Origami is the art of folding paper, so what’s it called when one creates a digital representation of the meticulous paper art? Whatever it is, artist Jeremy Kool has mastered it in his series entitled The Paper Fox. Kool brilliantly displays paper sculptures of all types of wildlife. The Australia-based graphic designer’s digital illustrations range from an imposing stag to a modest firefly, each made with remarkable believability with realistic creases and textures.
REMEMBER WHEN YOUR FAVORITE CHARACTER WAS RUINED BY A MOVIE? THIS IS SO MUCH WORSE.
What did Tyrion Lannister look like before he was played by Peter Dinklage? Who was Hermione Granger before being cast by Emma Watson? I don’t remember. Whatever mental images I had for these beloved characters was washed away by corporeal faces.
Not only can I not get their pictures back; I’m not sure that I ever really had them in the first place. If I could draw–which I can’t–could I have sketched their ethereal profiles? Did I know the specific locations of Tyrion’s moles or the precise curvature of Hermione’s nose?
The Composites is a Tumblr blog and art project by Brian Joseph Davis that proposes what various literary characters look like. But rather than stemming entirely from his own imagination, these characters are profiled with a pseudo-objectivity through forensic software program Faces ID. He reads a character’s descriptive passage in a book, then he uses the software to assemble their face from the 10,000 available noses, eyes, ears, and mouths.
“I like technology not considered art,” Davis tells Co.Design. “And after discovering there was publicly available software, I thought this could be something that explored the similarities between a witness’s memories and its gaps, and the writer and the readers’ limitations and gaps.”
Literature is a medium that’s known to be a stepping-off point for the imagination, and The Composites gleefully teases that fact, challenging the nature of imagination in the face of hard evidence.
His images are also intriguing because of a tacit criminal element. Much like the context of a mugshot, when a character is sketched in a dead-eyed forensic profile, you can’t avoid asking yourself: What did they do wrong? “Well the truth is, there is a constraint to the characters that I chose,” admits Davis. “Each one has a touch of criminality. Even Daisy Buchanan committed a hit and run against a member of the 99 percent.”
Daisy Buchanan also broke Gatsby’s heart, which I’ve always considered a crime unto itself.
Marla Singer, Fight Club, Chuck Palahniuk
My power animal is Marla…Black hair and pillowy French lips. Faker. Italian dark leather sofa lips…Marla stares up at me. Her eyes are brown. Her earlobes pucker around earring holes, no earrings…She actually felt alive. Her skin was clearing up…Marla never has any fat of her own, and her mom figures that familial collagen would be better than Marla ever having to use the cheap cow kind…Short matte black hair, big eyes the way they are in Japanese animation, skim milk thin, buttermilk sallow in her dress with a wallpaper pattern of dark roses…Her black hair whipping my face…The color of Marla’s brown eyes is like an animal that’s been heated in a furnace and dropped into cold water. They call that vulcanized or galvanized or tempered. (Multiple suggestions)
Ignatius J. Reilly, A Confederacy of Dunces, John Kennedy Toole
A green hunting cap squeezed the top of the fleshy balloon of a head. The green earflaps, full of large ears and uncut hair and the fine bristles that grew in the ears themselves, stuck out on either side like turn signals indicating two directions at once. Full, pursed lips protruded beneath the bushy black moustache and, at their corners, sank into little folds filled with disapproval and potato chip crumbs. In the shadow under the green visor of the cap Ignatius J. Reilly’s supercilious blue and yellow eyes looked down upon the other people waiting under the clock at the D.H. Holmes department store, studying the crowd of people for signs of bad taste in dress. (Multiple suggestions )
Mrs. Danvers, Rebecca, Daphne du Maurier
Someone advanced from the sea of faces, someone tall and gaunt, dressed in deep black, whose prominent cheekbones and great, hollow eyes gave her a skull’s face, parchment-white, set on a skeleton’s frame…her hollow eyes never leaving my eyes… I watched her, fascinated, horrified; a queer ecstatic smile was on her lips, making her older than ever, making her skull’s face vivid and real… her mouth working strangely, and dragging at the corners.
Updated image: Slightly younger, deeper eyes.
