Looney Tunes Backgrounds
This Instagram account posts the backgrounds of Looney Tunes cartoons with the Looney Tunes characters removed. As @presentcorrect.bsky.social remarks, these images are also a great resource for color palettes.
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This Instagram account posts the backgrounds of Looney Tunes cartoons with the Looney Tunes characters removed. As @presentcorrect.bsky.social remarks, these images are also a great resource for color palettes.
My friend Josh LaFayette spends the very last part of the year making fan art for his favorite albums of the year and despite all the pieces being visually different there’s a through line which make all of them immediately recognizable to me as his art. He’s putting out a few a week on his Instagram, but I grabbed these two because I also loved these albums.
Laura Jane Grace’s - Hole in My Head
My favorite part of this series is all of the pieces are physical, not just a file on the computer. Every piece is a reference to the design language present in the age of accessible digital printing—they’re inspired by what some might call “naïve” or “uniformed” designs that are common in the American visual vernacular. The Moreland piece is a take on the flyers for psychics you see all over and the LJG piece is your favorite hippie soap.
You know me, I love a good gradient. These watercolors are from a series called Strata by Mikael Hallstrøm Eriksen, an artist who uses “repetitive and accumulative mark-making” in his work.
The works in the Strata-series are inspired by geological and natural phenomena — sediments, horisons, bodies of water, etc. These works explore a colourful imagery of accumulation, distance and transformation. Within geology and archeology, strata (singular: stratum) refers to layers (of rock, soil, culture etc.) possessing internally consistent characteristics making them distinguishable from each other.
You can check out more of Eriksen’s work on Instagram.
Wacław Szpakowski was a Polish architect and engineer who, over the course of his life and in secret, made a series of drawings of mazes from single continuous lines. From The Paris Review:
The drawings, he explains, “were experiments with the straight line conducted not in research laboratories but produced spontaneously at various places and random moments since all that was needed to make them was a piece of paper and a pencil.” Though the kernels of his ideas came from informal notebooks, the imposing virtuosity and opaqueness of Szpakowski’s final drawings are anything but spontaneous or random. His enigmatic process — how he could draw with such supreme evenhandedness, could make his designs so pristine and yet so intricate — is hinted at only in his few visible erasure marks.
Geoff Manaugh writes at BLDGBLOG:
But the appeal of Szpakowski’s work would appear to extend well beyond the architectural. At times they resemble textiles, weaving diagrams, computer circuitry, and even Arts & Crafts ornamentation, like 19th-century wallpapers designed for an era of retro-computational aesthetics.
Woodworking templates, patent drawings for fluidic calculators, elaborate game boards — the list of associations goes on and on.
Of course, I was reminded of Dom’s challenge to Ariadne to draw a difficult maze in Inception, the light cycles in Tron, and the Etch A Sketch…but to each their own.
You can explore more of Szpakowski’s work at his website, at culture.pl, and at the Miguel Abreu gallery website.
Artist and “pixel pusher” Niall Staines creates these slightly surreal scenes by pulling a 1-px slices to the edge of his images. I’ve used this technique myself but Staines deploys it to great effect here. I love these. You can find more of his work on his website and Instagram.
From the NIH, a collection of 2,000+ public domain science and medical art visuals (molecules, plants, viruses, proteins, brushes for repeating items like DNA, fungi, equipment…). High-resolution, free to use — scientists on social media seem pretty pumped about this.
See also PhyloPic, a collection of 10,000 “free silhouette images of animals, plants, and other life forms, available for reuse under Creative Commons licenses”. (via @waldo.net)
Edith Zimmerman has put some new stuff in her Etsy shop, including original watercolors and this print of Mermaids of North America (which I love).
Multidisciplinary artist Helga Stentzel cleverly hangs laundry items on clotheslines to make abstract animal shapes. You can find more of her household surrealism on Instagram. (via colossal)
Well! In the Yale Review, Chris Ware (one of my favorite cartoonists) writes about Richard Scarry (one of my favorite children’s book authors) and Cars and Trucks and Things That Go (one of my favorite books).
