A List Apart has been redesigned and given a thorough change in its publishing system, its look and feel. It promises new inspiring articles (after several months of paralysis) while it all has been reformed. Jeffrey Zeldman explains in an article the process of redesign and what’s new on ALA 4.0.
Some time ago I created a number of illustrations for an article about typefaces and lettering based on famous artists’ handwriting. These were imaginary portraits (only in the case of Cézanne I used a photo as reference) and they were made as an ink sketch, then scanned, vector-traced and coloured as vector illustrations. Here are some examples: Picasso, Matisse, Leonardo Da Vinci,Cézanne and Monet.
A selection of the ten best resources for CSS in the net. But, caution! As they say, “we must offer a word of warning before going to any of these websites. These sites can become very addicting if you enjoy web design in the slightest way. Some of these sites link to literally hundreds of other sites which will catch your interest.”
We agree on the best part of the selection: it contains some of our own favourites.
Posted by Joan M. Mas on 25.8.05
David Hockney had avoided watercolours for the most part of his career so far. But recently he has rediscovered the pleasures of watercolour and in his latest solo exhibitions he has shown many landscapes and portraits in this technique. He’s not using watercolour in the usual way, though. They are large works on paper, usually two or more sheets assembled to form the whole picture; the juxtaposition of several parts as a whole reminds you of his earlier experiments with photo-collages.
There is something special in these new works, both tematically and stylistically. After his long investigations in photography and optics, and his neo-picassian and neo-matissian periods, Hockney is back to basics —to what has always interested him: capturing light and environments, and the personality of people he knows well.
The palette in his new double portraits is more vibrant and intense, while his landscapes (Northern England, Yorkshire; Norway, Iceland) use a very special subdued palette. The brushwork is masterful: loose but very descriptive. Obviously these are watercolours where the artist has enjoyed himself and they are the expression of a very acute observation and interiorizing of the landscape features.
It is remarkable that Hockney feels this special fascination with northern light in spring and summer. The same landscapes which have always attracted other painters such as Bernd Koberling. David Hockney has always said he felt a double, opposite fascination with both mediterranean-californian sunshine and the “gothic gloom” of Central and Northern Europe.
Some links where you can see some of these new works and comments about them: Annely Juda Gallery, Studio-International, National Portrait Gallery, Lalouver Gallery (or simply perform a search at Google with David Hockney watercolors/watercolours.)
I have been talking about pseudo-watercolours in acrylic, like the ones in Bernd Koberling’s work. Now I am experimenting with digital watercolour effects in Painter. Some of the brushes and effects in the program are really attractive. I will add some examples and my work notes in a forthcoming post.