Tuesday, June 30, 2009

Nintendo NES Vector

Here we have a small surprise for all old-school Nintendo lovers. A free illustration of the popular Nintendo NES joystick in vector format. You may use it for a logo of a T-shirt, buddy icon or an avatar...

The artwork is saved in EPS file format, you can use any vector compatible editor to modify or customize it.

Free for personal and commercial use. Download

Note: This illustration is a part of a vector pack that includes all sorts of design goodies. Preview and download availabe here.

Puppy news flash...and video :)

Little Turbo just turned 8 weeks old!
He had his first visit to the vet today
since he's been living with us & he was a real champ!
We begin border collie puppy classes
a week from today and we can't wait.

He's a super smart goofball
and I just know he'll be the teacher's pet :)

Face Time

Want some Face time? Get on FaceBook! Everyone's doing it!
I know, I know, "if everyone jumped off a cliff..." Thanks mom.

FaceBook is great tool for marketing, socializing, finding old friends, new friends, and just sharing ideas.

Here's some of our favorite Faces:

Art Bead Scene :: ArtBeads.com :: Art by Jen G

Bead Cruise :: Rings&Things :: Beads-of-Clay :: Bead Freaks

Beading Buddies :: People Who Enjoy Beading :: Get Beaded!!!

Your Editors, present and past...
Elaine Ray :: Lori Greenburg :: Virginia Miska :: Jennifer Heynen (needs face time)

Guest Editors...

Leave your smiling face with us! We love to hear from you!

Fred Ludekens on Clarity and Content

Fred Ludekens was both a renowned illustrator and co-creative director of one of the world's most prominent ad agencies, FCB. He was also a founding faculty member of the Famous Artists School. In the following interview excerpt from the Summer 1964 issue of Famous Artists Magazine Ludekens shares his expertise - advice and learned opinion that would benefit both illustrators and art directors today every bit as much as it was intended to benefit creatives nearly 50 years ago...

Q: What is the most important element in a good advertising illustration?

A: I believe that the basic picture requirement is clarity, and simultaneously, the right content. Clarity and content are synonymous. It little matters how beautiful, compelling and interesting the surface of a picture might be if it does not say the right thing and say it clearly.

The volume of advertising is tremendous. The differences in most products minute. Attention is a major problem. Any time you can "write copy" in a picture using three quarters of the space - or in television clearly demonstrate or explain the idea visually - you are way ahead. You get attention and you get it centered right on the idea.

This takes illustration beyond its role of illustrating words. It becomes a language in itself. It can however only be "successful" if the picture maker is sympathetic, knowledgeable, and objective in his thinking in order to fulfill the requirements of the problem. He is interested primarily in communicating to his audience clearly and convincingly - the promise and benefit of the idea. The means by which he does it should always be planned to do only this, not to dilute the idea.

Q: What, in your opinion, is the value of the picture to the total creative effort in advertising?

A: Offhand I would say it is the instant communication of the idea. In advertising, the picture should be good copy. I believe it should do more than illustrate. It should appeal to the mind and have something to say of substance and meaning.

Often text is written describing the picture, usually saying what the picture has already said. In advertising, I think the picture has a job to do and the text should only say what the picture cannot - the reason, the benefit, the price, and so on.

Q: What contribution does a good illustration make to an advertisement?

A: Content! Content is what you are drawing. That is more important than how you draw. I observe that at this time we are on a "technique jag," which gets in the way of clear communication.

Q: How much of the fundamental copy job rests on the picture?

A: As much as possible. I believe the right picture can be very clear and convincing in setting up sales proposition and interesting people. For the average product little text is necessary. People in advertising are basically copy minded and their idea of a picture is something to illustrate their words. A good picture man with advertising sense can make an outstanding contribution to advertising.

Continued tomorrow.

* My Fred Ludekens Flickr set

Monday, June 29, 2009

Mothers Against Drunk Driving

Mothers Against Drunk Driving Bumper StickerMADD was incorporated on September 5, 1980, the mission or purposes of MADD as stated in its Articles of Incorporation were “To aid the victims of crimes performed by individuals driving under the influence of alcohol or drugs,
to aid the families of such victims and to increase public awareness of the problem of drinking and drugged driving.

In 1984, MADD changed its name from Mothers Against Drunk Drivers to Mothers Against Drunk Driving. This carefully considered change was made because MADD is opposed to the criminal act of drunk driving, not individuals. MADD also updated its mission statement to “Mothers Against Drunk Driving provides grassroots leadership to create major social change in the attitude and behavior of Americans toward drunk driving.