This year is the 50th anniversary of Scarry’s 1974 Cars and Trucks and Things That Go, which strikes me as a commemoration worthy of ballyhoo, especially now that, as a dad myself, I’ve spent so much time ferrying my own daughter to and from school and birthday parties in various cars that-well, mostly goed. (I’ve owned five automobiles in my life, all of them cheap, one of which smoked and required the driver’s side door to be kept shut with a bungee cord hooked to the opposite armrest, stretched across both driver and passenger. What can I say? I was a young cartoonist on a cartoonist’s budget.)
Unlike those budget vehicles, however, the new deluxe Penguin Random House anniversary edition of Cars and Trucks and Things That Go is lavishly well-made, attentively reprinted with sharp black lines and warm, rich, watercolors. It includes an especially lively afterword by Scarry’s son Huck, in which he explains, using language even a kid can understand, how his dad wrote and drew the book, as well as hinting at what it was like to grow up as the son of arguably the world’s most popular and successful children’s book author.
Reader, I have never clicked “buy” faster than I did when ordering the 50th anniversary version of Cars and Trucks and Things That Go — I’m very much looking forward to peeking behind the scenes. But also, do read Ware’s whole piece…it’s an inspiring review of Scarry’s career & impact and contains all manner of little observations like these:
(Lowly was perhaps the first children’s book animal character with a real nod to the ADA and the myth of “dis”-ability, and cheerfully makes his linear form work in all sorts of inspiring and disarmingly moving ways.)
And:
But the more one looks at his work, the more one sees how the European daily grocery trip, the walk to a nearby shop or tradesman’s guild, the tiny apple car fit for a worm are not part of the blowout-all-in-for-oneself-oil-fueled-free-for-all toward which America was barreling in the late 1960s.
From Danielle Coffyn, a poem called If Adam Picked the Apple. Here’s the first bit of it:
If Adam Picked the Apple
There would be a parade,
a celebration,
a holiday to commemorate
the day he sought enlightenment.
We would not speak of
temptation by the devil, rather,
we would laud Adam’s curiosity,
his desire for adventure
and knowing.
You can read the rest of the poem here and preorder her poetry collection of the same name.
BTW, the hilarious painting is The Rebuke of Adam and Eve (1626) by Domenichino. That Adam, what a wanker.
From French street artist OakOak, a reminder that art is everywhere and that art comes from everywhere. From their website and Instagram, here are a few more pieces that caught my eye:
And ha, I just noticed this one, a riff on Hokusai’s The Great Wave.
In a continuation and tweak of his Coletivos project (which I posted about previously), Cássio Vasconcellos took aerial photos of scrapyards and arranged the junked cars, planes, trains, and other objects into dense photographic collages.
OVER presents a scenario that seems to point to a dystopian future, but which, in fact, brings together fragments of the present. The exaggerated agglomeration denounces the misleading idea of “disposal”, given that objects do not cease to exist in the world when we throw them away. Rather, they inhabit other places.
This video shows the artist’s process, from hanging out the side of a helicopter to arranging all the items in Photoshop.
Collage artist Lola Dupré makes these wonderfully weird images of exaggerated objects, animals, and people. You find more of Dupré’s work on her website and on Instagram. (via colossal)
Maximilian Prüfer makes art in collaboration with nature and animals like ants & snails. Using paper with a very sensitive coating on it, he’s able to record the slightest moments of activity, like a raindrop or an ant’s footstep. Here’s a video of some ants leaving their marks:
And some rain drops:
You can find more of Prüfer’s work on his website and on Instagram.
The NY Times has been doing these challenges every Friday where you sit and look at one piece of art for 10 minutes. Last week featured a woodblock print by Utagawa Hiroshige called Great Bridge: Sudden Rain at Atake, a piece that Vincent van Gogh had in his personal collection and painted a version of himself.
