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    <title>Mechanical Pencil</title>
    <dc:date>2026-06-05T23:33:17+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["An illustrated celebration of the engineering around us

Welcome! Are you curious why a clicky Pen... clicks? How a Zippo Lighter flips open? Or what lives inside a Pez Dispenser? 

I've illustrated tear-downs and break-downs of everyday products that you may have taken for granted.  Let's take a look inside and understand how they work. Click around, have fun and maybe learn something new!"]]></description>
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    <link>https://daily.jstor.org/fritz-eichenbergs-art-of-human-connection/</link>
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Modern Illustration is a project by illustrator Zara Picken, featuring print artefacts from her extensive personal collection. Her aim is to preserve and document outstanding examples of mid-20th century commercial art, creating an accessible resource for understanding illustration history."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Step into the mind of Olalekan Jeyifous, a Nigerian-born, Brooklyn-based artist and architect known for crafting speculative, afrofuturist worlds that reimagine how cities could look, feel, and function, especially for historically marginalized communities.

In this intimate profile, we visit Jeyifous’ studio in the rapidly gentrifying Crown Heights neighborhood of Brooklyn, exploring how he blends architecture, VR, collage, 3D modeling, and public art to create vibrant alternate realities. We take a walk with him to see how he collects everyday urban details— graffiti, ghost signs, surveillance tech, or a patch of overgrown sidewalk— and expands them into immersive visual landscapes where communities thrive on their own terms.

His alternate realities ask, “What if our cities were built with everyone in mind from the start?” He shows us that daydreaming is more than a fantasy; it’s a question of perspective, power, and possibility."]]></description>
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    <title>Olivia show and book: What it’s like to be immortalized as a pig.</title>
    <dc:date>2025-09-24T06:19:14+00:00</dc:date>
    <link>https://slate.com/culture/2025/09/olivia-book-show-pig-ian-falconer-crane.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ian Falconer’s book sold 10 million copies and became a TV series. It’s been quite an adventure for Olivia Falconer Crane."]]></description>
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    <title>Through a Love of Note-Taking, José Naranja Documents His Travels One Tiny Detail at a Time — Colossal</title>
    <dc:date>2025-04-24T04:29:40+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2025/04/jose-naranja-travel-notebooks/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From postage stamps to jetliner specifications to items he packed for the journey, José Naranja’s sketchbooks (previously) capture minute details of numerous international trips. “I’m lost in the intricate details, as always,” he tells Colossal. Everything from currency to noodle varieties to film references make their way into small books brimming with travel ephemera and observations.

Naranja is currently working on a thicker book than he has in the past, which is taking more time to fill, along with an illustrated card project called 2050, which merges science, tech events, and his signature “beauty of note-taking” aesthetic. The artist has also reproduced some of his sketches in The Nautilus Manuscript, a small batch-printed, hand-bound edition available for sale in his shop. Follow updates on the artist’s Instagram."]]></description>
<dc:subject>josénaranja 2025 notes notetaking travel sketchbooks notebooks drawing illustration</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=T3V9MTRIOE0">
    <title>Eric Koston &amp; Lance Mountain Revisit The &quot;Pictionary&quot; Board - YouTube</title>
    <dc:date>2025-02-11T21:53:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=T3V9MTRIOE0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For this year's Skateshop Day, we reconnected with Girl alum Eric Koston to bring back an iconic piece of history-the Koston "Pictionary" board, originally designed by Lance Mountain and released in 1994.

Here's the kicker: We've got four original, 1994 samples mixed in with the new batch, and one of those four features Lance's hand-drawn artwork! Each deck will be shrink-wrapped in a mystery black bag, so you won't know if you're getting a re-issue or an original until you crack it open.

Made by PS Stix on the original Girl mold, this re-issue is available only in skateshopss, releasing on Skate Shop Day, February 15th, 2025.

Video by Colin Kennedy"]]></description>
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    <title>The Yale Review | Chris Ware on Richard Scarry and the art of children’s literature</title>
    <dc:date>2024-11-04T09:36:11+00:00</dc:date>
    <link>https://yalereview.org/article/chris-ware-richard-scarry</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Richard scarry’s work could not have been told just in words, either. As Walter Retan and Ole Risom argue, Scarry “didn’t write his stories; he drew them.” His bestselling book was not titled Best Picture Book Ever, even though that’s really what it is. As children, we see the world in all its detail, texture, and beauty, but when we learn the word for, say, a bird, we cease to see it as clearly or curiously as we did before we categorized and dismissed it. John Updike eloquently and beautifully captures this confounding contradiction in his short story “Pigeon Feathers,” where the main character only notices the iridescent, divine beauty in a pigeon’s plumage after he’s shot several of them to pieces in the rafters of a barn. Like it or not, just as adulthood runs roughshod over childhood, words chew images to shreds, and it’s up to the artist—or the writer or the cartoonist—to put those images back together again. Pictures are our first language for understanding the world, but that doesn’t mean they should be ignored in favor of a second. Or, as Dave Eggers once kindly put it, cartoonists (and I include Scarry in this group) needn’t be punished for having two skills instead of one.

Scarry drove headlong into a picture-world that he illustrated with words, a world which blossomed into life in a way that his earlier books for Golden, in which his pictures illustrated words, simply couldn’t. He kept in touch with his child self so well that, as both his biographers and other writers have highlighted, he didn’t test his books on children, because he had “remained very childlike himself.” And he knew exactly where the child inside him still lived: his kind heart."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=7oA7zyIxBkk">
    <title>Is the Apple Pencil Pro good enough for professionals? - YouTube</title>
    <dc:date>2024-09-09T16:11:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7oA7zyIxBkk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The new Apple Pencil Pro has a lot of amazing new features that should be a big boon for artists. However we learned that, professionally, artists stick with their Wacom displays. Jonathan met with an artist to find out why, and see if the new Pencil Pro can win them over."]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/the-sorta-definitive-ranking-of-almost-every-watch-emoji">
    <title>Which Watch Emojis Are The Best?</title>
    <dc:date>2024-07-01T03:42:36+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/the-sorta-definitive-ranking-of-almost-every-watch-emoji</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An expert panel weighs in on the question everyone is asking: Which watch emoji is 👑?"

...

"Imagine for a moment that you are an emoji. You are yourself, only pixelated. You have your taste, your style, and your same exact budget (sorry). You are an emoji with a soul. 

Now imagine that emoji-you is wearing a watch. What would this watch look like? It would be flat, obviously. But what else?

Google, Apple, Facebook, Samsung, Microsoft – the great minds at Big Emoji – have been diligently trying to answer this question, and together they have created enough watch emoji to fill a virtual showroom. Some, like Google, go full Scandi with a crisp, clean dial and leather strap. Others, like Facebook Messenger, embrace the illustrative nature of the task, serving up a goofy bracelet of a watch that could only be at home in a cartoon. All this to say, the design of watch emoji is as varied as the design of watches themselves. And as in the real world: Not all of it is good.

In fairness, creating an emoji is a uniquely heady challenge. “Are you designing a watch? Or are you designing the idea of a watch?” asked Cliff Kuang, a UX designer and author of the book, User Friendly: How the Hidden Rules of Design are Changing the Way We Work and Play.
🤔

Because we love a good debate, we decided to indulge this philosophical musing and get to the bottom of what makes a great emoji watch. To help us out, we asked Kuang and two other experts from totally different backgrounds – Weston Cutter, founder of Haven watches, and Justin Walters, a designer and watch collector – to weigh in on 10 watch emoji, giving us their first impressions and ranking them on a 1 to 10 scale for style (does it look good?), utility (would this be a useful watch to wear?), and accuracy (does it actually look like a watch?). All this in the service of deciding once and for all which emoji watch reigns supreme. 

Here they are, from worst to best. Don’t agree with the rankings? Take it to the comments." ]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=HRuBzFmZ3VA">
    <title>Perspectives: Alec Dunn on LIBERATION Magazine - YouTube</title>
    <dc:date>2024-05-08T20:17:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HRuBzFmZ3VA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black Mountain College Museum + Arts Center presents a conversation with Alec Dunn about LIBERATION Magazine and Vera B. Williams.

LIBERATION (1956 – 1977) was a radical leftist publication established by a group of civil rights organizers and pacifist conscientious objectors to WWII, who came together in the mid-1950s to found a unique magazine blending art, commentary, and political thought. Two major players in the magazine’s history include Bayard Rustin, who had visited Black Mountain College during the 1947 Journey of Reconciliation, and Paul Goodman, who had lectured at BMC.

BMC alumna Vera B. Williams became involved with LIBERATION while living at the Gate Hill Co-op in Rockland County, NY. She went on to be the magazine’s principal cover artist, illustrating 76 covers over the course of its publication. Alec Dunn’s research tells the story of Williams’ path to LIBERATION through BMC and the many graphic styles she explored through her work on the magazine.

About Alec Dunn:

Alec Dunn is a writer, artist, and printer based in Portland, OR.  He has designed book and record covers, political graphics, punk fliers and is a member of the Justseeds Artists Cooperative. Since 2010, he has been co-editor of Signal: A Journal of International Political Graphics & Culture.

___
Black Mountain College Museum + Arts Center is dedicated to preserving + extending the legacy of Black Mountain College (1933 - 1957). We were founded in 1993 to celebrate BMC as a forerunner in progressive interdisciplinary education and to explore its extraordinary impact on modern and contemporary art, dance, theater, music, and performance. Today, we achieve our mission through collection, conservation, and educational activities including exhibitions, publications, and public programs."

[See also:
"Vera B. Williams / STORIES
Eight Decades of Politics and Picture Making
Black Mountain College Museum + Arts Center
January 26 – May 11, 2024"
https://www.blackmountaincollege.org/vera-baker-williams/

Alec Dunn's article is within:
"Signal: A Journal of International Political Graphics and Culture: No. 8"
"Alec Dunn highlights Liberation magazine and the cover art of Vera Williams "
https://www.printedmatter.org/catalog/62731/ ]]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vietnamwar"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1961"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:letterfrombirminghamjail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:martinlutherkingjr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mlk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1962"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cuba"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1967"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphicdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childrensliterature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oppression"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conniebostic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:josefalbers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annialbers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wonder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1970s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1980s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gracepaley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:activism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dorothyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kennethrexroth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kennethpatchen"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quaker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childrensbooks"/>
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</item>
<item rdf:about="https://aeon.co/videos/in-1886-a-us-agency-set-out-to-record-new-fruit-varieties-the-results-are-wondrous">
    <title>Pomological: In 1886, a US agency set out to record new fruit varieties. The results are wondrous | Aeon Videos</title>
    <dc:date>2023-10-08T18:32:53+00:00</dc:date>
    <link>https://aeon.co/videos/in-1886-a-us-agency-set-out-to-record-new-fruit-varieties-the-results-are-wondrous</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As agriculture in the United States transformed from domestic and local to industrial and national, in 1886 the US Department of Agriculture (USDA) embarked on an ambitious project. To help fruit cultivators protect and profit from their innovations, the agency hired illustrators to recreate images of newly developed varieties of fruits and nuts, capturing the colours, textures and shapes of each in intricate detail. By the programme’s end in 1942, more than 7,500 unique, and often beautiful, images had been produced. In his short film, the Toronto-based filmmaker Sebastian Ko provides lively flipbook tour through the USDA ‘Pomological Watercolor Collection’ to explore its history and legacy. In particular, Ko focuses on the contributions of some of the talented female artists who helped bring the collection to life at a time when very few jobs were available to women."

[Direct link to YouTube:

"The ambitious project to document every fruit in watercolour | Pomological"
https://www.youtube.com/watch?v=49g6tz8JCus

"In 1886, the US Department of Agriculture embarked on an ambitious project to help fruit cultivators protect their innovations. The results, which capture the colours, textures and shapes of some 7,500 varieties in detailed illustrations, are breathtaking. This Aeon Video exclusive explores the history and legacy of what became known as the ‘Pomological Watercolor Collection’, highlighting both the beauty of the images and the indispensable contributions of female artists.

