Illustration Style

This entry shows divers, it is in illustration style.

Een bijdrage met duikers, de stijl is illustratief.

Study in Indian Ink and Poster Colour, 2011 (30 x 20 cm)

Style attempt: SciFi

Een vervolg in stijloefeningen. Een Portugees oorlogsschip als science fiction voorwerp.


Style exercises continued. A Portuguese Man-o-War as a sci-fi object.

Indian Ink and poster Colour, 2011 (30 x 20 cm)

New Style Attempts

De winterdag met weinig helder licht is geschikt voor grafisch werk. Hierbij stijloefeningen in zwart-wit: een Portugees oorlogsschip als mode-impressie.

Winter, when bright light is scarce, is the time to take up graphical work. Herewith style attempts in black and white: a Portuguese Man-O-War as a fashion image. 

Both:  Studies in Indian Ink and Poster Colour, 2011 (30 x 20 cm)

mourning cockle

Kokkelschelp, watercolour, 2011 (30 x 20 cm)

I was told that in the views that prevail in some Asian areas, a shell is the home of an entity that is no longer a living being. 

And so this signifies the presence of death. 

The circumstance that a few people that I know left this life recently reminded me of this. 

Then, I created this mourning cockle shell.

Dat in sommige streken in Azië de opvatting heerst dat een schelp het tehuis is van een individu dat niet langer leeft, is me bekend.

Daarom verwijst dat naar de dood. 

De omstandigheid dat onlangs enkele mensen die ik ken het leven hebben verlaten bracht dit weer onder mijn aandacht.

Daarop maakte ik deze rouwende kokkelschelp.

Cockle

Cardium edule (B 671),  watercolour 2011 ( 17 x 27 cm )

The Cockle, model  671, a bivalve mollusc, stimulates my fantasy. I entertain the idea that Rudolf Blaschka, when on a field trip in upper Italy and the Adriatic in 1879, saw live Cockles for sale in the market of one of the fishing villages.  Animals with their protuding extended feet feeling for a way out of the container.

The squid Loligopsis Veranii

 Loligopsis Veranii (B. 564), watercolour 2011 (c. 30 x 20 cm)

 I felt challenged to do a study on the squid  Loligopsis Veranii, or more precisely: to do a study of its image as it is produced and reproduced over and over again.

The original design starts in the mid nineteenth century.  In 1851 Jean Baptiste Vérany, published his “Mollusques méditeranéens”. Our squid is then pictured at plate # 38. 

Father and son Blaschka based a glass model of this species on this very image, and a photograph of it can be found on the site of the Corning Museum of Glass. 

In the  Blaschka sales cataloge for the 1880s it was offered as model # 564.

Ernst Haeckel, German zoologist  and inspriration of Jugendstil (which mor or less equals to "German Art Nouveau")  presented the shape of this squid as natural beauty.

He was driven to stimulate the decorative arts  by means of the images and shapes found in nature in his Kunstformen der Natur (Art Forms in nature). In this Album, published in installments in the period 1899-1904, our squid is pictured at plate # 54. 

And here is my study, at last.

In memoriam A3 S

Hiking in Norway, 1980, watercolour (c. 40 x 30 cm)

A3 S : 1952-2011

Onlangs verloor ik een dierbare vriend, met wie ik hoogzomer 1980 een reis maakte, tot ver boven de poolcirkel, door het noordelijkste Noorwegen.
Een land waar overal helder koud water is, zoete en rinse bessen. En muggen. Zijn zon gaat niet meer onder. Hij wordt gemist.

Recently, I lost a friend with whom I hiked in Norway in 1980. He is missed. 

Sunfish / Maanvis

Sunfish / maanvis - watercolour 2011 (c. 70 x 50 cm)

Several jellyfish species are preyed upon by Sunfish (by the way, in Dutch it is called "Moonfish").
This is how I imagine such a raid.

Linearity II

Pictured are subsequent larval stages in Physophora magnifica, a colony building jellyfish species. The glass models series as shown in the photograph is linear. My  watercolour shows an loose arrangement of the embryonic shapes. The question might be: what is organic? Model series of the siphonophore  Physophora magnifica,  based on illustrations by  Ernst Haeckel. Shown is the series from the collection  of the Utrecht University Museum.  Similar series are preserved in the  collections of Vienna University,  Cornell University and the  Museum of Comparative Zoology of Harvard University.

