Janine Rewell’s Body Paint Collaboration With Minna Parikka Shoes

Janine Rewell

Yes­ter­day, I gave a pre­sen­ta­tion to my friend Amanda’s class at Tow­son Uni­ver­sity. They were a really great group of stu­dents, and I had fun talk­ing about some of the things I’ve done over the years (this blog being one of them, of course).

At the end of the class, there was a brief dis­cus­sion about illus­tra­tion and it’s appli­ca­tion. I think illus­tra­tion has a wide range of appli­ca­tions. It can be any­where! On anything!

Take, for exam­ple, the work of Janine Rewell. It isn’t the tra­di­tional form of illus­tra­tion, and uses the body as a can­vas to adver­tise Minna Parikka shoes. Rewell’s col­or­ful shapes are sur­face designs that com­mu­ni­cate how styl­ish this par­tic­u­lar prod­uct is, and the a lifestyle (of sorts) that accom­pa­nies it. I love this out-of-the box think­ing.  (H/T Sarah Jacoby)

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Janine Rewell and Minna Parikka Col­lab­o­ra­tion: Body Paint­ing and Scan­di­na­vian Spring from MINNA PARIKKA on Vimeo.

Maurizio Anzeri Embroiders Masks Over Photographs

maurizio anzeri

Mau­r­izio Anz­eri isn’t the first to embroi­der on pho­tog­ra­phy and he won’t be the last, but I’ve always enjoyed his work. The thread acts as a bizarre mask that takes the pho­tographs from ordi­nary por­traits to sur­real and sub­ver­sive places. My favorite moments are when he gath­ers up the up the thread into some­thing akin to a nest. It’s expres­sive and makes some­thing that’s so cal­cu­lated feel really spontaneous.

And, from a tech­ni­cal stand­point: As some­one who embroi­dered for years on paper, the fact that his work looks so clean (no major gap­ing holes) is really impres­sive. Kudos to you, Mau­r­izio, you have bet­ter crafts­man­ship than me!  (Via I need a guide)

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Art History on Your Fingertips… Literally.


Barry McGee

Barry McGee

One of my favorite dis­cov­er­ies of this week­end was when I stum­bled upon Nail Art His­tory Tum­blr. The name is sort of self-explanatory. Tak­ing inspi­ra­tion from artists of both the past and today, art lover Susi Kenna gets an awe­some man­i­cure. Her nails are inspired by the likes of street art, abstract art, and more.

All work is done by Mei Kawa­jiri / @ciaomanhattan2012. The details on these tiny sur­faces is amaz­ing! I’m really impressed by the Barry McGee interpretation.

(H/T The Creator’s Project)





Shirley Jaffe

Shirley Jaffe


Andrew Masullo

Andrew Masullo


Julia Chiang

Julia Chi­ang


Jonathan Lasker

Jonathan Lasker


Friday Roundup: Illustrations I’ve Seen Lately and Liked

Today’s Fri­day round includes illus­tra­tions that I’ve seen lately and liked. They’ve been liked on my Tum­blr or repinned by me on Pin­ter­est. Either way, they’ve stayed in my brain.

There’s so much great stuff on the inter­webs. I wish I could share every­thing I find! So, here’s a lit­tle sam­pling. Enjoy and have a lovely weekend!

Also: Píc­colo, a small busi­ness I have with my friend Lisa, has jump­started our blog. We have an excit­ing new fea­ture, Pic­ture Party, that cel­e­brates illus­trated prod­ucts! Fol­low us on Tum­blr for twice-weekly awesomeness.

Karin Hagen Crafts Tiny Ceramic Cartoon-esque Characters

Karin Hagen

When I was in high school, I took a ceram­ics class. And boy, did I suck at it! I was ter­ri­ble at throw­ing and not very good at hand-building, either. Prob­a­bly because of my short­com­ings, the medium has always been some­thing that I’ve admired. Luck­ily, I get an excuse to write about it on a reg­u­lar basis!  So today, let’s look at the work of Karin Hagen.

Hagen’s tiny earth­ware sculp­tures are crea­tures and peo­ple. The hand-painted sculp­tures depict cats, mice, and peo­ple with cool hair­styles. They are chock full of nooks, cran­nies, and imper­fect forms. And, for that rea­son, I love them; There’s so much per­son­al­ity in these tiny objects!

