View allAll Photos Tagged pencilandpaper
For the group Macro Mondays Aug. 26th challenge, Goes Together Like...
Click to view larger, but for really large size click here:
www.flickr.com/photos/motorpsiclist/48623408598/sizes/o/
You can really see the detail in the pencil's point in the largest size.
Interested in using photos and graphics on your blog or in your publication, but worried about copyright or licensing issues? Check out Photogaroo.com!
I've changed the © for this image to Creative Commons since it seems to be a popular search result for "paper" and "pencil."
I have other creative commons photos and stock photos, too. If you use the photo commercially, consider buying me a gift.
Uses:
Can we erase bad memories with a drug?
Bei der Bewerbung muss alles stimmen
4 Mitos Terbesar Jurusan Desain Grafis
How To Apply For The Board Exam
Entschuldigung, ich bin keine Empfangssekretärin
Design Thinking vs. Creative Intelligence: Who Cares?
Write every day to explore your ideas.
Close Photoshop and Grab a Pencil: The Lost Art of Thumbnail Sketches
Taken for group 'Macro Mondays' theme 'Goes Together Like'.
This is a very simple set up. It's mainly ambient light but there is a little blue LED lighting for the highlight on the pencil.
Alas, impossible to get in Europe. I am always begging friends travelling to the U.S. to buy me some. I'm down to the last two, so if you're about to go on a quick weekend shopping trip to New York, let me know ...
Design Challenge entry: 'Lasagna Lake by Su_G for Lake' in a flanged cushion mockup (c/o Roostery)
'Lasagna Lake by Su_G for Lake': My entry in the Food Frenzy Coloring Book Design Challenge - for the Lake interactive coloring app, inspired by a favorite food: lasagna!
Original: Pencil on paper
© Su Schaefer 2018
[I was going to do the Princess & the Pea, with a similar idea of many layers, but once the idea of lasagna came along, I couldn't get away from it!]
See 'Lasagna Lake by Su_G' as fabric @ Spoonflower.
[Lasagna Lake by Su_G for Lake_flanged cushion_mockup]
Design Challenge entry: 'Lasagna Lake by Su_G for Lake' in a coloring in test run
My entry in the Food Frenzy Coloring Book Design Challenge - for the Lake interactive coloring app, inspired by a favorite food: lasagna!
Original: Pencil on paper
© Su Schaefer 2018
This was my coloring in test and I'm pleased to say that it worked well. This was a half vegetarian lasagna but clearly the possibilities are endless!
See 'Lasagna Lake by Su_G' as fabric @ Spoonflower.
Design Challenge entry: 'Lasagna Lake by Su_G for Lake' in a fabric mockup (c/o Roostery)
'Lasagna Lake by Su_G for Lake': My entry in the Food Frenzy Coloring Book Design Challenge - for the Lake interactive coloring app, inspired by a favorite food: lasagna!
Original: Pencil on paper
© Su Schaefer 2018
[I was going to do the Princess & the Pea, with a similar idea of many layers, but once the idea of lasagna came along, I couldn't get away from it!]
See 'Lasagna Lake by Su_G' as fabric @ Spoonflower.
View from my balcony. Cruz das Almas - Maceió/AL
Pencil - A4 Paper 140g
Pentel 0,5 2B, Faber Castell 8B
Another sketch of an antelope. I had to draw a bongo... I had no choice... ^_^ Again, I'm new to this whole art thing, so really do appreciate any and all kind words and especially all constructive criticism.
Canteiro de Obras, Ed Riviera. Vista da minha varanda.
Cruz das Almas - Maceió/AL
Grafite - Papel A5 140g
Pentel 0,5 HB
.
.
Happy Christmas everyone!
Some of you might realise that this drawing comes from the photograph I took of a beggarwoman and her baby in Chennai. It is set against a Moghul arch from over a doorway at Safdarjung's Tomb in Delhi.
all rights reserved©
"Remember, this December, that love weighs more than gold."
~ Josephine Dodge Daskam Bacon ~
Igreja Santa Maria Madalena / Convento de São Francisco.
Marechal Deodoro/AL
Grafite - Papel A5 140g
Pentel 0,7 2B / Faber Castell 6B
Dualism of two parts - Our Daily Challenge
© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
A sketch I did of an eland. I will admit to being slightly nervous about putting this up, as I've never really shown anyone my sketches before. I hope people like it. Any and all comments - especially constructive criticism - are welcomed!
This large drawing is truly seen best in the flesh, exhibited in its original size and unique framed form. The Royal Hibernian Academy in Dublin, accepted and exhibited it in their annual summer show back in May until August 2018.