Physophora magnifica.   Watercolour 2011,  ( c 40 x 30 cm)

1971-2011

Dit jaar vieren vrienden een 40-jarige bruiloft. Om dit te herdenken heb ik het onderwerp van de trouwkaart hernomen. In 1971 heb ik daarvoor een illustratie gemaakt. Ze ademt de tijdgeest van Flower Power.
Toen was ik juist met een biologiestudie begonnen en had nog geen idee dat ik me in 1978 zou inschrijven aan de Gerrit Rietveld Academie. Nu stem ik nogmaals af op de vrolijke jaren van Love & Peace.

1971 Illustration in Indian Ink  (5.5 x 4.5 cm)

2011 Watercolour (  21 x 14 cm)

This year the 40th wedding anniversary of friends is celebrated. To commemorate this, I reworked  the subject of the wedding invitation. In 1971 I drew an illustration for that card. It conveys the Zeitgeist of Flower Power. 
At that time I commenced my biology studies and had no idea that in 1978 I would enroll at the Gerrit Rietveld Academy. Today I tune in again at the merry years of Love & Peace.

Václav Frič

The 2005 study that was executed in cooperation with Taťjána Spunarová  (see article) induced contacts.
A Scandinavian anthropologist with an interest in pre-modern whaling, asked for details about the provenance of the whale that Frič  procured around 1885 and then installed in the Czech National Museum. Taťjána helped him.
A master student of the Université Pierre et Marie Curie in Paris looked into the fluid preserved skeletons from Frič' natural history business. He developed a method to evaluate these objects and so he delivered a solid overview..
In Sydney, the Australian museum keeps a handwritten catalogue of crystal models offered by Frič, his printed Foraminifers catalogue and also a set of Blaschka glass models. In the past I have helped this Museum in editing the web text that introduces these models.

Early glass models, detail from a larger watercolour from 1999

Linearity I

Onlangs had ik een atelierbezoek bij de kunstenaar P.H. Van Acker. Hij analyseert de tijdlijn van een muzikale compositie per seconde. Deze benadering is de basis voor uitbeelding in lineaire reeksen. In zijn monumentale werk "Franciscus" beeldt hij de opera "Saint François d'Assise" van Olivier Messiaen uit.
Een lineaire benadering heb ik zelf gebruikt in de weergave van een embryologie-reeks van de zeeslak Tiedemannia neapolitana (als studie). Uiteindelijk zal ik voor dat onderwerp een vloeiende compositie gebruiken (zie blog 5 mei 2011).
Ik zie, dat een lineaire weergave een dwingende kracht kan hebben.

Recently I visited the studio of  P.H. Van Acker, artist. He analyses the timeline of a musical composition per second. This approach is the basis for visualisation in linear sequences. In his monumental work "Franciscus" he visualises Olivier Messiaen's opera "Saint François d'Assise".
I used a linear approach myself in the image of an embryology series of the sea slug Tiedemannia neapolitana (as a study).  In the end, I will apply a more fluid composition  (see blog May 5, 2011).
I see that a linear approach can have a compelling drive. 

Linear sequence of embryology of Tiedemannia, watercolour, 2009   (10 x 15 cm)

Black background, light image

In december 2010 toonde ik een studie van de biolumenescente kwal Aequorea cyanea. Dit onderwerp is nu hernomen omdat ik nog sterker een licht beeld tegen een donkere achtergrond wilde laten zien.

Aequorea cyanea II, watercolour, 2011 (40 x 65 cm)

December 2010 showed  a study of the bioluminescent jellyfish Aequorea cyanea. This subject is now reconsidered because I needed to show more strongly a light image set against a black background. 


(Go to December 2010 blog featuring Aequorea - click here)

Community - Individuality

Enlargement of individual organism
and pen drawing of colony of
Pyrosoma atlanticum (B 620) II,
 watercolour,  (ca. 30x20, 2011)

The species Pyrosoma atlanticum, known for its bioluminescent properties, is a colony building Tunicate animal. Their length varies from a few centimetres to several meters. Such a colony makes you wonder about the tension between the individual (and privacy) and community. In the nineteenth century however, the analogy between colonies of the lower animal species and the human society contributed to scientific thought, in which there was room for speculation to allow for defending scientific positions.