Directed by Sebastian Ko (https://sebastianko.video/ )"]]></description>
<dc:subject>fruit illustration history sebastianko video film agriculture us 2023</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b9a953a71f6a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sebastianko"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agriculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=HUT1hVCfcvE">
    <title>Colores de una infancia migrante: Francisca Yáñez - YouTube</title>
    <dc:date>2023-06-30T04:54:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HUT1hVCfcvE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Llenaremos una maleta con imágenes y experiencias de la ilustradora y artista visual Francisca Yáñez (Santiago de Chile, 1971), adentrándonos en su infancia en exilio en Argentina, Alemania y Costa Rica. ¿Cómo estos años impactaron en su obra? Seguiremos abordando su relación con los viajes, la migración, la ausencia, los libros y cómo éstos han contribuido a sus procesos creativos. También nos adentraremos en las denominadas cosas "incontables" que están presentes en su trabajo ¿Cuáles elegiríamos para salvar el mundo?"]]></description>
<dc:subject>franciscoyañez 2023 books language chile illustration words distance exile travel refugees creativity conviviality saudade migration immigration immigrants absence bilingualism howwethink howwerite storytelling translation art stories drawing text howweread howwewrite spanish portuguese español</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:64fa91a38625/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:words"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:distance"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:translation"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spanish"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:portuguese"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:español"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.behance.net/ggabbezz">
    <title>gabriela sánchez on Behance</title>
    <dc:date>2021-10-02T04:05:46+00:00</dc:date>
    <link>https://www.behance.net/ggabbezz</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via her cover illustration for the cover of Gaël Faye's EP Des Fleurs:
https://www.behance.net/gallery/76666895/Gael-Faye-EP-Des-Fleurs-Cover-Album ]

[See also:
https://lapegacion.tumblr.com/ ]]]></description>
<dc:subject>gabrielasánchez illustration uruguay</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:42ac5adfbc71/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gabrielasánchez"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uruguay"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://oritoor.com/">
    <title>ori toor</title>
    <dc:date>2021-09-23T15:16:10+00:00</dc:date>
    <link>https://oritoor.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>oritoor illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e236990af169/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oritoor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://elizabethito.com/">
    <title>KIKUTOWNE / ELIZABETH ITO</title>
    <dc:date>2021-03-19T09:38:17+00:00</dc:date>
    <link>https://elizabethito.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>animation illustration elizabethito</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:576f625f4f9d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elizabethito"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://eyeondesign.aiga.org/the-internet-is-turning-on-big-techs-colorful-corporate-mascots/">
    <title>Is It Time to Move on From Big Tech’s Colorful Corporate Mascots? – Eye on Design</title>
    <dc:date>2021-03-19T00:39:59+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/the-internet-is-turning-on-big-techs-colorful-corporate-mascots/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also (cited within:
https://www.youtube.com/watch?v=lFb7BOI_QFc
https://www.are.na/claire-l-evans/corporate-memphis
https://www.are.na/justin-pickard/after-corporate-memphis ]]]></description>
<dc:subject>corporatememphis flatdesign rachelhawley claireevans justinpickard 2021 design graphicdesign memphisgroup illustration graphics uber facebook google apple skeuomorphism interface ux ix interfacedesign stevejobs ios neumorphism lyft postmates airbnb corporatism capitalism community cooperation post-race labor organizing socialgood idealism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ca64df37a189/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corporatememphis"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rachelhawley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:claireevans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justinpickard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2021"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphicdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memphisgroup"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uber"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:facebook"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:google"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:skeuomorphism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interface"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ux"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ix"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interfacedesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevejobs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neumorphism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lyft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:postmates"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:airbnb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corporatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:post-race"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://serious-studio.com/gunitaan-eng">
    <title>Gunitaan: A Filipino Folktale Library - Serious Studio</title>
    <dc:date>2021-03-03T20:19:00+00:00</dc:date>
    <link>https://serious-studio.com/gunitaan-eng</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The memory (gunita) of who we are lives in the stories we tell. Mythical and of worlds within and beyond our own, these folktales carry the richness of being Filipino. 

In celebration of National Indigenous Peoples Month we at Serious Studio present Gunitaan — a humble library of tales that tell us who we are, who we have been for centuries, and what inspires us as a culture.

Each story in this library was adapted to English and Tagalog from Mabel Cook Cole's 1916 Philippine Folk Tales compilation and all illustrations were inspired by the indigenous culture each tale came from. Through this, Gunitaan seeks to use design to shed light on, honor and preserve the beauty inherent to the many cultures that keep the Filipino identity alive."

"Gunitaan is a humble library of folktales that tell us who we are, who we have been for centuries, and what inspires us as a culture. Gunitaan seeks to use design to shed light on, honor and preserve the beauty inherent to the many cultures that keep our identity alive. 

By the humans of Serious Studio."]]></description>
<dc:subject>filipino philippines folklore folktales gunitaan seriousstudio stories storytelling culture identity gunita indigeneity indigenous illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:42ecd9443d40/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filipino"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philippines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folklore"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folktales"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gunitaan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seriousstudio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stories"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gunita"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:indigeneity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/m0henjodaro/">
    <title>somnath bhatt (@m0henjodaro) • Instagram photos and videos</title>
    <dc:date>2021-02-07T21:55:09+00:00</dc:date>
    <link>https://www.instagram.com/m0henjodaro/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://poccmag.com/labour-love-and-the-pre-symbolic-order-meet-multi-media-artist-somnath-bhatt/ ]]]></description>
<dc:subject>art somnathbhatt artists illustration via:robinsloan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1b09924ae5cf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:somnathbhatt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:robinsloan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.rawpixel.com/category/53/public-domain">
    <title>Public Domain Free Creative Commons 0 Images · Vintage Illustrations | rawpixel</title>
    <dc:date>2020-12-17T05:45:26+00:00</dc:date>
    <link>https://www.rawpixel.com/category/53/public-domain</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>publicdomain resources images free art illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d15e513bb8e0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicdomain"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resources"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:images"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:free"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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</item>
<item rdf:about="https://www.isabelinfante.com/">
    <title>ISABEL INFANTE</title>
    <dc:date>2020-12-09T02:25:38+00:00</dc:date>
    <link>https://www.isabelinfante.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://pelham.cl/blogs/news/tagged/flor-de-chile
https://pelham.cl/blogs/news/backstage-colaboracion-flor-de-chile-pelham
https://pelham.cl/blogs/news/lookbook-flor-de-chile-pelham
https://pelham.cl/blogs/news/colaboracion-flor-de-chile-pelham-goods 
https://pelham.cl/blogs/news/backstage-flor-de-chile-pelham-goods
https://pelham.cl/collections/carcasas-iphone-7/products/araucaria-blanco-carcasa-iphone-7
https://pelham.cl/collections/carcasas-iphone-7/products/cordillera-araucana-blanco-carcasa-iphone-7
https://pelham.cl/collections/carcasas-iphone-7/products/cactus-carcasa-iphone-7
https://pelham.cl/collections/carcasas-iphone-7/products/chagual-carcasa-iphone-7 ]]]></description>
<dc:subject>isabelinfante design illustration chile</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6854763c3d70/</dc:identifier>
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</item>
<item rdf:about="https://catalinabu.com/">
    <title>Catalina bu – ilustración</title>
    <dc:date>2020-12-09T00:31:06+00:00</dc:date>
    <link>https://catalinabu.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Catalina Bustos Mendoza (Catalina Bu) nació en Concepción, Chile en 1989. Estudió Ilustración profesional y luego de trabajar para distintas marcas y revistas nacionales, hizo un cómic. Su primer libro, Diario de un Solo (Catalonia, 2014) se editó bajo el sello Tusquets en México y ha sido traducido al portugués (Sesi-SP) y al francés (La Cafetieriè éditions). Ha sido invitada en ferias internacionales del libro en Colombia, México, Argentina e Italia, y expuesto colectivamente en Madrid y Bolonia. El 2017 inaugura su primera muestra individual llamada Mundo, en Santiago de Chile (Plop Galería) y lanza el libro infantil Libro Libre (Hueders). El 2018 fue invitada como exponente a la primera Bienal de Ilustración (Pictoline) y al Gran Salón México en el Museo Tamayo, donde presentó la serie Dibujos de Dibujantes, incluida en su más reciente libro recopilatorio ‘En Blanco’ (Almadía, 2019). Actualmente se dedica a la ilustración editorial y publicitaria.”

[See also:
https://www.youtube.com/watch?v=x-DY9YKCFEg
https://pelham.cl/blogs/news/diario-de-un-solo-nueva-coleccion-especial ]]]></description>
<dc:subject>catalinabu chile illustration comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8148d0884fdc/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=x-DY9YKCFEg">
    <title>Catalina Bu: &quot;Me gusta hablar de cosas que nos pasan a todos&quot; - YouTube</title>
    <dc:date>2020-12-09T00:26:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=x-DY9YKCFEg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Conversamos con la ilustradora chilena Catalina Bu, autora de dos volúmenes del “Diario de un solo”, publicados por editorial Catalonia el 2014 y 2015 . Abordamos la creación de personajes, el uso del color azul —tan característico en su obra—, la simpleza de su ilustración y cómo es pasar de lo digital al papel.

Entrevista realizada por Patricio Contreras.”

[See also:
https://catalinabu.com/
https://pelham.cl/blogs/news/diario-de-un-solo-nueva-coleccion-especial ]]]></description>
<dc:subject>catalinabu 2018 chile illustration comics patriciocontreras ojoentinta books blue color howwewrite danieljohnston writing connection reading howweread</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ae92c0b7c32d/</dc:identifier>
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<item rdf:about="https://www.laphamsquarterly.org/roundtable/all-devils-are-here">
    <title>All the Devils Are Here | Lapham’s Quarterly</title>
    <dc:date>2020-10-15T04:07:06+00:00</dc:date>
    <link>https://www.laphamsquarterly.org/roundtable/all-devils-are-here</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How the visual history of the Haitian Revolution misrepresents Black suffering and death."
]]></description>
<dc:subject>haiti history visual art race tacism death suffering marlenedaut 2020 illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:45be43f447f7/</dc:identifier>
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</item>
<item rdf:about="https://longshotfeatures.com/a-map-to-a-lost-city/">
    <title>Longshot – A Map to a Lost City</title>
    <dc:date>2020-08-05T23:15:07+00:00</dc:date>
    <link>https://longshotfeatures.com/a-map-to-a-lost-city/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Joe and Jimmie began imagining Last Black Man over long walks and talks through the city (some of which have even been written about). The notion of deep discussion while in transit spread contagiously to the other members of the team, and eventually became a staple of how we like to create. On one especially arduous hill climb, the idea came to us (perhaps in a dehydrated state of hallucination) to document these very walks through the city we love.

So…

We set out to make a map of the city that was both functional and pictorial, a requiem for what’s been lost and a celebration of what remains, all from the perspective of San Francisco natives. Those ideas of gazing back and looking forward are, of course, at the core of “The Last Black Man in San Francisco.” We also wanted to create something you could stuff in your back pocket or hang on your wall, drawn by the observant hand of Montgomery Allen. So we went to the hands - and brain - behind Mont’s illustrations: SF artist and friend of Longshot, David Jones.

Never one to shy away from a tall task, David welcomed the challenge and we began mapping out the city that raised us. We brought on SF native and dear friend of Longshot, Christian Baba, to oversee its creation and as we all huddled around a table with Jimmie and Joe shouting out favorite taquerias, bars, muni graveyards, and pet cemeteries, categories began to form: 

- neighborhood mom and pop shops 

- local theaters (still operating and deceased)

- high school makeout spots

- filming locations from “Last Black Man”

- prime views for smoking and smooching

- the last affordable meals

- favorite walks (with stops along the way)

- historical curios’

- political landmarks

- suspicious fires (perhaps arsen?)

- architectural delights

 

…And so on.

