что такое meet the artist
Что такое meet the artist
Здесь рисунки и картины публикуют авторы, которые их создали.
Цифровые арты, рисунки на бумаге, картины на холсте, рисунки на ткани, дереве, камне и других материалах, процессы рисования, обучающие статьи, уроки, мастер-классы, полезности — творчество, которое своими руками сделали пикабушники и пикабушницы.
Мы открыты к общению и не кусаемся. Почти.
Мы объединяем художников Пикабу, предлагаем обмениваться своим творчеством и опытом, популяризируем авторский контент.
Прежде всего стремимся демонстрировать работы, которые показывают умение автора рисовать.
0. Без грубостей и хейта. Давайте жить дружно!
1. Лига Художников — работы, созданные вами.
Чаще всего это цифровые, традиционные рисунки, на ткани или иных носителях.
2. Слабые работы часто отклоняем, ибо они провоцируют негатив у зрителей.
3. Просим выкладывать картинки в хорошем качестве; на одном изображении только один рисунок; не под углом или наклоном; хотя бы в разрешении 700px; свои работы, а не себя или объекты вокруг.
4. Можем отклонить недоделки. Если хотите показать этап или фрагмент рисунка, покажите вместе с законченной работой.
— Мы приветствуем: традиционные рисунки, цифровые рисунки, рисунки на ткани и иных материалах, процессы создания, уроки, мастер-классы, лекции, полезности для художников.
— Мы отклоняем: посты без ваших работ; слабые работы; некачественные фото; заказы, просьбы, вопросы, объявления; фотоарты, раскраски, обводки; 3D-графику; скульптуру; комиксы, дизайн, каллиграфию.
— Ваш пост может подойти в одно из этих сообществ.
ВАЖНЫЕ РЕКОМЕНДАЦИИ: что влияет на успех поста? Как сделать пост заметнее? Читайте все рекомендации по ссылке =)
1. Всегда добавляйте картинку с законченной работой наверх поста. Даже если в посте этапы рисования / видео процесса.
2. Избегайте рекламных призывов вида «Подпишись, репостни, переходи по ссылке», чтобы не провоцировать агрессию читателей.
3. Укажите оригинального автора, если у вас копия другой работы или срисовка фото.
Или напишите про копию / срисовку в тексте поста.
Иначе зрители могут ругать за плагиат, т. к. в основе чужая идея.
1. Посты-повторы запрещены. Публикуйте одну работу один раз.
Если вашу работу кто-то выложил до вас, можно опубликовать её с тегом «повтор».
2. Эротика разрешена только в специальных NSFW-сообществах.
3. Торговля недопустима в любом виде.
— Воздержитесь от продаж через Пикабу, указания цен (даже в комментах) и обсуждения этих тем.
— Вместо этого автор может оставить в посте свои контакты.
MEET THE ARTIST
Interviews with musicians, composers and conductors
Angela Hewitt, pianist
Everything you experience in life goes into your music and your interpretations. Talking with friends, reading books, going to the theatre, travelling, seeing a movie, reading the news, experiencing the tragedy of this awful pandemic….all of that ends up in what you produce later on at the piano.
Susan Bullock, soprano
Success to me is going on to a stage knowing that I am totally prepared: I have put the work in and come off at the end of the performance knowing that I did my absolute best on that day.
Elizabeth Llewellyn, soprano
If my audience is moved, entertained, challenged, provoked, consoled, informed, inspired – or any combination of the above – then I feel I have been successful in doing my job.
Alison Balsom, trumpeter
Keep listening to live music and going to concerts to remind you why this is such a brilliant, powerful, relevant, important, beautiful thing in a human’s life and why you should keep on searching for those memorable, spine tingling occurrences.
Rowan Pierce, soprano
Our work is in skills and craftmanship and that takes time and every day you make music is a progression to a day when it will feel easier or different. It’s a life-long process, and it will be ever changing and that’s ok.
Alec Frank-Gemmill, horn player
Making something sound exactly how I want it to.
Bertrand Chamayou, pianist
It’s a long quest and a process of building. You need to build your repertoire, your personality… to try to learn who you are as an artist. That all takes time. Search inside yourself, as most of what you have to say is already inside you from very early on.
Nitin Sawhney – musician, composer and producer
I create a new vocabulary for each project I work on. I don’t believe in stamping my personality all over what is required for a film’s score to compliment the narrative. However, with my own albums I tend to follow my intuition which leads me into a lot of sounds that I love.