In 1985, MADD’s mission statement was again updated. The mission read, “Mothers Against Drunk Driving mobilizes victims and their allies to establish the public conviction that impaired driving is unacceptable and criminal, in order to promote corresponding public policies, programs and personal responsibility.

In 1992, MADD adopted a more simplified mission statement, which was “The mission of Mothers Against Drunk Driving is to stop drunk driving and support the victims of this violent crime.

By 1999, MADD had greatly expanded its work on preventing underage drinking and emerging research underscored our efforts to prevent youth alcohol use. MADD’s efforts in this area were also encouraged and supported by the government, corporations, educators, the media and public. The mission statement was officially changed to make preventing underage drinking a free-standing prong of the mission. The updated mission, which continues to guide the organization today, read “The mission of Mothers Against Drunk Driving is to stop drunk driving, support the victims of this violent crime and prevent underage drinking. Mothers Against Drunk Driving

Image License: I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible, I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

If This image is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain.

Satirical Maps

An Incomplete Evolution
of the Cartoon Political Map

Britannia by James Gillray, 1791


Etching by James Gillray; published in London by Hannah Humphrey in 1791

Image source: British Museum
"A comic map of England formed by an old woman seated in profile to the left on the back of a dolphin-like monster, whose open mouth (right) represents the 'Thames', the two points of its tail being 'Lands End' and 'Lizard Point'. She holds a trident in her left hand. Her right hand (on which is a dove) and right foot form the north of Wales and the north of the the Bristol Channel. The peak of her cap is 'Berwick'. Many other names are inscribed round the coast. The sea forms a background."
Wright & Evans, in their 1851 book, 'Historical and Descriptive Account of the Caricatures of James Gillray', describe 'Brittania' thus:
"A rather ludicrous burlesque on the map of Great Britain, the work of some amateur artist, and etched by Gillray."

Geography Bewitched or a droll caricature map of Ireland, 1793 (Dighton)

'Geography Bewitched or, a Droll Caricature Map of Ireland'

Designed by Robert Dighton; published in London by Bowles & Carver in 1793

Image source: British Museum

Geography Bewitched or a droll caricature map of Scotland 1794

'Geography Bewitched or, a Droll Caricature Map of Scotland'

Designed by Robert Dighton; published in London by Bowles & Carver in 1793

Image source: Wikimedia

Geography Bewitched or a droll caricature map of England and Wales (after Dighton), 1793

'Geography Bewitched or, a Droll Caricature Map of England and Wales'

Designed by Robert Dighton; published in London by Bowles & Carver in 1793

Image source: British Museum

Robert Dighton was well known as a portrait artist and is regarded as one of the most talented social caricaturists of the late 18th and early 19th centuries. He also achieved notoriety as a thief of valuable prints from the British Museum which he sold on the open art market to supplement his income from painting and etching. Ironically, many of Dighton's original drawings and print illustrations can be now be found in - you guessed it! / (obvious) - the British Museum Prints Room.

The French Invasion, or John Bull, bombarding the Bum-boats, 1793 (Gillray)

'The French Invasion, or John Bull, bombarding the Bum-boats'

Etching by James Gillray; published in London by Hannah Humphrey in 1793

Image source: British Museum

"A comic map, inscribed 'A new Map of England & France', actually showing England and Wales, the SW. corner of Scotland, the north of France, just including 'Paris', and the Belgian coast as far as Ostend. England is represented by the body of George III (John Bull), his head in profile to the right, wearing a fool's cap composed of 'Northumberland'. His left leg is drawn up, Norfolk forms the knee, the mouth of the 'River Thames' the ankle, Kent the foot. His outstretched right leg terminates as Cornwall.

From the coast, at the junction of 'Hampshire' and 'Sussex', issues a blast of excrement inscribed 'British Declaration', which smites a swarm of 'Bum-Boats' extending from Ushant to the mouth of the Seine. The map is divided (inaccurately, and with omissions, but with a rough correctness) into counties, Wales representing the flying coat-tails of the King, who strides across the ocean with great vigour."

