Better and better stuff keeps coming from Studio Maryel.

studio-maryel:

These drawing were made as a part of the preparation for the continue of my foundation course. Drawing drapery, cloth, fabric with all these folds, overlaps, curves wasn’t exactly straightforward for me at the beginning. It really shows on my first piece which is the bottommost one shown here. Then I did a little bit of research, looked up tutorials and tried to understand the nature of the forms of a drapery. One of the most useful tutorial I’ve found is this one by Alfonso Dunn.  Better and better stuff keeps coming from Studio Maryel.

studio-maryel:

These drawing were made as a part of the preparation for the continue of my foundation course. Drawing drapery, cloth, fabric with all these folds, overlaps, curves wasn’t exactly straightforward for me at the beginning. It really shows on my first piece which is the bottommost one shown here. Then I did a little bit of research, looked up tutorials and tried to understand the nature of the forms of a drapery. One of the most useful tutorial I’ve found is this one by Alfonso Dunn.  Better and better stuff keeps coming from Studio Maryel.

studio-maryel:

These drawing were made as a part of the preparation for the continue of my foundation course. Drawing drapery, cloth, fabric with all these folds, overlaps, curves wasn’t exactly straightforward for me at the beginning. It really shows on my first piece which is the bottommost one shown here. Then I did a little bit of research, looked up tutorials and tried to understand the nature of the forms of a drapery. One of the most useful tutorial I’ve found is this one by Alfonso Dunn.  Better and better stuff keeps coming from Studio Maryel.

studio-maryel:

These drawing were made as a part of the preparation for the continue of my foundation course. Drawing drapery, cloth, fabric with all these folds, overlaps, curves wasn’t exactly straightforward for me at the beginning. It really shows on my first piece which is the bottommost one shown here. Then I did a little bit of research, looked up tutorials and tried to understand the nature of the forms of a drapery. One of the most useful tutorial I’ve found is this one by Alfonso Dunn. 

Better and better stuff keeps coming from Studio Maryel.

studio-maryel:

These drawing were made as a part of the preparation for the continue of my foundation course. 

Drawing drapery, cloth, fabric with all these folds, overlaps, curves wasn’t exactly straightforward for me at the beginning. It really shows on my first piece which is the bottommost one shown here. Then I did a little bit of research, looked up tutorials and tried to understand the nature of the forms of a drapery. One of the most useful tutorial I’ve found is this one by Alfonso Dunn

Urgent security update

support:

Bad news: A major vulnerability has been disclosed for the technology that powers encryption across the majority of the internet. That includes Tumblr. Our team took immediate action to fix the issue, but you should still take some time to change your password, not only here but on any other sites you visit. 

You should also strongly consider enabling two-factor authentication. It’ll go a long way to ensure that no one besides you can access your account. Thanks, and take care.

Do it. Now.

studio-maryel:

A 15 mins sketch made in my lunchtime.

Love it.

“The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn and relearn.”
— Alvin Toffler
“One God, many paths.”
FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :) FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :) FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :) FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :) FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :) FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :)

FR Hopper 430 (2010), a free weight of the family featured in a Japanese book about free fonts and stuff which I just received. Note the fake bolder version the company created. Of course I advise against using it and offer proper bolder weights that were properly designed by me :)

Just a ligature on a Sunday afternoon…

My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka. My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka.

My type, FR Hopper (from 2010) used for exhibition’s promotional materials at Kunsthalle, Budapest, Hungary. Design by Tímea Andorka.

“The fool wonders; the wise man asks.”
— Benjamin Disraeli
Cleaning the desktop after project is finished. I love to take screenshots every now and again whilst working. What about you?

Check out the project at Behance. Cleaning the desktop after project is finished. I love to take screenshots every now and again whilst working. What about you?

Check out the project at Behance. Cleaning the desktop after project is finished. I love to take screenshots every now and again whilst working. What about you?

Check out the project at Behance.

Cleaning the desktop after project is finished. I love to take screenshots every now and again whilst working. What about you?

Check out the project at Behance.

“However nearly complete the victory of mechanised industry may be, it can never obliterate the fact of human responsibility, & there will always be many who will choose to be masters of their own work & in their own workshops rather than masters of other men working under sub-human conditions, that is to say conditions which deny them intellectual responsibility.”
— Eric Gill—An Essay on Typography, 1936

Not only this is a classic and great read but that Short Guide alone is worth the price. (at The Slaughtered Lamb)

Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing! Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing!

Unpublished Lettering for the Kunsthalle

This is an unfinished, unpublished lettering job for the Kunsthalle (Mucsarnok) in Budapest, Hungary.

Iranian-born visual artist Shirin Neshat, who lives in the United States since 1974, gained worldwide renown beginning with her photographic work and video installations, which reflect on the social structures of the Islamic world, and the situation of women in Iran. Some of these works will be on display at the Kunsthalle this year and I was asked whether I could come up with an idea for the lettering of the titles.

The concept I came up with was—based on the cultural background of the artist and the initial preference of the museum—to create a workable mix of Arabic calligraphy and Sans typefaces.

It is not a finished project by any means—wacky spacing and imperfect curves just to mention a few things which would have been amended had it been published—still I was having a good time whist working on it.

Thanks for viewing!