Kevin, We Need To Talk About Kevin, Lionel Shriver
His face had that ferret-like sharpness from his earliest years…The narrow olive face is instantly familiar: recessed eyes, sheer straight nose with a wide bridge and slight hook, thin lips set in an obscure determination…But I wanted him to look like you. His whole geometry was based on the triangle and yours on the square, and there is something cunning and insinuating about acute angles, stable and trustworthy about the perpendicular…. I wanted to glance at my son’s profile and apprehend with a flash of lambent joy that he had your strong tall forehead—rather than one that shelved sharply over eyes that might begin as strikingly deep-set but were destined with age to look sunken. (Suggested by Lameyxx)
Daisy Buchanan, The Great Gatsby, F. Scott Fitzgerald
Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth…a conscientious expression…Slenderly, languidly…an expression of unthoughtful sadness…her cheeks flushed…she looked at me with an absolute smirk on her lovely face as if she had asserted her membership in a rather distinguished secret society…a bright ecstatic smile…Aching, grieving beauty… For Daisy was young and her artificial world was redolent of orchids and pleasant, cheerful snobbery…Girls were swooning backward playfully into men’s arms, even into groups knowing that some one would arrest their falls—but no one swooned backward on Gatsby and no French bob touched Gatsby’s shoulder. (Multiple suggestions)
Updated image: Reader Tessa Cramphorn points out that “autumn-leaf yellow of her hair” is in reference to Jordan Baker. Further, Tessa provides this line describing Daisy’s hair as “dark shining.” Composites fact checker Emily Schultzbelieves there is a contradiction in Fitzgerald’s text regarding Daisy Buchanan’s hair, noting the passage where Daisy compares her own hair to her daughter’s “yellowy hair.”
The Finn, “Burning Chrome” and Neuromancer, William Gibson
He looks like a recombo DNA project aimed at tailoring people for high-speed burrowing…The man who stood blinking now in the doorway behind them, the blanket draping one shoulder like a cape, seemed to have been designed in a wind tunnel. His ears were very small, plastered flat against his narrow skull, and his large front teeth, revealed in something that wasn’t quite a smile, were canted sharply backward. He wore an ancient tweed jacket and held a handgun of some kind in his left hand. He peered at them, blinked, and dropped the gun into a jacket pocket. (Suggested by enki2)
Tess, Tess of the d’Urbervilles, Thomas Hardy
She was a fine and handsome girl—not handsomer than some others, possibly—but her mobile peony mouth and large innocent eyes added eloquence to colour and shape… The pouted-up deep red mouth to which this syllable was native had hardly as yet settled into its definite shape, and her lower lip had a way of thrusting the middle of her top one upward, when they closed together after a word…Phases of her childhood lurked in her aspect still. As she walked along to-day, for all her bouncing handsome womanliness, you could sometimes see her twelfth year in her cheeks, or her ninth sparkling from her eyes…a thick cable of twisted dark hair hanging straight down her back to her waist. (Multiple suggestions)
Aomame, 1Q84, Haruki Murakami
5’6…Not once ounce of excess fat…The left ear much bigger than the right, and malformed, but her hair always covers her ears…Lips formed a tight straight line…Small narrow nose, somewhat protruding cheekbones, broad forehead, and long, straight eyebrows…[Face is a] Pleasing oval shape…Extreme paucity of expression. (Suggested by goya-galileo-vangogh )
Judge Holden, Blood Meridian, Cormac McCarthy
An enormous man dressed in an oilcloth slicker had entered the tent and removed his hat…He was bald as a stone and he had no trace of beard and he had no brows to his eyes nor lashes to them…He was close on to seven feet in height… His face was serene and strangely childlike…His hands were small. (Multiple suggestions.)
Click here to see more sketches on Davis’s Tumblr.
Found on fastcodesign.com
This guy’s attention to detail is remarkable! He states that he mostly works with pen, pencil and sculpture, and has just recently turned to photography, but I find all of the work unique and engaging. I invite you to check it out @ heikkileis.ee.
London-based artist Mark Powell has chosen the backs of old envelopes as a canvas for these delicately rendered portraits of the elderly, using nothing more than a standard Bic Biro pen to create the delicate folds and wrinkles of their skin. I love everything about these. See much more of his work here and he sells a number of art prints over on Society6. If you liked this also check out the photography of Lee Jeffries.
Artist and photographer Sarah Esteje illustrates these wonderful portraits of animals using nothing more than a standard Bic pen. You can learn a bit more about the artist over on Beware and click through the drawings above to see some larger versions.
Written by Maria Popova
From farm life to molecular gastronomy, or what The Beatles have to do with the history of menu design.
After the year’s best children’s books, art and design books, photography books, science books, and history books, the 2011 best-of series continues with a taste of the year’s most delectable food books, a literary lobster course of the finest variety.
