Filmmaker Willie Witte is currently working on a documentary series for PBS but in his spare time he makes fun experimental films. His latest, SCREENGRAB, was made without the help of computer effects though I can’t quite figure out how. After watching this three times the hemispheres of my brain are the equivalent of cross-eyed. Music by Kevin McAlpine. (via booooooom)
At the age of 14 Johan Scherft made his first papercraft bird which he colored with a pencil, modeled after the flying paper models of english artist of Malcolm Topp. His self-created models along with his drawings gained him admittance to the royal academy of arts in The Hague where he perfected his painting and sculptural techniques. Nearly 30 years later the Dutch artist has become a master of the medium creating a wide variety of objects including dinosaurs, animals, boats, and especially birds. Scherft uses a computer to aid in the initial steps of creating the paper blueprints but everything else is done by hand, a painstaking process that can take several days and occasionally up to a full month to complete.
Constructed from 8,000 sheets of rice paper, 800 bamboo shafts, and suspended by untold lengths of cotton thread, this beautiful installation by Chinese abstract artist Zhu Jinshi was recently on display at ART13 London. Titled Boat, the piece is meant as a sort of metaphor regarding the artist’s journey from east to west, while simultaneously honoring the dead’s passage from living into the afterlife. You can read more about its significance over at this website by Pearl Lam Galleries. (via collabcubed)
Russian paper artist Yulia Brodskaya (previously) just finished her latest artwork, an intricate portrait of an older woman smoking a pipe using a colorfully explosive palette of quilled paper. Brodskaya lives and works in the UK where she illustrates with paper for dozens of the world’s largest brands and publications. See much more here.
Remember those wild flexible paper sculptures from last month by artist Li Hongbo? This new video from Crane.tv shows the artist in his Beijing studio where we learn much more about how he makes each artwork. (via booooooom)
Irving Harper: Works In Paper is a new book from Skira Rizzoli that collects the paper works of industrial designer Irving Harper. Harper worked as the director of design at George Nelson Associates during the 1960s and is known for designing the Marshmallow Sofa for Herman Miller (as well as the firms’ iconic logo) and the ball and sunburst clocks for Howard Miller. Privately the designer was also an artist and created numerous paper sculptures depicting animals, masks, and other figures. Via Rizzoli:
Encompassing influences as diverse as Picasso, Egyptian hieroglyphs, the art of Oceana and Africa, the architecture of Paris, and the American beech tree that shades the Rye, New York home he has lived in for over 50 years, the artist’s private meditations reveal an informed aesthetic consciousness expressing itself as pure joy. Harper’s private work delivers on the promise of modernism: humble materials elevated by brilliant design and craftsmanship, and integrating the natural world to create objects in a universally understood language.
These days I usually work with Thai Unryu [mulberry paper], but I have hundreds of papers in my studio from all around the world. I treat the paper almost as a pigment, layering colors one on top of the other to create different colors. My pieces are about a foot wide. Then I roll one layer on top of the other in all different thicknesses. I seal the roll with acid-free, archival glue stick, and then cut the long piece into sections with scissors or pruning shears. I have pruning shears of all different sizes to accommodate different widths.
It’s hard to visit an art or design blog these days without spotting the illustration work of Estonian artist Eiko Ojala, his Naked series is a great place to get started. The artist works digitally without the aid of 3D software where he draws everything by hand to create landscapes, figures and portraits that look as if they’ve been cut from paper. Most critical are the placement of shadows which Ojala also draws by hand, though via email he admits the complexity occasionally requires the use of photographed shadows which he then incorporates into the illustrations. His latest work is this beautiful Vertical Landscape which is easily one of his most accomplished pieces and I think bodes well for this young illustrator’s career. Wouldn’t you love to see this in motion? (via behance)