It was then we realized there wasn’t a map that captured our San Francisco – breakfasts at Red Cafe, lunch at Marios, and walks through Bernal. But that wasn’t enough, so we opened up the question to our fellow natives and longtime residents. The results are this map of one of the world’s great walking cities.“]]></description>
<dc:subject>sanfrancisco maps mapping history joetalbot illustration jimmiewales thelastblackmaninsanfrancisco</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c16c37cc302e/</dc:identifier>
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<item rdf:about="https://www.danipendergast.com/">
    <title>Dani Pendergast</title>
    <dc:date>2020-05-14T00:40:17+00:00</dc:date>
    <link>https://www.danipendergast.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>danipendergast illustrators illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:983e5f9c6e74/</dc:identifier>
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<item rdf:about="https://www.nytimes.com/interactive/2020/04/23/magazine/los-angeles-coronavirus-diary.html">
    <title>The Pandemic Has Turned Los Angeles Into a Walking City - The New York Times</title>
    <dc:date>2020-04-24T04:52:50+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2020/04/23/magazine/los-angeles-coronavirus-diary.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>geoffmcfetridge families us losangeles cars walking 2020 covid-19 coronavirus illustration time pandemic pandemics slow small cities urban urbanism quiet quietness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ef982cfdee39/</dc:identifier>
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<item rdf:about="https://sentozukai.jp/index.html">
    <title>銭湯図解 Official Website [enyahonami, Ayami Shioya]</title>
    <dc:date>2020-02-12T00:33:28+00:00</dc:date>
    <link>https://sentozukai.jp/index.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://twitter.com/enyahonami
https://www.instagram.com/enyahonami/
https://note.com/enyahonami
https://voicy.jp/channel/867/47
https://artsticker.app/share/artists/515 ]

[about page via Google Translate:

"With sento illustration

It was a sento that saved me when I was taking a leave of absence from my previous design office due to poor physical condition.

In order to give back to the public baths, more than 40 houses have begun to draw “Sento Illustrations” that illustrate the charms of their favorite public baths, mainly in Tokyo.

A public bath that expresses the charm of a wide variety of public baths with watercolors, such as interaction with people in the bathroom, how to enjoy the bath and sauna, architectural fun, tasteful public bath accessories, a moment of bliss after bathing Please enjoy the illustrated world view.”]

[profile page using Google Translate:

"Author Profile
Ayami Shioya (Enya / Honami)

Born in 1990. Leader and illustrator of Koenji's public bath and Kosugiyu.

President of the public bath revival project. After graduating from Waseda University Graduate School (Department of Architecture), he worked for a famous design office, but became ill. She was saved by a public bath that she began to go to during her leave of absence, and an illustration of the public bath "Sento Illustrated" was announced on SNS.

This calls for reputation, and Kosugi-yu calls out to work as a leader.

He is currently serializing "Enya no Sento Illustration Tour" in the web media "Netrabo" and "Hyakusen Sento" in the magazine "Tabi no Techo".

It has been featured in numerous media such as NHK documentary "Life Design U-29".

My favorite water bath temperature is 16 degrees."]
]]></description>
<dc:subject>art japan illustration srg enyahonami drawing sento ayamishioya</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e94ec83c109f/</dc:identifier>
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</item>
<item rdf:about="http://www.mupan.com/">
    <title>Mu Pan – All images © Mu Pan</title>
    <dc:date>2019-12-02T05:29:21+00:00</dc:date>
    <link>http://www.mupan.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.artsy.net/artist/mu-pan ]]]></description>
<dc:subject>art artists mupan illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:37f3bc039bae/</dc:identifier>
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</item>
<item rdf:about="https://thebaffler.com/latest/different-by-design-hawley">
    <title>Different by Design | Rachel Hawley</title>
    <dc:date>2019-09-25T18:56:10+00:00</dc:date>
    <link>https://thebaffler.com/latest/different-by-design-hawley</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beyond the realm of electoral politics, design plays an important role in spreading leftist messages and catching the attention of the potentially persuadable. Leftist media, still emerging from the cocoon of the subcultural, is now faced with the challenge of synthesizing their messaging with visual interest—without reverting to the all style, no substance aesthetics of liberalism. Since 2011, Jacobin’s covers and spreads have worked to reclaim the minimalist, kinetic style that big tech has spent the better part of a decade laying claim to, while Current Affairs (as well as this magazine) meets Jacobin’s minimalist elegance with its own brassy opulence and lush illustration. Over on the cesspit that is YouTube, Natalie Wynn of the sometimes controversial ContraPoints channel delivers anti-right-wing diatribes while performing camp extravagance, with high production-value costume, set, and lighting design in the mix.

The challenge for leftist design is to chart a visual course distinct from both the garishness of the right and the empty sleekness of the center.

Some of the more grassroots-level innovations in leftist political design can be found in the orbit of the Democratic Socialists of America, whose membership has grown exponentially since 2015. The DSA embraces its socialist legacy with a black, white, and red color palette. Its iconography—the quintessential red rose, hands clasped in unity or raised in a fist, bread and/or grain (a reference to the iconic 1912 Bread and Roses Strike, during which textile workers in Lawrence, Massachusetts, fought for better wages and overtime pay)—is presented across myriad DIY pamphlets, posters, and booklets, in just as many styles, freeing it from the fuss endemic to a design system like Pete Buttigieg’s.

“It turns branding on its head,” says Pressman. “Whereas usually branding is about a consistency of application and approach, this is about a consistency of intent and spirit.”

But the most revolutionary aspect of the DSA’s design is not so much what appears on the page or poster or screen, but how it came to be there. With the visual assets made widely available across the organization, the brand attributes limited in number and easy to build off of, and the pressure for perfection or strict consistency absent, the realm of design is open to a wider range of perspectives while remaining rooted in the goal of facilitating political action. “People talk about democratizing design tools, and usually they mean making it so that anybody can make a pamphlet or a poster, and that’s great,” says Pressman, “but I think the more interesting part of democratizing design is that participants in political action are themselves designing the stuff that’s being used by those actions and those people.”

Today, many of America’s young leftists are working to bring about a more radical continuation of the New Deal ethos. Should that history serve as any indication, the proliferation of art and design will play a crucial role in the years to come, as we find our footing and grow our ranks. For it is bread we fight for, as the song goes—but we fight for roses, too."]]></description>
<dc:subject>design elections dsa control graphicdesign socialism leftists jacobin liberalism illustration logos 2020 rachelhawley elitism centrism grassroots democraticsocialistsofamerica alexandriaocasio-cortez organizing unions labor petebuttigieg 2026 hillaryclinton berniesanders 2019 campaigndesign progressive progressivism participation movements populism corporatism identity diy democracy history branding aesthetics campaignbranding greennewdeal mechandise posters tshirts leftistdesign leftdesign aoc tees t-shirts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:af8963a9f535/</dc:identifier>
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<item rdf:about="https://www.newyorker.com/books/page-turner/on-a-sunbeam-the-sci-fi-comic-that-reimagines-utopia">
    <title>“On a Sunbeam,” the Sci-Fi Comic That Reimagines Utopia | The New Yorker</title>
    <dc:date>2019-06-02T22:05:49+00:00</dc:date>
    <link>https://www.newyorker.com/books/page-turner/on-a-sunbeam-the-sci-fi-comic-that-reimagines-utopia</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Full comic available to read online:
https://www.onasunbeam.com/ ]

[See also:
https://www.tilliewalden.com/
https://www.instagram.com/tilliewalden/
https://twitter.com/TillieWalden ]

"Tillie Walden is an almost shockingly young (born in 1996) comics creator who received wide attention last year for “Spinning,” a beautiful, melancholy graphic memoir about her years as a pre-teen and then teen figure skater. That book excelled in its tactful line work and use of white space; it looked neither superhero-ish nor ugly-on-purpose nor nearly realist but utterly sympathetic, with vast cold rinks and faces whose expressions you could share. “Spinning” was also a coming-out story, and a school story, and what scholars call a Künstlerroman, the story of how a young person becomes an artist—although, like most Künstlerromanen, it left unresolved the question of what she’d make next.

“On a Sunbeam” is the magnificent, sweeping, science-fictional answer. The big, densely plotted volume has all the virtues of “Spinning,” plus the scale, the sense of wonder, and the optimism intrinsic to what’s called space opera or science fantasy. (Think “Star Trek” and Starfleet Academy.) As with “Spinning,” it can be hard to equal in prose the comic’s inviting, spare line work, use of black-and-white, and expressive qualities. (Walden can make one pen stroke on one character’s face equal two pages of dialogue.) “On a Sunbeam” is at once a queer coming-of-age story, a story about how to salvage lost love and youth, and a multigenerational story about how to thrive in a society that does not understand who you are or what you can do. It is the kind of story that adults can and should give to queer teens, and to autistic teens, and to teens who care for space exploration, or civil engineering, or cross-cultural communication. It is also a story for adults who were once like those teens, and the kind of story (like the Aeneid, but happier) whose devotees might occasionally return to it, hoping for divine advice from a randomly chosen line, or panel, or page.

But I’m getting ahead of myself. “On a Sunbeam”—whose five hundred and thirty-eight pages, rendered in three colors, first appeared serially, online, where it can still be read for free—begins, like some Victorian novels, with two separate plots and settings, years apart. In the A plot, we meet three adult engineers and construction workers who fly their own fish-shaped spaceship from job to job, rebuilding and restoring architecture from their past (which is our distant future). The charismatic, impulsive Alma reports to Charlotte, their cautious commander; Elliot, “our very own mechanical genius,” is nonbinary (taking they/them pronouns) and non-speaking, like many autistic adults in our day. Formerly a trio “together for ages,” the team now has two younger employees: Jules, Alma’s voluble niece, and the anxious newbie Mia, fresh out of her space-based boarding school.

We see through Mia’s eyes, and through Walden’s pen, the comforting intimacy of their sleeping quarters, with its Teddy bears and bunk beds; the sublime ruined space cathedral and the other flying buildings they restore; and the realistic tasks that Mia and Jules slog through—hauling rubble, sharing sandwiches, and trying to “get through a whole day without turning into jelly” from overwork. We worry when Mia worries, and we have fun when she has fun. Jules puts into words the way Mia feels: “We don’t actually do this job to fix things,” she says. “We do it ’cause we get to climb and jump off stuff.”

Before she joined this close-knit crew, Mia attended an élite boarding school. This is where Walden sets her B plot, a place of crushes, mean girls, shifting rivalries, vast halls, anti-gravity stations, and a school-wide, slightly Quidditch-like sport called Lux, whose fish-shaped flight craft race and dodge through tunnels and in midair. Almost as soon as we meet Mia, she falls hard for a new and far more academically talented student named Grace, who reciprocates. Grace convinces a forbidding coach to let Mia chase her dream of playing Lux. The sport is normally off limits to first-years, but our couple won’t let that rule stop them. “We may be freshmen,” Grace declares, “but you can’t put an age limit on passion and dedication.”

“On a Sunbeam” is less like any other American comic, page by page, than it is like a film by Hayao Miyazaki. For Walden, faces and bodies are not types or dummies for action scenes but ways to convey emotion and expression, even as the backdrops—speleological, astronomical, aquatic, or forested—flourish and shine. Walden’s dialogue—never talky, but never too sparse to follow—complements her characters’ body language; it also brings out the feeling of ninth and tenth grade, when every impediment seems like an apocalypse, and every kind word like an angel’s violin. But that dialogue is also a clue to a set of cosmic mysteries that connect younger and older characters, present and backstory, A plot and B plot. Why does Charlotte’s employer distrust her? What does Elliott fear, and why can’t they go home? Can Mia and Jules adjust to life with this tightly knit, and apparently romantic, triad? Will Mia find love?

Mia has already found it, with Grace, and then lost it. Just as in “Spinning”—and in several other comics by Walden, short and long—our point-of-view character fell hard for a smart, dark-skinned girl when both were in their teens, and then that girl left, suddenly, and without much explanation. In “Spinning,” the real Walden goes on with her heartbroken life. In this much longer but equally heartbreaking epic, the school-age couple of Mia and Grace break up for far more complex reasons, and a mission to a secluded planet of volcanic tunnels and warriors with Amish hats (really) is required to rescue Grace, who may not want to be rescued.

It’s probably no coincidence that this comic, so sensitive to its characters’ feelings, is also uncommonly sensitive to newly visible identities: non-speaking autistics, people in triads, people trying to make queer romance work under pressure and across a racial divide. One identity Walden doesn’t draw: men. There are none here, and no one asks why, which means—as in earlier utopias—that all romantic love in this universe would read as queer, or gay, in ours. (Since there are no men, there are no gay men or trans men; perhaps they live on other planets, or in other books.)

