Drawing on childhood memories, folk art, and nature, the London-based illustrator and model maker creates expressive sculptures and puppets that inhabit dreamlike realms. Invoking historical costumes and cartoonish and emotive faces, Johnston's otherworldly cast seems both familiar and strange, as if children's book protagonists have sprung to life or converged with a strange dream.
I don't remember when was the last day I did not think about Pokémon at all. In the 30 years since Pokémon debuted in Japan with the 1996 release of Pokémon Red and Pokémon Green for Nintendo Game Boy, the franchise has taken over the globe with its animated shows, mobile games and highly coveted trading cards.
Well known for its unique texture and unpredictable nature, this Texas-born and Toronto-based illustrator somehow gets a leash on it, creating semi-airbrushed, dreamy and playful scenes between eccentric characters and luminous colours. Dense with subjects and textures, Rylee's compositions explode with action and motion - like in The Cartoon Saloon, anthropomorphic animal cowboys drink, play cards and draw their pistols in a beautiful gradient that captures a moment where the dusty saloon is lit up by the firing of a revolver.
Mickey Mouse is more than a simple animated character. He represents a particular emotion that most people experience before they have a chance to process what they've seen. From Mickey Mouse's two black dots for his ears, his round-shaped head, his big doe-like eyes, and his expressionless smile, it is clear that one can understand Mickey Mouse without being told anything about him.
I've been a passionate creator of monsters and otherworldly beings since I was old enough to pick up a crayon. While I'm a mild-mannered graphic designer by day, I explore the worlds of darker creatures by night. For many years, I thought my art had to look like everyone else's to be successful. I started by colouring at Image Comics in the 1990s and went almost exclusively into comic-based digital work for many years after.
The other four designs each highlight a specific character: Kenny, Cartman, Randy Marsh, and Towelie, complete with details that throw back to moments from the show. The Randy Marsh Classic Clog finds Stan's dad dressed in his geologist uniform, with Jibbitz charms that callback to such moments as his "I thought this was America!" quote from "The Losing Edge" episode, and his transformation into a butterfly in the Inception parody, "Insheeption."
Over his career, Yo Moriyama has mainly been known for producing concept artwork and prop designs for shows such as Bubble and Lupin the Third: Goemon's Blood Spray, but he has also been developing a reputation for crafting character designs. That was the skill set he required for the Netflix anime series Sakamoto Days. Based on the manga created by Yuto Suzuki, the adaptation is animated by TMS Entertainment and directed by Masaki Watanabe.
"When I'm not in-person at an anime studio helping out with their projects, this is where I do most of my work," Linnea explains. "My partner Bellamy and I have our work desks together, mine is on the left and hers is on the right."
The new promotional illustrations feature dynamic action poses of core characters, particularly praised is The Thing, reminiscent of classic comic illustrations, reigniting hope among fans.
"I know ppl are going to throw tomatoes but stripping drag/transness from Pleakley really fucking sucks. I imagine for a lot of millennials Pleakley was probably the healthiest portrayal of transness we got to see as kids in any show."
"We're not using physically based rendering (PBR)," begins Adam, referring to a now-standard lighting and texturing technique in modern games. Instead, Guild Wars 2 leans into a hand-painted art style that has become a hallmark of its aesthetic identity."