A Whimsical Sketch of Europe, 1806

'A Whimsical Sketch of Europe'

Published in London by Laurie & Whittle in 1806

Image source: British Museum

"Great Britain is an adaptation of [the Gillray print above] inscribed 'Johnny Bull on a Whale'; a thistle growing out of his head represents 'Scotland'; an Irish harp is 'Ireland'. The contour of Europe is roughly correct; on most of the countries are little figures or scenes. On 'France' a landscape (torn). On 'Spain' a whole length portrait of (?) Charles IV, hanging askew. On 'Switzerland' a funeral urn flanked by yews. On 'Portugal', as on 'Italy', a landscape. On 'Holland' a Dutch toper. On (west) 'Germany' crowned heads looking out through prison bars. On 'Prussia' is an infantry soldier. On 'Sweden' a reindeer sledge; 'Norway' and 'Denmark' are blank. On 'Russia' are polar bears, &c. In 'Turkey' a Turk advances towards Britannia, who is seated, with cap of Liberty, Lion, and olive-branch. Below [not seen]:

'Oft we see in the shops, a print set up for sale,
England colour'd, an old fellow striding a whale:
Yes! Old England's a picture, the sea forms its frame,
And Hibernia and Scotia they class with the same. "

Komische Karte des Kriegsschauplatzes 1854

'Komische Karte des Kriegsschauplatzes'
'Europa aus der Vogelschau'

(Comical Battlefield Map or Birds-Eye View of Europe)

Published in Hamburg by B.S. Berendsohn in 1854

Image source: University of Amsterdam
"A bibliographically unknown caricature map of Europe showing the political situation of the Crimean War. The Russian Bear, wearing the Imperial crown labeled “Despotism” and branding a cat-o-nine-tails whip strides eastward but looks westward over its shoulder toward an enslaved, chained Polish maiden on her knees. The region labeled “Engentliches Russland” (The Real Russia) is marked Verrath (Teason), Bigottery (Bigotry), etc. The toes of the Russian bear’s right foot take the form of the Crimean peninsula where the French and English fleets gather to “clip the bear’s claws”. The Treaty of Paris, March 1856 concluded the Crimean War and forbade Russia to maintain a fleet in the Black Sea." [source]

Humoristische-oorlogskaart, 1870

(Humorous War Map)

Published in Haarlem by J.J. van Brederode in 1870

Image source: University of Amsterdam

Das heutige Europa, 1875

'Das heutige Europa'
(Today's Europe)

Published in Zurich by Caesar Schmidt in 1875

Image source: University of Amsterdam

L'Europe Animale - Physiologie Comique, 1882

'L'Europe Animale - Physiologie Comique'
(The European Animal - Comical Physiology)

Designed and drawn by A. Belloquet; published in Brussels by Vincent in 1882

Image source: University of Amsterdam

Angling in troubled waters, 1899

'Angling in Troubled Waters: a Serio-Comic map of Europe'

After the design of Fred W Rose; published in London by GW Bacon in 1899

Image source: University of Amsterdam

(I've posted a version of this map before but this is a much better and larger image)

Re: Fred W Rose (but not specifically about the above map) -

"Caricaturist Fred W Rose created [..] this cartoon map in 1877, when British hostility to Russian territorial ambitions in the Balkans, at the expense of the tottering Ottoman Empire, were at its height. [..] British determination to resist what were held to be Russia's overweening territorial ambitions was not confined solely to India.

The Balkan crisis of 1877, in which the British government sided with the Ottoman Turks against the Russian tsar, led to the publication of a curious Serio-Comic War Map by the noted Victorian graphic artist and caricarturist Fred W Rose. It illustrated the threat posed to British interests by the Russian octopus in its quest for world domination. Rose continued to produce eyecatching cartographical curiosities for the rest of the century, including what was probably his masterpiece, 'Angling in Troubled Waters: A Serio-Comic Map of Europe' in 1899."

John Bull and his Friends by Fred W Rose, 1900

'John Bull and his Friends
A Serio-Comic Map of Europe'

After a design by Fred W Rose; published in London by GW Bacon in 1900

Image source Centre Excursionista de Catalunya (Memòria Digital de Catalunya) [previously]

"Great Britain - John Bull has been attacked by two wild cats. He is however able to rely on the stores of ammunition behind him, as well as his own pluck and great resources. The letter at his feet from his friend Uncle Sam, would be more encouraging were it not for the post-script. The Nationalist section in Ireland has taken this opportunity to vent his abuse upon him, but is restrained by the loyalty of the people.

France too, is scolding and threatening to scratch with one hand, while with the other she is beckoning on Germany to help her. Although the Dreyfus affair is thrust into the back-ground she is much occupied with her new doll's house. She has somehow managed to break all the toys on her girdle and her heart is sore, for she attributes these disasters to John Bull.

Holland and Belgium are also calling him unpleasant names.