Groep – Eenling

De soort Pyrosoma atlanticum, bekend vanwege het vermogen tot bioluminescentie, is een manteldier dat kolonies vormt. Zij variëren in lengte van enkele centimeters tot verscheidene meters. Een dergelijke kolonie laat je peinzen over de spanning tussen individu (en privacy) en gemeenschap. In de 19e eeuw was het trekken van de analogie tussen kolonies van lagere dieren en de menselijke samenleving echter onderdeel van de wetenschap, waarin plaats was voor speculaties om wetenschappelijke stellingnamen verdedigen.

Hermit-crab & companion

The Cloak-anemone lives on the shell of the Hermit-crab, that formerly was inhabited by the Whelk
De Mantelanemoon  woont op de schelp van de Hermietkrab, waarin voorheen de Wulk woonde.

Watercolour of Hermit-crab, based on Gosse, 1865: Pl. 27 .
The Cloaklet is based on the late version of Blaschka glass model 33,
Adamsia palliata - the Cloaklet.
(ca. 15x20 cm, 2011) 

"It is that unaccounted association of diverse and unrelated creatures, which, if we had not repeatedly seen it, we should not believe; the companionship of the Hermit-crab with the beautiful Cloak-anemone. … 
The companion of the Cloaklet … is exclusively a deep-water species. Found on various parts of our coast, it invariably occurs in this association. I believe the Crab in no instance lives without the Anemone, the Anemone in no instance without the Crab. Examples, indeed, do now and then occur, as mentioned by Forbes in which the one comes up in the dredge without the other; but I believe this is only when the rude action of the dredge has frightened the crab, and induced it suddenly to vacate the shell and desert its friend."
(Gosse, 1865, p. 237-238)

Litt.:  Philip Henry Gosse. A year at the shore;  London : Strahan, 1865.

Homage to Foucault

Homage to Foucault, mixed media (c. 40 x 30 cm)

In the N e t h e r l a n d s, we have already since the 1990s the imperative from the administration and supported by the parliament, that artists should concentrate on cultural entrepreneurship. More than before, our present government expands this concept also to cultural institutions like e.g. museums and orchestras.

This may worry us deeply. The economic model may apply to economic activities, but I have reasons to reject this concept when related to the cultural sphere. If artists want to be executives, if institutions prefer to be operated as businesses then it would not concern me. However, it is obvious for those who can see, that they are manipulated to move in that direction.

Business-person is one of the roles (Gestalt) an artist may assume. However, it may be more urgent for him or her to be a priest, a teacher, a prophet, a nurse, a doctor, a clown or a hermit. An artist may also be an artists’ artist, an inspiration to his fellow travellers and colleagues, unnoticed by the audience at large.

We need all these types of artist, and let us not be fooled by the concept that art from an entrepreneurial practice is the only real art with quality.

I feel there is this ongoing process of modelling the arts and the artists into the mould of publicly accepted values, economic orientation and success being at the core of them. It is Michel Foucault (1926-1984) who made us aware of the processes in which humans, their behaviour and expectations are all subject to normalisation. Still, artists are not businessmen by nature, and they need not to comply. They can refuse.

All this occupied me, when I painted this homage to Foucault. It is based on the famous photograph made in Berlin in the late 1970s.

XIX: Black / Zwart

Physalia pelagica, Indian Ink, c 30 x 40 cm (2011)

Ik herinner me de door Gustave Doré geïllustreerde Bijbel, en de platen in de boeken door Jules Verne. Als kind joegen de plaatjes in Alice in Wonderland (getekend door John Tenniel) me zelfs angst aan. Mijn fascinatie voor de negentiende eeuw betreft zeker ook deze “zwarte” illustraties. Dit is de aanleiding voor het “zwarte” beeld van het Portugese Oorlogsschip.

I remember the bible with the Doré illustrations, and the plates in the books by Jules Verne. As a child, the pictures in Alice in Wonderland (drawn by John Tenniel), even frightened me. My fascination for the 19th century certainly also includes these “black” illustrations. This triggered the “black” image of the Portuguese man-of-war. 

2011 A4Printmakers competition

Page from the 2010 A4 printmakers catalogue

Pat King did a wonderful job by continuing the A4Printmakers competition that was organised for the first time in summer 2010. Printmakers have to be grateful for initiatives like this. My entries to the "2nd Open International Contemporary Print Competition in South West Cornwall UK, 2011" were accepted. I submitted in spray paint/stencil prints of what I refer to as “The Three Graces", which I presented in the blogs 1rst, 2nd and 3rd of Three Graces in May 2011. 