Like all science-fictional utopias, “On a Sunbeam” feels imperfect, even (to quote Ursula K. Le Guin) “ambiguous.” But it also feels magnificent: it’s a world in which many readers would want to live, and a way to envision solutions to real-life problems that seem intractable now. It’s a queer love story in a universe where benevolent authorities still get things wrong; it’s also, for all its spacecraft and planets and xenogeology and (eventually) aliens, a story that purists might label not as science fiction but as science fantasy. But such genre labels—though inevitable—seem beside the point. As always for Walden, even when she is writing and drawing pilots and engineers, the point is not how things work but how people feel, and what choices they help one another make.

Comics critics and would-be comics sophisticates—especially the kind who spurn superheroes—may think we have to choose between realistic characters who experience permanent loss and change, on the one hand, and escape, sublimity, and sheer wonder, on the other. Those sophisticates are wrong. “On a Sunbeam” is not the first American science-fiction comic to say so (consider “Finder,” or “Saga”), but it may be the most consistently beautiful, the most self-assured, the one with the best love story, and the one most vaultingly effective in its transitions between small-scale and large, between the deadly caverns under an exoplanet’s mountain and the look on a hopeful girl’s face."]]></description>
<dc:subject>comics toread stephanieburt tilliewalden 2018 illustration storytelling utopia queer autism sciencefiction scifi hayaomiyazaki emotions expression nonbinary künstlerroman comingofage teens youngadult fiction srg emotion bodylanguage howwewrite ambiguous ursulaleguin ursulakleguin</dc:subject>
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<item rdf:about="https://www.publicbooks.org/san-francisco-or-how-to-destroy-a-city/">
    <title>San Francisco; or, How to Destroy a City | Public Books</title>
    <dc:date>2019-03-31T22:55:52+00:00</dc:date>
    <link>https://www.publicbooks.org/san-francisco-or-how-to-destroy-a-city/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As New York City and Greater Washington, DC, prepared for the arrival of Amazon’s new secondary headquarters, Torontonians opened a section of their waterfront to Alphabet’s Sidewalk Labs, which plans to prototype a new neighborhood “from the internet up.” Fervent resistance arose in all three locations, particularly as citizens and even some elected officials discovered that many of the terms of these public-private partnerships were hashed out in closed-door deals, secreted by nondisclosure agreements. Critics raised questions about the generous tax incentives and other subsidies granted to these multibillion-dollar corporations, their plans for data privacy and digital governance, what kind of jobs they’d create and housing they’d provide, and how their arrival could impact local infrastructures, economies, and cultures. While such questioning led Amazon to cancel their plans for Long Island City in mid-February, other initiatives press forward. What does it mean when Silicon Valley—a geographic region that’s become shorthand for an integrated ideology and management style usually equated with libertarian techno-utopianism—serves as landlord, utility provider, urban developer, (unelected) city official, and employer, all rolled into one?1

We can look to Alphabet’s and Amazon’s home cities for clues. Both the San Francisco Bay Area and Seattle have been dramatically remade by their local tech powerhouses: Amazon and Microsoft in Seattle; and Google, Facebook, and Apple (along with countless other firms) around the Bay. As Jennifer Light, Louise Mozingo, Margaret O’Mara, and Fred Turner have demonstrated, technology companies have been reprogramming urban and suburban landscapes for decades.2 And “company towns” have long sprung up around mills, mines, and factories.3 But over the past few years, as development has boomed and income inequality has dramatically increased in the Bay Area, we’ve witnessed the arrival of several new books reflecting on the region’s transformation.

These titles, while focusing on the Bay, offer lessons to New York, DC, Toronto, and the countless other cities around the globe hoping to spur growth and economic development by hosting and ingesting tech—by fostering the growth of technology companies, boosting STEM education, and integrating new sensors and screens into their streetscapes and city halls. For years, other municipalities, fashioning themselves as “the Silicon Valley of [elsewhere],” have sought to reverse-engineer the Bay’s blueprint for success. As we’ll see, that blueprint, drafted to optimize the habits and habitats of a privileged few, commonly elides the material needs of marginalized populations and fragile ecosystems. It prioritizes efficiency and growth over the maintenance of community and the messiness of public life. Yet perhaps we can still redraw those plans, modeling cities that aren’t only made by powerbrokers, and that thrive when they prioritize the stewardship of civic resources over the relentless pursuit of innovation and growth."

…

"We must also recognize the ferment and diversity inherent in Bay Area urban historiography, even in the chronicles of its large-scale development projects. Isenberg reminds us that even within the institutions and companies responsible for redevelopment, which are often vilified for exacerbating urban ills, we find pockets of heterogeneity and progressivism. Isenberg seeks to supplement the dominant East Coast narratives, which tend to frame urban renewal as a battle between development and preservation.

In surveying a variety of Bay Area projects, from Ghirardelli Square to The Sea Ranch to the Transamerica Pyramid, Isenberg shifts our attention from star architects and planners to less prominent, but no less important, contributors in allied design fields: architectural illustration, model-making, publicity, journalism, property management, retail planning, the arts, and activism. “People who are elsewhere peripheral and invisible in the history of urban design are,” in her book, “networked through the center”; they play critical roles in shaping not only the urban landscape, but also the discourses and processes through which that landscape takes shape.

For instance, debates over public art in Ghirardelli Square—particularly Ruth Asawa’s mermaid sculpture, which featured breastfeeding lesbian mermaids—“provoked debates about gender, sexuality, and the role of urban open space in San Francisco.” Property manager Caree Rose, who worked alongside her husband, Stuart, coordinated with designers to master-plan the Square, acknowledging that retail, restaurants, and parking are also vital ingredients of successful public space. Publicist Marion Conrad and graphic designer Bobbie Stauffacher were key members of many San Francisco design teams, including that for The Sea Ranch community, in Sonoma County. Illustrators and model-makers, many of them women, created objects that mediated design concepts for clients and typically sat at the center of public debates.

These creative collaborators “had the capacity to swing urban design decisions, structure competition for land, and generally set in motion the fate of neighborhoods.” We see the rhetorical power of diverse visualization strategies reflected across these four books, too: Solnit’s offers dozens of photographs, by Susan Schwartzenberg—of renovations, construction sites, protests, dot-com workplaces, SRO hotels, artists’ studios—while Walker’s dense text is supplemented with charts, graphs, and clinical maps. McClelland’s book, with its relatively large typeface and extra-wide leading, makes space for his interviewees’ words to resonate, while Isenberg generously illustrates her pages with archival photos, plans, and design renderings, many reproduced in evocative technicolor.

By decentering the star designer and master planner, Isenberg reframes urban (re)development as a collaborative enterprise involving participants with diverse identities, skills, and values. And in elevating the work of “allied” practitioners, Isenberg also aims to shift the focus from design to land: public awareness of land ownership and commitment to responsible public land stewardship. She introduces us to several mid-century alternative publications—weekly newspapers, Black periodicals, activists’ manuals, and books that never made it to the best-seller list … or never even made it to press—that advocated for a focus on land ownership and politics. Yet the discursive power of Jacobs and Caro, which framed the debate in terms of urban development vs. preservation, pushed these other texts off the shelf—and, along with them, the “moral questions of land stewardship” they highlighted.

These alternative tales and supporting casts serve as reminders that the modern city need not succumb to Haussmannization or Moses-ification or, now, Googlization. Mid-century urban development wasn’t necessarily the monolithic, patriarchal, hegemonic force we imagined it to be—a realization that should steel us to expect more and better of our contemporary city-building projects. Today, New York, Washington, DC, and Toronto—and other cities around the world—are being reshaped not only by architects, planners, and municipal administrators, but also by technologists, programmers, data scientists, “user experience” experts and logistics engineers. These are urbanism’s new “allied” professions, and their work deals not only with land and buildings, but also, increasingly, with data and algorithms.

Some critics have argued that the real reason behind Amazon’s nationwide HQ2 search was to gather data from hundreds of cities—both quantitative and qualitative data that “could guide it in its expansion of the physical footprint, in the kinds of services it rolls out next, and in future negotiations and lobbying with states and municipalities.”5 This “trove of information” could ultimately be much more valuable than all those tax incentives and grants. If this is the future of urban development, our city officials and citizens must attend to the ownership and stewardship not only of their public land, but also of their public data. The mismanagement of either could—to paraphrase our four books’ titles—elongate the dark shadows cast by growing inequality, abet the siege of exploitation and displacement, “hollow out” our already homogenizing neighborhoods, and expedite the departure of an already “gone” city.

As Beat poet Lawrence Ferlinghetti muses in his “Pictures of the Gone World 11,” which inspired Walker’s title: “The world is a beautiful place / to be born into / if you don’t mind some people dying / all the time / or maybe only starving / some of the time / which isn’t half so bad / if it isn’t you.” This is precisely the sort of solipsism and stratification that tech-libertarianism and capitalist development promotes—and that responsible planning, design, and public stewardship must prevent."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technosolutionism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toronto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:larenceferlinghetti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susanschartzenberg"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stuartrose"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ghirardellisqure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marionconrad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:a"/>
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</item>
<item rdf:about="https://andrio.itch.io/touchmelbourne">
    <title>TOUCH MELBOURNE by Andrew Gleeson, haraiva</title>
    <dc:date>2019-03-12T23:49:51+00:00</dc:date>
    <link>https://andrio.itch.io/touchmelbourne</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Explore the city of Melbourne through its various, tiny everyday interactions."]]></description>
<dc:subject>melbourne art games gaming videogames everyday andrewgleeson cecilerichard illustration toplay</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:74c1df3c55aa/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andrewgleeson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cecilerichard"/>
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</item>
<item rdf:about="https://usdawatercolors.nal.usda.gov/pom/home.xhtml">
    <title>U.S. Department of Agriculture (USDA) Pomological Watercolor Collection</title>
    <dc:date>2019-02-22T00:28:20+00:00</dc:date>
    <link>https://usdawatercolors.nal.usda.gov/pom/home.xhtml</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The USDA Pomological Watercolor Collection documents fruit and nut varieties developed by growers or introduced by USDA plant explorers around the turn of the 20th century. Technically accurate paintings were used to create lithographs illustrating USDA bulletins, yearbooks, and other series distributed to growers and gardeners across America. 

Fast Facts:

• Time period: 1886 to 1942, with the majority created between 1894 and 1916.
• Content: 7,584 watercolor paintings, lithographs and line drawings, including 3,807 images of apples.
• Fruit origins: The plant specimens illustrated originated in 29 countries and 51 states and territories in the U.S.
• Artists: The paintings were created by approximately twenty-one artists commissioned by USDA for this purpose. Some works are not signed."]]></description>
<dc:subject>archives art food illustration fruit nuts drawing lithographs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ab420526b83f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=UquYkECJvSc">
    <title>Ricardo Cavolo - Periferias en El Independiente - YouTube</title>
    <dc:date>2018-10-28T20:46:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=UquYkECJvSc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.elconfidencial.com/cultura/2017-01-28/ricardo-cavolo-periferias-libro-ilustracion_1320492/

<blockquote>Este libro, subraya, "es un ejercicio de amor que quiero que sirva de protesta para levantar la voz y hacer ver a la gente que tiene que cambiar la mirada, pero evidentemente es un ejercicio para darles cariño". De esta selección destaca esas periferias humanas con las que arranca el libro como las más personales. Especialmente los gitanos, pero también la comunidad trap —"en Estados Unidos los negros son como los gitanos para lo bueno y para lo malo. Es un colectivo en el que me fijo e inspiro"— o las mujeres soldados kurdas — "una nueva versión de aquellos 300 espartanos que se hicieron valer con coraje y honor por un fin superior"—.</blockquote>

https://www.elnacional.cat/ca/cultura-idees-arts/ricardo-cavolo-periferias_134232_102.html