Michael Finnissy, composer
Music itself is intensely important to me, and I want to try and share it – intensely
Alice Sara Ott, pianist
My parents took me a to piano recital when I was three because they couldn’t find a babysitter that night. I don’t remember the pieces the pianist played but I was fascinated by the power of music that made the audience quiet for nearly two hours. I thought that if I learned this “language” people would also listen to what I want to say
Nathalia Milstein, pianist
The greatest challenge, which will probably last all my life, is trying to understand how to be completely myself on stage, how to convey my own ideas without getting distracted by anything else and be 100% into the music
Elin Manahan Thomas, soprano
My musical heart is definitely in baroque music – anything from Purcell to Handel to Bach makes me feel entirely at home. I’ve always been completely at one with the style and harmonies of the baroque period, and there’s nothing from that age that I wouldn’t love singing.
Meet the Artist Behind OCCRP’s Illustrations
Q: OCCRP often publishes investigations that are complex, involving locations around the world and many different parts to a larger puzzle. What is your process for visually representing these stories?
A: It is different every time but it always involves collaborating with the editorial team working on the project. I have to feel the idea behind the stories and find the same visual language to match. Often, an editor has a clear idea, but it’s unspecific at the same time. For the Pegasus Project — stories which involved governments secretly spying on their own citizens — I looked at a typical Pegasus logo and thought that might work. But Deputy Editor in Chief Julia Wallace said the visuals should be darker, not so direct, and portray something not understood completely. I came up with an eye symbol, which has many meanings throughout history, including as a way to see inside someone’s soul. Here, it was meant to show how someone might see inside your private life to control you. It took us two days to decide on the eye and I had one week in total to create 10 illustrations for the stories from places like Mexico, Azerbaijan, and Kazakhstan. It was a true pleasure! I like to test myself and challenge myself creatively.
Q: What medium do you work in?
A: I use the Procreate digital art program on my iPad. It is the same idea as traditional art — I work on the image, focusing on dark and light, contrast, depth, etc. I taught myself how to use the digital program and initially, it was odd not to feel paint on my fingers. But it was exciting to discover how quickly I could manipulate an image, which helps with quick turnarounds and deadlines.
Q: OpenLux just won an “EPPY” Award from Editor & Publisher magazine and the judges praised the series as “stylish.” How do you reconcile the beauty of art with some of the very dark themes in many of our stories?
A: Art exists to give people hope and that is one of my ambitions with these story images.
OpenLux was a straightforward series of stories about hiding wealth and the ultimate beneficial owners of companies registered in Luxembourg. Paul Klee’s painting “Castle and Sun” (lower right) was the inspiration for these illustrations. The lines in the painting reminded me of stained glass windows in older European houses and the red colors made me think of the saying, “Money is the lifeblood of the economy.” I used both of these things for the Luxembourg skyline, which became the theme in each image. I then added elements from a country’s currency, depending on the location for each OCCRP story. Paper money usually portrays the most powerful symbols of each country, so a bird, ship, animal, or portrait cuts across the Luxembourg skyline to match the narrative of the story. The design of €500 becomes the “sky” and the “earth” in this world of money.
Building the images for the Semlex series reminded me of cooking with different ingredients. The series is about a Belgium-based biometrics company that used bribes and kickbacks to get contracts around the world. For the background I used a door and kept adding images, layer by layer, until the door is unrecognizable but serves its purpose. The last layer contains the main symbols we want people to see — the fingerprint, the passport — almost like putting garnishes on top of a tart. The colors impart information; each color has an effect on the body and makes people feel something. The blue and red used here are meant to evoke a lifeless place where there is no sun and man is part of the machine, a cold environment.
The color scheme in the Matraimov Kingdom was created after a discussion with Senior Editor Ilya Lozovsky. He came to me after they had won a prize for the first set of stories about grand corruption in Kyrgyzstan. He said more stories were coming and he really wanted the images to stand out and be as strong as the reporting. So I used the red and yellow colors from the Kyrgyzstan flag to create a bold style to use throughout, 10 illustrations in all.
A: This illustration is special to me because it was my first for OCCRP and opened up this whole new world — creating art for investigative journalism. It is from the #29Leaks investigation about a U.K. company services firm regularly exploited by criminals.
I had to portray real people in a recognizable way and chose a cartoon style. Investigative Editor Kira Zalan had the idea to replicate the famous photograph of the Beatles crossing Abbey Road for that album cover. The figures represent a Swedish Hells Angels boss, an Iranian state oil company, the Italian mob, and a fake Gambian bank — all of which used this company featured in the investigation.
There were lots of interesting details to work on — the costumes, the street, the London sky, the architecture. I chose to keep a grayish palette to show the seriousness of the business world and to complement the OCCRP website colors of deep red, black, and white.