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I've been learning some Illustrator lately , so this is some recent practice , thats my cam . . not realy creative , but I'm always up for learning more tools for creation . .
Fred Taraba - Masters of American Illustration - 41 Illustrators & How They Worked
The Illustrated Press
Published 2011; 1st edition
Book Design: Daniel Zimmer
Featured Artists:
Constantin Alajalov
McClelland Barclay
Walter Baumhofer
Harry Beckhoff
Rudolph Belarski
Wladyslaw T. Benda
Walter Biggs
Franklin Booth
Austin Briggs
Arthur William Brown
Margaret Brundage
Charles Livingston Bull
Gilbert Bundy
Pruett Carter
Matt Clark
Walter Appleton Clark
Will Crawford
F.O.C. Darley
Joe DeMers
Albert Dorne
Robert Fawcett
James Montgomery Flagg
John Gannam
Edwin Georgi
Earl Oliver Hurst
John LaGatta
Andrew Loomis
Orson Lowell
Neysa McMein
Wallace Morgan
Rose O’Neill
Herbert Paus
Edward Penfield
Coles Phillips
Garrett Price
Norman Price
Mead Schaeffer
Alice Barber Stephens
Saul Tepper
Jon Whitcomb
Coby Whitmore
Commissioned by Adobe, created using Adobe Illustrator CS5. Along with its How-To Guide, it comes with every shipped copy of Adobe CS5.
In this illustration I utilized the Bristle Brushes, Beautiful Stroke (Width Tool), and other new features of Adobe Illustrator CS5.
John Koenig played by Martin Landau, Oscar-winning character actor Martin Landau was born on June 20, 1928 in Brooklyn, New York. At age 17, he was hired by the New York Daily News as a staff cartoonist and illustrator. In his five years on the paper, he served as the illustrator for Billy Rose's "Pitching Horseshoes" column. He also worked for cartoonist Gus Edson on "The Gumps" comic strip. Landau's major ambition was to act, and in 1951, he made his stage debut in "Detective Story" at the Peaks Island Playhouse in Peaks Island, Maine. He made his off-Broadway debut that year in "First Love". Martin Landau
Landau was one of 2000 applicants who auditioned for Lee Strasberg's Actors Studio in 1955 - only he and Steve McQueen were accepted. Landau was a friend of James Dean and McQueen, in a conversation with Landau, mentioned that he knew Dean and had met Landau. When Landau asked where they had met, McQueen informed him he had seen Landau riding into the New York City garage where he worked as a mechanic on the back of Dean's motorcycle.
He acted during the mid-1950s in the television anthologies "Playhouse 90" (1956), "Studio One in Hollywood" (1948), "The Philco-Goodyear Television Playhouse" (1948), "Kraft Theatre" (1947), "Goodyear Playhouse" (1951) and "Omnibus" (1952). He began making a name for himself after replacing star Franchot Tone in the 1956 off-Broadway revival of Anton Chekhov's "Uncle Vanya", a famous production that helped put off-Broadway on the New York theatrical map.
In 1957, he made a well-received Broadway debut in the play "Middle of the Night". As part of the touring company with star Edward G. Robinson, he made it to the West Coast. He made his movie debut in Pork Chop Hill (1959) but scored on film as the heavy in Alfred Hitchcock's classic thriller North by Northwest (1959), in which he was shot on top of Mount Rushmore while sadistically stepping on the fingers of Cary Grant, who was holding on for dear life to the cliff face. He also appeared in the blockbuster Cleopatra (1963), the most expensive film ever made up to that time, which nearly scuttled 20th Century-Fox and engendered one of the great public scandals, the Elizabeth Taylor-Richard Burton love affair that overshadowed the film itself.
In 1963, Landau played memorable roles on two episodes of the science-fiction anthology series "The Outer Limits" (1963), "The Bellero Shield" and "The Man Who Was Never Born". He was Gene Roddenberry's first choice to play Mr. Spock on "Star Trek" (1966), but the role went to Leonard Nimoy, who later replaced Landau on "Mission: Impossible" (1966), the show that really made Landau famous. He originally was not meant to be a regular on the series, which co-starred his wife Barbara Bain, whom he had married in 1957. His character, Rollin Hand, was supposed to make occasional, though recurring appearances, on "Mission: Impossible" (1966), but when the producers had problems with star Steven Hill, Landau was used to take up the slack. Landau's characterisation was so well-received and so popular with the audience that he was made a regular. Landau received Emmy nominations as Outstanding Lead Actor in a Drama Series for each of the three seasons he appeared. In 1968, he won the Golden Globe award as Best Male TV Star.
Eventually, he quit the series in 1969 after a salary dispute when the new star, Peter Graves, was given a contract that paid him more than Landau, whose own contract stated he would have parity with any other actor on the show who made more than he did. The producers refused to budge and he and Bain, who had become the first actress in the history of television to be awarded three consecutive Emmy Awards (1967-69) while on the show, left the series, ostensibly to pursue careers in the movies. The move actually held back their careers, and "Mission: Impossible" (1966) went on for another four years with other actors.
