Interested in robotics, but building a robot seems too complex and you can’t afford an Asimo? The folks at Instructables have a solution: Mimbo, a simple, iPhone-based robot in a cardboard body that mimics your facial expressions. At first glance, Mimbo isn’t really all that interesting: it c…
New ad for Sao Paulo’s I.A.R (Recycling Environmental Institute), by agency Ageisobar. This Brazilian artist’s work sends a powerful message; using sand to represent water depicts the depressing reality of the future water crisis.
Simple, clear and an interesting use of outdoor.
“David and Goliath” by Caravaggio, remade by Miguel Iturbe. One of the best new entries in the Adobe remake competition. You can find the other entries here.
This photo is incredible - thanks agraff
In her paintings, Amanda Clyne achieves a striking contrast between the sensitive representation of her subjects, and the rigid sliced effect of the overall image.
Here is what she says about the process:
I begin my process by culling images from fashion magazines. Cropping the image into a portrait, I re-print the image on to a surface to which the printing ink does not adhere, so the image remains wet. I photograph the print as the fluid image morphs and dissolves over time. I then compose a new image from fragments of these photographs—each image each is comprised of slices of the image at various stages of dissolution. Once I have resolved the final composition, I project the basic outlines of the image onto a canvas, and use a print-out of my composition as a painting reference. Each fragment is taped off and painted separately. Because of the narrow width of the fragments (some are less than 1/4 inch wide), I usually paint every third fragment, then while I wait for those fragments to dry, I paint alternating fragments on a different painting. Some paintings require three or four rounds of painting, so I work on several paintings at once. (quote via Colossal)