edge composites

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2009 Speedvagen Road by The Vanilla Workshop
Via Flickr:
The downtube looks like it has a standard panel from the drive side and repeating text from the non-drive side. The Seat tube is the opposite. The full assym effect works best from the riders position looking down over the bike.

art school gothic
  • Film students are pretentious, or so say the graphic design majors. Sequential art majors think they’re better than everyone else, sneer the film students. According to sequential art majors, it’s fashion design students who are the intellectual snobs. You finally turn to a painting major and ask which group is telling the truth. She shudders, her gaze suddenly faraway as if reliving an inescapable dream. “All of them,” she says in a voice like shattered hope. “Dear God, all of them!”
  • There’s a hand-written sign awkwardly taped to the fourth computer from the right on the second floor of the Digital Art Center. “Rendering,” it reads. “Do not touch!” Upperclassmen speak of it in hushed tones. It’s been there for twenty years, they say. It will be there for twenty more.
  • There is a detailed etching of an erect phallus carved painstakingly into your desk. Every day, it looks slightly little more photorealistic.
  • Someone is working on a mural on the wall of an abandoned building outside your window. On the first day, you see the outline of a bird. On the second day, it’s been painted baby blue and it now soars on a background of stars. On the third day, it’s been joined by other birds of varying colors. There’s an outline of a circle on the edge of the composition that the artist hasn’t completed yet. On the fourth day, the birds are weeping blood as they fly into the uncaring abyss, dragged ceaselessly forward by the relentless pull of the void, feathers swallowed up in a black hole of nothingness. The very first bird, the one whose birth you witnessed four short days ago, looks to you with desperate pleading, yet you cannot help it. You do not think anyone can, not any more.
  • Your final exam in Art History 101 is approaching. You’ve started seeing the Venus de Milo out of the corner of your eye, behind gas pumps, down lecture hall hallways, peering over bookshelves at the school library. Every time you catch a glimpse of her, she’s closer than she was last time. You can almost make out the details now: face fixed in a frown, arm stumps rough and rocky, always standing in exquisite contrapposto.
  • Midterms have arrived, and your mind swims with glorious, chaotic color. You see shapes within forms and forms within shapes; lines fuse together to create alien geometries than make your head spin. The fracas is ever-present, and you long for the cold, clinical touch of the mathematics at which you never thought you would look back.
  • “I didn’t get any sleep last night,” complains one classmate. “I haven’t gotten more than thirty minutes all week!” cries another. A third student speaks up: “The last time I slept, the world was young and filled with primeval vengeance. Civilization was a non-entity, the fleeting dream of a people wanting more. I could feel the disowned children of ancient gods screaming for vengeance deep, deep under the earth, trapped in a prison that would not hold forever. When I last closed my eyes, it was to an Earth ruled by beasts.”
Simple Art Tip #14: Avoid These Compositional Kinks

We can all agree that art is subjective. However, there are some things that are universally acknowledged to be detrimental to a composition and having a good composition directly affects the quality of an art piece. Of course you are always free to take full advantage of your creative license as an artist and it’s up to you to decide whether you want to break the rules or not. Regardless, it’s always smart to take design principles seriously and to take on a thoughtful approach to your work, especially when you’re still learning. 

Tangents, tension points, and passive overlapping are the kind of details I look for in a composition before moving from a rough sketch to a tight sketch. These kinks can seriously affect the quality of your work, so it’s important to address them early on in the sketching process to avoid having to make adjustments later on. This will increase the quality of your work and save you time in the long run. 

Tangents

When lines or shapes touch at a single point, drawing unwanted attention to that area. 

Tension Points

When lines or shapes are not touching, but are close enough to one another to create visual tension, drawing unwanted attention to that area.

Passive Overlapping

When lines, shapes, or objects are passively overlapping, drawing unwanted attention to that area. If you actually want things to overlap, make it look intentional. 

Cropping At Joints

Specifically when dealing with figures, cropping at the joints looks awkward and draws the viewer’s eye to the edge of the composition (and away from your art!). 

It might take a bit of effort, but once you make it a part of your process to scan for these compositional kinks you’ll find it easier to spot them in your work and others’. It won’t be too long before you avoid making these mistakes naturally, making you a more competent and efficient artist. 

6

Designed with formal design principles in mind, this typeface, named “Space”, explores the effect of positive and negative space on the letterform. The eye searing stripes are at times hard to enter but in most cases the letter’s lines push the eye to the edges of the composition and offer relief.

Although the design focuses primarily on individual letterforms and not so much the interaction of letters to form words, the back of the cards do pair a word starting with the letter on the front of the card to demonstrate the legibility of the typeface. A photograph of the word (repeated to form a pattern) is also included.

Specs: 4x4 in single sided on 110 lb card stock, front and back glued together.

Designed by Gabe Tiller

anonymous asked:

What do you think of 'take your son, sir' by Ford Maddox Brown?

Do you mean my interpretation of it? From the first, my take was that it was a confrontational image. I don’t know how much of that is down to the title alone; it’s a directive, and the “sir” gives it an edge. But the composition too has a rawness. The child is stripped bare, in its elemental form, and is presented by the somewhat imposing figure of the woman, with that remarkable look on her face. I’ve taken it to be a relative of the mother, facing off with her lover when he comes to call. But that wouldn’t account for the open body language of the father that you can see in his reflection if you look closely. His arms are outstretched and his face even looks gentle. I can’t discount that. Maddox Brown probably meant it to be a positive work. Probably. As far as other thoughts? Love, love the decor of the room. Those are some style goals.

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SVR_4_1018 by The Vanilla Workshop
Via Flickr:
Bob Huff (our long time photographer) took these photos

My collective “warm-up” from the past couple days. I was originally going to draw a wolf and ended up here somehow. Better? I think so.
Also, in case you guys haven’t figured out by now, I love vignettes. Probably my favorite kind of images to design. It’s just like, why would I want a boring straight edged composition when I could have a neat blob? Also better? Definitely.