I didn’t expect to last the entire 10 minutes — a slow start to the day (dentist, errands) had me feeling rushed and a computer with an infinite number of apps & websites just a tab or click away is not the ideal medium for this exercise — but once I got going (or, rather, once I slowed down), it was pretty easy. (via laura olin)
It’s been awhile since I’d checked in on one of my favorite YouTube channels, Great Art Explained. In the past year, curator James Payne has done videos on Duchamp, Manet, Magritte, and that one painting by Caspar David Friedrich (you know the one). But this one, on Vincent van Gogh’s final painting, particularly caught my attention:
The mystery of what [his final painting] was and where it was painted would take over a century to solve, and that was only thanks to a worldwide epidemic. What it means is that we now have a deeper insight into what van Gogh’s final last hours were like — before his tragic death.
“Barbaric.” A “nightmare of vulgarity.” “Monstrous.” “A violent mess.” “The work of a madman.” Those are just some of the reactions that Henri Matisse’s Dance received after its public debut in 1910. In this video, Evan Puschak shares How Matisse Revolutionized Color In Art with this painting and other Fauvist work.
I quite like these layered oil paintings by Moldovan artist Pon Arsher. You can find her latest work, as well as several behind-the-scenes videos, on Instagram.
In 1950, master photographer Irving Penn set up a simple studio in Paris and started to photograph people of all kinds of professions, each wearing their work clothes and carrying the tools of their trade.
Working in the tradition of representing the petits métiers, Penn photographed fishmongers, firefighters, butchers, bakers, divers, baseball umpires, chefs, bike messengers, and sellers of goods of all kinds.
Penn continued photographing workers in New York and London, collecting the photos into a project called Small Trades.
Penn said of the project:
Like everyone else who has recorded the look of tradesmen and workers, the author of this book was motivated by the fact that individuality and occupational pride seem on the wane. To a degree everyone has proved right, and since these photographs were made, London chimney sweeps have all but disappeared and in New York horseshoers — hard to find in 1950 — now scarcely exist.
A possible companion to Penn’s photographs: Studs Terkel’s Working: People Talk About What They Do All Day and How They Feel About What They Do. (Fun fact: Terkel and his editor got the idea for Working from Richard Scarry’s children’s book, What Do People Do All Day?)
The Art Institute of Chicago has three copies of Katsushika Hokusai’s iconic work The Great Wave Off Kanagawa in its collection and one of them has been removed from storage and is back on display in the museum until Jan 6, 2025.
The Great Wave has not been on view in the Art Institute galleries for five years because, like all prints, it is susceptible to light damage and must rest a minimum of five years between showings to preserve its colors and vibrance.
Here’s a video of the print being removed from storage as well as a brief comparison of their three prints:
For other places you can see The Great Wave on display, check out Great Wave Today.
For his 2012-13 piece The Obstruction of Action by the Existence of Form, artist R. Eric McMaster built a hockey rink less than 1/10th the size of a regulation rink and had two full hockey teams play what has to be the most frustrating game of hockey ever. This is definitely a metaphor for something but I don’t quite know what.
Australian artist Joshua Smith makes extremely detailed and realistic miniatures of grimy, graffitied buildings — he calls them “sculptures of Urban Decay”.
In 1994, a Navajo/Diné weaver named Marilou Schultz made a weaving of the microscopic pattern of an Intel Pentium processor. (In the image above, the weaving is on the left and the chip is on the right.)
The Pentium die photo below shows the patterns and structures on the surface of the fingernail-sized silicon die, over three million tiny transistors. The weaving is a remarkably accurate representation of the die, reproducing the processor’s complex designs. However, I noticed that the weaving was a mirror image of the physical Pentium die; I had to flip the rug image below to make them match. I asked Ms. Schultz if this was an artistic decision and she explained that she wove the rug to match the photograph. There is no specific front or back to a Navajo weaving because the design is similar on both sides,3 so the gallery picked an arbitrary side to display. Unfortunately, they picked the wrong side, resulting in a backward die image.
Schultz is working on a weaving of another chip, the Fairchild 9040, which was “built by Navajo workers at a plant on Navajo land”.