Its title 'Here's Looking At You, Kid?' recalls a great retort, our humanity once cheered to hear being given, against the barbarity of war and fascism. Humphrey Bogart said the line in parting to Ingrid Bergman as a plane waited to take her away from Casablanca. But now that classic line, in this drawing’s context, instead becomes a question about surveillance and the greater military industrial complex, secret murderous inner state monsters that have grown up from an impossible lie, getting ever bigger and more destructive, sacrificing humanity, corrupting democracy, trying vainly to control us and our world.
But an artist, armed with mighty pencil and paper, has subverted the satellite’s surveillance images. ‘Here’s Looking At You Kid’ zooms back to discover the secret garden inside the Pentagon.
In this curious geometric mystery brain, works a puzzle of paths, into which we may meditate and reflect. Lung clouds of wild leaves oxygenate this Eden’s atmosphere like an augury of thoughts. Below, lit up in blazing sunlight’s interrogation, tangled trees stalk out their entity of forms, casting forth their conscious secrets into shadows, among which tiny unelected figures are found, walking and talking in projected glimpses, perhaps supping Starbucks coffees and enjoying a bit of whats left of nature, as they operate within this spectre conducting our world.
At almost 2 metres in width, some people encountering this drawings large enigma, may have discovered that dead centre, peeping through behind a tiny cut circle in the paper, was in fact the little insidious eye of a surveillance camera! And with it the thought, that It might have all along been watching them. The tension in this possibility was of course all part of the idea and its subject.
- Antonio Carty (9th July 2019)
Completed: 2017-18
Medium: Pencil on paper
Size: approx.165cm wide
Pentagon form, unique frame.
----------------------------------------------------
Below is part of a 2018 Interview with artist Antonio Carty, Questions are from artist Una Seely RHA
Well, I am attracted to what I call Xanadu's. Places that we can see but not reach. Secret places, where we are free to escape into a re imagining of our life there, elsewhere. By zooming in on a far off curious place, we can regain a curiosity, in the traces of their shadows become possible the evidence of other narratives, only partially realisable in their mostly imagined forms, this act of detective work by me the artist and then you the viewer, invites us on a journey into the source of the picture's reality. We are given a chance to leap into the world of a distant other, to wonder and re discover our habitual familiar world. This curious leap into an other view, is what all art can help us with.
Q. What drew you to the subject matter of the Pentagon?
So with my interest in far off Xanadu's I was fascinated by the Pentagon's inner secret garden. We can idealise a far off place and fancy it a possible Heaven, but in the case of the Pentagon I think, with all the subterfuge and murder it engineers to maintain a status quo in world power, I found that here is a garden like heaven in hell!
I especially enjoyed to see the trees in the garden come to life as a great abstract gathering of untamed creatures living in there amongst their walls and paths good order, its forms can trigger an augury in our imagination's conscience as it reflects into the enigma of this domineering Pentagon's interior. The building was built under what where then seen as temporary powers during the emergency of World War 2, but it was the emergence of the Pentagon's permanent power we now take for granted today.
As I drew this picture it was a complicated task to unravel what I was looking at. It was most interesting to discover that under the autumn branches can be seen the narratives of humans evidenced only by their shadows, that project out from them like ghosts! I was to find them emerging from the surrounding building's anonymous walls and walking the garden's paths and tunnels of cavorting trees. When looking down from a satellite's perspective at our life on earth, the people and trees that seem at first quite clear and familiar are in fact their shadows, the actual people from above are only dots, its their shadows that speak more clearly yet beguilingly for them, It can be hard to remember which is which. I love working with this projected view of life, letting forms become conscious through their shadow’s trace, the trees in such a forested garden as this double in number inter-embracing their carnival of shadows all dancing in a blaze cast by the low autumn sun.
I also love the objective equality of its Heavenly perspective, from a satellite all people on earth are of equal size even if they're subjectively vast distances from each other, it is a view in which each person is of equal possible interest. I have many other ideas on this, I'm working to create a full exhibition from this ’Satellite of Love’ perspective of our life on earth !
Q. Are you turning the tables by making us into the voyeurs?
Yes, I like the idea of usurping the arrogant engineering behind this potential power of surveillance over anyone 'they' choose. It was empowering and I hope creatively contagious to show we can 'turn the tables' on that power by simply using Google Earth satellite view to zoom and surveillance back into the presumptuous eyes of our beholders! I'm saying with just a humble pencilI I can render a revelation of goliath!
But there is a twist most people visiting may not yet have noticed, tell the people on your tour to look closer, that they may discover a surprisingly insidious reality hiding in the centre of this picture…
Yes there, dead centre of the Pentagon is a little tiny camera lenses eye! Is it on? Has it been surveil-lancing your reactions this whole time?! This art may be watching you!
