Katsuhiro Otomo ‘Akira’
Color in Motion 252
From Wikipedia, the free encycopedia
Akira (アキラ?, romanized as AKIRA) is a Japanese manga series, written and illustrated by Katsuhiro Otomo. Set in a post-apocalyptic Neo-Tokyo, the work uses conventions of the cyberpunk genre to detail a saga of turmoil. Initially serialized in the pages of Young Magazine from 1982 until 1990, the work was collected into six volumes by its publisher Kodansha. The work was first published in an English language version by the Marvel Comics imprint Epic Comics, one of the first manga works to be translated in its entirety. Otomo’s art on the series is considered outstanding, and the work is a breakthrough for both Otomo and the manga form. Through the breadth of the work, Otomo explicates themes of social isolation, corruption and power.
An eponymous animated film adaptation was released in 1988, shortening the plot, but with its structure and scenes heavily informed by the manga and its serial origins. The manga takes place in a vastly larger timeframe than the film and involves a far wider array of characters and subplots.
Otomo’s Akira projects – the manga and its animated film adaptation – marked his transition from a career primarily in the creation and design of printed manga to one almost exclusively in the creation, direction and design of anime for television and film.
Dan Hillier (1973) is an english artist, whose graphic work is the result of combining Victorian woodcuts with elements of surrealism, hybrid beings which are a perfect distortion of reality. As he points out, his illustrations are mostly influenced by german artist, pioneer of Dada and Surrealism, Max Ernst. Among other of his influences are the underground comics, the old illustrations of biology and anatomy and his travels to India, Nepal and Australia.
Heike Weber is a German artist whose permanent-marker artwork transforms a simple space into endless dimensions. Her technique consists in drawing directly on the floor, walls, and ceiling. The creation of these installations is very time consuming and some of them cover up to 600 square metres.
- 1 – Heike Weber
- 2 – Bodenlos. 2006 , permanent marker on vinyl floor, 600 square metres, Kunsthalle Wien, AT.
- 3 – Room 104. 2000,permanent marker on acrylic paint and vinyl floor, Centrum Beeldende, Kunst Nijmegen NL.
- 4 – Room 104 (2) . 2000,permanent marker on acrylic paint and vinyl floor, videoloop hotel, Centrum Beeldende, Kunst Nijmegen NL.
- 5 – Utopia . 2006, permanent marker on lacquer and vinyl floor, Kunstraum München, GER.
- 6 – Bodenlos. 2009, permanent marker on vinyl floor, hall of the Villa Wachholtz, Verführung & Ordnung, Gerisch-Stiftung, Neumünster , GER .
“The End of the World Fan club”
Color in Motion Volume 200 | Julien Pacaud
Julien Pacaud is a french artist and illustrator, currently living in Le Mans, France. Before becoming an illustrator, he was, by turns : an astrophysicist, an international snooker player, a hypnotist and an Esperanto teacher. He hopes he can someday have enough free time to devote himself to his real passion : time travel. http://www.julienpacaud.com
Color in Motion Volume 197 | Chuck Groenink
Chuck Groenink is a Netherlands-born illustrator , he attended the Artez Institute of Visual Arts in Kampen , graduating from the department of illustration in 2004 . He left the Netherlands in October 2010 and is now living in Portland , Oregon. www.cargocollective.com/greenink
Color in Motion Volume 174: M.C. Escher “Sky and Water II” 1938 . “Sky and Water II” is a lithograph print by the Dutch artist M. C. Escher which was first printed in 1938. It is similar to the woodcut “Sky and Water I” , which was first printed only a matter of months earlier.
Color in Motion Volume 173: M.C. Escher “Sky and Water I” 1938 . “Sky and Water I” is a woodcut print by the Dutch artist M. C. Escher which was first printed in June 1938.
Color in Motion Volume 172: Ben Tolman “Hole” bentolman.daportfolio.com
Sound Colour Vibration is very proud to present volume 40 in our ongoing online art gallery features under the moniker Creator Wave. This new online art feature focuses on David Cristobal, an illustrator from Spain whose works are as detailed and adventurous as they come. We found David through a recent Juxtapoz Magazine online feature and we’re really pleased with the response he gave us when we contacted him. As an artist from Spain with highly gifted skills and concepts, it is an honor to present this interview and online art feature in our Creator Wave series.
EO: With so many mediums of art to choose from, what led you to emphasize your talents towards illustration?