In December 1972, National Geographic highlighted the Shiprock plant as “weaving for the Space Age”, stating that the Fairchild plant was the tribe’s most successful economic project with Shiprock booming due to the 4.5-million-dollar annual payroll. The article states: “Though the plant runs happily today, it was at first a battleground of warring cultures.” A new manager, Paul Driscoll, realized that strict “white man’s rules” were counterproductive. For instance, many employees couldn’t phone in if they would be absent, as they didn’t have telephones. Another issue was the language barrier since many workers spoke only Navajo, not English. So when technical words didn’t exist in Navajo, substitutes were found: “aluminum” became “shiny metal”. Driscoll also realized that Fairchild needed to adapt to traditional nine-day religious ceremonies. Soon the monthly turnover rate dropped from 12% to under 1%, better than Fairchild’s other plants.
The whole piece is really interesting and demonstrates the deep rabbit hole awaiting the curious art viewer. (via waxy)
Ted Chiang with a thought-provoking essay on Why A.I. Isn’t Going to Make Art:
It is very easy to get ChatGPT to emit a series of words such as “I am happy to see you.” There are many things we don’t understand about how large language models work, but one thing we can be sure of is that ChatGPT is not happy to see you. A dog can communicate that it is happy to see you, and so can a prelinguistic child, even though both lack the capability to use words. ChatGPT feels nothing and desires nothing, and this lack of intention is why ChatGPT is not actually using language. What makes the words “I’m happy to see you” a linguistic utterance is not that the sequence of text tokens that it is made up of are well formed; what makes it a linguistic utterance is the intention to communicate something.
In the past few years, Chiang has written often about the limitations of LLMs — you can read more about his AI views on kottke.org.
This is lovely: illustrator & cartoonist Stephen Collins drew the progression of shoes worn by each of his three kids.
Back in 2020 we had to chuck the kids’ baby shoes out 😱, so I decided to keep the first ones and draw the rest, in order, starting with pre-walking socks.
When I look at photos of my kids from when they were younger, my eye is always drawn to their shoes and clothes — some of them are so iconic in my mind they almost function as logos for my kids at different stages.
I haven’t watched too much of the Olympics this summer so maybe the announcers explain this every single time they show a medals ceremony, but in case you didn’t know, the long, thin boxes given to the medalists along with their medals contain the official poster of the Games (and a plushie).
The poster was created by illustrator Ugo Gattoni and is a sort of Where’s Waldo / Busy Busy Town representation of the Games and its venues.
The designer had total creative freedom. While working to a brief and respecting the look of the Games, he still managed to maintain his own playful and joyful style.
This is why eight mascots are hidden within the posters. In fact, whatever age you are, there is something within the artwork that you will be able to enjoy.
The biggest images of the poster I can find are here if you want to zoom in to see the details. There are also zoomed-in images and videos on Gattoni’s Instagram.
The Olympic poster is the twin of the poster for the Paralympic Games, also created by Gattoni:
Together, they create one unified view of the 2024 Summer Games.
If you’d like to buy your own version of the poster, check out the official Olympics store.
Myles Zhang, a PhD candidate in architectural history, created this drawing of Manhattan’s Chinatown several years ago.
Chinatown’s tenements are in the foreground, while the skyscraper canyons of Lower Manhattan rise above. This shows the area of Chinatown bordered by Bowery, Canal Street, and Columbus Park.
It took him around 60 hours to complete; he made a time lapse video of its creation:
There’s a very large scan of the image that’s worth looking at.
Public Work is an image search engine that boasts 100,000 “copyright-free” images from institutions like the NYPL, the Met, etc. It’s fast with a relatively simple interface and uses AI to auto-categorize and suggest possibly related images (both visually and content-wise). And it’s fun to just visually click around on related images. On the downside, their sourcing and attribution isn’t great — especially when compared to something like Flickr Commons.
I’d love it if an interface this quick and visual-first were adopted by museums though — let’s face it: the image search on museum, library, and institution websites is often terrible and slow. (via @jaygogh)
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