Lubangintip

Whiteshoes & The Couple Company

Gear :Nikon D90 18-55mm

 

Saya tidak punya plane untuk hari ini, dan akhirnya tadi buka facebook dan baca di message klasjog mau pada dateng ke garagesale pasar kutu .banyak yang jual pernak pernik mulai dari pakaian , tas , accecoris . ada juga yang jual Ipodtouch .dan saat jalan - jalan ga sengaja liat setumpuk buku dan itu terlihat seperti buku tua . buku itu tertulis " Norman Rockwell illustrator" .setelah baca tulisan itu saya teringat sesuatu . setelah berpkir sejenak . itu adalah seorang tokoh ilustrator asal amerika yang berhasil mendapat beberapa penghargaan . nih biographynya sang artist norman rockwell

 

   
Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was a 20th-century American painter and illustrator. His works enjoy a broad popular appeal in the United States, where Rockwell is most famous for the cover illustrations of everyday life scenarios he created for The Saturday Evening Post magazine for more than four decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter (although his Rosie was reproduced less than others of the day), Saying Grace (1951), and the Four Freedoms series. He is also noted for his work for the Boy Scouts of America (BSA); producing covers for their publication Boys' Life, calendars, and other illustrations.

Norman Rockwell was a prolific artist, producing over 4,000 original works in his lifetime. Most of his works are either in public collections, or have been destroyed in fire or other misfortunes. Rockwell was also commissioned to illustrate over 40 books including Tom Sawyer and Huckleberry Finn. His annual contributions for the Boy Scouts' calendars between 1925 and 1976 (Rockwell was a 1939 recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America^[15]), were only slightly overshadowed by his most popular of calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. Illustrations for booklets, catalogs, posters (particularly movie promotions), sheet music, stamps, playing cards, and murals (including "Yankee Doodle Dandy" and "God Bless the Hills", which was completed in 1936 for the Nassau Inn in Princeton, New Jersey) rounded out Rockwell's œuvre as an illustrator.

In 1969, as a tribute to Rockwell's 75th year birthday, officials of Brown & Bigelow and the Boy Scouts of America asked Rockwell to pose in Beyond the Easel, the calendar illustration that year Rockwell's work was dismissed by serious art critics in his lifetime Many of his works appear overly sweet in modern critics' eyes, especially the Saturday Evening Post covers, which tend toward idealistic or sentimentalized portrayals of American life— this has led to the often-deprecatory adjective "Rockwellesque." Consequently, Rockwell is not considered a "serious painter" by some contemporary artists, who often regard his work as bourgeois and kitsch. Writer Vladimir Nabokov sneered that Rockwell's brilliant technique was put to "banal" use, and wrote in his book Pnin: "That Dalí is really Norman Rockwell's twin brother kidnapped by Gypsies in babyhood". He is called an "illustrator" instead of an artist by some critics, a designation he did not mind, as it was what he called himself.(sumber : wikipedia)

There’s a group of pixel artists who have made it big in the real world. Three men in Berlin and one in New York call themselves eBoy, and they make pixel art that has appeared in magazines, on albums, posters, Web pages, commercials, and in other places besides. Formed in 1998, eBoy’s mission is simply to give the four artists a “stage and a shared identity and a shelter from all the killers out there.”

eBoy’s work resembles, but does not spring directly from, video games. Only the New York quarter of the team draws from a childhood of gaming; the other three grew up in East Germany where video games weren’t quite as well known. Instead they draw from other pop-culture elements, such as television, advertising, supermarkets, and Lego. Their art runs the gamut from simple faces, animals, and rampaging beasts, to giant cityscapes filled with isometric buildings, vehicles both worldly and fantastic, designer trees, and the occasional nipple. Their art often brings immediately to mind an era of games gone by. There’s a familiarity, almost like déjà-vu, about their pictures. It’s the pixels and the geometric precision that cause the recall. Games like Sim City look almost but not exactly like the cities created by eBoy. All of us have seen icons that look, at first glance, like some of the rogues in eBoy’s bizarre galleries. It’s an illusion, however. There never was an era in games that mixed the primitive graphic approach eBoy employs with the number of hues and shades they rely on. These creations spring from an age that video gaming skipped, an age of unlimited color and resolution without even a nod toward realistic use of perspective or proportion. And yet, for all the reasons that eBoy’s work couldn’t have come from games, they still look like they do—and that is part of . eBoy’s works are playful, colorful, and wonderful. Part toy landscape, part video game, and part cultural statement, each image grabs your attention and holds it tight. There never was an era in games that mixed the primitive graphic approach eBoy employs with the number of hues and shades they rely on. These creations spring from an age that video gaming skipped, an age of unlimited color and resolution without even a nod toward realistic use of perspective or proportion. And yet, for all the reasons that eBoy’s work couldn’t have come from games, they still look like they do—and that is part of their unique appeal.

There’s a growing demand for the kind of art eBoy creates. Their client list includes an impressive array of global companies. Amazon, Coca-Cola, Renault, Adidas, and MTV are but four from an impressive roster. It has been remarked that eBoy might have been right at home in the 16-bit era of gaming. Their work evokes the very best qualities of the old school. They’re simple, they’re complex, they’re colorful, and they’re large. There’s no doubt they might have been comfortable designing game graphics back then, but it doesn’t really seem they’re having out of their element now.It’s an interesting phenomenon that pixel art, created at first solely for video gaming, has moved on, beyond the games, and is now found in great numbers on home pages, magazines, and grafitti. Even unanimated, these chunky stacks of blocks are breathing with a life of their own. You can find them everywhere, drawn by anyone, and with newer techniques and better tools, they’re looking better than ever before. 

go visit on http://hello.eboy.com/eboy/category/everything/