The A4Printmakers Competition will held at:

The  Poly Arts Centre, Church Street, Falmouth, Cornwall

30th August -12th September 2011.

Click here for more information. 

Tubularia indivisa Linné (Bl. 191)

191 Tubularia indivisa,  watercolour  2011 (40x 30 cm)

Fig. XX in Allman 1872

Het beeld én het model van de Penneschaft  gaat terug op:

The image and the model of the Tall Tubularia are both  based on fig. XX in: 

 George James Allman 

A monograph of the gymnoblastic or tubularian hydroida in two parts: 
 Part II, The genera and species of the gymnoblastea.

 London: The Ray Society, 1872  (with plates XIII-XXIII)

Topografische Atlas Utrechts Archief

De collecties met uitbeeldingen van stadsgezichten en landschappen van het Utrechts archief zijn niet alleen een topografische collectie. Dergelijke afbeeldingen van de tijd voorafgaand aan de fotografie zijn altijd met de hand gemaakt, en de verzameling die als "topografische atlas" wordt aangeduid is dan ook tevens een kunstverzameling. Dit aspect wordt in het verzamelbeleid erkend door ook hedendaagse topografische kunst te verzamelen.
In 1986 en in 1989 zijn door mij gemaakte aquarellen toegevoegd aan de topografische atlas van Utrecht. Bij een recent bezoek aan het Utrechts archief trof ik reproducties daarvan aan in de public access database van het archief. Ik heb van de gelegenheid gebruik gemaakt om een aantal in de opmaak van een “Historische Krant” die ter plekke is samengesteld op te nemen.

(Click To Enlarge)

Recently I visited the Utrecht City Archives and I was pleased to see that their purchases of topographical works (cityscapes) made by me and acquired in 1986-1989 were in the public access database. I brought the reproductions together in the mock-up of a newspaper made on the spot.

Charles-Alexandre Lesueur in Le Havre

When in France early June, we visited the Muséum d’Histoire Naturelle du Havre (The Museum of Natural History, Le Havre).

It is well known for its collection of early 19th-century paintings by local naturalist and traveler Charles-Alexandre Lesueur (1778-1846).

It is disappointing, that not even a few of this museums most treasured pieces were on show.

But there were living insects demonstrating mimicry which in itself is also quite interesting …

Orchid study in watercolour

The first two weeks of June 2011, I was in Normandy and Picardy, situated in Northern France. “Les orchidees sauvages” was the name of a farm where we stayed, and behind it, there were the orchids flowering. I did a quick study in watercolour of the Pyramidal Orchid, Anacamptis pyramidalis, showing an impression of plant habitus.  

The botanical studies by Blaschka, being preparatory materials to glass models concentrate on detail and exact form to be recreated in models. They may look stiff, but actually, they show what can be reproduced in glass. 

Anacamptis pyramidalis, watercolour, c 30 x 20 (2011)

154th birthday of Rudolf Blaschka

June 17, 1857, Rudolf Blaschka was born. 

Thus, these days we commemorate his life and achievements as a scientific artist.

Rudolf Blaschka, Medium, Black
spraypaint/stencil, c 20 x 30 cm
(2010)

189th birthday of Leopold Blaschka

May 27, 1822, Leopold Blaschka was born. 

Thus, today we commemorate his life and achievements as a scientific artist.

Leopold Blaschka, Close up, Black
spraypaint/stencil, c 30 x 20 cm
(2010)

3rd of 3 graces

The Moon Jelly of common jellyfish (Aurelia aurita) is portrayed twice; once in watercolour and once in spraypaint/stencil. This is one of the three jellyfish species, that were  popular Blaschka glass models..Previous blog-entries show Rhizostoma pulmo and Pelagia noctiluca.

Aurelia aurita spraypaint/stencil, 2011 (c 30 x 20 cm)

Aurelia aurita pencil, 201o (c 70 x 50 cm)

Hierbij twee uitbeeldingen van de Oorkwal (Aurelia aurita); eenmaal in aquarel en eenmaal in sjabloondruk (spuitbus). Het is een van de drie kwallensoorten die als glasmodel gemaakt door Blaschka gewild waren. Vorige blogberichten tonen Rhizostoma pulmo en Pelagia noctiluca.

