tech

Mischtechnik, Acryl und Öl auf Karton

The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “. Some of her work focuses on women, and they incorporate criticism and cultural protest. Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia. Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics. The structural composition of some of the works is influenced also by her many years of working in the architects’ office. Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.

The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “. Some of her work focuses on women, and they incorporate criticism and cultural protest. Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia. Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics. The structural composition of some of the works is influenced also by her many years of working in the architects’ office. Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.

Colorful drawing of a scene of Studio Ghibli's film "Howl's Moving Castle", Sophie and Howl's kissing Reference: screenshot of the movie scene Techniques: brush pens on regular paper

Colorful drawing of Sugar Sugar Rune's main characters. Reference: pinterest. Techniques: brush pens on regular paper

VOLCANA (MARVEL COMICS) DONE 2015. ORIGINAL ART WAS THROWN AWAY Marsha Rosenberg was born in Denver, Colorado. She was a day care center employee who, along with her friend Skeeter, was among the residents of Denver transported to the Beyonder's "Battleworld" during Marvel Comics' first Secret Wars limited series. Seeking power and respect, she and Skeeter agreed to serve Doctor Doom in exchange for super powers. Doctor Doom had learned how to operate a machine utilizing alien technology. He used it to grant Rosenberg the ability to transform into a molten lava form with powerful thermal energy blasts, hence her codename "Volcana". She allied herself with Doctor Doom and the criminal faction and battled the She-Hulk in a confrontation with the heroic faction.[1] During the series, she developed a relationship with the supervillain Molecule Man, Owen Reece.[2] She bargained with the Enchantress,[3] and then battled the Enchantress with the intent to renege on her bargain.[4] During the Secret Wars II limited series, Marsha was residing back on Earth with Owen Reece. They hosted the Beyonder upon his arrival on Earth.[5] She tricked the Molecule Man into challenging the Beyonder[6] and then participated in the defeat of the Beyonder.[7] Some time later she accompanied the Molecule Man and the Fantastic Four to the Beyonder's universe. She separated from the Molecule Man when he apparently became irrevocably merged into another "cosmic cube" along with the Beyonder. Unlike her friend Skeeter who became the supervillainess Titania, Marsha did some superhero work.[8] She battled the Wizard[9] and Moonstone.[10] Volcana assisted the Avengers in repairing the damage to the Earth's crust caused by the Beyonder.[11] Volcana later took a comatose Molecule Man to the army hospital. After Molecule Man recovered, he turned the tent they were in into a hot air balloon as Captain Marvel's hologram wanted to talk. Volcana destroyed the projection. Because of the Silver Surfer, Volcana and Molecule Man were redirected to the Avengers and the Fantastic Four. After a brief fight, Molecule Man and Volcana were allowed to return to their apartment in Denver.[12] Later, she was briefly reunited with a de-powered Molecule Man (who had mysteriously returned to Earth) and battled Klaw. It was at that time that she gained the ability to assume volcanic rock and volcanic ash forms. She subsequently discovered that, just before his supposed "death," Molecule Man had secretly "willed" her a portion of his reality-warping power, and it was this power that gave her the ability to manifest these other forms at critical times, just when she needed them. Once he regained his power from her, she found herself no longer able to tolerate the darker side of his personality. She terminated their relationship, although Molecule Man vowed to one day prove his full love to her.[13] After losing a lot of weight, Volcana attended the wedding of Absorbing Man and Titania. Marsha discovered that Molecule Man was also invited. When Volcana went to check up on Titania following the supervillain attendees' fight with She-Hulk, she encountered Crystal, and Hydro-Man arrived to help Volcana until Crystal was defeated by Molecule Man.[14] Molecule Man still pined for Volcana. He captured Doc Samson, and after a fight with Doc Samson and She-Hulk, Molecule Man escaped and used his powers to carve Volcana's face in Mount Rushmore. Marsha saw the news of this on TV but did not suspect that Molecule Man was who made it happen.[15] During the "Fear Itself" storyline, Titania commented how Volcana just came along for the ride back when Titania was brought to Battleworld as she tells Dr. Wooster at the Farnum Observational Facility in Upstate New York.[16] Nightwatch later hired Volcana and Titania to fight She-Hulk in order to keep her from getting the documents that would incriminate him. With the help of her secretary Angie Huang, her supernatural monkey Hei Hei, and Hellcat, She-Hulk was able to defeat them with Huang redirecting Volcana's fire attack back to Volcana enough to melt her.[17] Powers and abilities Marsha Rosenberg gained superhuman powers through genetic manipulation by highly advanced technology performed by Doctor Doom. As Volcana, she originally had the ability to convert her entire body into a plasma form, in which she blazes with white-hot intensity, at times setting aflame any surface beneath her. In her human form, the 6 ft 5 in (1.96 m)[citation needed] tall Marsha has long black hair, and often wears only her magenta-colored swimsuit; her clothing is manufactured from unstable molecules, thus it is not destroyed when she is in her plasma form. The alien technology that empowered her makes her powers totally undetectable when she is in human form. Her plasma form grants her superhuman durability and consists of highly charged particles which surround her in white-hot flame and is able to emit controlled bursts of thermal energy up to 40 ft (12 m).[citation needed] She later gained the ability to convert her body into a stone form, a volcanic rock (basalt)-like composition which still enables movement and grants her superhuman strength. She subsequently gained an ash form, a volcanic ash (pumice)-like composition whose configuration she can shift, shape and control at will. Volcana cannot make partial transformations; she can possess the attributes of only one of her forms at a time. Monitoring devices subcutaneously implanted by Doctor Doom can be triggered to stimulate the aggression centers of her brain.

