Tiny figures celebrating with wine and music on top of the golden skyscraper. One helicopter shovels money out of the Treasury building while another dumps bills on the rooftop revelers. Greece's Treasury, meanwhile, is empty; orange-clad prisoners sit in Guantanamo Bay; and in Mexico, workers sit cramped in a "Fabrica de Exploitacion."
I haven't drawn anything since 2003, this feels like breathing again after being held underwater for 5 minutes.
The Eyewriter from Evan Roth on Vimeo.
So how was I to know this thing called Doom would make a jillion smackers?
Despite Le Corbusier's interest in theory, his discourses were anything but cerebral abstractions, and conveyed a vigorous physicality thanks to the method through which he illustrated his thoughts. His visual aids were low-tech yet high-impact.
On the wall behind him, the architect would unroll and pin up a swath of yellow tracing paper as wide as a movie screen. While he spoke, he used varicolored chalks or crayons and sketched a profusion of pictograms, scrawled a welter of catchphrases, and ended up with a dense calligraphic mural like a Cy Twombly drawing avant la lettre.
Many such Corbusier lecture backdrops survive, intact or in tatters, thanks to souvenir hunters who swooped in and claimed them the second he exited the stage.
I don’t care. I’m making Obama blue today.
I worked for twenty years as a cartoon illustrator, doing drawings for books, magazines and advertising. I was often given clear guidelines on how I was supposed to draw African-Americans: with “small noses” and “thin lips”. I was instructed to make any crowds of cartoon characters racially diverse, but only diverse in color, not in facial features. Thick lips and wide noses on African American faces would be returned to me for correction, with a polite reminder of the corporate policies on depictions of minority facial features.
This autumn day [21 September 1970] was the inauguration of the “Op-Ed,” the world’s first newspaper page written -- except for two staff columns -- by readers.
By creating the Op-Ed, the Times anticipated the structural media change expressed in the explosive blogosphere of today’s Internet: the shift of content from top-down to consumer-supplied.
What's more, the new concept embraced a newspaper secret: many people turn first to the letters to the editor.
Illustrator Colleen Champ used micrographs of natural objects created by Dennis Kunkel and arranged them into a picture of three beetles enjoying tea at a table of butterfly wings, surrounded by a field of crystallized vitamin C.