2nd of 3 graces

The Purple-striped jelly or Mauve Stinger  (Pelagia noctiluca) is portrayed twice; once in watercolour and once in spraypaint/stencil. It is one of the three jellyfish species, that were a popular Blaschka glass model.The previous blog-entry shows Rhizostoma pulmo.

Pelagia noctiluca spraypaint/stencil, 2011 (c 30 x 20 cm)

Pelagia noctiluca watercolour, 2010 (c 70 x 50 cm)

Hierbij twee uitbeeldingen van de Parelkwal of Lichtende kwal (Pelagia noctiluca); eenmaal in aquarel en eenmaal in sjabloondruk (spuitbus). Het is een van de drie kwallensoorten die als glasmodel gemaakt door Blaschka gewild waren. Het vorige blogbericht toont Rhizostoma pulmo

1rst of 3 graces

The barrel jellyfish or football jellyfish (Rhizostoma pulmo) is portrayed twice; once in watercolour and once in spraypaint/stencil. It is one of the three jellyfish species, that were a popular Blaschka glass model.The other two are Aurelia aurita and Pelagia noctiluca.

Rhizostoma pulmo, spraypaint/stencil, 2011 (c 30 x 20 cm)

Rhizostoma pulmo II watercolour, 2011 (c 30 x 20 cm)

Hierbij twee uitbeeldingen van de bloemkoolkwal; eenmaal in aquarel en eenmaal in sjabloondruk (spuitbus). Het is een van de drie kwallensoorten die als glasmodel dopor Blaschka gewild waren. De andere twee zijn Aurelia aurita en Pelagia noctiluca.

Resuming Tiedemannia embryology

 This year in February I made studies of embryonic stages of the seaslug Tiedemannia neapolitana. Recently, I integrated the same images in a single piece. 

Tiedemannia neapolitana (B 359, 360) aquarel 2011 (70 x 55 cm)

Eerder dit jaar, in februari  heb ik studies gemaakt van embryonale stadia van de zeeslak Tiedemannia neapolitana. Onlangs heb ik diezelfde vormen in een werkstuk gïntegreerd.

Preparing for spraypaint jelly

I am preparing for three spray-paint/stencil prints of the three Blaschka jellyfish models that are present in many natural history collections.  Therefore, I occasionally refer to these as "the three graces". They are Aurelia aurita, Pelagia noctiluca and Rhizostoma pulmo. The preparatory image of the latter is presented here.

paper stencil, 2011, 20x30 cm

Ik bereid drie prenten voor, uit te voeren in sjabloon / spuitbus, met als onderwerp de kwalmodellen door Blaschka die in veel natuurhistorische collecties vertegenwoordigd zijn. Ik noem die drie daarom ook wel "de drie gratiën". Het zijn Aurelia aurita, Pelagia noctiluca en Rhizostoma pulmo. Het ontwerp voor die laatste staat hier.

Book worm

This lug worm is actually a book-worm: pictured like this the species is only occuring in books.  For worms, a sinusoid posture is highly unusual. It is more likely to be seen in serpents.

Arenicola marina (B 311), watercolour, 20x20 cm (2011)

The above image is based on: Georges Cuvier / Le Règne Animal distribué d'apres son organisation, pour servir de base a l'histoire naturelle des animaux. Paris: Fortin, Masson et Cie, 1836-1849 ; div. Annelides, Pl 8

Klasse, Orndung, Art: 200 Jahre Museum für Naturkunde

Die Jubiläumsausstellung des Museums für Naturkunde zu Berlin (Humboldt Universität) wird gefeiert mit der Ausstellung “Klasse, Orndung, Art”. Diese ist bis zum Ostern 2011 verlängert worden. Das wundevoll illustrierte Begleitbuch sowie die Ausstellung präsentierten die Glasmodelle von Blaschka recht glorios.

Ich skizziere / Me, sketching  (6/4/2011)

sketches in  pencil (2011)

Class, Order, Species
The bicentenary of the Museum für Naturkunde (Berlin, Humboldt University) is celebrated with the exhibition “Klasse, Ordnung, Art”. The show is extended until Easter 2011. In the accompanying beautifully illustrated publication as well as in the exhibition itself, the Blaschka glass models are presented gloriously.