Colorful drawing of Mumei, character from the anime "Kabaneri of the Iron Fortress". Reference: official character design Techniques: brush pens on regular paper

ink on paper

Company that is responsible for a plethora of hi-tech electronic devices in my drawings. Drawn with FireAlpaca.

This critter's technically unnamed, so if you have any suggestions please comment them, I do like feedback sometimes lol. The scene is set on an eco-planet, somewhat like a zoo but more future tech-y. The ring in the sky is a sort of shield against any stray space rocks as shown. Hope you like it. (older drawing, made with Krita, all my drawings so far were from Krita actually)

Experimenting with some different colors and techniques! Go check out my Tik Tok @JewelDWing for the time lapse!

Whenever i hear the word 'graphic' on the news, my mind goes to art rather than the abrupt visual they feel needs a warning [Which i guess is a courtesy for some folks who just might not be able to handle such a site & prefer to look away.] Well, luckily, I'm not Pollyanna about this... As a creative, it is nearly impossible to hear that word 'graphic' & not flex my creative muscle & treat it w an alternative visual thot... 24/6! [I take Sundays off.] I was never fortunate enuf to attend college or to study graphic arts. But I actually think that this is a skill & craft of immense talent. To create aesthetic colors & shapes & beauty & what seems like using the most simplistic of techniques yet w the greatest of impact is simply mesmerizing to me. Why that color? Why that shape? & yet... it works!!!! So here is my attempt to simulate such a masterful profession but w a bit of humor.

Developing my style , I love stippling and cross hatching so thought I’d give it a go!

I kind of lied when I said there were only 3 versions of the Altitone animatronics. There are technically four, and these were the first two. They're stored in Jester's workshop. Unlike the V3 and V2 animatronics, the first two sets have red cheeks on the side of their faces that pop out, and contain cameras, instead of the cameras being in their mouth. This was changed, of course. Prototype Elizabeth has one of those police lights in their tail. I thought that would look cool. Jester thought so too, I assume, because he implimented it into Elizabeth. I imagine these guys roaming around in Jester's workshop as he works on them, to keep them from locking up, and all. Also, that is a real cupcake. It is molding on the inside. Can't wait for somebody to make THAT mistake. Drawn with FireAlpaca.

Batik painting wax dyeing technique on cotton.

We had to do a technique named 'analogous colour', and the colours that I chose to make this are: red, blue and purple (of varying shades). This character is a villain that I made up for a game that I also made up, hope he seems appealing.

Pigment Fineliner black & Stabilo 68. It's 2nd iteration of my favorite robots out of the white robot collection.

Switching things up a bit. Trying out different art techniques. This was sketched in pencil and colored with watercolor pencils. I created this character randomly while I was doodling one day. She still needs a name.

Children are hope, a chance at continuity.Lets protect our children.

First time oil pastel. Concepts and Hope: as a woman struggling with autism spectrum disorder I grew up not understanding basic concepts in the world around me. Maybe this is universal. I didn't understand why we had to go out to play in school for example, or I didn't understand other people might not be as honest as I always had been. A lot of concepts have a different meaning for someone like me. So here I am naked between the concepts, misunderstood but hopefully looking up. Maybe one day the world will be more like my ideals are, maybe I will create a circle around me of likeminded people, maybe the world will never change enough but I will find peace with myself. One day I will get peace, one way or another. Hope. Oh and yeah, it's a mess with the oil at the bottom. Does anyone have some ideas to improve my technique?

i was messin around with a more "painterly technique"

@whatechoco_muffin

@whitechoco_muffin

I fell in love with the neon/technicolour aesthetic a while back and wanted to give it a try - fun journey outside of my comfort zone

Français : L’Appropriationnisme ou le « Remake » est un concept simple. En effet, il suffit de reprendre le travail d’un artiste et signer la nouvelle production de son nom. Il ne s’agit, en aucun cas, de copier l’œuvre comme pourrait le faire un faussaire. Il ne s’agit pas non plus de plagier l’œuvre. En ce qui me concerne, j’utilise l’œuvre célèbre d’un artiste reconnu. En réutilisant une œuvre originale préexistante et célèbre, condition sine qua non, je propose de rendre un hommage. Il ne s’agit en aucun cas d’un manque d’inspiration surtout lorsque l’on sait maintenant que : « l’art naît de l’art et non de la nature » : Ernst Gombrich. Dans cette série, j’ai voulu revisiter des œuvres célèbres en utilisant ma technique graphique de l’éloge de l’approximation mettant en évidence la problématique de la défaillance et de la mémoire vaporeuse. English: Appropriationism or Remake is a simple concept. Indeed, it is enough to take again the work of an artist and to sign the new production of his name. It is not a question of copying the work as a forger could do. It is not a question of plagiarizing the work. As far as I'm concerned, I use the famous work of a recognized artist. By reusing a pre-existing and famous original work, condition sine qua non, I propose to pay tribute. It is by no means a lack of inspiration especially when we now know that: "art is born of art and not of nature": Ernst Gombrich. In this series, I wanted to revisit famous works using my graphic technique of praising the approximation highlighting the problem of failure and vaporous memory. https://www.pierretomyleboucher.fr