Spain, weary with her recent struggles, remembers that John was in no way inclined to help her, and looks up hoping to see him attacked by some of her neighbours.

Portugal is pleased to think he holds the Key of the situation.

Norway and Sweden though still struggling to get free from their mutual leash, turn their attention to John's difficulties, while Denmark is kindly sending him a present of provisions.

Austria and Hungary will be content with dreadful threats

Switzerland's satisfaction that her Red Cross has done good service, is marred by the news of John's victories, which she is reading.

Italy alone holds out the hand of encouragement to his old friend.

In Corsica the shade of her great departed son is wondering why people don't act, as he would have done, instead of growling and cursing.

Turkey, resting comfortably on his late foe Greece, is smiling at the thought that these troubles do not harm him and perhaps he is not sorry that John will not come to much harm.

Russia, in spite of the Tzar's noble effort to impress her with his own peaceful image, is but an octopus still. Far and wide her tentacles are reaching. Poland and Finland aleady know the painful process of absorption. China feels the power of her suckers, and two of her tentacles aer invidiously creeping towards Persia and Afghanistan, while another is feeling for any point of vantage where Turkey may be once more attacked."
"Fascinating political caricature map by Frederick Rose of the countries of Europe, known as the Octopus Map from the brooding presence of the Russian Empire depicted as a massive octopus, whose tentacles stretch out towards Europe. China is shown in the grasp of Russia, as is Persia and Poland. France and Spain are attractive women, while Germany, Italy and England are Military commanders. his map, by Rose, followed the style created by a Frenchman, Joseph Goggin, showing Russia as an octopus."

[All the University of Amsterdam images were spliced together from 20+ screencaps. They are linked through to large versions, but note that very large images were uploaded to Flickr in which all the map text should be legible. However, the Flash zoom module at the source site provides the highest resolution views.]

I think I'll refrain from providing additional commentary on this occasion, save for noting that the above array of maps are a sampling and not intended as a comprehensive visual timeline arrangement. Many important examples are missing (some are scattered through the archives here) and this selection only covers one century of a tradition that probably dates back to the early 14th century work of Opicinus de Canistris.

I recommend reviewing the Dogs of War post from last year which has some general background notes/links and Roderick Barron's illustrated article [pdf], 'Bringing the map to life: European satirical maps, 1845-1945' is worth reading.

See also:

Little blooms

The wild flowers don't come out here until the fall.
But I carved myself a little stamp garden today.

Fred Ludekens, Close-up

The Summer 1964 issue of Famous Artists Magazine contains an extensive interview with Fred Ludekens (1900-1982), a member of the Famous Artists School's founding faculty.

Ludekens was born in Huoneme, California on May 13, 1900. When his father died the family moved to Canada and the artist grew up there, in Victoria, BC. After returning to California as a young man, Ludekens took a night class in art at the University of California Extension School. This would be his only formal training. Ludekens enjoyed drawing but was unsure of his ability to pursue commercial art as a profession - so he never submitted a single drawing until the last day of the class. His teacher, Otis Shepard, praised it highly, and this gave Ludekens the confidence to try free-lancing.

Ludekens worked for San Francisco ad agency, Foster and Kleiser painting billboards. In 1931 he joined another SF agency, Lord and Thomas, as an art director and moved in 1939 to that agency's New York office.

He returned to San Francisco in 1945 and devoted himself to illustration for the next period of his career.

He later became co-creative director of one of the most prestigious advertising agencies in the world, Foote, Cone and Belding (FCB).

With his extensive understanding of both the free-lancer's and the art director's perspective on advertising art, Ludeken's interview in Famous Artist Magazine provides the reader with some remarkably astute advice - as relevant today (dare I say, even more so) than when the interview was conducted nearly half a century ago.

This week, let's listen to what Fred Ludekens had to say about commercial art and artists. Along the way we will learn a little about this most distinguished mid-century illustrator - and about ourselves as well.

* My Fred Ludekens Flickr set.

Featured Designer(s) of the week- Organic Odysseys & gardengrl

Each Monday we feature the Designer of the Week. One of our editors pick their favorite from the Monthly Challenge entries.
There are so many wonderful pieces to choose from this month.
I was really torn on this one, so why not go with 2 it's the last designer feature for June!

This week Tari Sasser picked Color Study of Squares by Organic Odysseys.
Two picks this week are better than one :).
Tari noted, "WOW! Perfect depiction of the painting translated into art-to-wear. All I keep saying is "WOW." To see more of Kate's work please visit her blog.

