For the last several years artist and illustrator Chandler O’Leary has traveled extensively around the U.S., documenting her travels in several sketchbooks. But where some people might jot down a few brief ideas, perhaps a detailed sketch or two, Chandler instead turns each spread into a fully realized watercolor artwork complete with notes, diagrams, and other minutiae that helps capture the essence of each place she visits. A graduate of RISD, she is also the proprietor of Anagram Press in Tacoma, Washington. You can follow more of her travels via her blog, Drawn the Road Again. (via Metafilter)
California artist Ester Roi (website currently down) works colored pencils to create drawings of imagined riverbeds that exhibit a superb understanding of the interaction between light, color and water. Roi uses a special drawing device called the Icarus Drawing Board that allows her to effectively create warm and cool “zones” underneath a wax-based medium. According to her website “the warm zone is used for mixing pigments, blending, burnishing and reworking. The cool zone is used for line drawing, layering, detailing and finishing touches.” The careful layering of pencil and wax apparently allows for some pretty brilliant color work. Although her website is currently down you can see more of her drawing and painting over on Facebook. (via drawing pencil)
Designer Peter Han (he rejects being called an artist) has worked as a conceptual designer for a number of different video games and films, but has also become known for a drawing class he teaches called Dynamic Sketching. Using only chalk, Han works with his students to let go of their preconceived notions about art and design by working in a fast, impermanent medium that always ends up being erased. The hope is to eventually free them from the idea of permanence and allow their ideas to grow through making mistakes.
In this short film titled Pardon My Dust directed by Adriel de la Torre, we catch a quick glimpse of Han at work as he works with his students and draws some impressive illustrations that of course meet a fateful end under a felt eraser. (via colossal submissions)
Fascinated by the texture and color of water artist Elizabeth Patterson challenged herself to recreate the absurdly complex formation of water droplets on rain-streaked windshields. Her ongoing series titled Rainscapes blends drawing, hyperrealism, and traditional landscape techniques resulting in images that can be seen as both real and abstract.
Patterson begins with her own photography and often utilizes several images for a single drawing, finding the details and patterns that feel right for each composition. Interestingly, the precise nature of the sharpened pencils results in drawings that are more detailed than her source material. You can see more of her work on her website as well as Louis Stern Fine Arts. You can also catch a brief video interview with the artist courtesy La galerie Louis Carré. (thnx, choon)
I love to watch artists work and this time-lapse video by Australian artist Paul White white is no exception. Filmed by Johnny Blank over 30 hours it captures White working on a pencil drawing of a single wrecked vehicle, a theme of transportation meets decay that plays a prominent role in much of his artwork. The video was shown as part of a recent presentation at Semi-Permanent in Sydney earlier this month and is best viewed full-screen with HD turned on so you can see the finer details. See much more of his work here.
I had to pick up my jaw when this image first appeared in my inbox this morning. The density, detail and subject matter was so instantly compelling I was fascinated to learn about the artist behind it. As it turns out, this is the latest illustration from a duo of illustrators from Brazil named Fernando Moraes and Raone Ferreira who work under the collective title Imarginal. The two have a unique style of working in tandem on artworks such as the piece above which took three months of 8-10 hour days to complete and measures 1 x 0.7 meters (a little over 3 feet wide). I’m told via email that their illustrations are “characterized by overvaluation of details, imaginary creatures and ideas hybridism, thought by two different minds and made in four hands, using nankin [cotton fabric], poscas [markers] and even magnifiers on paper, wood or walls.” To see how they work together you can watch this video and see a gallery of their work here. (via colossal submissions)