<blockquote>Ricardo Cavolo publica el seu àlbum Periferias (Lundwerg) que es presenta com un homenatge als "altres", a aquells que per motius geogràfics, físics, d'orientació sexual o pel motiu que sigui se surten de les pautes de la normalitat. Per les seves pàgines hi passen presos, siamesos, albins, gitanos, guerrilleres kurdes... Però no només hi ha individus i col·lectius, també inclou territoris, com les illes Fèroe, o Tristao d'Acunha; i animals poc coneguts, com el tapir, el pangolí o la hiena. O fins i tot afegeix el que anomena "perifèries vegetals", plantes i bolets que tenen formes insospitades, com les molses, els bolets fosforescents o les roses de Jericó (unes petites plantes que es conserven durant anys seques i que reviuen quan se les mulla)... I el llibre es clou amb un homenatge a artistes i literats fora dels circuits habituals, com Lovecraft, William Blake o Sam Doyle. Tot un cant a la diversitat del món, dels seus éssers, dels seus homes i dels seus creadors.</blockquote>

https://www.youtube.com/watch?v=W5g9Uoo4k8s
https://guardianadelibros.blogspot.com/2017/01/periferias.html
https://www.amazon.com/Periferias-Gran-libro-ilustrado-extraordinario/dp/8416489696

https://ricardocavolo.com/
https://www.instagram.com/ricardocavolo/
https://twitter.com/RicardoCavolo

https://elpais.com/cultura/2013/04/17/tentaciones/1366194108_667727.html ]

[via: 
"“Periferias” tells the stories of people (and places and plants and animals) that sit outside of what’s typically understood as “normal,” living at the periphery. I bought it even though I can’t even read it properly. I love that this exists."
https://www.instagram.com/p/BpfYl5UBIem/ ]]]></description>
<dc:subject>ricardocavolo periferias periphery margins liminality liminal 2017 comics illustration gypsies sexuality outcasts edges outsiders betweenness romani roma inbetweenness inbetween between</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://penn.pithytwigs.com/">
    <title>Heather Penn</title>
    <dc:date>2018-10-14T22:38:34+00:00</dc:date>
    <link>http://penn.pithytwigs.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Heather Penn is a designer and artist living in Los Angeles. She is currently working on the game Overland and other various personal projects in her spare time. If you're interested in keeping up with her work check out https://momoss.tumblr.com "

[See also: https://twitter.com/heatpenn ]]]></description>
<dc:subject>heatherpen illustration art games gaming overland</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f173167778f/</dc:identifier>
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</item>
<item rdf:about="https://la.curbed.com/2018/8/23/17720768/los-angeles-plants-trees-glossary-guide-jasmine-palm">
    <title>Los Angeles trees and flowers: An illustrated guide - Curbed LA</title>
    <dc:date>2018-09-21T21:44:46+00:00</dc:date>
    <link>https://la.curbed.com/2018/8/23/17720768/los-angeles-plants-trees-glossary-guide-jasmine-palm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From palm trees to sweet jasmine, get to know some of the flora that give LA its distinctive local color"]]></description>
<dc:subject>losangeles plants illustration trees 2018 monicaahanonu paulineo'connor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a063b93a676e/</dc:identifier>
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</item>
<item rdf:about="http://blog.presentandcorrect.com/kokomo-no-kuni">
    <title>Kodomo No Kuni. | Present&amp;Correct</title>
    <dc:date>2018-08-04T01:47:10+00:00</dc:date>
    <link>http://blog.presentandcorrect.com/kokomo-no-kuni</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A children’s picture magazine published in Japan 1922-44. We just found a site with a full archive, over 9000 images. [http://www.kodomo.go.jp/gallery/search/index_e.html ]"

]]></description>
<dc:subject>children japan japanese srg illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7e43be1acc92/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japanese"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
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</item>
<item rdf:about="https://itunes.apple.com/us/app/procreate/id425073498">
    <title>‎Procreate on the App Store</title>
    <dc:date>2018-08-02T20:58:48+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/procreate/id425073498</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Apple Design Award winner and App Store Essential – Procreate is the most powerful sketching, painting and illustration app ever designed for a mobile device, built for creative professionals. This complete artist’s toolbox helps you create beautiful sketches, inspiring paintings, and stunning illustrations anywhere you are. Procreate features ground-breaking canvas resolution, 136 incredible brushes, an advanced layer system, and is powered by Silica M: the fastest 64-bit painting engine on iOS.
Create a canvas and start painting with any of Procreate’s exclusive dual-texture brushes. Use the immediately responsive smudge tool to perfectly blend colour with any brush in your library. With Procreate’s incredibly high-resolution canvases you can print your artwork at massive sizes. Experience the revolutionary selection, transform, and perspective tools built exclusively for multitouch and finish your illustration with stunning cinema-quality effects. Procreate’s powerful and intuitive interface always puts your art in focus.

With a deep range of professional quality features, Procreate has all the power a creative needs."]]></description>
<dc:subject>applications ios ipad photoshop painting paint drawing illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:395bfc4bc54c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paint"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://krita.org/es/">
    <title>Krita | Digital Painting. Creative Freedom.</title>
    <dc:date>2018-02-26T01:03:45+00:00</dc:date>
    <link>https://krita.org/es/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Krita is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone.
• concept art
• texture and matte painters
• illustrations and comics"]]></description>
<dc:subject>opensource via:lukeneff applications windows linux mac osx illustration painting software</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed9f188dc004/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:opensource"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:lukeneff"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:windows"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linux"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mac"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:osx"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:software"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://paintingbynumbers.dxlab.sl.nsw.gov.au/">
    <title>Painting by Numbers | DX Lab - State Library of NSW</title>
    <dc:date>2017-12-04T05:06:34+00:00</dc:date>
    <link>https://paintingbynumbers.dxlab.sl.nsw.gov.au/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "Painting By Numbers is a cool new site from @statelibrarynsw exploring the detailed color system of a 19th century naturalist: https://paintingbynumbers.dxlab.sl.nsw.gov.au/ "
 https://twitter.com/john_overholt/status/937334609506963456 ]]]></description>
<dc:subject>ferdinandbauer art pinting illustration nature naturalists color interactive classideas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4c6ec315e3fa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ferdinandbauer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pinting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
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</item>
<item rdf:about="http://www.dianasudyka.com/">
    <title>Diana Sudyka</title>
    <dc:date>2017-10-24T05:12:59+00:00</dc:date>
    <link>http://www.dianasudyka.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Diana Sudyka  (pronounced soo-dee-kah) is a Chicago based illustrator. She started out by designing and screen-printing posters for musicians including: Andrew Bird, St. Vincent, The Black Keys, Neko Case, and The Decemberists. Examples this early poster work can be seen in Gigposters Volume 1: Rock Show Art of the 21st Century (Quirk Books). Following, she began illustrating YA books, illustrating several volumes of the award winning and NYTimes bestselling series The Mysterious Benedict Society by Trenton Lee Stewart, The Secret Keepers also by Stewart, and Circus Mirandus by Cassie Beasley. She is currently illustrating the first of several upcoming children’s picture books to be released in 2018 and 2019. Working mainly in gouache, ink and watercolor, subject matter and aesthetic choices for her paintings are largely informed by a deep passion for the natural world, and inspired by a love of various folk art traditions. When not working or with her family, she volunteers in the Chicago Field Museum of Natural History bird lab. Her instagram feed sometimes has a disproportionate amount of pictures of lichens and moss."]]></description>
<dc:subject>multispecies morethanhuman art illustration artists dianasudyka nature animals plants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://longnow.org/seminars/02017/aug/07/seeing-whole-systems/">
    <title>Nicky Case: Seeing Whole Systems - The Long Now</title>
    <dc:date>2017-08-26T22:52:09+00:00</dc:date>
    <link>http://longnow.org/seminars/02017/aug/07/seeing-whole-systems/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nicky Case is an independent game developer who creates interactive games and simulations including Parable of the Polygons (02014), Coming Out Simulator (02014), We Become What We Behold (02016), To Build A Better Ballot (02016), and LOOPY (02017).

…

Nicky Case’s presentations are as ingenious, compelling, and graphically rich as the visualizing tools and games Nicky creates for understanding complex dynamic systems.

Case writes: “We need to see the non-linear feedback loops between culture, economics, and technology. Not only that, but we need to see how collective behavior emerges from individual minds and motives. We need new tools, theories, and visualizations to help people talk across disciplines.”

Nicky Case is the creator of Parable of the Polygons (02014), Coming Out Simulator (02014), We Become What We Behold (02016), To Build A Better Ballot (02016), and LOOPY (02017).

…

How to finesse complexity

HE BEGAN, “Hi, I’m Nicky Case, and I explain complex systems in a visual, tangible, and playful way.” He did exactly that with 207 brilliant slides and clear terminology. What system engineers call “negative feedback,” for example, Case calls “balancing loops.” They maintain a value. Likewise “positive feedback” he calls “reinforcing loops.” They increase a value

Using examples and stories such as the viciousness of the board game Monopoly and the miracle of self-organizing starlings, Case laid out the visual basics of finessing complex systems. A reinforcing loop is like a ball on the top of a hill, ready to accelerate downhill when set in motion. A balancing loop is like a ball in a valley, always returning to the bottom of the valley when perturbed.

Now consider how to deal with a situation where you have an “attractor” (a deep valley) that attracts a system toward failure:


[image]

The situation is precarious for the ball because it is near a hilltop that is a reinforcing loop. If the ball is nudged over the top, it will plummet to the bottom of the balancing-loop valley and be stuck there. It would take enormous effort raise the ball out of such an attractor—which might be financial collapse or civil war. Case’s solution is not to try to move the ball, MOVE THE HILLS—identify the balancing and reinforcing loops in the system and weaken or strengthen them as needed to reconfigure the whole system so that the desired condition becomes the dominant attractor.

Now add two more characteristics of the real world—dense networks and chaos (randomness). They make possible the phenomena of emergence (a whole that is different than the sum of its parts) and evolution. Evolution is made of selection (managed by reinforcing and balancing loops) plus variation (unleashed by dense networks and chaos). You cannot control evolution and should not try--that way lies totalitarianism. Our ever popular over-emphasis on selection can lead to paralyzed systems—top-down autocratic governments and frozen businesses. Case urges attention to variation, harnessing networks and chaos from the bottom up via connecting various people from various fields, experimenting with lots of solutions, and welcoming a certain amount of randomness and play. “Design for evolution,” Case says, “and the system will surprise you with solutions you never thought of.”

To do that, “Make chaos your friend.”

       --Stewart Brand"]]></description>
<dc:subject>systems systemsthinking nickycase 2017 illustration visualization longnow maps mapping stewartbrand games gaming gamedesign capitalism socialism monopoly economics technology culture precarity chaos networks evolution socialtrust voting design complexity abstraction communication jargon unknown loopiness alinear feedbackloops interconnectedness dataviz predictions interconnected nonlinear linearity interconnectivity</dc:subject>
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</item>
<item rdf:about="http://www.uliwestphal.de/elephas-anthropogenus/index.html">
    <title>Uli Westphal: Elephas Anthropogenus</title>
    <dc:date>2017-08-25T04:38:08+00:00</dc:date>
    <link>http://www.uliwestphal.de/elephas-anthropogenus/index.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["After the fall of the Roman Empire, elephants virtually disappeared from Western Europe. Since there was no real knowledge of how this animal actually looked, illustrators had to rely on oral and written transmissions to morphologically reconstruct the elephant, thus reinventing an actual existing creature. This tree diagram traces the evolution of the elephant depiction throughout the middle ages up to the age of enlightenment."

[via: "Uli Westphal's study of elephants as imagined by medieval illustrators: top-notch visual research"
https://twitter.com/golan/status/900625941243842560 ]]]></description>
<dc:subject>animals art arthistory drawing elephants history illustration uliwestphal classideas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://story.californiasunday.com/meanwhile-riding-the-ferry">
    <title>Meanwhile — The California Sunday Magazine</title>
    <dc:date>2017-06-06T01:46:04+00:00</dc:date>
    <link>https://story.californiasunday.com/meanwhile-riding-the-ferry</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wendymacnaughton ferries washingtonstate wdot wsf 2017 illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a5076db94643/</dc:identifier>
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</item>
<item rdf:about="http://www.chronicle.com/article/Fair-Use-Too-Often-Goes-Unused/240033">
    <title>Fair Use Too Often Goes Unused - The Chronicle of Higher Education</title>
    <dc:date>2017-05-29T21:03:19+00:00</dc:date>
    <link>http://www.chronicle.com/article/Fair-Use-Too-Often-Goes-Unused/240033</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When you are writing a book analyzing images from Kurosawa’s Rashomon, you should include images from the classic 1950 film. The logic behind that seems straightforward — but the logistics can be less so.

