not send me commissions through ask or send it through submit as anon or else it will be ignored.*****

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Commission Form Sheet (Please send it through submit)

Name or Username:
Email:
Type of Commission:
Message:
Public commission or Private commission:
*What I mean is if you’re uncomfortable for me to post your commissioned piece  on my page, then I will just email the finished piece to you. This is useful, especially when it comes to canon character x oc pieces*

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Commissions Slots:

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pls help

My name is Ezra. I work a job with terrible and inconsistent hours for minimum wage and I’m disabled, so working 25 hours or more a week is very taxing. My financial situation has become rough because I have no support from my parents and my dad stealing my MacBook from me. I need help supporting my boyfriend & my pets.
I would love to be working toward saving for a laptop capable of managing the software for graphic design work/commissions, but currently it’s just not possible to save that kind of money due to bills, car insurance, medical insurance, and most of all, food expenses.

If you are able to donate, my paypal email is jmbeckett3 @ gmail .com (no spaces)
Even a few bucks would be seriously appreciated, and if you are unable to donate, please reblog.
Thanks for your time.

7

JG Furniture Co., Inc. was located in Quakertown, Pennsylvania and closed its doors in 1998 after nearly 70 years in business. Vignelli Associates designed these brochures for the company possibly around 1974. We don’t know much more about the company or the project, but wanted to share what we had found in the archives so far. If you know anything about this project or JG Furniture, we would love to hear from you! 

The Block End Line was “an executive group of desks, credenzas, and returns with a variety of pedestal arrangements.” This group was designed by John Nance, who also helped create the Reveal Desk modular system for JG Furniture Co. The photography in this brochure was done by the Swiss-born graphic designer and photographer Herbert Matter, who worked as a design consultant for Knoll before Massimo Vignelli took over the roll in 1966. 

In case you missed it, more on JG Furniture:

http://vignellicenter.tumblr.com/post/147800971102/vignelli-jgfurniture-lemaybenches

Stay tuned for more from the archives on JG Furniture!

JG Furniture brochure
8.5” x 11” (folded)
Box 120, Massimo and Lella Vignelli Papers
Vignelli Center for Design Studies
Rochester, New York

JG Furniture sketches, tear sheet advertisements, etc.
Box 557, Massimo and Lella Vignelli Papers
Vignelli Center for Design Studies
Rochester, New York

Speaking in Tongues

Graphic designer Tibor Kalman made a circle of blue the visual centerpiece of Talking Heads’ 1983 release Speaking in Tongues. The circle is seven inches in diameter, just like a 45 record. But while the graphic might evoke the standard format of singles from the ‘50s, ‘60s and ‘70s, it was actually inspired by the circular motifs of tantric paintings that had interested lead vocalist David Byrne at that time. Lauren O’Neill-Butler has written that in “the elusive tradition of abstract Tantric painting from Rajasthan, India …works depict deities as geometric, vividly hued shapes.”[1] In addition to Kalman’s design, the influence of these shapes is similarly seen in the cotton screen-print below from Cooper Hewitt’s textiles department.

External image

Many of Kalman’s album cover designs feature altered text and typographical experimentation. This album in particular shows him experimenting with text spacing. When someone speaks in tongues in a religious setting, their speech is not made up of real words and the vocalizations lack comprehensible meaning. Kalman’s decision to toy with the text spacing of the album can similarly be seen as a way to affect the meaning of the words. The comprehensible “Talking Heads Speaking in Tongues” becomes the harder-to-read “TA LKI N GHE ADS SP EAK IN GI N TO NGU ES.” It seems clear that the connotation of speaking in tongues has informed Kalman’s design of the text.

External image

When commenting on the graphic design of Tibor Kalman, David Byrne wrote that Kalman’s work “is the visual equivalent of sampling in music… We read [his design] as visual sentences composed of bits and pieces from near and far, now and then.”[2] The cover of Speaking in Tongues fits this theme of sampling and piecing different things together well. Indeed, the circular tantric motif mentioned above only tells us part of the story. In the book Tibor Kalman: Perverse Optimist, editors Peter Hall and Michael Beirut write that “Speaking in Tongues embodies two different covers… the tantric paintings of Eastern mystic traditions [and] …the strange photographs Byrne had taken of a hotel room chair.”[3] After your eyes stray from the blue circle at the center of the cover, the four hotel chair photographs reveal themselves. Four small squares are again shown on the back of the record in roughly the same position of the squares on the front. The boxes on the back feature song titles, musicians’ names, the barcode and the production credits. Each photograph of the chair features a different colored filter and the concept of four colors is mirrored on the back cover which shows a four-colored circle. The idea of quadrants seems to fit well not only with the obviously square record jacket, but also with the Talking Heads themselves since they had four members.

