Tuesday, March 8, 2011

Christina Aguilera Boob

poem Enrique Rodríguez Pérez


LIVING OUT OF TOUCH
The river gives away shadows in yards of paper

to stretch cold

memory.
House
sea behind

lengths perpendicular to
of being away from the room
plums. Mountain

in erasing, heat
hurried
bones. Remote
muted. *************************
always punctuated by the brilliant writing professor of literary theory, thank you, Henry.

Friday, March 4, 2011

Play Mighty Guy 2 On Funbrain





has to be a better life,
but not here.


ramshackle suburban parks where the metal gravel bites, and children
good bite dust. Noon

gray and open bars at school:
anoraks out loud
the bad girls in a very fine rain is not all rain. Once


noise did you follow the life now in the middle of your parents, there is no heaven
to break your fists
childish white. Again

you had fear,
but not even that, now you

brick and bottle-green awnings.

Nothing is all that is in the periphery,
everything is unfinished, poorly drawn,
everything is half done or sleep in ruins.

Sclerosis in the veins of life,
while playing with plastic bags
idle wind, dance silence.

The suburbs is not a physical place but a state

soul when the soul no longer exists
as everyone knows
in the gravel.



(Sara Herranz said it much better with your dibujin above. Thank you)

Thursday, March 3, 2011

Sample Recommendation Letter For Beauty Therapist

Wagon 661. Hache Holguin





I not ask the first time you did a drawing, but the first time you saw your picture, it would have been the first and the first time I read it and analyze it ?


difficult question but I think of the first works that struck me and I generated the concern about the reading of images and the double meaning that I like, were the ones found in a book Dalí. Then I had the opportunity to see some posters of MC Escher's Metamorphosis and also scored a bit of that taste for visual poetry, though then drew no big deal, I think when I started producing some chasing a little illustration that I saw in Dali and Escher, the image was poetic that the reader of it is trapped in what I read ... I think I've never been.


Is it useful for something, maintain web portals with our work, which is like a resume?


seems to me that each person assumes the operation of the site personally, in my case on the web enjoy sharing what I do, I had the opportunity to receive visits from various around the world and comments from people who from afar saying about what I do, I like a lot because it helps me to evaluate whether the messages that "attempt" to raise are easy to read. On the other hand I think it's useless to produce much if anyone has the option to see what is in that sense I agree with the current Web-based sharing.


Do I take the case of the Enlightenment: Simón Bolívar, how far you take care of the historical reality of the cartoon, the joke in a design like this, how was this story?


That
illustration is part of a historical book of songs by Luis Liévano "Keshava", with whom we share a taste for double meaning and the writings of humor, so the picture has a touch of caricature, of imagination, some may see it as a disrespect towards the liberation but the truth depends on the eyes that look and affection that the reader can have the honoree.


What is this reading of graphic design theory always recommend?


Actually I've never been very good with the theories and concepts academics, what I do is largely intuitive and what I recommend is to heed the intuition at the time of creating, I think is more important to eat a lot of image, a lot of films and lots of music, as you think food is art easy to produce and express no theoretical guidelines. This is not to say that you put the academy, and it is not important, only in my case I was never very good at following rules. Buñuel's cinema has for me such a lot of graphic communication, music machine to birds and Joaquín Sabina aportado.Hay I also have a book that I feel like I contribute a lot in my early days, Creative Illustration by Andrew Loomis, and general much of the work of Loomis.


What are the internal rules of Hache Holguin, to differentiate a cover drawing a caricature, a portrait, a poster, you should care?


try not to follow rules in what I do, I try to create without making it difficult for the imagination, sometimes there are orders that need to be much more textual (works for school texts, for example) , and in these cases is usually a little more careful with color and shapes, in a cartoon treatment play a lot of expressions and an illustration for a poster I like there is something dynamic, but overall pace try not to follow many rules. The only thing for me is essential is to have a little play between the symbolic and textual.


"Centuries ago, a 2004 in March between POETS STATION to STATION POETS, was an emotional dialogue and consensus that helped me for this baptism, how your story has been collaborating with other dreams ?


I am little bit cautious and obedient, I have always loved the language of innuendo, double meanings and double reading, I value art plays with dualities and almost always give ideas to that effect, sometimes these ideas is well received and sometimes not, it depends again on who will listen. In the picture almost always end up working with the dreams of another, each foreign text supported by a picture of me, every cover of the book that attempts to summarize the work of another ... can become a mechanic but even trying to change the point of view illustrated text makes each "dream" is almost alien supported a "dream" itself.

Wednesday, March 2, 2011

Watch Tay Du Ky 2009 Online

Presented today in Phi Mining


tests:

Rodrigo Martínez, Fanny Enrigue, Eduardo Uribe, Isaura Leonardo, Michael Lamas, Marco Antonio Huerta, Ignacio Sanchez Prado, Jorge Posada, Nat Gtz, Arzabal Roberto Cruz, Manuel Iris, Leopoldo Lezama, Luis Paniagua