Academic nostalgia. And an illustration too

indian ink and a wash of gouache, 2011, (c 30x20 cm)

This entry is an evocation of the oceans and thus it is in illustration style.

Nostalgia made me do two academic studies: one in charcoal, the other in diluted Indian ink, highlights in white acrylic primer on wrapping paper (both c. 30 x 20 cm) .

Hierbij een evocatie van de oceanen, en de stijl is illustratief.
Uit nostaglie komende  twee andere studies voort: een in houtskool, de andere in verdunde O-I inkt, gehoogd met witte acrylprimer op pakpapier (beide c. 30 x 20 cm).

Cartoon Style



Study of jellyfish, indian ink on paper 2011 (20 x 30 cm)

 This entry is a study on the cartoonist’s way. As a bonus: a jelly fish study in a wash of ink on wrapping paper



Study of jellyfish, wash of indian ink on wrapping paper 2011 (20 x 30 cm)

 Dit keer een studie op de manier van de cartoonist. Als bonus: een kwalstudie in gewassen inkt op pakpapier.

Art Nouveau Style

 

Art Forms Of the Galaxy, watercolour 2008 (c. 30 x 20 cm)

This image in Art Nouveau style is titled “Art Forms of the Galaxy”. This somewhat ironic title recalls Ernst Haeckel’s Art Forms in Nature (Kunstformen der Natur, 1899-1904). Haeckel’s intention was to stimulate the decorative arts to use natural forms.His work is considered to be influential in that respect.
When recently the Blaschka glass animal models were adopted as an audience magnet, the institutions apparently could not help but flirting with Haeckel, Art Nouveau, and Art Forms in Nature. The Tübingen Museum came up with “Artforms of the Sea” (Kunstformen des Meeres) in 2006, and in 2008 the Sunderland Glass Centre promoted “Art Froms of the Ocean”.
Neither of them seriously promoted the art history debate about why the glass animals were art, let alone be Art Nouveau.
So, in order to disinfect my theoretical concepts with irony, I invented “Art Forms of the Galaxy” in 2008.
The previous blog entry shows a drawing in psychedelic style and as this style period owes a lot to Art Nouveau I want now to present this older work.

Jugendstil / Art Nouveau 

Dieses Bild im Jugendstil hat „Art Forms of the Galaxy“ (Kunstformen der Galaxis) als Titel. Dieser etwa ironische Titel erinnert an  Ernst Haeckels Kunstformen  der Natur (Art Forms in Nature, 1899-1904). Haeckel möchte die dekorativen Künste anregen, die natürlichen Formen als Dekoration anzuwenden. Es wies sich aus, dass seine Arbeit in dieser Aufsicht einflussreich war.
Als rezent die Blaschka Glastiermodelle als Publikumsmagnet anerkannt wurden, konnten die Institutionen offensichtlich nichts anders, als mit Haeckel, Jugendstil und Kunstformen der Natur zu flirten. 2006, Das Museum zu Tübingen brachte  „Kunstformen des Meeres“, und 2008 beworb Sunderland Glass Centre „Art Froms of the Ocean“ (Kunstformen der Ozean).
Keine der beiden förderten ernsthaft die Kunstgeschichtliche Debatte, warum die Glastiere Kunst seien, oder zum Jugendstil gehörten.
Um meine theoretischen Konzepte so mit Ironie zu desinfizieren, erfand ich 2008 diese „Kunstformen der Galaxis“.

Die vorhergehende Blogentry zeigt eine Zeichnung in psychedelischen Stil,  und weil dieser Stilperiode dem Jugendstil vieles verdankt, möchte jetzt diese ältere Arbeit vorstellen.



Bericht publiceren

Comix Style



Black and white studies of jellyfish (B238) in comic style,
Indian ink and poster colour, 2011 (c20x30 cm)

This time a design in comic style, a modest tribute to Robert Crumb and his psychedelic works.

Dit keer een ontwerp in comicstijl, een bescheiden saluut aan Robert Crumb en zijn psychedelische werk.

Dieses Mal eine Gestaltung in Comicstil, eine bescheidene Hommage an Robert Crumb und sein psychodelisches Werk.

More Style Exercises

Een vervolg in stijloefeningen. Een kwal als mode-impressie en als technisch voorwerp.
Style exercises continued. A jellyfish as fashion image ans as a technical object.

postercolour, c 20 x 30 cm

Indinan Ink, c 20 x 30 cm