Sue Doeksen







Old and never posted, but the fact remains: I'M IN LOVE WITH EVERYTHING THAT SHE'S EVER CREATED

http://www.suedoeksen.nl/blog/

Stephen Halker









Wow, what fun work! I'm a sucker for some good vectors, let alone complemented by such good line work.
Stephen has a lot of different kinds of work in his flickr too, which I always appreciate, including some surprisinly good scientific illustrations, architectural drawings, and loads of work for Zoo York.
Hooray!

http://www.flickr.com/photos/stephenhalker/
(thanks to Brian Jobe for the tip)

H&FJ's Highly Scientific First Principle of Combining Fonts

Despite my love for typgraphy, I've always been a little hesitant about mixing fonts on design projects. However, Hoefler & Frere-Jones (gods of type) recently did a great little expose/tip sheet on the subject that I found very helpful! Definitely a good resource for anyone unsure of where to begin.

Here's some of the pictures that went with the article, of which the main point was keep one thing consistent amongst all pairings.





http://www.typography.com/email/2010_03/index_tw.htm

Omodaka



My sister went to a Sabrepulse concert a few weeks ago and brought back a CD for me, ultimately initiating a mini chiptune obsession on my part. On that note, I was looking up some music on youtube and found this very cool video (for a very awesome chiptune song no less) for Omodaka's Kyoteizinc. It has one woman performing this very cool futuristic dance projected several times, which is then remixed(?) to look kind of jumpy. Definitely worth a look (and if you're into this kind of music, the other songs are great as well)

Petra Borner









Wow, such amazing paper cuts. I love the mix of tribal aboriginal motifs and classic swedish design. And such fun colors! The precision of her lines is really quite impressive, almost digital. She also has some really fun embroidery, textile designs, and drawings (even book cover designs) on her website, so check it out.
Can't wait to see more from her. Bravo!!
http://www.borner.se/

Paul Bordeleau






I was actually flipping through our followers (40, wow!) when I came across some of Paul's sketches, and I was quite taken! They have such a nice graphic simplicity. The uneven pen lines and subtle color block shading are very charming. Most of the work I chose above seems to be from his "blue period" (He organizes his work into Picasso-like color periods), which I think might be my favorite such period of his. I love how the little streaks of blue in these keep the pieces from being too gloomy, but still vaguely mysterious. That said, I especially love the "Oncle John Claude" one, the black and white is so clean and classic.

His blog is in French, which I'm at a complete loss to understand, but it also looks like he recently was nominated for some sort of graphic novel award? I tried to google translate it, but that never turns out well. Well either way, definitely check him out. As I said, these are just his quick sketches, but his illustration work is really great as well, and definitely deserving of a look (It has lot more textures, but still the same quirky shapes and line variation)
Hooray for mutual blogging!

http://troglos.blogspot.com/

http://www.bordeleau.qc.ca for the rest of his work

Alexa Meade







Alexa Meade is a fantastic painter. Take a look at any of her pieces, and you can see just how precise her technical work is. But if look a little closer, you realize it may not be a painting you're seeing...
If you can't tell yet from the pictures, Alexa Meade paints people. Literally.
This shit is not only crazy, but beautiful. it just takes optical illusions to a whole new level.
I think she say's it herself perfectly, of course:

"My painting technique pushes the boundaries of perception, compressing 3D space into a 2D plane, effectively blurring the lines between art and life. The living paintings series is my spin on reality. By wrapping my subject in a mask of paint, I skew the way that the core of the subject is perceived. Typically, when you look at a painting, you're looking at an artist’s interpretation of the subject painted on canvas. In my artistic interpretation of the subject, I paint directly on top of the subject I am referencing rather than using canvas. Essentially, my art imitates life – on top of life. For example, with Portrait of a Self-Portrait you are simultaneously looking at a portrait I painted of myself, a photo I took of myself, and at me." - Alexa Meade


She has a nice portfolio site (posted above) but you can see a lot more of her work at her flickr it seems. I really encourage you to check it out, your mind will be blown. The colors and subtle painted backdrops only serve to complement the crazily realistic and interesting scenes she sets up. Truly beautiful and thought provoking. Bravo!


The Heart and the Bottle



Sorry it's been so long - I've been working on layout and interviews for the next issue, I swear! If you still haven't gotten a copy, please do, we could really use the support! You can purchase them
here or send me an email if you have any special requests. There's also a nice 25% off sale on magcloud right now, which might help convince you. But if you still need convincing.... I saw that Oliver Jeffers (who we featured in the last issue) has a new book out (looks quite lovely, see it here on amazon), and I thought a little excerpt from his interview might be a nice teaser. Enjoy!

******

Domestic Etch: Although art and math don’t seem initially intertwined, one of your painting series has a focus on mathematics. What inspired this series? To me, it calls to mind Fibonacci and fractals and their relation to nature, or is this something completely different?

Oliver Jeffers: A bit like that, but not really. Fibonnaci and fractals are all about patterns, whereas my work is interested in the difference between two systems of understanding our world; logical understanding and emotional understanding, and what happens whenever I try to examine the same subject or convey the same information using both systems, hence replacing peoples facial expressions with mathematical formula. I wasn't really into maths at all until I became interested in the aesthetics of putting a sterile mathematical equation on a gestural painting. It was the same reason that I got into putting words and pictures together, the idea of tying them together with design purposes. Anyway, I thought they looked really cool together, and thought conceptually there was an interesting contrast, but I needed to know more about what the equation was doing, which was when I began conversations with a professor of Quantum Physics, and that changed everything.

DE: Where did you grow up? How did that affect your style? Are there any artists in your family?

OJ: I grew up in Belfast Northern Ireland, and when I stop to think about it, that probably had a lot to do with the development of my style and sense of humour. I grew up in the middle of what is referred to as 'The Troubles' where basically Catholics and Protestants were trying to kill each other. It wasn't very pleasant, but among the majority of people who did not involve themselves in the struggle, it cultivated a unique perspective of the world, that involved basically putting the head down and ploughing through regardless, a characteristic usually executed through a particularly cynical sense of humour.