For Blair Davis, an assistant professor of communications at DePaul University who edited Rashomon Effects: Kurosawa, Rashomon and their Legacies, published in 2015 by Routledge, getting permission to use the stills in the book turned out to be almost as difficult as ferreting out the truth in the film itself.

"I spent at least a year dealing with the Japanese corporation Kodansha, which owns the rights," Davis told me by email. He had to "hire someone who spoke Japanese to conduct face-to-face negotiations in Japan." Worse, in the end, Davis wasn’t even allowed to use the images he had asked for. Kodansha insisted he choose from a small selection of publicity photos, rather than the scenes actually analyzed in the text.

Davis’s acquisition process was more arduous than most, but the general predicament will be familiar to many academics who work with film, art, comics, or other visual materials. Many academic presses and journals require permission for the reprint of any images. For instance, Julia Round, a principal lecturer at Bournemouth University and editor of the journal Studies in Comics, told me that, at the request of its publisher (Intellect Books), "we always seek image permissions." Only if authors can’t track down permissions holders, Round said, does the journal consider printing small images under the legal doctrine of fair use.

But while publishers want authors to get permission, the law often does not require it. According to Kyle K. Courtney, copyright adviser for Harvard University in its Office for Scholarly Communication, copyright holders have certain rights — for instance, if you hold rights for a comic book, you determine when and by whom it can be reprinted, which is why I can’t just go out and create my own edition of the first Wonder Woman comic. But notwithstanding those rights, fair use gives others the right to reprint materials in certain situations without consulting the author — or even, in some cases, if the author has refused permission.

Courtney explained that courts have used a four-factor test to decide whether or not the reproduction of artwork, or other elements, falls under fair use. Judges look first at the purpose of the use; then at the nature of the copyrighted work itself; then the amount of the work reproduced; and finally at the effect of the use upon the market. Thus, when you publish — for scholarly purposes — a single image from a feature-length film that will not affect the market of the film, you have a good chance of being covered under fair use.

In the last decade, courts have also used the concept of transformative use, Courtney said. If you are using an image for a different purpose than it was originally intended, and thereby transforming it, you have a strong fair-use argument. "So if a comic book at the time period was to entertain, but you’re doing a critical/social analysis of what the comic means today," he said, "you’re applying a new meaning, a new message — you’re transforming the original for a new purpose."

In some recent court cases, judges have upheld fair use after the copyright holder had explicitly denied permission. In the early 2000s, DK publishing was refused permission to reprint Grateful Dead posters for an illustrated history of the band. The publisher reproduced the images anyway, and then defeated the lawsuit in court. Asking a copyright holder for permission does not mean that you vitiate your fair-use rights. (Courtney has created a handy explanatory comic about the case, available here.)

Betsy Phillips, sales and marketing manager at Vanderbilt University Press, said that it evaluates fair-use questions on a "case by case basis." In particular, Vanderbilt treats marketing images very differently from reproductions inside the book. "There’s a difference between a film still on the inside of a book that’s discussed in that book, and a page from a comic book on the cover," she said. The amount of material reproduced is also important: A black or white thumbnail of a detail of a painting would probably be fine, but a high-resolution, full-color image of an entire work might require permission.

Phillips also emphasized that the press tried to keep a clear paper trail of its use of images, including discussions about the rationale for fair use of each image, and why permission did or did not need to be sought. She noted that professional societies often have useful guidelines. For instance, the Society for Cinema and Media Studies discusses fair-use policies on its website.

Of course, some publishers may still prefer to ask for permission each and every time you want your book to reprint an image — it seems safer. If you get permission, you know for sure that you won’t have legal struggles. Why mess about with fair use, where there is at least a small risk of unpleasantness?

Seeking permission may seem safe, but it can have serious ethical and practical downsides.

Consider the case of David W. Stowe, a professor at Michigan State University who wrote Swing Changes: Big-Band Jazz in New Deal America, a 1994 book about the cultural milieu of big-band jazz. Stowe wanted to reproduce cartoons from Down Beat magazine to illustrate the racism and sexism of the era. Down Beat had approved reprint requests for such materials from other scholars. In this instance, however, according to a 2000 account by Lydia Pallas Loren in Open Spaces Quarterly, the magazine refused because "the drawings made the magazine ‘look bad.’" Stowe feared a lawsuit, and so did not use the images. Asking for permission gave the magazine a chance to stifle criticism.

Copyright holders may also try to force a press or an author to cough up exorbitant fees for reprints. That can be a financial hardship for a scholar, or simply make it impossible to use the images — which isn’t censorship per se but does damage scholarship.

As Julia Round explained, "Having to describe an image wastes so many words! And it simply doesn’t substitute for seeing the image itself. It’s so complicated trying to talk about complex page layouts, or attempting to explain a particular effect, or describing the idiosyncrasies of a font, or a precise shade of color."

Omitting the image also prevents readers from analyzing it for themselves. If a critic says a particular shade of green in the image is sickly and disturbing, the reader has no choice but to take the writer’s word for it, unless the image is reproduced. Of course many images today are online and can be easily Googled, but many other comics, film stills, and paintings remain offline and inaccessible. If you can’t show the image right in the text, Round concludes, "it makes it hard for any reader to fully understand and critically engage with what is being said."

Books and journal articles about visual culture need to be able to engage with, analyze, and share visual culture. Fair use makes that possible — but only if authors and presses are willing to assert their rights. Presses may take on a small risk in asserting fair use. But in return they give readers an invaluable opportunity to see what scholars are talking about."]]></description>
<dc:subject>copyright fairuse publishing film academia 2017 noahberlatsky rashomon blairdavis juliaround images kylecourtney transformativeuse betsyphillips cinema media davidstowe lydiapallasloren illustration</dc:subject>
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<item rdf:about="http://urbanomnibus.net/2016/09/playground-of-my-mind/">
    <title>Urban Omnibus » City as Playground</title>
    <dc:date>2017-03-11T18:17:09+00:00</dc:date>
    <link>http://urbanomnibus.net/2016/09/playground-of-my-mind/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How does the design of your childhood environment affect you? For the better part of a decade, painter Julia Jacquette has been excavating memories of her childhood playground on the Upper West Side. Her family history dovetails with a chapter in New York’s built environment that has been largely forgotten: a “playground revolution” in the 1960s and ’70s. Designers like Paul Friedberg, Richard Dattner, and Jacquette’s own father created innovative adventure playgrounds, child-size cities for imaginative play.

Adventure playgrounds appeared all over New York City, from Central Park to residential buildings and vacant lots. They were part of larger changes in the design and use of the city’s public spaces during the Mayoral administration of John V. Lindsay (1966-1973) that responded to accelerating suburbanization, changing demographics, displeasure with the functionalist environments of urban renewal — in short, a sense of impending “urban crisis.” The playgrounds were meant to make the city more inclusive, more attractive, and more malleable: a place where everyone could thrive.

What happens to a playground when it’s torn down? Many of the playgrounds are now gone, others have been renovated beyond recognition. In her graphic memoir, Playground of My Mind, Julia Jacquette revisits and reconstructs the playgrounds that marked her childhood and have stayed with her ever since. We are pleased to publish an excerpt of Playground of My Mind in the slide show above. Then, Jacquette and writer James Trainor, who is also at work on a book on the city’s playgrounds, explore their childhood memories and grown-up investigations of a critical chapter in the history of New York’s public spaces."]]></description>
<dc:subject>cities urban urbanism 2016 jamestrainor juliajacquette publicspace playgrounds sfsh glvo nyc illustration childhood paulfriedberg richarddattner sesamestreet rossryanjacquette adventureplaygrounds children play aldovaneyck</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulfriedberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:richarddattner"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sesamestreet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rossryanjacquette"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adventureplaygrounds"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aldovaneyck"/>
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</item>
<item rdf:about="http://www.fahmida-azim.com/">
    <title>Portfolios – Fahmida Azim</title>
    <dc:date>2017-02-14T06:06:08+00:00</dc:date>
    <link>http://www.fahmida-azim.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m Fahmida Azim. I’m an illustrator, story-teller, designer, night-owl, magical realist – to name a few.

The short story is a philosophy that art is a language – a language of visual communication – and I’m here to use my fluency to give life to the unsung and underrepresented ideas.

For whomever it may concern: The long story starts in the dead of night at a far away and forgettable village town in Bangladesh where, in 1994, I screamed my first screams. Through the introductory plot lines of an immigrant tale as old as the US constitution, I grew up as an American-Muslim child in the suburbs of Virginia. After many chapters of fight scenes and coming-of-age tropes I attended VCUArts and graduated with a bachelors degree in Communication Arts. Currently I’m working as a designer and freelance illustrator in the river city of Richmond, while the rest of the narrative is a work in progress the plot-twists and character developments are never ending."

[See also: https://www.instagram.com/eemajin/
https://twitter.com/eemajin/ ]]]></description>
<dc:subject>illustration fahmidaazim graphicdesign</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:39f276858a37/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fahmidaazim"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphicdesign"/>
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</item>
<item rdf:about="https://www.behance.net/gallery/46146965/Natsu-travel-diary">
    <title>Natsu - travel diary on Behance</title>
    <dc:date>2017-01-02T03:22:41+00:00</dc:date>
    <link>https://www.behance.net/gallery/46146965/Natsu-travel-diary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A travel diary in Japan with some watercolor sketches on location and silver photographies. 

This is a trilingual Japanese/English/French version.

"A summer in Japan with a camera and sketchbook always close at hand. The heat is overwhelming and we can hardly move. So we let ourselves go, here and there, our eyes open wide, not knowing if this is all real or if we have simply lost our way.""]]></description>
<dc:subject>japan ateliersentô watercolor illustration photography classideas 2016</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7c32f53f5915/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ateliersentô"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:watercolor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
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</item>
<item rdf:about="http://voidandmeddler.com/">
    <title>Void&amp;Meddler | Nobody likes the smell of reality</title>
    <dc:date>2017-01-02T02:37:07+00:00</dc:date>
    <link>http://voidandmeddler.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "#Top2016: Void&Meddler - episode 2 (by @NO_cvt ) for its musical and visual intensity. Let's vanish together in the night loop..."
https://twitter.com/AtelierSento/status/815133209793011712 ]

[See also: http://store.steampowered.com/app/377970/ ]]]></description>
<dc:subject>games videogames gaming illustration edg srg 2016</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cd229b12e496/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
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</item>
<item rdf:about="http://www.amaziograph.com/">
    <title>The Amaziograph app for iPad</title>
    <dc:date>2016-11-07T00:36:26+00:00</dc:date>
    <link>http://www.amaziograph.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://itunes.apple.com/us/app/amaziograph/id586076398 ]

[via: https://www.instagram.com/p/BMMaY64gUIk/
via: https://www.instagram.com/p/BMbrV3hgeQz/
via: https://twitter.com/tealtan/status/795421533955125248 ]]]></description>
<dc:subject>ios applications symmetry ipad drawing illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2236c215b1e3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:symmetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
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</item>
<item rdf:about="http://mariafrohlich.tumblr.com/">
    <title>Maria Fröhlich</title>
    <dc:date>2016-11-05T22:38:45+00:00</dc:date>
    <link>http://mariafrohlich.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[["Comic artist and illustrator from the dark woods of northern Sweden."
http://mariafrohlich.daportfolio.com/about/ ]

[See also: 
https://www.instagram.com/mariafrohlichart/ 
https://twitter.com/MariaFrohlich ]

[via: http://us6.campaign-archive2.com/?u=88819455cab0b1139f96cec4d&id=6cb5179504

"The image above is part of the concept art for Maria Fröhlich's book Tales from Miraclecity. Her illustration blog features a society brimming with people of color — especially children — playing and exploring in a world both present and future." ]]]></description>
<dc:subject>mariafröhlich illustration sweden peopleofcolor scifi sciencefiction future comics graphicnovels tumblrs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:14ccbd19cd3b/</dc:identifier>
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<item rdf:about="https://www.guernicamag.com/daily/kara-utmost-import-instagram-the-future-of-the-icelandic-language/">
    <title>K.T. Billey: Utmost Import: Instagram &amp; the Future of the Icelandic Language - Guernica / A Magazine of Art &amp; Politics</title>
    <dc:date>2016-08-17T16:30:04+00:00</dc:date>
    <link>https://www.guernicamag.com/daily/kara-utmost-import-instagram-the-future-of-the-icelandic-language/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[about: https://www.instagram.com/everysinglewordinicelandic/

"Futbol vikings, moonbeams, Björk—Iceland has long-since captured the global imagination, often capitalizing on foreign fascination. Tourism has been essential to the country’s post-crash economic recovery and guerrilla activities in the form of social media have emerged as a complement to ad campaigns and travel initiatives. Put simply, the posted image is the new word of mouth and Iceland is Instagrammer heaven. When cabin porn is a noun-ed phenomenon, Grade-A bragging visuals have brought hordes of visitors and money to the Nordic island. However, the influx has not been without anxiety. One Instagram account embodies the bane and boon of tourism for contemporary Icelandic identity.

