hyper.ballad

vogue cover designed by Dali.  you’re welcome. 

via seesaw.

burnt 01 by troy moth | $20 at mammoth

ordering this print, can’t wait to get it.  kind of amazing that something this beautiful is a charred piece of wood.  and the rest of the series just as beautiful, check it out here.

I’ve always been fascinated by fire: I find I can reach my greatest inner peace when sitting near a campfire. But it’s the morning after a night outdoors, when I return to the charred remains of what had previously been a bright and welcoming light, that I’m most curious about. To me, the pieces lying there, burnt and alone and dead on the ground, hold stories — each piece with its own unique and tiny narrative.

I decided to start gathering those remains to see if by documenting them I could find a way to convey that same impression to a viewer. I’m calling the result Burnt, and I guess you could say Burnt Piece - 01 is kind of the linchpin to the series — my favorite piece from the study.

(thanks to Erin at designformankind.com for introducing me to troy’s work!)

today’s visual awesomeness: when world problems collide. 

Earthquakes and Wars | John Jerome O’Connor
graphite, colored pencil, gesso on paper, 2003
53 inches x 83 inches

I began this drawing by recording the dates of the ten largest earthquakes and wars in the United States. I also recorded and included other pertinent information such as duration, location, severity, etc. The upper and lower stripes or bars correspond to the dates of the quakes and wars – the lengths of the stripes equal the dates (i.e. 1994 = 1 inch, 9 inches, etc.). I also developed a system to determine the color of each stripe. After I drew the stripes, I looked for patterns in the actual dates and the space(s) left between the sets of stripes. As with other works, I tried to look for similarities, an interconnectedness – principles or systems that may guide seemingly disparate phenomena. I tried various ways to create a form that would link the sets of bars and I eventually arrived at the organic central shape. To do this I measured from the end of each bar a distance based on the duration of the wars and the size of the quakes (translated into centimeters), and connected the resulting points. I thought of this process as a phase transition, in which one system is transformed into another. The information I placed throughout the drawing also relates to the conceptual similarities I observed. One concept that each phenomena seemed to have in common was the critical state, a kind of organization characterized by a tendency toward sudden and tumultuous change, one that seems to arise naturally under diverse conditions when a system gets pushed away from equilibrium. Another principle that I thought might determine the frequency of wars and quakes, was the butterfly effect. This effect, in which a simple occurrence can have much greater consequences, is what begins the process culminating in a critical state. I tried to make the central shape resemble the entirety of the butterfly effect, yet in reverse – it is at once a type of growth system and simultaneously a contained, definable form.

wolf breath. 

(PS you can buy this print aqui.)

love this illustration by robin cottage. 

{via pitch design union}