So yes indeed, its about confronting this tension of surveillance by an all seeing eye, that presumes the powers of a God over us. That it may effectively inhibit our behaviour and self censor our expressions, even our private interactions, lest its power be triggered and drawn down to witness us. My picture seeks to expose the attempt to effect a surveillance of conscience itself.
I named this picture 'Heres Looking At You Kid ?' its after that famous line Bogart tells to Ingrid Bergman at the end of 'Casablanca' a wonderful movie that lives in our hearts, because humanity in its camaraderie and love stood up to the rising storm of fascism. Memorably as they part, he looks into her eyes one last time and tells her 'Heres Looking At You Kid'.
But of course now, this line of human empathy has been corrupted into the question of a surveillance state, where the unaccountable power of places like the Pentagon really may be, looking at you kid?
Q. Was it difficult to find such detailed reference material to work from?
No and yes. It was easy to access a good version of google earth for free, and by zooming in and taking multiple blown up screen shots of it in parts, I then jigsawed them together to create the highest resolution image I could to see and best guess at all the details in this guarded garden's mystery.
But, I was not able to find a single photo actually taken down on the ground by anyone in the garden. I also first drew and realised another large pencil view of the Pentagon, this one from a photo taken by a helicopter on the day after 2001 September 11th attacks, this was fortunately quite a high resolution image taken to show the fire and damage of the attack that had killed people working in the outer parts of the building. But I found when I removed the building and zoomed in on the central garden detail, there was a strange calm, it was untouched.
I wondered what might be seen in there during such a significant time. I found I could see many figures, knelt perhaps in prayers, under the leafy end of summer trees, but I'm not sure. In the shapes of the trees I drew, I felt there was a possible augury of forms, that could let trigger in us our expectations of a wilder expression, full all the monsters and clowns of war, the trees hold for me the amorphous characterisation of horrors we can only try to imagine playing out around the world, directed by people working within this vast blocked bunkers of cement architecture walled around a secret garden where people's ghostly shadows, must eat their lunches and chat.
This other drawing I called 'In The Garden of Pentagon'. It suggests the Bible's Garden of Eden story has been replaced by this, the most unashamedly powerful war and surveillance machine in human history, headquartered around an enchanting and unreachable Xanadu garden.
Q. It's almost a sculptural piece with the elaborate framing, was this important to you?
Yes, I wanted to attract the viewer to examine this unique and powerful shape we have grown to familiar with, to feature it as a curiosity we should perhaps reconsider and take interest in. I made the frame myself and It was enjoyable to turn the traditional idea of a frame as a passive presenter into an actor, it was a tricky but enjoyable task, to cut all the angles and assemble up this Pentagon white castle's walls!
This large drawing is truly seen best in the flesh, exhibited in its original size. I sourced the view from a wider photo of the Pentagon in Washington D.C. taken by someone in a helicopter, in the days after the Sep. 11th 2001 attacks.
Using the photo I zoomed in, to notice just this Eden like garden sanctuary, protected by the largest military industrial complex the world has ever known. I tried in curiosity to visit it by drawing it. To see what I might find under its mystery clouds of trees and shadows. To discover what I felt inside its strange wilds, a sheltered Xanadu of calm, within such a castle of externalised terror.
- Antonio Carty (9th July 2019)
Completed: 2017
Medium: Pencil on paper
Size: 70 by 165cm approx.
------------------------------------------------------------
Below is part of a 2018 Interview with artist Antonio Carty, Questions are from artist Una Seely RHA
Well, I am attracted to what I call Xanadu's. Places that we can see but not reach. Secret places, where we are free to escape into a re imagining of our life there, elsewhere. By zooming in on a far off curious place, we can regain a curiosity, in the traces of their shadows become possible the evidence of other narratives, only partially realisable in their mostly imagined forms, this act of detective work by me the artist and then you the viewer, invites us on a journey into the source of the picture's reality. We are given a chance to leap into the world of a distant other, to wonder and re discover our habitual familiar world. This curious leap into an other view, is what all art can help us with.
Q. What drew you to the subject matter of the Pentagon?
So with my interest in far off Xanadu's I was fascinated by the Pentagon's inner secret garden. We can idealise a far off place and fancy it a possible Heaven, but in the case of the Pentagon I think, with all the subterfuge and murder it engineers to maintain a status quo in world power, I found that here is a garden like heaven in hell!
I especially enjoyed to see the trees in the garden come to life as a great abstract gathering of untamed creatures living in there amongst their walls and paths good order, its forms can trigger an augury in our imagination's conscience as it reflects into the enigma of this domineering Pentagon's interior. The building was built under what where then seen as temporary powers during the emergency of World War 2, but it was the emergence of the Pentagon's permanent power we now take for granted today.
