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Emma Rios is an Illustrator, art director and set designer based in London. She illustrates with pen and ink and also builds pictures, scenes and sets, using paper and a variety of props. Her clients include Liberty, Cosmopolitan and House of Fraser to name a few. I think the whimsical charm of Emma Rios work is very beautiful.

To see more visit her website  

Posted by Jessica Holden 

Sometimes I feel like the wrong people are being boosted up and supported by their community. That may be a loaded thing to say–I simply mean that some of the art scene here in the Bay has become a bit homogenous and male-dominated. It’s no secret that the fine art world can often feel a closed door to many emerging artists as they continue to boost those who are already successful and well-known.

But obviously, there is room for everyone. My momentary pessimism was quelled when I stumbled across photos of LOSTBOY’s first solo show hosted at Betti Ono Gallery here in Oakland. To see an illustrator my age succeed in this way is incredibly motivating and empowering. Also, it doesn’t hurt that their work is wonderful to behold.

LOSTBOY is a first-generation Korean artist, illustrator, maker and a self-described “proud Aquarius.” They focus on visceral imagery and use the integrity of linework to draw attention to themes of identity, affirmation, consciousness and self-discovery. They are a graduate of the Portland Northwest College of Art’s Illustration program, and currently reside in Los Angeles, CA (yay hometown!).

After graduating from PNCA, LOSTBOY spent about 4 years in Oakland and recently moved back to their hometown to concentrate on preparing work for the aforementioned show, Core. LOSTBOY cites varied influences such as Yayoi Kusama, Yoko Ono, Ruth Asawa, and Antony and the Johnsons, in addition to fractals, oceanic imagery, and their own Asian-American heritage. In many ways, LOSTBOY’s work is about finding oneself and embracing one’s community, but it’s also about noticing and welcoming the unseen.

LOSTBOY’s solo show “Core” will be up at Betti Ono Gallery in Oakland until February 15, 2015. I can’t wait to see it myself and highly suggest you all check it out as well.

Follow along with LOSTBOY’s adventures:

Website

Instagram

Etsy

Glassworks, the literary magazine of Rowan University’s Master of Arts in Writing graduate program, invites writers to submit work to be considered for publication.

Glassworks publishes nonfiction, fiction, poetry, hybrid pieces, craft essays, new media, and art both digitally and in print. We are currently reading until December 15, 2014.

More information about the magazine, sample issues, and our submission manager can be found at our website.

Submissions link.

Imitate...life

Palaver welcomes interdisciplinary submissions of all forms for its Fall 2014 issue. Our call for submissions is open until Tuesday, October 14, 2014. If you should have any queries or need clarifications on what we're looking for, please e-mail:

combsmATpalaverjournalDOTcom(Change AT to @ and DOT to . ) Please see our submissions guidelines here.
 
What is Palaver? Palaver is the University of North Carolina Wilmington's online interdisciplinary journal housed in the Graduate Liberal Studies program. At Palaver, we challenge and embrace the vintage definition of “an often prolonged parley usually between persons of different levels of culture and sophistication.” A palaver encourages a dialogue of multiple perspectives. We showcase the distinct intellectual pursuits of contributors while merging those diverse academic endeavors into a forum that will give rise to a new dialogue. 

To see our Spring 2014 issue, click here. To learn more about Palaver, click here.

Follow us on Twitter.
Like us on Facebook.

Michelle Thompson graduated from the Royal College of Art in 1996. Her techniques include mark-making and photography. She also combines traditional collage with digital technology, often working with found materials. She has worked internationally most notably collaborating with Vaughan Oliver. Michelle Thompson’s clients include Royal Mail, BBC and the Guardian amongst many.

You can see more of her work on her website or her facebook page.

Isabelle Arsenault’s illustrated children’s books Migrant, Spork, and Virginia Wolf have been much praised and received numerous awards, including two Governor General’s Awards. Her children’s graphic novel Jane, the Fox, & Me was published in 2013. She lives and works in Montreal.

See more of her work: Portfolio | Blog

Deadline: JUNE 30, 2014

For its fourth issue, Proximity is seeking new essays and multimedia that explore WILDERNESS. We’re looking for true stories that center around wilderness as a theme, stories about wild physical spaces--and stories, too, that explore mental, emotional, or spiritual terrain. Wilderness can be confined to a certain place and time, and wilderness can be boundless. Do you have a wilderness story you’d like to share? Send it in--as long as it’s an engaging work of nonfiction that’s narrative-driven and connected to the theme.

Submit here.

Submissions must be previously unpublished and submitted to Proximity for publication in one of the following categories: long-form (6,000 words maximum), mid-range (2,000 words maximum), flash (500 words maximum), or photo essay/multimedia. Multiple submissions and alternative forms of true stories are welcome and encouraged.

Toad is currently seeking work for issue 4:2!

Please send your best poems and flash fiction pieces (1,000 words or less) to:

toadthejournalATgmailDOTcom (Change AT to @ and DOT to . )

Make sure your submission adheres to our submission guidelines, which can be found here.