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Katy Horan’s Dark, Folk-Inspired Paintings

Katy Horan

The illus­tra­tive paint­ings of Katy Horan are moody. Painted on dark back­grounds, the artist illu­mi­nates her sub­jects with sub­dued greens, reds, and blues. Their nar­ra­tives exam­ine the role of women through­out his­tory and mythol­ogy; They depict death, loss, fear, and the super­nat­ural. “Most recently,” Horan writes, “My research has focused on folk super­sti­tions and witch tales from the Ozark and Appalachian regions.”

If you find your­self in the Bay area, you can see Horan’s work at the LeQui­V­ive Gallery in Oak­land. She’s one half of a two-person show with Kather­ine Rut­ter titled For the Sake of Being(s). It’s on view until March 29th.

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Smocking and Glazing, All on Sheets by Maria Britton

Maria Britton

In 2010, I attended the Ver­mont Stu­dio Cen­ter for an artist res­i­dency. (To any­one who is con­sid­er­ing apply­ing — you should! I had a great expe­ri­ence.) There, I met Maria Brit­ton, a fel­low artist in a dif­fer­ent stu­dio. At the time, she was paint­ing abstract images on sheets stretched taut over stretcher bars.

Fast for­ward to lately, and I thought about Maria and her work. What does it look like now? Upon Googling her, I see she’s still work­ing on sheets, but in a more refined way. Now, instead of sim­ply paint­ing on top of them, she works into them, incor­po­rat­ing embroi­dery, tech­niques. Here’s a state­ment about her work:

From con­cep­tion to death, the sur­face of a bed is a place where one both expe­ri­ences and escapes real­ity, a phys­i­cal con­nec­tion between dream­ing and wak­ing life. In the stu­dio I seek out home­spun inno­va­tions to play up the mate­ri­al­ity of the pat­terned sheets on which I have been paint­ing for the past 10 years. Recently I have started to incor­po­rate smock­ing, a form of embroi­dery, into my paint­ings which enables me to manip­u­late the sur­face of a sheet into a bumpy, tex­tured, and pat­terned sur­face. After the hand stitch­ing is done on the reverse side of the sheet, I then care­fully stretch the sheet on a stretcher, keep­ing an eye on what each pull does to the sur­face. Using washes, glazes, and streaks of acrylic, I work intu­itively and impul­sively with brushes, sponges, and squeegees. While paint­ing, I am com­pelled to con­ceal and reveal the dated flo­ral pat­terns that I find simul­ta­ne­ously com­fort­ing and repul­sive. The end result is a mish­mash of paint­ing and crafty tech­niques which trans­form the pre­dictable pat­terns into wrin­kled innovations.

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In Progress: My Embroidered Floral Hand

Sara Barnes

If you fol­low me on Insta­gram, you’ve prob­a­bly seen the embroi­dery I started. It com­bines two of my favorite things to draw — flow­ers and embroidery.

I’ve been play­ing with some dif­fer­ent stitches, includ­ing the long-and-short-stitch that out­lines the flo­ral hand.  Hop­ing to be done with it by next week!

If you’ve ever con­sid­ered embroi­der­ing, I’d rec­om­mend it! it’s a rel­a­tively inex­pen­sive hobby to start and I per­son­ally find it really calm­ing. Like yoga for your brain (Maybe? Sure.).

Sara Barnes detail2-embroidery

Friday Roundup: Cacti I’ve Seen Lately and Liked

As I type this, I’m look­ing at my lit­tle pot­ted cac­tus that I love so much.  I wish that I could own more (real) cacti, but my boyfriend has a strict 5 plant limit to our house­hold. Here are some that desert plants that have recently caught my eye. Fol­low me on Pin­ter­est for more.



Found on Pinterest.

Found on Pin­ter­est.

Lili Scratchy’s Drawings Jump Off the Page and Become Ceramics


It’s safe to say that for years, YEARS, I have cov­eted the work of Lili Scratchy. There are a lot of things I like about her work, but must of all adore the style of her col­or­ful char­ac­ters. They are uncon­ven­tional and imag­i­na­tive, and I’ve always been impressed how well her work trans­lates from draw­ings to ceram­ics. They prac­ti­cally leap off the page and into your hands.

packmountains in my living rroom
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Here are some of her draw­ings. How awe­some is this sketchbook?