Tari noted, "There is beauty in simplicity. This necklace screams color but is simple in design and is fantastic. Kandinsky would be proud!" To see more of Amy's work please visit her flickr page.

Want to see your work featured on the Art Bead Scene? Our theme for the month of June is Kandinsky's abstract circle painting. The deadline to enter for the monthly prize is June 30th! Create something that combines the theme with art beads and then send in your submission for the June Challenge.

Sunday, June 28, 2009

Vintage Flower Pattern for Adobe Illustrator

A seamless floral pattern for Adobe Illustrator from gtsat. You can use it for creating an artistic twitter background or for decorating design elements in your compositions.

You can explore more effects with the Pattern Bush feature in Adobe Illustrator CS3...

For More information about it you can have a look at "The Hidden Secrets behind Adobe Illustrator's Pattern Brush" video.Download

Saturday, June 27, 2009


Watercolor & acrylic ink
9 x 12 inches
Click on the image to see it BIGGER

New illustration

Something I'm working on this weekend...
Hope you have a lovely one.

Sunday with Cindy

Good morning, Beady Readers! There are new links in our list of highlights - be sure to check out the newest additions!

A Bead A Day
Lisa shares her selection of summery pink beads and crystals. The "Watermelon Crawl" bead mix is sure to conjure up visions of a family picnic on a warm summer day!

About.com Jewelry Making
Take these quick polls about wearing and making jewelry. Which are your favorite pieces?

Art Bead Scene
The Trendy Bead shows off wood filigree pendants.

Barbe Saint John - New Jewelry from Forgotten Artifacts
Read Barbe's interview on the Objects and Elements blog.

Beading Arts
Cyndi's initial thoughts on working with the new CopprClay. There'll be lots of projects coming this summer!

Carmi's Art/Life World
Carmi hand felts a pretty bead from wool roving.

Cindy Gimbrone aka Lampwork Diva
A trip to glass city doesn't go as well as planned. Yet Cindy finds inspiration and few new tools!

Earthenwood Studio Chronicles
Melanie mixes up gunmetal chains and components with brass to make a necklace with one of her Toolbox Treasure pendants

Heather sketches out some new designs using this summer's hottest color.

Jean Campbell Ink: Eureka!
Beading in the fresh air clears the mind, bringing fresh creativity.

Lorelei's Blog: Inside the Studio
Searching for some new inspiration? Lorelei's got just the place for you to find it!

Snap out of it, Jean! There's beading to be done!
Jean reviews Wirework, a new book by the famous Dale "Cougar" Armstrong

Strands of Beads
Melissa shows off her new lunar phases and compass rose designs

The Writing and Art of Andrew Thornton
While traveling in Florida, Andrew shares a new variation on a favorite skull bracelet.

Studio Saturday-Kandinsky and Color

Welcome to Studio Saturday! Each week one of our contributors gives you a sneak peek into their studio, creative process or inspirations. We ask a related question of our readers and hope you'll leave comments! As an incentive we offer a free prize each week to bribe you to use that keyboard. The following week we choose a random winner.

Last weeks winner is Nancy Congratulations! You have won a Jangles Bead from the studio of Jennifer Heynen. Send Jennifer an e-mail with your address and she will get it right out to you.

This week we visit the studio of Tari Sasser of Creative Impressions In Clay

Our Monthly Challenge for this month is Kandinsky's Farbstudie Quadrate. I love Kandinsky! The color, oh I love the color. Color is everything to me. Lots of intense color.

This is a tile I made in 1998 that hangs on my studio wall and I look at everyday.
Use, experiment and play with color. You have nothing to loose and everything to gain!

This is the back of my favorite coat. I painted this patch and more that go around the edge and sleeves of the coat, probably 4 or 5 years ago. I painted more patches that went on 2 chenille hoodies for myself and my daughter. Kandinsky inspires!

I got home late last night from my daughter's house. I was helping set up for my granddaughters birthday party, which is today.
These five 2" buttons were glazed when I got home.
It was going to be a rushed firing. I crossed my fingers and hoped they would turn out so I could show you this morning.
I painted and experimented with the colors. It was wonderful and calming.
I have to say, I miss painting. I haven't the time to paint in a long time and I miss getting lost in it and the calming therapeutic effects it has on me when I paint.

This weeks question:
Tell me about your experiments with color!

Leave your comments you could win one of my Kandinsky buttons shown above!