The Journal of Compressed Creative Arts is looking for, as you might guess, "compressed creative arts." We accept fiction, creative nonfiction, poetry, mixed media, visual arts, and even kitchen sinks, if they are compressed in some way. Work is published weekly, without labels, and the labels here only exist to help us determine its best readers. We also have a brand new category: triptychs!

Our response time is generally 1-3 days. Also, our acceptance rate is currently about 1% of submissions. We pay writers $50 per accepted piece and signed contract.

We are currently open for compressed poetry, compressed prose fiction (including prose poetry), and compressed creative nonfiction. We will close submissions on June 15, 2014.

The reader for your submission is, during this round of spring submissions, the managing editor.

Please be sure to submit in the correct category; we've been receiving several fiction submissions in the creative nonfiction category. Word count alone doesn't create compression, so we ask that you also consider why this piece works for a journal obsessed with what's compressed.

For all submitters, we aren't as concerned with labels—hint fiction, prose poetry, micro fiction, flash fiction, and so on—as we are with what compression means to you. In other words, what form "compression" takes in each artist's work will be up to each individual. However, we don't publish erotica or work with strong, graphic sexual content.

In short, we want to fall in love with your work. That might happen in the way we've fallen in love with work we've previously published, or it might happen in a way we have yet to experience. Maybe reading that other work will help in knowing whether you should send your work to us, but in truth, such a thing might not be discoverable.

Submit your work here.

Director Darren Dubicki of Aardman Animations created this strikingly elegant mixed-media piece to celebrate Pink Floyd’s legendary album The Dark Side of the Moon.

The three-minute piece serves as a trailer/supplement to an original radio drama based on the album, written by playwright Sir Tom Stoppard, premiering on BBC Radio 2 on August 26th. Dubicki also created an extended film loop that will complement the audio experience online.

More details about the production from the official Aardman release:

Aardman director, Darren Dubicki saw the piece working as a film trailer and the team spent time absorbing the rich detail from both Pink Floyd’s music and Sir Tom Stoppard’s play. In doing so they developed a striking visual concept where images juxtapose with carefully considered lyrics and dialogue from the play encompassing the underlying themes of greed, conflict, consumption, humanity and the descent into madness…

Dubicki says, “What was fundamentally important to us was that we retained a consistent visual tone that echoed the imagery created over the years for the band. The intensely surreal and powerful artwork created by Storm Thorgerson and Hipgnosis has always had a strong distortion on reality. Their sense of space and twisted context make for some uncomfortably beautiful art. This tone has been consistent for decades and we wanted to honor this with our contemporary digital (and analogue) slant on the style.”

Created using a collage of digital imaging, CGI, studio-based effects and hand crafted elements the films were produced with depth and richness that reflects the classic tone of Pink Floyd’s art.

CREDITS
Client/Agency: BBC Radio 2
Producers: Rhian Roberts/ Rowan Collinson

Aardman Animations
Director: Darren Dubicki
Executive Producer: Heather Wright
Producer: Helen Argo
Production Assistant: Danny Gallagher
Production Co-ordinator: Louise Johnson

DOP: Mark Chamberlain
Camera Assistant: Joe Maxwell
Gaffer: Nat Sale
CG Modeling: Olly Skillman-Wilson
CG Modeling: David Klein
CG Modeling: Saul Freed
CG Animation: Mathew Rees
CG Animation: Rich Spence
CG Lighter: Andrew Lavery
Supervising Senior Compositor: Jim Lewis
Compositor: Spencer Cross
Compositor: Paule Quinton
After Effects Artist: Tom Readdy
Editor: Dan Hembury

I took one of my gelli prints and played with it digitally to create this print which I will be posting in my Etsy shop soon.

Check this out here on my other blog. - Color! Texture! Fun!

Just uploaded a new print in my Etsy shop. I have been playing more with monoprinting and collage.
I thought this message was a good fit for the artwork. Hope you like it.

New print in my Etsy shop -

Here is a small piece of a much larger one I am working on - can't share too much else about it.

Here are two  new prints available in my Etsy shop -

Aardman veteran Darren Robbie (aka Chopsy) had the idea to make Making Stuff during an agency commercial pitch:

The line came to me while pitching on some commercial or other, and trying to explain what I loved about animation, and what was particularly hard with certain kinds of animation—trying to get that emotional connection out of a basically inanimate object. I think I was also attempting to explain to some agency people that, yes, I could animate a particular foodstuff (even though I didn’t have that on my reel) because, guess what…I’m an animator!

Robbie manages to pack a fun mix of animation techniques (stop motion, time-lapse, pixilation, hand-drawn, sand) into the film’s brief 90-second length.

CREDITS
Camera: Sam Morris
Modelmaking and studio space: Gary & Cat at ScaryCat Studio
Production assistance: Kev Harwood
Post: Emma Kingsnorth at UN1T
Music: Dave Reynaud
Audio track: Mcasso Music Production Ltd.

Here are a couple of new prints just posted in my online shop.

Another new print of an original monoprint in my Etsy shop.