Marc Martin: silent observer
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Merging intricate hand-drawn details with painterly brushstrokes and textures, Silent Observer adheres to Marc Martin's ongoing fascination with the intersection between the modern urban experience and the natural world. Almost filmic in character, the book unfolds over a string of highly narrative city scenes, offsetting its central character's mundane, day-to-day(...)
Marc Martin: silent observer
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Merging intricate hand-drawn details with painterly brushstrokes and textures, Silent Observer adheres to Marc Martin's ongoing fascination with the intersection between the modern urban experience and the natural world. Almost filmic in character, the book unfolds over a string of highly narrative city scenes, offsetting its central character's mundane, day-to-day existence with the unlikely relationship he develops with a bird.
Illustration
Call ampersand response
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Call Ampersand Response is a collaborative artwork made of images exchanged via email. Over a period of several months, Dumontier and Lexier sustained an image-based correspondence by sending each other scans of book covers, found objects, drawings and illustrations belonging to each artist’s respective collection. The project is based on the idea that their collections(...)
Call ampersand response
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Call Ampersand Response is a collaborative artwork made of images exchanged via email. Over a period of several months, Dumontier and Lexier sustained an image-based correspondence by sending each other scans of book covers, found objects, drawings and illustrations belonging to each artist’s respective collection. The project is based on the idea that their collections speak of their shared artistic affinities while informing their practices. Two rules dictated their conduct : each image was to function as a “call” seeking a “response” from the other artist, and the dialogue was to end when an image recalling the project’s opening image emerged, thereby constituting a narrative loop. Their conversation gave rise to a bookwork co-edited by Nieves and Artexte.
Illustration
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Discographisme recréatif is both a documentary and collectional work begun in 1996. It’s composed of different iconographic montages made from record sleeves and CD jackets. The distinctive feature: these covers, be they 45s, 33s, or CDs, mostly found at flea markets, have all been redone or modified by anonymous indivuals using the original covers as a guideline and as a(...)
Discographisme récréatif : homemade record sleeves
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Discographisme recréatif is both a documentary and collectional work begun in 1996. It’s composed of different iconographic montages made from record sleeves and CD jackets. The distinctive feature: these covers, be they 45s, 33s, or CDs, mostly found at flea markets, have all been redone or modified by anonymous indivuals using the original covers as a guideline and as a source of inspiration. Discographisme récréatif est un travail à la fois documentaire et « assemblagiste » commencé en 1996. Il se compose de différents montages iconographiques élaborés à partir de pochettes de disques. Une particularité, ces pochettes au format 45 tours, 33 tours et CD, trouvées pour la plupart au marché aux puces, ont toutes été refaites ou modifiées par des inconnus ayant utilisé l’originale comme support ou comme source d’inspiration.
Illustration
Charles A.A. Dellschau
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In the fall of 1899, Charles A.A. Dellschau (1830-1923), a retired butcher from Houston, embarked on a project that would occupy him for more than 20 years. What began as an illustrated manuscript recounting his experiences in the California Gold Rush became an obsessive project resulting in 12 large, hand-bound books with more than 2,500 drawings related to airships and(...)
Charles A.A. Dellschau
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In the fall of 1899, Charles A.A. Dellschau (1830-1923), a retired butcher from Houston, embarked on a project that would occupy him for more than 20 years. What began as an illustrated manuscript recounting his experiences in the California Gold Rush became an obsessive project resulting in 12 large, hand-bound books with more than 2,500 drawings related to airships and the development of flight. This first monograph on Dellschau includes an essay by art critic Thomas McEvilley, an essay by critic Roger Cardinal of the University of Kent, a text by James Brett of the Museum of Everything in London, an essay by Tom Crouch of the Smithsonian Institution's Museum of Air and Space, an essay by Barbara Safarova and a biographical overview by artist and independent curator Tracy Baker-White.
Illustration
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Ce livre est le premier numéro de la série Les objets dans le miroir sont plus proches qu'ils ne le semblent, une série de livres sur Les Impatients produits et réalisés par Eric Mattson. Antonio Mazza est né 1964 à Montréal, d'une famille d'origine italienne. Il utilise des crayons aquarelle pour illustrer avec des effets visuels très colorés de petites narrations(...)
Antonio Mazza: le quotidien et quelques écritures
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Ce livre est le premier numéro de la série Les objets dans le miroir sont plus proches qu'ils ne le semblent, une série de livres sur Les Impatients produits et réalisés par Eric Mattson. Antonio Mazza est né 1964 à Montréal, d'une famille d'origine italienne. Il utilise des crayons aquarelle pour illustrer avec des effets visuels très colorés de petites narrations pleines de détails soigneusement ordonnés. De nombreuses descriptions vivantes disent ses souvenirs avec cocasserie. Au premier abord, c'est bénin parfois même gentiment inoffensif. Une lecture un peu plus attentive nous fait découvrir l'imminence du malheur: le professeur va sévir, l'espiègle sera douloureusement électrocuté, et, quant à nous, nous cesserons de trouver le dessin simplement drôle.