DC: I´ve chosen illustration by chance. After I finished the school of art, I’ve been working for many years in a primary school. During this time I didn’t paint at all, I was just making music (I’ve been playing music since I was 15). In that time I was painting only for people
who was asking me works. When I moved to Milan, I was back to drawing again and I started with pencil (a technique that I’ve almost never used). Basically, I started to draw because I was very attracted from the interpretations of words, concepts or ideas that came directly from me or inspired from other people or artist, but trying to create a personal style. Also working in the school during many years helped me a lot to know a lot of illustrated children books and novels.
EO: As an artist from Spain, is the architecture and culture around you something that is absorbed heavily into your art? If yes, how so?
DC: Actually no, at least consciously. I’ve always been thinking that almost everything has something that inspires us during all our lives. I think music is the aspect that much, has influenced me… and still.
EO: What galleries, mentors, friends, family and any other people people in your path with life have become critical pieces to the evolution of your artistic abilities?
DC: I wasn’t living neither really influenced by an artistic scenario, only when I was attending school for art that I met a professor that influenced me a lot, and from who I was learning much. When I’m drawing sometimes his advices come up to my mind… but I need to thank MY LOVE, for supporting me and for making me get back
to my work.
EO: What have been the biggest goals you have achieved so far through your art?
DC: This interview.
EO: What type of environments do you best work in?
DC: In particular I draw human beings, body parts and animals. In a few occasions I put some objects inside. Actually in my last works I did not even use a scenario, I just concentrated myself on the main subject and then I put one or two elements in the picture.
EO: With art evolving into online mediums as much as it has into any other, do you think this has brought value to the art community at large or brought it down? Or are you indifferent on this subject?
DC: I think it is a positive thing. It’s opening worldwide in a very “easy” way. For me the real problem is the way and how the people use it. Internet is just perfect to always know more things but in the end if you like an artist, just support him/her. The same for the artist, you find more demands but also more more opportunities.
EO: Who are some of your favorite illustrators?
DC: I really don’t have any “favorite” illustrators but if I have to choose one I go for Norman Rockwell because he uses the right mixture between illustration and painting.
EO: Will you be doing any art showings that you’d like to talk about with us?
DC: In the last period, I’ve been working in a project about making T-shirts. After the summer I’ll be present in a collective exhibition; another personal one at the end of this year.
Then a couple of arts magazines will printing out some of my illustration. Last but not least, I’ll be continuing with the “Neverending” series “Beauty last forever”.
EO: When you are entangled into a lengthy process in creating a piece, do you fall in love more with those deeply planted work runs or does it become a battle that sometimes wins against your psyche and you wish the piece would finish itself?
DC: I’m telling you, this question is very hard for me. Let’s try to make a point. Every time I have some ideas I start to think in take about my time to realize them. Working in a “slow” way but right in the moment when I start, I want to see it all finished. The good thing is that I’m fast, but sometimes the bad thing is that I’m loosing particulars…
EO: For anyone out there whose in the beginning stages of studying illustration, what type of advice could you lend them that you received or wish you had received in your beginning stages?
DC: Studying, observing and working hard.
EO: What has been your most challenging piece to create? What piece took the least amount of time to create that you are just as happy with?
DC: My “Longer work” isn’t actually ready yet. It’s a series I started since many months, it’s called “Virgins, Dust and various Insects”. My hope is to finish it one day (every time I came up to this series I feel a kind of paralysis). The idea seems very nice to me and i really want to finish. When I start to realize that some works take too much, I leave it for the future more creatives) days. I feel very easy with myself with this way of working. Without any doubt, the work takes less time in doing it. “Now that I’m older my heart is colder” from “Beauty last forever” series… I wake up in the middle of the night, I drew it, went back to sleep and when I woke up in the morning I didn’t remember almost a thing. It was just a very nice experience that I hope can happen again soon. Basically it took me one hour and a half to do it.
EO: As an illustrator, I’d imagine you enjoy animation. I absolutely love the film Fantastic Planet. Do you have any favorite animation films or is animation not really your thing?
DC: i really adore cinema, but as it happens to me with music, I don’t put everything in one kind only, but I try to focalize my work around the artist. It doesn’t matter which kind of work he/she does. I actually discovered this movie recently and I’m impressed firstly from melancholic blue faces (or moving) of children that reminds me of some kind of dolls. To be honest if I have to choose a kind I certainly wouldn’t go for animation.
Creator Wave Volume 40