Français : L’Appropriationnisme ou le « Remake » est un concept simple. En effet, il suffit de reprendre le travail d’un artiste et signer la nouvelle production de son nom. Il ne s’agit, en aucun cas, de copier l’œuvre comme pourrait le faire un faussaire. Il ne s’agit pas non plus de plagier l’œuvre. En ce qui me concerne, j’utilise l’œuvre célèbre d’un artiste reconnu. En réutilisant une œuvre originale préexistante et célèbre, condition sine qua non, je propose de rendre un hommage. Il ne s’agit en aucun cas d’un manque d’inspiration surtout lorsque l’on sait maintenant que : « l’art naît de l’art et non de la nature » : Ernst Gombrich. Dans cette série, j’ai voulu revisiter des œuvres célèbres en utilisant ma technique graphique de l’éloge de l’approximation mettant en évidence la problématique de la défaillance et de la mémoire vaporeuse. English: Appropriationism or Remake is a simple concept. Indeed, it is enough to take again the work of an artist and to sign the new production of his name. It is not a question of copying the work as a forger could do. It is not a question of plagiarizing the work. As far as I'm concerned, I use the famous work of a recognized artist. By reusing a pre-existing and famous original work, condition sine qua non, I propose to pay tribute. It is by no means a lack of inspiration especially when we now know that: "art is born of art and not of nature": Ernst Gombrich. In this series, I wanted to revisit famous works using my graphic technique of praising the approximation highlighting the problem of failure and vaporous memory.

Français : L’Appropriationnisme ou le « Remake » est un concept simple. En effet, il suffit de reprendre le travail d’un artiste et signer la nouvelle production de son nom. Il ne s’agit, en aucun cas, de copier l’œuvre comme pourrait le faire un faussaire. Il ne s’agit pas non plus de plagier l’œuvre. En ce qui me concerne, j’utilise l’œuvre célèbre d’un artiste reconnu. En réutilisant une œuvre originale préexistante et célèbre, condition sine qua non, je propose de rendre un hommage. Il ne s’agit en aucun cas d’un manque d’inspiration surtout lorsque l’on sait maintenant que : « l’art naît de l’art et non de la nature » : Ernst Gombrich. Dans cette série, j’ai voulu revisiter des œuvres célèbres en utilisant ma technique graphique de l’éloge de l’approximation mettant en évidence la problématique de la défaillance et de la mémoire vaporeuse. English: Appropriationism or Remake is a simple concept. Indeed, it is enough to take again the work of an artist and to sign the new production of his name. It is not a question of copying the work as a forger could do. It is not a question of plagiarizing the work. As far as I'm concerned, I use the famous work of a recognized artist. By reusing a pre-existing and famous original work, condition sine qua non, I propose to pay tribute. It is by no means a lack of inspiration especially when we now know that: "art is born of art and not of nature": Ernst Gombrich. In this series, I wanted to revisit famous works using my graphic technique of praising the approximation highlighting the problem of failure and vaporous memory.

A3 format, acrylic, mixed technique We sat around the campfire, talked about everything a bit when someone asked: - Can you tell us your thoughts about death? Old Bone is pulled pipe from the backpack, filled it with tobacco and lit. We have been waiting patiently for the response of this unusual being, deep age, and great living experience. - Everyone would like to know the truth about death, whether it is the full end of life or a new beginning, " said Old Bone - It is wiser to ask questions about life, the purpose of life, and keeping the spark. Truly, few are looking for the truth about life. I believe that with only the complete knowledge of life, one can perceive what is happening after death.- - How to explain the messages of the dead through the media, learning religions about reincarnation, heaven, and hell, eternal life, testimonies of survivors of clinical death? - Fraud and delusions, speculation - calmly replied Old Bone - You must know one thing: there are doors between life and death, The Door Keeper will never let the living know what happens after death. The secret of death only he knows - and that's enough. I think life can only survive this way.

My tribute to my good friend who died earlier this year. Another white pastel on black paper. Not my favourite media but I love the effect of it. I need to practice more as I can't get my head around working on negative lol, erasing to get shadows and filling in to get highlights etc. I used a chunky white stick and a white pastel pencil but detail still eludes me lol. It's a technique I need to refine. It's the second picture of a dead person I've put on, apart from humph, so I'm a cheery little soul aren't I lol? Thanks for looking