Every Single Word in Icelandic, @everysinglewordinicelandic, is one of the most charming mini-galleries around. The concept is simple: pictographs break down the etymology of Icelandic words, illustrating cultural personality and the magic of language while teaching interested followers a thing or two.

Created by Eunsan Huh, a graphic designer who began learning Icelandic in New York City, many Every Single Word entries are Icelandic symbology: wool sweater, hot dog, whale (peysa, pylsa, hvalur). Others reflect Iceland’s absorption of new practices. In a shepherding country, chopsticks are called matprjónar or “food knitting needles.” Idioms also pop up—in Icelandic a tough cookie could be called a harðjaxl, a “hard molar.” The ranks of the account’s followers has steadily grown. Particularly in terms of nature and ‘folk’ attitudes, we seem collectively predisposed to being amused by Iceland the way audiences at comedy shows come ready to laugh.

The interest in Icelandic is certainly welcome. A language spoken by about 300 000 people must work to preserve itself. Reliance on importation and a history of Danish rule make Iceland no stranger to fears of foreign influence. A vital function of the Icelandic Language Council is to establish Icelandic words for new inventions. Drawing on Old Norse and Icelandic roots, the goal is to prevent an influx of loanwords—once Danish, now English—from taking over. Some borrowed words have taken hold—the use of banani far surpasses bjúgaldin “sausage fruit”—but preservation efforts have paid off in terms of language survival and intrigue. The word for television is a popular example that reminds us of how strange tv was upon its invention, as well as of the beauty of the English word. Sjónvarp breaks down into “vision caster.” Tele-vision. It may seem obvious, augljós, (auga<, eye, + ljós, light), but is there anything we take more for granted?

Perhaps one thing. The internet, whose here-to-eternity English poses an unprecedented threat to Iceland’s notoriously difficult, poetic, and odd tongue. Icelandic schooling has long included English, Danish, Latin, and various other languages, but English is particularly alluring for young people looking to participate in global arenas. Not just the online, but in technology use in general. As the Icelandic writer Sjón put it in an interview I conducted with him for Asymptote International Literary Journal,“When the day comes that we have to speak to our refrigerators in English (which I believe is not far in the future), Icelandic will retreat very fast.”

Former President of Iceland Vigdis Finnbogadóttir drew an oft-repeated distinction: Icelandic is not a ‘small language’ but rather ‘a language spoken by few.’ According to Finnbogadóttir, an active linguistic advocate (and the world’s first elected woman head of state—fewer speakers often boast when they can), there are no small languages. This rings true to anyone who has been mouth-baffled in a land of extensive compound words. It is not a numbers game, but hundreds of years of Nordic literature—an immeasurable contribution to world culture and mythology—is contingent on linguistic knowledge."

…

"Tomorrow’s folk tale might be a cautionary yarn about the Pokémon hunter who fell into Goðafoss. Purists might cringe at the notion, romantics might refuse to read it—or watch the trailer. There is much to bemoan about the evolving tension between technology and our physical and social lives: bodily detachment, fractured attention, intimate dis-ease. Worries about Icelandic are well-founded, but its speakers are aware. Gerður Kristný responded to the ‘why not write in English’ question by explaining that language has so much to do with Icelandic independence and identity, she will always write in Icelandic. It is her language. Technology looms, but pride and artistry is made of different stuff. Human obstinacy is a phenomenon unto itself.

The fate of Icelandic and other languages spoken by few remains to be seen, read, and heard. For now, as with anything, we can take the mixed bag, if we believe we have a choice. Absorbing positive resonance when we can is a coping skill as venerable as sagas. Marveling at inventions creates space for thought about how to use them well.

Rarity may protect languages via the kind of cult interest Icelandic enjoys. Print was supposed to be dead by now, or the realm of fetishized art objects and eccentric collectors. Yet book-devices haven’t supplanted books themselves. There are simply more ways to read. The internet is akin to Borges’ Babel in both threat and potential—it cultivates a browsing attitude that eats its children but also offers a place to be intentionally communicative. Never have we had such a grand chance to self-define or such an audience for our own terms.

“Orchestra” is a pertinent Every Single Word in Icelandic entry. Hljómsveit, literally “sound team.” The ancient chorus persists, in one form or another, and it is what we make of it."

[See also: http://grapevine.is/author/eunsan-huh/
https://www.behance.net/gallery/28612451/Every-Single-Word-In-Icelandic ]]]></description>
<dc:subject>iceland icelandic language languages instagram ktbilley eunsanhuh symbols symbology history linguistics audio pronunciation translation english illustration via:tealtan instagrams</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:731030290250/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ktbilley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eunsanhuh"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
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</item>
<item rdf:about="https://scratch.mit.edu/users/bubble103/">
    <title>bubble103 on Scratch</title>
    <dc:date>2016-08-04T19:20:37+00:00</dc:date>
    <link>https://scratch.mit.edu/users/bubble103/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Specifically these projects:

"The Colour Divide - Trailer"
https://scratch.mit.edu/projects/70058680/

"Two | The Colour Divide"
https://scratch.mit.edu/projects/97663280/

"[Now out] A Colour Divide Q & A!"
https://scratch.mit.edu/projects/111996769/

"Vectoring Like A Pro #1"
https://scratch.mit.edu/projects/75539018/

"Vectoring Like A Pro #2"
https://scratch.mit.edu/projects/102075619/

"Ya Gotta ♥ Variables"
https://scratch.mit.edu/projects/80209136/ ]

[See also: 

https://twitter.com/bubble103_

"Hi, I'm @bubble103's evil clone.
jk... this is my test account...

Follow my main account, @bubble103!
*currently not taking any voice acting requests*"
https://scratch.mit.edu/users/bubbie103/ ]

[via: Thursday Keynote
http://webcast.mit.edu/sum2016/scratch/1631/index-d1.html ]]]></description>
<dc:subject>scratch vectors tutorials coding drawing illustration howto tarynbasel</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1f09392ccd25/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tarynbasel"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://trumptrump.tumblr.com/">
    <title>TRUMPTRUMP</title>
    <dc:date>2016-07-28T17:58:05+00:00</dc:date>
    <link>http://trumptrump.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Donald drawn daily until this nightmare ends"]]></description>
<dc:subject>donaldtrump tumblrs illustration via:austinkleon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5f5b3bbfb63e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:donaldtrump"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblrs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:austinkleon"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://woonyoung.tumblr.com/">
    <title>WOON</title>
    <dc:date>2016-07-23T22:47:40+00:00</dc:date>
    <link>http://woonyoung.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tumblrs illustration dinosaurs woonyoung</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:156a70d0ca8b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblrs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dinosaurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:woonyoung"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://killscreen.com/articles/check-low-poly-scenes-famous-movies/">
    <title>Iconic movie moments turned into gorgeous low-poly scenes - Kill Screen</title>
    <dc:date>2016-07-22T20:38:25+00:00</dc:date>
    <link>https://killscreen.com/articles/check-low-poly-scenes-famous-movies/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>low-polyart edg film videogames illustration low-polygon low-polygonart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d2f35f4eece4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:low-polyart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:low-polygon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:low-polygonart"/>
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</item>
<item rdf:about="http://www.newyorker.com/books/page-turner/here-comes-hilda">
    <title>Here Comes Hilda - The New Yorker</title>
    <dc:date>2016-06-24T18:15:22+00:00</dc:date>
    <link>http://www.newyorker.com/books/page-turner/here-comes-hilda</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It began, as adventures often do, with a trip: a family holiday in Norway, parents and their teen-agers, that seemed entirely straightforward at the time. “My imagination was really going for it on that trip—the landscape of the place stuck with me,” Luke Pearson, the British author of the Hildafolk series of graphic novels, told me. “At the time, I was reading about trolls and daydreaming, knowing I wanted to do something with that one day.”

Next, there was a map. “When I was at university, everyone who studied illustration was given a project to do an illustrated map of a country, and I was given Iceland,” he said. “I made a map of Icelandic folktales—you can still play it.” Move the digital clouds on Pearson’s “Hidden Iceland” and see, in their shadows, the giants and sprites and Viking ships just beneath that country’s peaks and fjords.

Finally, there was a girl: Hilda, now the star of four (soon to be five) comics. Netflix is planning a twelve-episode animated series, based on the first four books, for early 2018. The fifth book, “Hilda and the Stone Forest,” comes out in September.

When Pearson was still in school, in 2009, he submitted a one-page drawing to a competition run by Nobrow, now his publisher. “She’s basically wearing her outfit”—beret, scarf, red top, blue skirt, and big red boots—Pearson said, of Hilda. “She’s standing at the end of a pier, with a Scandinavian-esque city behind her and all kinds of creatures around, including a giant troll and a zeppelin in the sky.” A similar scene occurs in the third Hilda book, “Hilda and the Bird Parade,” but at the beginning Pearson didn’t have a story, just this “curious image” of a small girl with blue hair and a question: “Where is she and what does she get up to?”

What she gets up to is a string of adventures, first in the Heidi-esque hills above Trolberg, and then in the city itself—a move made (spoiler alert!) after a giant steps on the cozy ancestral cottage that she shares with her mother. That Hilda herself has long been a giant to a set of thumb-size invisible elves, living on the same patch of grass that her cabin sits on, is just another part of a life in which mythical creatures hide within mountains and behind bureau drawers. (There’s a lot of unused space in Hilda’s house, you see.)

For such a small girl, Hilda is about to get very big, and I am not at all surprised. My five-year-old daughter brought the first book home from a friend’s house, and it took reading only the first few pages, beautifully laid out, with the rich color palette of a Nordic sweater, to know that Hilda was something special. Trolberg may have a complex of bell towers (bells keep trolls at bay, we learn), but it also has a glassy downtown à la Houston. “All of these stories are riffs on folktales that are as old as time, that have taken a hard left turn through Luke’s imagination and all of these contemporary pop-cultural sensibilities,” Kurt Mueller, the executive vice-president at Silvergate Media, which will produce the Hilda series, said. (The company’s other series include “The Octonauts” and “Peter Rabbit.”) “Like the movies of Miyazaki, she feels totally of the moment, but she’s reacting to something that feels ancient and archetypal,” Mueller said. The nostalgic Northern European setting recalls Miyazaki’s romanticism, while Hilda’s communion with the conjoined natural and spirit worlds recalls San from “Princess Mononoke” or Satsuki from “My Neighbor Totoro.”

My first point of comparison was Lewis Carroll’s Alice, though Pearson said that he never thought of her. But, greeted by a little girl in an unchanging outfit, who is confronted with all manner of creatures great and small, in landscapes giant and miniaturized, who else are we to think of? What’s markedly different with Hilda is the attitude with which she greets her wonderland. She does not fall down a hole but strides, prepared with sketchbook and satchel, into the wind and weather. The first words of the first book, “Hilda and the Troll,” are delivered by a radio announcer: “But tonight clouds rolling in from the east . . . temperatures remain mild . . . with the likelihood of heavy rain.” Hilda, reading a tome on trolls at the breakfast table, rushes outside her red, peak-roofed cabin to see storm clouds forming over an adjacent peak. “Mum! Mum! It’s going to rain tonight! Can I sleep in the tent?” And Mum says yes.