Landau appeared in support of Sidney Poitier in They Call Me Mister Tibbs! (1970), the less successful sequel to the Oscar-winning In the Heat of the Night (1967), but it did not generate more work of a similar caliber. He starred in the television movie Welcome Home, Johnny Bristol (1972) (TV) on CBS, playing a prisoner of war returning to the United States from Vietnam. The following year, he shot a pilot for NBC for a proposed show, "Savage". Though it was directed by emerging wunderkind Steven Spielberg, NBC did not pick up the show. Needing work, Landau and Bain moved to England to play the leading roles in the syndicated science-fiction series "Space: 1999" (1975).
Landau's and Bain's careers stalled after "Space: 1999" (1975) went out of production, and they were reduced to taking parts in the television movie The Harlem Globetrotters on Gilligan's Island (1981) (TV). It was the nadir of both their careers, and Bain's acting days, and their marriage, soon were over. Landau, one of the most talented character actors in Hollywood, and one not without recognition, had bottomed out career-wise. In 1983, he was stuck in low-budget sci-fi and horror movies like The Being (1983), a role far beneath his talent.
His career renaissance got off to a slow start with a recurring role in the NBC sitcom "Buffalo Bill" (1983), starring Dabney Coleman. On Broadway, he took over the title role in the revival of "Dracula" and went on the road with the national touring company. Finally, his career renaissance began to gather momentum when Francis Ford Coppola cast him in a critical supporting role in his Tucker: The Man and His Dream (1988), for which Landau was nominated for an Academy Award as Best Supporting Actor. He won his second Golden Globe for the role. The next year, he received his second consecutive Best Supporting Actor Oscar nomination for his superb turn as the adulterous husband in Woody Allen's Crimes and Misdemeanors (1989). He followed this up by playing famed Nazi hunter Simon Wiesenthal in the TNT movie Max and Helen (1990) (TV). However, the summit of his post-"Mission: Impossible" carer was about to be scaled. He portrayed Bela Lugosi in Tim Burton's biopic Ed Wood (1994) and won glowing reviews. For his performance, he won the Best Supporting Actor Oscar. Martin Landau, the superb character actor, finally had been recognized with his profession's ultimate award. His performance, which also won him his third Golden Globe, garnered numerous awards in addition to the Oscar and Golden Globe, including top honors from the New York Film Critics Circle and the National Society of Film Critics. Landau continued to play a wide variety of roles in motion pictures and on television, turning in a superb performance in a supporting role in The Majestic (2001). He received his fourth Emmy nomination in 2004 as Outstanding Guest Actor in a Drama Series for "Without a Trace" (2002).
Martin Landau was honored with his own star on the Hollywood Walk of Fame, located at 6801 Hollywood Boulevard.
Overseas Press Club of America Bulletin
14 September 1957
"TWA marketed its Lockheed 1649 Starliners as the Jetstream- Los Angeles illustrator and artist Ren Wicks was asked by Howard Hughes to exaggerate the Starliner's wingspan and the distance of the engines from the fuselage for this classic ad. The Starliner was the ultimate version of the Lockheed Constellation family of propliners and entered service with TWA on 1 June 1957. But jets were on the way and only 44 Starliners were built, with the last one going to TWA just 2 years before long-range Boeing 707s and Douglas DC-8s arrived on the intercontinental routes once flown by the Starliner and its competitors like the Douglas DC-7C 'Seven Seas'."
www.flickr.com/photos/thechickenworks/5681935477/in/photo...
Esta imagen pertenece a www.odisea2008.com
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Esta imagen pertenece a www.odisea2008.com
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In this detailed tutorial you will learn how to create a seamless pattern composed of simple folk-flavored flowers. In the first part we will create an individual flower. In the second we will focus on constructing a pattern and define a seamless Illustrator pattern swatch.
pehaa.com/2010/02/illustrator-tutorial-create-a-seamless-...
Illustrator from Library of Congress
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/board/458510
The second ad I did for Oakley features famed skateboard kid Ryan Scheckler. Well, he was a kid at the time. The action photo is from an actual jump that he did. Artwork created in Illustrator from photo references. Art direction from Paul Schulte of Oakley.
Esta imagen pertenece a www.odisea2008.com
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本要在前天PO的
不過想再從新畫一次好了
所以...
到今天才發
希望大家天天都快樂了
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雨後的城市 寂寞又狼狽
路邊的座位 它空著在等誰
我拉住時間 它卻不理會
有沒有別人 跟我一樣很想被安慰
風 停了又吹 我忽然想起誰
天 亮了又黑 我過了好幾歲
心 暖了又灰 世界 有時候
孤單的很需要另一個同類
愛 收了又給 我們都不太完美
夢 作了又碎 我們有幾次機會 去追
不曉得為甚麼愛 又稀少又昂貴
雲在半空中 被微風剪碎
回憶也許美 可是正在飛走對不對
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Sydney based illustrator Hazim aka Okayboss.
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