Thanks for the invite, Alex!
P.S. Two years ago I contributed to Future52’s previous incarnation, Raygun52. Here’s my piece for that. What a blast from the past ha haha h a
BONUS JULY INTERVIEW
Normally I keep a very strict no-hatelinking policy on the internet. Life is too short, there is too much suffering, and a desire to foment hate and anger is exactly the reason people post terrible things on the internet in the first place.
However. I really wanted to use a…
Walter Breker, artwork for the poem Mondschaf / Moonsheep by Christian Morgenstern, 1970/1905. Germany.
The moonsheep stands upon the clearing.
He waits and waits to get his shearing.
The moonsheep plucks himself a blade
returning to his alpine glade.
The moonsheep murmurs in his dream:
‘I am the cosmos’ gloomy scheme.’
The moonsheep, in the morn, lies dead.
His flesh is white, the sun is red.
George Takei describes the moment when he and his family were sent to an internment camp.
N.C. Wyeth ~ End Papers for Robert Louis Stevenson’s “Treasure Island”.
Dean Cornwell ~ “Captain Blood had walked into a trap.”
-Dean was a student of Harvey Dunn’s.
Harvey Dunn and N.C. Wyeth were students of Howard Pyle.
Here’s the interesting part: Printing and Cost restrictions of the time forced artists like Pyle, Wyeth, Dunn, and Cornwell to come up with new techniques. In these examples, despite what you might think, Wyeth and Cornwell only used one color for these paintings, and then the rest was done in Black and White. They were simply not allowed to use any other colors, because the publishers couldn’t afford it, and the printing quality wouldn’t allow for more variation.
In Wyeth’s case, the figures are huge and imposing. Yet they seem to move with a grace and purpose not often seen since. The yellow used for the sky very clearly shows this to be an Island. The ground is actually White. But, because of the use of the yellow for the sky, your eyes actually fill in the missing details. The characters are all in Black and White. It’s just a yellow sky, but it’s done so well that you don’t really notice it.
Cornwell actually moved a good bit away from the teachings of Pyle’s school. Harvey Dunn was reportedly quite critical of Dean’s later work. Comparing the figures of Wyeth and Cornwell, Wyeth’s seem like big, muscular and dirty guys. Cornwell’s look like refined, polished gentlemen.
Anyways, in Cornwell’s case, he used highlights of a Reddish-Orange hue. The rest is just black and white. That single color-and there’s really only one shade of it-manages to enliven the entire scene. Every character seems very much so to be in full color, despite the lack of it.
Howard Pyle is referred to as “the Father of American Illustration”, and the students that attended his school in Delaware are referred to as the Golden Age of Illustration’s Masters.
I think Sterling and I saw the original Wyeth on our trip North a while back.
The World is Flat with Martin Lanciano
To see more of Martin’s cleaned-up chaos follow @_o___________o_ on Instagram.
For graphic designer Martin Lanciano (@_o___________o_), photography is a way to create order from chaos. “I would love to live in a cleaner, less crowded place than Buenos Aires,” he says. “I’m not drawn to all these different architecture styles, colors and textures mixed together.” In his minimalist collage series #offlabeluse_, Martin flattens bulky pieces of medicine packaging and glues them to a thin sheet of paper. “With my pictures, I’m also slicing up the 3D volume of the real world and folding it into flat 2D squares.”
Martin’s photos focus on capturing clean bits of shape and color that he finds in his everyday life. “I’m not interested in the meaning of things or trying to convey a message or idea. As a graphic designer you have to do that,” he explains. “On Instagram, I feel free to just play. It’s like taking the serious part out of the graphic design and just keeping the fun! I try to focus on pure aesthetics such as balance, tension, contrast, empty space and color palette.”