The Reagans and Michael Jackson at the White House

President Reagan and Michael JacksonPhotograph of The Reagans and Michael Jackson at the White House Ceremony to launch the Campaign against Drunk Driving, 05/14/1984 - 05/14/1984

ARC Identifier 198548, Item from Collection RR-WHPO: White House Photographic Collection, 01/20/1981 - 01/20/1989.
Creator(s): President (1981-1989 : Reagan). White House Photographic Office. (1981 - 1989) Type(s) of Archival Materials: Photographs and other Graphic Materials
Ronald Reagan Library (NLRR), 40 Presidential Drive, Simi Valley, CA, 93065-0600. PHONE: 800-410-8354; FAX: 805-577-4074; EMAIL: reagan.library@nara.gov.

Coverage Dates: 05/14/1984 - 05/14/1984. Part Of: Series: Reagan White House. Photographs, compiled 01/20/1981 - 01/20/1989, documenting the period 1915 - 01/20/1989.

Access Restriction(s): Unrestricted, Use Restriction(s): Unrestricted.

This image is a work of an employee of the Executive Office of the President of the United States, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the image is in the public domain.

This image is cropped by M0tty from Michael Jackson with the Reagans, to only show Michael Jackson.
Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" from the U.S. Copyright Office.


This week I played hooky for a few days to sit in on lectures at the Illustration Academy in Sarasota, Florida. The Academy assembles some of the most talented and successful illustrators in the country to discuss their work and teach young artists in hands-on sessions.

I had the pleasure of listening to presentations by
Mark English:

Sterling Hundley:

Gary Kelley:

Anita Kunz:

George Pratt:

If you tried to single out some distinguishing characteristic that accounted for the success of these illustrators, it was certainly not the way they marketed their services. (They had very different techniques.) Nor did they work in a common style-- they used a wide variety of approaches. It was not the stage of their careers (their ages range from 33 to 76) or the medium they used (some painted with computers and some painted with roofing tar). It was not their geographic location (they came from all around the US and Canada) or their gender or their politics. Yet, this group repeatedly won top awards and received choice assignments from the premiere publications.

So what did they all have in common?

It seemed to me that they all shared a deep curiosity about images and the interplay of form and content. Each of these illustrators had the enthusiasm and energy to cast their net again and again for fresh inspiration, exploring new themes and media. This, more than any career roadmap or promotional strategy, seemed to be their common ingredient. Not one of them lapsed into using a repetitive formula. I was surprised at how much of their work was self-generated; one persuaded a symphony orchestra to team with him in an experimental show of projected images to accompany Gustav Holst's
The Planets. Another went on a pilgrimage to the backwoods of the Mississippi delta to develop a project on the blues. Their broad intellectual curiosity added a richness to their illustrations that seemed to distinguish them from illustrators who took a more perfunctory approach.

Finally, I would like to add one other observation about my experience at the Illustration Academy. I've spent enough time around the New York art gallery scene to develop an extreme distaste for the phony hocus pocus that often accompanies the creation and sale of art. Sure, I respect the mystery of the muse-- my skin has tingled at the feel of her breath on the back of my neck-- but I can't stand it when her mystery is exploited to inflate a price or glamorize a particular artist. Many artists and art galleries today operate like the high priests in ancient times who cloaked sacred activity within a mystic tabernacle to keep the uninitiated awestruck.

The artists at the Academy, on the other hand, de-mystified everything they could legitimately de-mystify. They had a healthy respect for the role of the muse in creating art, but they did not expand her role for their own self-aggrandizement. Instead, they spoke in honest and functional terms about the genesis of ideas and the ways that art communicates. It was as clean a discussion of the making of art as I've heard in a long time, by people with a sincere interest in passing along helpful information to younger artists, and it reminded me why I like illustration so damn much.

Friday, June 26, 2009

Michael Jackson Vector Illustration - RIP King of Pop

Vector illustration of Michael Jackson, the King of Pop, who passed away on June 25, 2009. Michael was a black Peter Pan, who quickly became an icon with his distinct style of performing. This vector artwork is inspired by Michael's '82 album Thriller, the best-selling album of all time, including funk-soul-rock-pop classics as Billie Jean, Wanna Be Startin' Somethin' and Beat It...

Michael Jackson's Thriller cover art and the MJ logo are owned by Sony Music © 1982-2009

The .zip file contains PDF, EPS, AI file format versions of the artwork.


This little guy is not only unbearably cute
but he's super smart as well.
My oldest son Israel has already taught him to sit
when offered a treat or his favorite toy.
I hope I'm not boring you to death
with puppy posts, but I just can't help it :)