Illustration
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Adrian Tomine's illustrations and comics have been appearing for more than a decade in the pages (and on the cover) of "The New Yorker." Instantly recognizable for their deceptively simple and evocative style, these images have garnered the attention of "The New Yorker"'s readership and the approbation of such venerable institutions as the Art Directors Club and "American(...)
New York drawings: a decade of covers, comics, illustrations, and sketches from the pages of the New York Yorker and beyond
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Adrian Tomine's illustrations and comics have been appearing for more than a decade in the pages (and on the cover) of "The New Yorker." Instantly recognizable for their deceptively simple and evocative style, these images have garnered the attention of "The New Yorker"'s readership and the approbation of such venerable institutions as the Art Directors Club and "American Illustration." This publication collects every cover, comic, and illustration that he has produced for "The New Yorker "to date, along with an assortment of other rare and uncollected illustrations and sketches inspired by the city. Complete with notes and annotations by the author, "New York Drawings "will also feature a new introductory comic focusing on Tomine's experiences as a New York illustrator.
Illustration
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Despite, or because of, the ubiquity of televisions and computers, picture books have remained popular with kids and parents. These books have also not lost their appeal for illustrators and publishing houses — not least because a hit children’s book can serve as the lucrative basis for TV programs, video games, toys, or other merchandising. In addition to its(...)
Little big books : illustrations for children's picture books
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Despite, or because of, the ubiquity of televisions and computers, picture books have remained popular with kids and parents. These books have also not lost their appeal for illustrators and publishing houses — not least because a hit children’s book can serve as the lucrative basis for TV programs, video games, toys, or other merchandising. In addition to its presentation of cutting-edge visuals from around the world, Little Big Books offers insightful texts for those who hope to create or market visual content for children. These include interviews with experts about the educational aspects, make-up, and psychology of children’s picture books as well as the significance of children’s book awards and practical advice on publishing rights and licensing. The publication is rounded out with an introduction that puts current work into the historical context of classic books by the genre’s seminal pioneers.
Illustration
Nigel Peake: bridges
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Nigel Peake is an illustrator operating in the field of the built-environment. This collection of drawings are based upon the 34 crossings of the Thames.
Nigel Peake: bridges
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Nigel Peake is an illustrator operating in the field of the built-environment. This collection of drawings are based upon the 34 crossings of the Thames.
Illustration
Frans Masereel : la ville
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Réédition en petit format du livre La Ville (Édition Cent pages, 2008). « La quantité de travaux de cet artiste infatigable épuise, comme l’écriture imagée des Egyptiens, toutes les formes du monde contemporain. Si tout était anéanti : livres, monuments, photographies, descriptions, etc. et qu’il ne restât plus que les bois qu’il a gravés en dix ans, on pourrait, avec(...)
Frans Masereel : la ville
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Réédition en petit format du livre La Ville (Édition Cent pages, 2008). « La quantité de travaux de cet artiste infatigable épuise, comme l’écriture imagée des Egyptiens, toutes les formes du monde contemporain. Si tout était anéanti : livres, monuments, photographies, descriptions, etc. et qu’il ne restât plus que les bois qu’il a gravés en dix ans, on pourrait, avec eux seuls, reconstituer le monde d’aujourd’hui. » - Extrait de Frans Masereel. L’homme et l’œuvre de Stefan Zweig (Maintenant, 1946) publié en préface de cette édition.
Illustration
Ma vie de garçon
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Ma vie de garçon explore un univers chargé d'interrogations sur le monde, la nuit, l'inconnu, les femmes... Bougies, aimants, ânes, cordes, tuyaux, yeux... les formes se répètent, ce qui explique parfois cette étrange impression de déjà-vu : le monde de Fabio Viscogliosi, d’une consistance surréaliste, épaisse et irradiante, s’écoule lentement. C’est drôle comme Groucho(...)
Ma vie de garçon
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Ma vie de garçon explore un univers chargé d'interrogations sur le monde, la nuit, l'inconnu, les femmes... Bougies, aimants, ânes, cordes, tuyaux, yeux... les formes se répètent, ce qui explique parfois cette étrange impression de déjà-vu : le monde de Fabio Viscogliosi, d’une consistance surréaliste, épaisse et irradiante, s’écoule lentement. C’est drôle comme Groucho Marx. Étrange comme Max Ernst. Explorateur, comme Giuseppe Ungaretti.
Illustration