I'm a big fan of stippling. It's been a favorite technique of mine for a while. But never have I even considered doing something like this. What Miguel Endara does here is beyond my comprehension. Who knows just how accurate the 3.2 million dot count is.

It would seem to be a hard thing to accurately keep track of, but regardless, the number of dots and the level of detail Miguel achieves is insane. He even manages to capture his father's stuble

Hat tip to Jackson Fox and Drawn for the link.

Process: Sweet Peas with Kim Westad from Etsy on Vimeo.

We don't often feature articles about ceramic artists (that would be artists who work in ceramics, not artists that are made out of ceramics, though that would be really cool...)

In fact, I don' tthink we ever have posted something about a ceramics artist, but today, while poking around Vimeo, I stumbled upon the Etsy account there, which is full of great little pieces featuring the artists that sell their goods through the service, and this one stood out to me in particular.

The video features Kim Westad an artist living and working in the Bronx. Her style strikes me as minimalistic an playful. I think if I owned some of her work I'd have trouble ever using it, I'd rather it sit on a shelf on display somewhere in the house. I'm not sure if that's a good thing or a bad thing for a ceramics artist, but I mean it as a compliment.

This is great. Often we think about animators huddled over animation tables drawing or moving around sprites or models on a computer screen all in something that often resembles a slightly more eccentric form of the common cubicle farm. This footage shows how the animator's on Disney's 1951 adaptation of Alice in Wonderland drew their inspiration for the sequences in the Mad Hatter's Tea Party scene. And as pointed out in io9's writeup, the audio from the live-action scene wound up being used as the final film's track as well.

Amazing 1950s Alice In Wonderland test footage shows how Disney staged the Mad Hatter’s real-life tea party via io9.com

Few people can say they have had as much influence over contemporary comics as Joe Quesada. From his early work at Valiant Comics to his seminal run on Daredevil with Kevin Smith, to his part as Editor in Chief at Marvel Comics in creating the Ultimate Universe of comic characters we all run to see in the movies. Quesada is first and foremost a visual creator. One thing I like about him as a professional artist is how transparent he has been with his process in sharing on sites like twitter. Today he spent time going step by step on creating a pin up for the Fantastic Four's 50th anniversary. BleedingCool.com was nice enough to cull all the steps and commentary together in a handy webpage so you can see inception all the way to final colors. Of particular interest to me is how much of his workflow is digital, using tools like a Wacom Cintiq and software like Sketchbook Pro

Link to the article is here. 

Glennz Illustration Process - Empty Cartridge from Glenn Jones on Vimeo.

Glenn Jones has made his mark designing clever t-shirts and selling them online at Glennz.com.

Recently, Glenn's blog posts featuring his illustration process have gone viral. The videos highlight his efficiency working with Adobe Illustrator. What I'm curious to know is, how much plannng and sketching is done prior to these videos being shot?Update

Orelha Negra - M.I.R.I.A.M. X Vhils aka Alexandre Farto from Vhils on Vimeo.

Street artist Vhils is a Portugese street artist known mostly for creating large portraits that emphasize the human presence and emotion in an otherwise structured world. Many of these works have appeared on the sides of buildings, further highlighting the contrasts between humans and developed structures.

With his latest works, Vhils has taken to producing his depictions using explosives to blast them into the sides of the buildings themselves, giving viewers the feeling as though they were there all along, overtaken by the structure, the artist has just now uncovered them.

Over on The Creators Project there is a great interview with Vhils where he discusses his process and what it takes to be a street artist working on such a large scale in a medium that isn't exactly discrete.

Source Article

Great article with Angus Wall the creative director who oversaw the amazing opening title sequence for Game of Thrones. A lot is said here on all the ideas and time it took to get from first concept to what we saw on screen. A particular challenge this work had was to help the audience understand the large world of the show and its multiple climates and locales. 

"One of the things we realized early on was that you couldn’t really tilt the camera up very far because it raised the question, what’s beyond the map? I kept thinking that if you had all the money and craftsmen in the world, and you could do whatever you wanted, what would you do? In my mind, you’d build the most intricate, beautiful map you could possibly imagine. You’d get the best craftsmen in the world, give them the materials they’d need and give them five years to make this crazy, working, super-detailed miniature."

In the end they had about a 2 year head start on the show and about 25 artists.

My favorite take away quote though is almost totally unrelated to the work they did for GoT.

Angus Wall: You just have to take the opportunities as they’re presented to you and keep as many irons in the fire as possible. One thing that I’ve learned from my wife (and partner for 18 years) is that if there’s somebody you want to work with or if there’s a job that you want to do, you have to call whomever that person is or call the people who are going to award those jobs and tell them how passionate you are about what they’re doing. It’s scary to call people, but at the same time you think to yourself, “What’s better than somebody calling you up and saying, “Hey, I really love the stuff that you do. If there’s any chance I could work with you on something in the future, let me know.”