As I drew this picture it was a complicated task to unravel what I was looking at. It was most interesting to discover that under the autumn branches can be seen the narratives of humans evidenced only by their shadows, that project out from them like ghosts! I was to find them emerging from the surrounding building's anonymous walls and walking the garden's paths and tunnels of cavorting trees. When looking down from a satellite's perspective at our life on earth, the people and trees that seem at first quite clear and familiar are in fact their shadows, the actual people from above are only dots, its their shadows that speak more clearly yet beguilingly for them, It can be hard to remember which is which. I love working with this projected view of life, letting forms become conscious through their shadow’s trace, the trees in such a forested garden as this double in number inter-embracing their carnival of shadows all dancing in a blaze cast by the low autumn sun.
I also love the objective equality of its Heavenly perspective, from a satellite all people on earth are of equal size even if they're subjectively vast distances from each other, it is a view in which each person is of equal possible interest. I have many other ideas on this, I'm working to create a full exhibition from this ’Satellite of Love’ perspective of our life on earth !
Q. Are you turning the tables by making us into the voyeurs?
Yes, I like the idea of usurping the arrogant engineering behind this potential power of surveillance over anyone 'they' choose. It was empowering and I hope creatively contagious to show we can 'turn the tables' on that power by simply using Google Earth satellite view to zoom and surveillance back into the presumptuous eyes of our beholders! I'm saying with just a humble pencilI I can render a revelation of goliath!
But there is a twist most people visiting may not yet have noticed, tell the people on your tour to look closer, that they may discover a surprisingly insidious reality hiding in the centre of this picture…
Yes there, dead centre of the Pentagon is a little tiny camera lenses eye! Is it on? Has it been surveil-lancing your reactions this whole time?! This art may be watching you!
So yes indeed, its about confronting this tension of surveillance by an all seeing eye, that presumes the powers of a God over us. That it may effectively inhibit our behaviour and self censor our expressions, even our private interactions, lest its power be triggered and drawn down to witness us. My picture seeks to expose the attempt to effect a surveillance of conscience itself.
I named this picture 'Heres Looking At You Kid ?' its after that famous line Bogart tells to Ingrid Bergman at the end of 'Casablanca' a wonderful movie that lives in our hearts, because humanity in its camaraderie and love stood up to the rising storm of fascism. Memorably as they part, he looks into her eyes one last time and tells her 'Heres Looking At You Kid'.
But of course now, this line of human empathy has been corrupted into the question of a surveillance state, where the unaccountable power of places like the Pentagon really may be, looking at you kid?
Q. Was it difficult to find such detailed reference material to work from?
No and yes. It was easy to access a good version of google earth for free, and by zooming in and taking multiple blown up screen shots of it in parts, I then jigsawed them together to create the highest resolution image I could to see and best guess at all the details in this guarded garden's mystery.
But, I was not able to find a single photo actually taken down on the ground by anyone in the garden. I also first drew and realised another large pencil view of the Pentagon, this one from a photo taken by a helicopter on the day after 2001 September 11th attacks, this was fortunately quite a high resolution image taken to show the fire and damage of the attack that had killed people working in the outer parts of the building. But I found when I removed the building and zoomed in on the central garden detail, there was a strange calm, it was untouched.
I wondered what might be seen in there during such a significant time. I found I could see many figures, knelt perhaps in prayers, under the leafy end of summer trees, but I'm not sure. In the shapes of the trees I drew, I felt there was a possible augury of forms, that could let trigger in us our expectations of a wilder expression, full all the monsters and clowns of war, the trees hold for me the amorphous characterisation of horrors we can only try to imagine playing out around the world, directed by people working within this vast blocked bunkers of cement architecture walled around a secret garden where people's ghostly shadows, must eat their lunches and chat.
This other drawing I called 'In The Garden of Pentagon'. It suggests the Bible's Garden of Eden story has been replaced by this, the most unashamedly powerful war and surveillance machine in human history, headquartered around an enchanting and unreachable Xanadu garden.
Q. It's almost a sculptural piece with the elaborate framing, was this important to you?
Yes, I wanted to attract the viewer to examine this unique and powerful shape we have grown to familiar with, to feature it as a curiosity we should perhaps reconsider and take interest in. I made the frame myself and It was enjoyable to turn the traditional idea of a frame as a passive presenter into an actor, it was a tricky but enjoyable task, to cut all the angles and assemble up this Pentagon white castle's walls!
from a 2018 Interview with artist Antonio Carty, with Questions from artist Una Seely RHA
These are round two of the logo package for The Apple Tree Experience (http://www.myspace.com/appletreeappleseeds); a Christian band out of Harrisburg, PA.
You can check out other logos we've done here: zerflin.com/services/logos/
These are round two of the logo package for The Apple Tree Experience (http://www.myspace.com/appletreeappleseeds); a Christian band out of Harrisburg, PA.
You can check out other logos we've done here: zerflin.com/services/logos/