FOOD RULES / MAIRA KALMAN
It’s not every day that one of the greatest food books of our time gets a makeover by one of the greatest illustrators of our time. Such is the case of this new edition of Michael Pollan’s classic compendium, Food Rules: An Eater’s Manual, illustrated by the great Maira Kalman (♥) — the timelessly sensible blueprint to a healthy relationship with food redone in Kalman’s characteristically colorful and child-like yet irreverent aesthetic. This new edition also features 19 additional food rules, including Place a bouquet of flowers on the table and everything will taste twice as good and the meta When you eat real food, you don’t need rules.
From the very first page, starting with Kalman’s introduction, the book is an absolute — and guilt-free — treat:
Everyone eats food. That is the universal connector. Life is fragile. Fleeting. What do we want? To be healthy. To celebrate and to Love and to live Life to the Fullest. So here comes Michael Pollan with this little (monumental) book. A humanistic and smart book that describes a Sane and Happy world of Eating. It asks us, gently, to hit the Reset button on manufactured food and go back in Time.” ~ Maira Kalman
Kalman’s illustrations emanate the kind of thoughtful simplicity that underpins the message of Pollan’s classic, which is based on the premise that the wisdom of our grandparents might teach us more about eating well than the overly complicated nutritional scheming purveyed by the popular media.
Pollan has an excellent audio slideshow on his site.
Already a powerful classic in its original edition, the Kalman-illustrated Food Rules is, quite simply, irresistible.
Originally featured in November.
Images courtesy of Maira Kalman / Penguin Press
THE TABLE COMES FIRST
From Adam Gopnik, one of my favorite nonfiction writers working today, comes The Table Comes First: Family, France, and the Meaning of Food — a fascinating journey into the roots of today’s obsession with food and culinary culture. From the dawn of our modern tastes in 18th-century France, where the first restaurant was born, to the kitchens of the White House to the Slow Food movement to Barcelona’s bleeding-edge molecular gastronomy scene, Gopnik tours the wild and wonderful world of cuisine, with all its concomitant sociocultural phenomena, to explore the delicate relationship between what goes on the table and what goes on around it as we come together over our food. It’s history, nutrition, philosophy, anthropology, and sociology all rolled up into one delectable streusel of insight and illumination, in Gopnik’s unapologetically intelligent yet charmingly witty style.
Having made food a more fashionable object, we have ended by making eating a smaller subject. When ‘gastronomy’ was on the margins of attention it seemed big because it was an unexpected way to get at everything — the nature of hunger; the meaning of appetite; the patterns and traces of desire; tradition, in the way that recipes are passed mother to son; and history, in the way that spices mix and, in mixing, mix peoples. You could envision through the modest lens of pleasure, as through a keyhole, a whole world; and the compression and odd shape of the keyhole made the picture more dramatic. Now the door is wide open, but somehow we see less, or notice less, anyway. Betrayed by its enlargement, food becomes less intimate the more intensely it is made to matter.” ~ Adam Gopnik
The book opens with Charles Darwin’s famous haikuesque meditation:
We have happy days, remember good dinners.”
Gopnik goes on to explore the two pillars of modern eating — the restaurant and the recipe book — both of which are modern developments, mere blips in evolutionary time, and reflects on their cultural history with his characteristically brilliant blend of keen analysis and ever-so-subtle smirk.
The restaurant was once a place for men, a place where men ate, held court, cooked, boasted and swaggered, and wooed women. The recipe book was traditionally ‘feminine’: the kitchen was the place where women cooked, supervised, gave orders, made brownies, to steady and domesticate men. In the myth-world of the nineteenth century, the restaurant existed to coax women into having sex; the recipe book to coax men into staying home.” ~ Adam Gopnik
Nathan Myhrvold may be better-known as Microsoft’s former Chief Technology Officer, who studied quantum science alongside legendary physicist Stephen Hawking, but his true passion lies at the intersection of science and food. Myhrvold trained as a chef at LaVarenne in Burgundy, France, and has spent the past three years in a laboratory in Bellevue, Washington, perfecting — with his seven full-time chefs — the elaborate cooking techniques of gastronomy’s recent mega-obsession: molecular cuisine.
