medium concepts

Taako is definitely the most fun to design & style but it was starting to feel a little weird to draw him without the squad. 

5 Books on Women in Craft and Design
A Shelfie from Kayleigh Perkov, Graduate Intern at the Getty Research Institute

Hi, I’m Kayleigh Perkov, graduate intern in Web and New Media/Digital Art History at the Getty Research Institute. I’m an art historian and am currently finishing up my doctoral dissertation on the integration of digital technology into craft practice in the late 1960s and early 1970s. I first started focusing on craft and design because it has such a rich—and sometimes contentious—history of engaging with women makers. In the last few years this scholarship has only become stronger and more vibrant, so to celebrate Women’s History Month, here are some of the books that inspire me about women in craft and design.

The Pink Glass Swan: Selected Essays on Feminist Art by Lucy R. Lippard. (The New Press, 1995).

This book is creased for a reason; I come back to it constantly. Written by one of the foremost art critics of the latter half of the 20th century, Lucy Lippard tackles art and feminist politics in this anthology. Of particular personal interest is “Making Something From Nothing (Towards a Definition of Women’s ‘Hobby Art’).” In this essay, Lippard complicates the standard art/craft hierarchy and ideas of cultural respectability.

Bauhaus Weaving Theory: From Feminine Craft to Mode of Design by T’ai Smith. (University of Minnesota Press, 2014). 

Art historians have long noted how women in the Bauhaus were encouraged to specialize in fiber or clay, mediums associated with traditional concepts of femininity. In this book, Smith neither laments this fact nor endeavors to boost these mediums. Instead, she engages with a collection of understudied theoretical writings from the Bauhaus weaving workshop, offering a new lens to understand the works and process of weaving.

String, Felt, Thread: The Hierarchy of Art and Craft in American Art by Elissa Auther. (University of Minnesota Press, 2009).

Auther offers an alternative history of American art in the 1960s and ‘70s, told through an engagement with textiles and fiber. Studying both feminists who valorized fiber—such as Faith Ringgold and Miriam Shapiro—and the use of fiber as material in the work of minimalist and post-minimalist artists—such as Robert Morris—Auther offers her own answers to the age-old question of why some works are considered “art” and others “craft.”

Live Form: Women, Ceramics, and Community by Jenni Sorkin. (University of Chicago Press, 2016). 

Sorkin provides a new historical grounding for contemporary participatory and socially engaged art by focusing on three major figures in postwar ceramics: Marguerite Wildenhain; Mary Caroline Richards; and Susan Peterson. In this book, Sorkin makes an important methodological, as well as historical, intervention. She asserts that ceramics as a field is less about the objects themselves, and more about the act of making, which connects both to theories of pedagogy and performance.

Women Designers in the USA, 1900-2000: Diversity and Differences by Pat Kirkham. (Yale University Press, 2002).

An anthology edited by the influential design historian Pat Kirkham, this book is one I continually find myself reaching for in the early stages of a new project. Need an introduction to the work of women in fashion design or metals? You can find it in here. I particularly value this book because it explores the work of women across a spectrum of making, from one-off craft objects to mass-produced goods designed for the commercial market.

Philosophy in Doctor Who

In reference to Series 10′s finale (If you haven’t seen it SPOILER ALERT). The Missy/Master end was perfectly fitting. The only time she tries to turn good, she is stopped by her own self and she finally realizes the burden of being selflessly good. Ironic end for missy. If they somehow decide (which they won’t) that this is the last we’ll see of Missy/Master, I think this is the most perfect ending for any character on the journey of redemption. I love how Doctor Who sometimes manages to portray a classically complex philosophical debate on morality so elegantly and effortlessly. Who would’ve thought that a kids’ show about an alien would be the perfect medium to tackle concepts like mortality (every regeneration), morality, free will and inner conflict (Heaven Sent). I love how the entire concept of The doctor is based on humanity’s God complex and its ultimate realization that we are after all idiots in a box (as aptly tackled in Waters of Mars and Death in Heaven). Besides the endless debate over causality and consequences just makes Doctor Who a uniquely insightful show.   

Hello my name is Chet, I’ll draw your shit for a low low LOW price. I’m doing mix medium character concept art for dirt cheap because my spouse and I didn’t get our tax return this year and I need to pay the electric bill and eat this month.

I have my primary blog set up so that only mutuals can send me messages so if you need me to know you want work, you can reblog this and tag me so I know you’re interested and I’ll message you and we can go from there.

Thank you, I’d love to hear from you, have a nice day.

Been playing around with the idea for a new series tonight

I did the “pitch” for it about a week ago but I’ve been thinking more on it

Basically, the medium concept is a children’s cartoon, so here’s some random tag thoughts I’ve had

