The album [Blaxistential crisis] artwork is by a friend of mine who is a brilliant artist named Sara Pocock. We've been friends for a couple of years and she worked with me on the animation. I believe she's still working over at BuzzFeed.
There's so much more work that goes into developing a makeup line than one would imagine. Personally, I like to be involved in the entire creative process - everything from art direction, collection concepts, formula testing, packaging artwork, to naming the shades and also the marketing side of things.
I'm a visual artist myself and always have been so it's very natural for me to be very concerned with presentation, whether it's artwork or onstage.
To give a price to an artwork, no matter how high or low, is always absurd. It's not something that can be measured by money or by certain numbers.
There's no single artwork I even want to mention or that I can even really think about it to have any feeling, to be proud of it.
I find that I have improved in my craft and I have improved considerably in my ability to critique other people's artwork. I forgot to mention that my course of study at the Art Institute is BSC in Media Arts and Animation.
I'm doing quite a few things now. In one day, I will go to Kassel, Germany, for a documentary project I've been preparing for half a year. I will bring 1,001 Chinese to participate as my artwork there - any Chinese who is a Chinese passport holder and over eighteen years old could apply through my blog. I'm just bringing them to Kassel to see the art show, and pay their room and board.
If you just turn to your paper or television each day, there are thousands of stories that are much more shocking than the gallery artworks.
The sort of formality that goes into my artwork I would not expect from everybody in the world. I'm sort of pushing that point to its limit, in my mind, but I think there's absolutely nothing wrong with using a laptop so long as we have some understanding of how it works a little bit.
Longing is the fullest sense of desire; it's the most deeply felt kind of desire. I think the most interesting artwork comes out of some sense of longing. It could be called dissatisfaction; it could be called distance. There are many kinds of wanting to get closer to something else, whether that is an idea, a body, a place. Longing is also one of the conditions people approach reading, visual art, or music with - it's to satisfy that sense of longing. It's part of my job, on some level, to grapple with that notion.
I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].
I think the artwork is very important because it gives people a visualization of my music. I wanted to create a whole visual aspect, so that the people listening to me can get a better understanding of my universe and integrate it fully into their own worlds.
I like that there's very little mystery in how the artwork is actually made. It's the labor and the focus and the precision that drives it to the next level.
For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.
If I'm in the business of making artwork that is designed on some level to sell a product, then I have to be very comfortable with the people I'm working with and I'd like to be proud of the end result regardless of its sale-ability.
If what you want to do is make artwork for bands, you have to love doing it because there is almost no money in it. In order to start doing it, you just have to put yourself out there, work for bands you love and for as little as possible to start, if not free, that's what I did for years.
It's the idea that we as people can control our own destinies. The government and the corporations, more even than the government, can't dictate what artwork we're supposed to like or what comedy we're supposed to laugh at.
Tightly-plotted, well-researched and beautifully drawn, this book is a real delight. Garen Ewing's mix of engaging characters, exciting old-school adventure, attractive ligne claire artwork and fluid storytelling makes The Rainbow Orchid easily one of the best graphic novels of the year.
My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork.
It is with artworks as it is with wine: it is much better when we do not need either one, when we stick with water, and when out of our own inner fire, the inner sweetness of our own soul, we turn the water over and over again into wine ourselves.
I tried different techniques during my career, but I especially fell in love with painting with oil and pallette-knife. Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.
What I liked about it is in the world of children, there are very, very different rules and a kind of naivete and innocence and sweetness that's been beautifully captured, I think, by this film as you can even see gesturing toward the film's poster on display nearby from this gorgeous artwork.
We are saddened to hear of the untimely death of Christian Audigier. It is a sad end to a brilliant marketer; his incredible energy and vision brought my artwork to global attention.
Like any artwork, things become richer if you know more about them; but I don't think that's crucial.
There is the artwork that you physically make but there's also the journey that happens on the inside.
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