Pearson’s aesthetic is sophisticated for the often candy-colored world of children’s animation, and the plots fit neatly into a number of present-day parenting preoccupations. Do children need dream time or organized activities? Nature or urban exploration? Pearson himself is too young to have friends with kids, so one suspects that his sensitivity to children’s desire for independence, combined with a need for a secure nest, may stem from his own childhood. Hilda’s mum wants her to have friends, to go to school, to participate in organized activities, but Hilda is always wandering off, learning Scout lessons on her own terms. Pearson says the scenes of the Sparrow Scouts were taken directly from his own Cub Scout experiences, down to the design of the church hall in which they meet (made of Nordic wood rather than Tamworth brick).

In the countryside, Hilda runs free, but the city brings greater conflict between her and her mother—who works from home at a drafting board, perhaps as an architect or an illustrator. Pearson’s panels are filled with such suggestive details, rewarding the close and repeated reading of small children. One of my daughter’s favorite spreads is at the back of the paperback version of “Hilda and the Troll”: a glimpse of Hilda’s realistically messy desk and shelves, stocked with Easter eggs from this and future tales, allowing young readers to put a few things together for themselves. Pearson extends the respect he has for Hilda to his audience, giving it room to discover the good kind of troll for themselves.

Pearson’s utter lack of pretension keeps Hilda feeling fresh, while his reading of folktales and Tove Jansson’s Moomin series embeds Hilda in the long history of children’s stories. Spunky heroines abound, but they don’t always speak to the present day. Hilda’s dilemmas, while fantastic, also feel real: Does she throw a rock at a pigeon to fit in? Does mother know best? Can one, or both, of them draw their way out of their latest adventure? Pearson has found a lovely new way to dramatize childhood demons, while also making you long for your own cruise down the fjords."

[See also:
https://islingtoncomic.blogspot.sg/2012/05/hilda-and-midnight-giant.html
http://www.tcj.com/i-wanted-a-character-who-was-very-positive-an-interview-with-luke-pearson/
http://www.hoodedutilitarian.com/2014/09/how-to-read-hilda/
http://comicsalliance.com/learning-and-inspiring-in-luke-pearsons-hilda-comics-review/
https://thebookwormbaby.blogspot.com/2016/02/the-amazing-world-of-hilda.html ]]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tovejansson"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studioghibli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scandinavia"/>
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<item rdf:about="https://www.gravit.io/">
    <title>Gravit</title>
    <dc:date>2016-06-23T20:01:59+00:00</dc:date>
    <link>https://www.gravit.io/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Use the world's most advanced design tool for beginners and design professionals. Easily create beautiful logos, business cards, websites, flyers and social media covers to impress your customers, family and friends."]]></description>
<dc:subject>illustration illustrator onlinetoolkit chromebooks webapps gravit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5debb6934f13/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chromebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webapps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gravit"/>
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<item rdf:about="http://mumblingidiot.deviantart.com/art/Hidden-Iceland-Interactive-125372001">
    <title>Hidden Iceland - Interactive by MumblingIdiot on DeviantArt</title>
    <dc:date>2016-06-16T01:21:34+00:00</dc:date>
    <link>http://mumblingidiot.deviantart.com/art/Hidden-Iceland-Interactive-125372001</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://www.newyorker.com/books/page-turner/here-comes-hilda ]]]></description>
<dc:subject>iceland lukepearson folktales maps mapping illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4801ccabbf5c/</dc:identifier>
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<item rdf:about="http://www.cosimogalluzzi.com/">
    <title>Cosimo Galluzzi</title>
    <dc:date>2016-05-11T06:15:29+00:00</dc:date>
    <link>http://www.cosimogalluzzi.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://poolsofchrome.tumblr.com/ ]]]></description>
<dc:subject>cosimogalluzzi via:senongo illustration edg pixelart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a7cf966995ed/</dc:identifier>
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<item rdf:about="http://www.tuckernichols.com/">
    <title>TUCKER NICHOLS</title>
    <dc:date>2016-04-25T05:07:28+00:00</dc:date>
    <link>http://www.tuckernichols.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://en.wikipedia.org/wiki/Tucker_Nichols ]]]></description>
<dc:subject>tuckernichols sanfrancisco artists art drawing painting illustration sfsh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d78e421513bc/</dc:identifier>
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<item rdf:about="http://animagraffs.com/how-a-car-engine-works/">
    <title>How a Car Engine Works - Animagraffs</title>
    <dc:date>2016-04-17T05:16:31+00:00</dc:date>
    <link>http://animagraffs.com/how-a-car-engine-works/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Did you know that your car will take in 20,000 cubic feet of air to burn 20 gallons of fuel? That’s the equivalent of a 2,500 sq. ft. house! If your only experience with a car engine’s inner workings is “How much is that going to cost to fix?” this graphic is for you. Car engines are astoundingly awesome mechanical wonders. It’s time you learned more about the magic under the hood!"]]></description>
<dc:subject>motors encines visualization animation cars jacobo'neal illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e53686f05834/</dc:identifier>
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<item rdf:about="http://turnislefthome.tumblr.com/">
    <title>turnislefthome</title>
    <dc:date>2016-04-05T23:52:09+00:00</dc:date>
    <link>http://turnislefthome.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["3D Illustrator currently living in the Midwest. turnislefthome.com"]]></description>
<dc:subject>tumblrs illustration 3d low-polyart low-polygon low-polygonart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6c9b60add2f4/</dc:identifier>
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<item rdf:about="http://digitalcollections.nypl.org/collections/the-trouvelot-astronomical-drawings-atlas#/?tab=about&amp;scroll=12">
    <title>The Trouvelot astronomical drawings: Atlas - NYPL Digital Collections</title>
    <dc:date>2016-04-05T23:18:19+00:00</dc:date>
    <link>http://digitalcollections.nypl.org/collections/the-trouvelot-astronomical-drawings-atlas#/?tab=about&amp;scroll=12</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[
[via: http://qz.com/635419/dreamy-drawings-of-space-by-a-19th-century-scientist/ 

"A century before NASA launched the Hubble Space Telescope, French artist and astronomer Etienne Leopold Trouvelot captured the night sky by hand.

Images released for high-res download today by the New York Public Library show celestial objects and phenomena through Trouvelot’s eyes. The illustrator (who was also a problematic entomologist) moved to the US from France in the 1850s. He worked at Harvard as an astronomer and drew based on studies as well as late-night observations he made in the 1870s and 1880s. See a selection below."]

"This digital collection draws upon the materials selected for an exhibition called "Seeing Is Believing," held in the Library's Gottesman Exhibition Hall, October 23, 1999 - February 19, 2000. Natural history materials were included very selectively in that exhibition; however, natural history materials have their own separate presentations in NYPL Digital Gallery, devoted to plants and to animals respectively.

BACKGROUND

The digital presentation reprises the exhibition's overarching premise: pictures, as Leonhart Fuchs noted in the introduction to his great herbal of 1542, "can communicate information much more clearly than the words of even the most eloquent men."

The exhibition posited three categories of scientific images. One allows viewers to "see" or understand information that defies direct observation by using different methods to show various kinds of theory or reality. For example, Copernicus's simple diagram of the solar system presented theory based on careful study. Other scientists, such as Vesalius, who elegantly depicted the muscles of the human body and Trouvelot' who gloriously attempted to present the wonders of the heavens, based their observations, though selective, on reality. A third type of image acts as a record of direct observation and communication, such as the steps for conducting an experiment or procedure, or simply the equipment needed, such as the apparatus Boyle used in his experiments on air.

The exhibition and this digital presentation share the same proviso. "Although not providing a comprehensive history of scientific and medical illustration, these images open a window on the radical shift in the cosmology of early modern Europe that began around 1543 with the publication of seminal works by Copernicus and Vesaliius, and continued with the work of Newton, Harvey, Darwin, Curies and others.""]]></description>
<dc:subject>via:kissane etienneleopoldtrouvelot space illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c7d204c4c033/</dc:identifier>
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<item rdf:about="https://vimeo.com/124169691">
    <title>A Studio Visit with Charlotte Mei on Vimeo</title>
    <dc:date>2015-07-13T18:32:28+00:00</dc:date>
    <link>https://vimeo.com/124169691</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I spent some time with Charlotte Mei at her South London studio, where she produces ceramics, drawings and paintings, for both her personal projects as well as commissioned work for clients. We spoke about the approach she takes when making each, her process when doing so and also her studio space at the Aylesbury Estate near Elephant & Castle.

Charlotte Mei is a ceramicist and illustrator from Bristol, who currently lives and works in London, UK. See more of Charlotte's work and visit her online shop over at her website - charlottemei.com

Produced, filmed and edited by Joshua Whitelaw, 2015 - joshuawhitelaw.co.uk "]]></description>
<dc:subject>art artists charlottemei edg srg glvo illustration clay plaiting sculpture ceramics</dc:subject>
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<item rdf:about="http://fusion.net/story/165400/a-6-year-old-totally-owned-the-financial-times-over-a-minecraft-error/">
    <title>A 6-year-old totally owned the Financial Times over a 'Minecraft' error | Fusion</title>
    <dc:date>2015-07-12T21:35:30+00:00</dc:date>
    <link>http://fusion.net/story/165400/a-6-year-old-totally-owned-the-financial-times-over-a-minecraft-error/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[When you write about Minecraft, you’d better get it right, or millions of kids all over the world will be ready to pounce on your errors.

The Financial Times learned this the hard way. Last weekend, the paper published a story on the Microsoft-owned hit game, titled “The business behind Minecraft.” And this weekend, Zorawar Bhangoo, a 6-year-old from London, wrote in to correct the paper for a graphic it published to accompany the piece.

Bhangoo’s handwritten note, which the FT transcribed and reprinted in its letters section, reads:

<blockquote>Sir, Your big Minecraft picture on the front page of your Life & Arts section (July 4) is wrong.

In Minecraft, smoke does not come out of chimneys and doors cannot be a light colour. Doors need four boxes at the top of them. Trees have to be round and not any other shape and you put the trees a rectangle shape. The clouds have to be 3D. You put the clouds upright. The roof of a house cannot be blue.

Zorawar Bhangoo (age 6)

London SE21, UK</blockquote>

This kid’s got a bright future. And the FT may need to build itself a burn unit in Minecraft, because getting owned by a 6-year-old has got to hurt."]]></description>
<dc:subject>children minecraft illustration reporting journalism 2015 edg accuracy games gaming videogames srg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9a0425196fe7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reporting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:accuracy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
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</item>
<item rdf:about="http://gerdarntz.org/">
    <title>Gerd Arntz Web Archive</title>
    <dc:date>2015-07-01T23:23:42+00:00</dc:date>
    <link>http://gerdarntz.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The work of Gerd Arntz (1900-1988) is of great importance to the world of visual communication. His signs are drawn with preciseness and a wonderful feeling for dimensions. Ed Annink, Ontwerpwerk, repositioned two of them and made them available in the consumer market as doormats. Doing so the legacy of Arntz became visible for a wider audience."]]></description>
<dc:subject>archive art design illustration gerdarntz graphicdesign graphics visualcommunication</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8f91ecbb8b2c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gerdarntz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphicdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphics"/>
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</item>
<item rdf:about="http://www.foodrepublic.com/2015/05/19/40-ways-world-makes-awesome-hot-dogs">
    <title>40 Ways The World Makes Awesome Hot Dogs | Food Republic</title>
    <dc:date>2015-06-07T18:16:48+00:00</dc:date>
    <link>http://www.foodrepublic.com/2015/05/19/40-ways-world-makes-awesome-hot-dogs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s not just a sausage in a bun; it’s a beautiful blank canvas. It’s a hot dog, which is a foodstuff eaten worldwide. Here are 40 distinctive varieties from around the globe — from iconic NYC “dirty water dogs” to fully loaded South American street-cart dogs to Japanese octo-dogs. There is a tubesteak out there for every craving that ever was."]]></description>
<dc:subject>food typologies hotdogs 2015 illustration jesskapadia mikehouston</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:062798db26ba/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typologies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hotdogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jesskapadia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mikehouston"/>
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</item>
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