  • Basically, the premise is this loud teenage girl history buff (Astor Carter) is a volunteer at a local history museum and finds out a mad scientist (Dr. Alvaro Mars) is working out of the basement on saving ancient artifacts via time travel, hanging out with various historical figures, and other mad science-y things. They become friends and have adventures while learning about history and science casually.
  • Astor is about 16 and of a mixed racial background (white father, black mother) and is very clever and curious but also headstrong and stubborn, which gets her in trouble often with the authority figures in her life.
  • She’s only allowed to work in the museum at her age because the director was friends with her father before his disappearance (because what good children’s show doesn’t have a missing parent?) and feels like she owes him somehow.
  • Astor’s got a HUGE CRUSH on a girl from school named Chloe who’s on the cheer team and is also a “mathelete.”
  • Her mother is a librarian and loves her daughter very much and supports her interests, but also wants to help her learn to respect authority more and know just because she yells something doesn’t make it right.
  • Her father was an archaeologist (of course) and was a kind man, if a little odd. He disappeared on a dig around the time she was 8-9, so she has a lot of memories of him. No one knows what happened to him and there’s been no trance of him since. Why? I don’t know, but lets be real here, the time travel/mad science angle is gonna play into his disappearance somehow.
  • Dr. Mars’ age I’m still not sure about, but really, anywhere from 28-35 is my current range guess. He’s of a Latino background and kinda has, as Chloe puts it, “a younger, hotter Doc Brown” thing going for him.
  • Very sweet guy but more than a bit weird, kind of an absentminded professor type, he’s just very enthused about science and history and his work. He reminds Astor of her father a bit, which is probably what draws her to him. He always wears goggles too because “People know you’re in charge if you’ve got goggles.”
  • Why does he work out of the museum’s basement? That’s a good question that I don’t have the answer to yet.
  • Probably built a AI that lives in his computer’s mainframe that kind of manages all the stuff he’s too forgetful for and has the personalty of a child-friendly GLaDOS probably.
  • He is probably the only person to watch Jurassic Park and think “cloning dinosaurs…that’s a great idea!” and try it. Now he’s just got a pocket sized velociraptor and broken dreams about his cloning abilities.
  • The only woman for him is “The harsh mistress of science,”…and also his constant attempts to flirt with Nikolai Tesla when they’re in each other’s time periods, but he can never manage before he gets too nervous.
  • Astor and Mars meet because the director sent Astor to the basement to get something and she saw all these “KEEP OUT,” “DO NOT ENTER” “DANGER” signs, got curious and ignored them and found his lab. She saw all the cool stuff and was amazed, and when Mars found her there, she thought he was angry, as he said, “So, you see a bunch of “DO NOT ENTER” signs and decide to ignore them and go anyway?…That’s my kind of people! What’s your name, kid?” and he practically hired her to be his assistant on the spot.
  • There’s probably three “types” of episodes, ones where Astor and Mars go to the past to save artifacts/meet historical figures/solve an ancient mystery/ect, ones where people from the past come to their time and shenanigans ensue, and ones about one of Mars’ inventions causing havoc of some sort.
  • The museum is probably in NYC b/c New York is the centre of the universe.

That’s all I’ve got for now, but just an idea of what I’ve been thinking about on and off the past few days.

It also doesn’t have a name yet, I’ve been calling it “Partners in Time” but that’s so fucking lame.

I’m gonna tag it as that for now tho.

You know, I don’t think we have a word in English for the concept that exists at the midpoint of the spectrum between mood and personality.

Consider: “sad” is a mood—a short-term feeling that might be affecting you right now, but which you don’t identify with when you’re not having it. And “depressive” is a personality trait—a long-term, perhaps permanent fact about a person. You will always identify with your personality traits.

But there is no word for the medium-term concept: “I have been feeling this on-and-off recently; it is part of who I currently am, though not of who I have always been, and likely not who I always will be.”

If there was, many things could be easily described using this word, and in-so-doing, you’d begin to see useful patterns. For example, a mid-life crisis is this kind of medium-term state. So is a major depressive episode. Or the limerance of new love. The only reason we don’t group those things together, is that we don’t have a word that encircles them.

But it occurs to me: we sort of do have this word. Not in English, but specifically in Tumblr slang.

There are three idiomatic interjections, which Tumblr users use in reblogs to mean, essentially “I feel that.” These are:

  • “me”
  • “mood”
  • “big mood”

Of these, two are regular concepts: “big mood” means, basically, “this is my mood right now”; and “me” means, basically, “this is part of my personality.”

But an un-modified statement of “mood” means something closer to “yeah, that’s a feeling I’m familiar with, I am in that way, though not necessarily right now.” People will reblog a picture of a scared little piglet screaming when it is put down with “mood,” even if they are not currently feeling at-all anxious; rather because they are aware of having felt like this repeatedly and recently.

If the English language could harness this concept being grasped at by the interjective “mood”, we could communicate our medium-term emotional states far more succinctly.

So how about it? What should the word be for these medium-term states?


Jen Mann

I don’t too often find hyper-realist art all that interesting these days - not since I’ve been introduced to a wider variety of works that just do so much more. Don’t get me wrong, they are usually very impressive, but they lack the depth of pieces that go ahead and use experimental mediums or techniques, interesting concepts and themes or things that are just that little bit different. This could be my recent new thirst for more contemporary and post-modernist art coming through; it very well likely is.

However, Jen Mann’s paintings are an example of what I think is hyper-realism done well. Her almost photographic images are painted in justice with their fanciful colour pallets and well, rather ironically, classic photographic image filter style! The images are reminiscent of the tools I often use myself in photoshop to edit photographs; the overlays, the inverted colours, the pixelated/censored areas, and the sickly and highly contrasted colours one could create by running an image through a hipster, pre-downloaded ‘Action’. I think there is something really great in Mann’s pieces that has made me sort of fall in love with them.

Her concepts are drawing from well-known ideas, yet there’s still something very fresh about them. The designs are something you would be most expecting to see from a graphic design area of practice, so it’s a surprise for us to see them as a painting… and as huge painting at that! Many of these pieces are incredibly large, something that just wouldn’t pay off if they were only edited photographs.

Jen Mann has a good understanding of colour and how to create mood through pallet choices and I feel that the pieces are almost sarcastic? They have an idea of fun about them and don’t seem to be taking themselves 100% seriously.


DreamWorks Meme: [1/1] Medium:

“The concept of today’s level of 3D CGI animation is an evolution from basic cartoon animation into a simulated world that seeks to represent realism as accurately as possible. It does this by slicing up the world into the smallest segments possible, and then controlling how those tiny parts of real world objects move, react and change based on the other objects and conditions within that 3D world.”