While combining photos of a chair with tantric motifs might initially seem arbitrary, the fact that Kalman grouped these things together reinforces the notion that his design offers the visual equivalent of sampling. Perhaps the combination of primary colors with simple circles and squares is an ideal way to bring these seemingly arbitrary images together. When commenting on Kalman’s Speaking in Tongues design, Hall and Beirut observed that “somehow, the incongruous themes were neatly sewn together,”[4] but Kalman’s decision to boldly present a circle and a chair side by side causes one to question whether these things are indeed incongruent. The fact that the chair is the only thing shown in each photograph emphasizes the singularity of the object. Suddenly it has something in common with the circle as both are shown in their singularity. None of the four photographs show the chair in a proper sitting position, and this emphasizes the aesthetic aspect of the chair as opposed to the functional aspect. We see the chair not as something someone could sit in but as an object with form, color, and texture, perhaps in the same way we are drawn to the form, color and texture of the circle. While the contents of the cover may indeed be incongruent, Kalman brings these things together in such a way that they don’t immediately seem incongruent—just as a DJ can seamlessly pair a classical recording with a hip hop beat. In this way, David Byrne’s idea that Kalman’s work “is the visual equivalent of sampling in music”[5] is spot on.

[1] O’Neill-Butler, Lauren. “‘An Egoless Practice’: Tantric Art.” The Paris Review.
[2] Hall, Peter, and Michael Beirut. Tibor Kalman: Perverse Optimist. Princeton: Princeton Architectural Press, 2000.
[3] Ibid.
[4] Ibid.
[5] Ibid.

Jeremy Witten is a curatorial intern in Cooper Hewitt’s Drawings, Prints and Graphic Design Department. He is currently studying music at the University of Alberta in Canada.



from Cooper Hewitt, Smithsonian Design Museum http://ift.tt/2a5D92W
via IFTTT
9

Illustrations by Stoian Hitrov

From his home in the town of Troyan, Bulgaria, graphic designer Stoian Hitrov has been making his foray into the world of art. Building upon the techniques he developed throughout his five-year career in visual communication, Stoian mixes traditional and digital techniques to create layered works that explore the space between mountains and sky. Layered yet distinctively minimal, his otherworldly art evokes a sense of isolation and wonder at the vastness of the universe.

Instagram and Twitter.


Art not only for connoisseurs. Posted by tu recepcja via

10

Wonderful Collage work from David Crunelle

David Crunelle is a multidisciplinary artist from Brussels, Belgium, mainly developing his work in visual art, photography and graphic design.
He has been teaching visual communication and photography in higher education for nearly 10 years. He works as art director in a communication agency and he is also a stock photographer for Getty.
Winner of several graphic design competitions between 2009 and 2013, he is the author of many artworks for which he was recently nominated by the Music Industry Awards.
Jury’s favorite of the Parcours d’Artistes in Saint-Gilles in 2014 with his project “Stapletown”, he was then noticed for his exhibition “Psychedelic Constructivism” the same year.
The House of Cultures opened its doors for his “Kaiju Superstar” series in May 2015 . He is currently working on its new series of psychedelic collage, « Folk » which will be presented in September 2016. David was born , lives and works in Brussels. David’s Tumblr

Thanks Jung Katz


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Posted by Andrew

10

Artist Focus: Jack Tuckwell

We’re really excited to be kicking off a new feature on Pixalry today; our Artist Focus series! Twice a month we’ll be showcasing the work of some of our favorite artists and designers, along with an exclusive interview with a look into their life and background. Without further prelude, here’s our inaugural feature with the very talented artist and designer, Jack Tuckwell!

Tell us about yourself. Where are you from? Where do you live now?

Hello! My name is Jack Tuckwell, originally from a small town called Highworth in England, but currently living and working from just outside Bristol. I am self-employed as a Graphic Designer & Artist, producing a range of work under the name Alarm Eighteen (AXVIII)

What got you interested in artwork? What is your “origin story”?

Even when I was very young, you would have struggled to find me without a colouring pencil in hand, a building block/lego brick structure in front of me, or fashioning some kind of den in the garden. I used to spend a lot of time with my Nan making things (at this point, anything and everything I made was called a “cheese machine"…

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