![]() ![]() Here is both the display version with the wear and tear and the cover full cover version that would be suitable for print (I used the CreateSpace guide for a 5x8 inch trim which, while too big for an old mass market paperback, is the smallest size for extended distribution and has roughly the same relative dimensions). Still, I didn't think that it took so much extra to price it out of the pre-made market if that's the goal. The artwork on this does take a bit more time, as it needs the three background figures rendered individually and then composited, finally there is an extra layer of painting going on in ArtRage. I've based the design on the old Pan paperbacks of the 50s through 60s and the artwork also follows a pattern common to those books. This one was created as part of a possible tutorial going from the cover design template though to the painting and assembling into a cover. I also used to rely on a Cutout filter to help block out colour before taking into ArtRage but no longer feel the need for that. I'm finding it much easier now to add colour myself, along with highlights and shadows. I then paint a background and merge the layers, finally attacking it all with oil brush and knife. I create a background layer, then turn the tracing image into paint layer. Next, there's a little adjustment in GIMP or PSE8 before I load the result in ArtRage as a tracing image. I can't draw for toffee (at least, not without a set square), so I start with a 3D staging program called Poser - I try to keep the scenes fairly simple and render against a transparency. I will, at some point, be putting up a blog with all that I've figured out but that won't be until well into the new year (and maybe when I've a new - and stable - computer).Īnywho, here are a few of the ones I quite like, all of which follow the same method. The original goal was to develop techniques to produce them very quickly with a view to entering the pre-made book cover market - I've completely lost interest in attempting that market myself but not in the original project. Anywho, I've continued here and there with my efforts to re-create the look and feel of pulpy novels. ![]() Among the artists discussed are Damien Hirst, Rachel Whiteread, Tracey Emin, Jake and Dinos Chapman, Sarah Lucas and Gary Hume.It seems like an age since I last posted here - but then it's been a while since I've posted anywhere thanks to computer problems. ![]() Plentiful quotations bring out the distinctive personalities and provide fresh insights into the people and the period. Drawing on interviews with all the key BritArt players and extensive archival research, Elizabeth Fullerton examines the individual characters, their relationships to one another, crucial events and seminal artworks, considering, too, the political, economic and artistic context of those years. The book ends with an update on the artists’ careers and fortunes. Dismissed as trivial gimmickry and praised for its witty energy, their art made a mark both on the art scene and on public consciousness that continues to reverberate today.Īrtrage! tells the raucous story of the YBAs, chronicling the group’s rise to prominence from the landmark show ‘Freeze’ curated by Damien Hirst, through their 1990s heyday and the notorious ‘Sensation’ exhibition, to the Momart fire of 2004 that seemed to symbolize the group’s fading from centre stage. The Young British Artists (YBAs) stormed on to the contemporary art scene in 1988 with their attention-grabbing, ironic art, exploding art-world conventions with brazen disdain. ![]()
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