Friday, August 21, 2009

Adam Stennett

I first thought Adam Stennett works were pictures, and suddenly hyperreality smacked me upside the head… i was very wrong.

Once i dugged a little more i found an incredible compilation of oil paintings that feature naked girls, medicine bottles and mice.

Please be wise to stop by his website at

Sunday, August 16, 2009

Your business card is CRAP!

Hilarious, this guy is like the Tony Robbins of business cards or something. “It took me TWENTY—FIVE—YEARS to design this.”

Saturday, August 15, 2009

John Whitney-Matrix III (1972)

While waiting at the airport I caught this great clip via Create Digital Motion. “As visualists, the sad truth is we have a poorer sense of the history of our medium than musicians. Part of this is simply a lack of access. YouTube is a weak substitute, but it’s a start.” Very true, it’s sad to think how many great works in video (and design for that matter) have been lost to time and obscurity. Hopefully more work like Matrix III slowly make their way into the digital domain. Via Create Digital Motion

Max Huber

These two posters by Max Huber kick-started my mind into creative gear. I really like the color palette at work in both; really unusual and effective. The second one is all about the type for me. Didot Bold in all caps always does a good job.

Neil Krug

When I first saw Neil Krug's work it was like looking at some lost photo album; I was hard pressed to tell whether it was new trying to look old or just plain old. Done right, the retro-lofi style can be very powerful, and Krug executes to perfection. I don't know much about his post process but he apparently starts off with expired Polaroid film to achieve this vividly psychedelic color palette. Coming into the world of digital art when I did, it's been interesting to see the massive resurgence in analog technology over the past decade. Artists in many mediums are turning back to more traditional methods and incorporating vintage technology into their process. I think a lot of artists have come to realize that the human eye craves authenticity and so often work that is purely digital falls short in sometimes imperceptible ways. I've found that in my own work -- both audio and visual -- incorporating even small amounts of analog elements into a composition can have a very powerful impact on how it is perceived.