Modernist Cuisine: The Art and Science of Cooking, originally featured as one of these 5½ fantastic cross-disciplinary cookbooks, is the pinnacle of his experimentation, a 2,400-page, six-volume behemoth with over 1,000 recipes that transform the kitchen into a lab. Needless to say, expectations for the ambitious undertaking have been gargantuan, which made gastronomers all the more unsettled by the recent announcement that due to packaging concerns, the book — which weighs over 48 pounds — won’t be available until March, nearly four months past the publication date originally promised.
Modernist Cuisine isn’t for everyone — besides the hardcore foray into ingredients like methylcellulose and agar approached with cooking techniques that involve liquid nitrogen and rotary evaporators, the book comes with a hefty $625 price tag. (Amazon has it at 28% off, which clocks in at the non-negligible sum of $175 in savings — but still runs your a good $450.)
Images courtesy of Credit: Ryan Matthew Smith/The Cooking Lab LLC via The New York Times
From the ever-talented Julia Rothman — she of Drawn In and The Exquisite Book fame, and one of the most original illustrators working today — comes Farm Anatomy: The Curious Parts and Pieces of Country Life, a charming illustrated guide to the intricate microcosm that underpins your dinner plate. From how to properly milk a cow to a taxonomy of squash varieties and faming tools to a morphology of barn cupolas, Rothman’s warm drawings are bound to entertain, educate (did you know that a one-year-old goat is called a ‘yearling’ and you can use cornflower to dye wool blue?), and instill in you newfound awe and fascination with rural life.
And as if the striking illustrations weren’t enough of a feat, most of the type in the book was handwritten, with the exception of the introduction and metadata font, which Rothman created from her handwriting.
The book was inspired by Rothman’s first visit to the farm on which her husband, Matt, grew up, which left the born-and-bred New Yorker artist wide-eyed and wonderstruck.
Working on this book has given me a chance to learn more about what it’s like to live off the land and to better understand Matt’s roots. In small ways I hope to bring the ideals and traditions he grew up on back into our daily lives.” ~ Julia Rothman
The last pages of the book feature Rothman’s meticulous biography, which not only pleases the attribution crusader in me but also tickles my Rube Goldberg curiosity as a fascinating rabbit hole of a reading list, featuring such esoteric treats as Storey’s Illustrated Breed Guide to Sheep, Goats, Cattle, and Pigs, Amish Quilt Patterns, 500 Treasured Country Recipes, and Country Wisdom & Know-How .
Utterly charming and thoroughly researched, Farm Anatomy is one of those rare treats that speak to your eyes and your heart, and in the process manage to expand your mind.
Originally featured here, with more images, last month.
ART OF THE MENU
Menu Design in America: 1850-1985 by design writer extraordinaire Steven Heller (previously), Esquire food columnist John Mariani, cultural anthropologist and graphic design historian Jim Heimann, and high-end publisher Taschen (previously) is a delicious history of menu creativity, featuring nearly 800 vibrant illustrated examples of menu ephemera, alongside photographs of restaurants, that together tell the rich and fascinating story of eating out in America. Besides the fascinating design history, the book doubles as a curious tracker of American inflation, both economic (who’s in for a $1.50 fine-dining lunch?) and of culinary claims (how did we go from simple and to-the-point food descriptions to foofy foodie-speak?).
Originally featured, with more images, in August.
Images via Taschen
THE RECIPE PROJECT
This year marked the launch of quirky indie publisher Black Balloon, whose launch email included the word “amazeballs” and whose inaugural release, The Recipe Project: A Delectable Extravaganza of Food and Music, presented a delightful and nerdy treat for the foodie-musicologist, transforming delicious recipes into singable, danceable songs. (We’ve previously seen science, history, tennis, color, civic complaints, and the weather set to music.)
The beautifully illustrated recipes come from a roster of famous chefs — including Mario Batali, John Besh, David Chang, Tom Colicchio, and Andrea Reusing — contextualized amidst chef interviews and essays by acclaimed food writers like Melissa Clark and J. Dixon, pondering such complexities as the culinary connotations of The Beatles’ White Album and what moussaka has to do with Metallica.
Masterminding the project is Brooklyn-based band One Ring Zero, who for the past couple of years have been working their favorite rock-star chefs to each choose the musical genre for his or her song, all included on the CD that comes with the book. One Ring Zero’s Michael Hearst got the kernel of this genre-bender in college, when he composed a choral piece around a recitation of grocery store names.
The book also comes with a delightful free iPhone app that lets you enter up to 5 ingredients you have on hand and dishes out a delicious, speedy singable recipe to make with them.
Originally featured in October.
BLOOD, BONES & BUTTER
Gabrielle Hamilton has spent the past decade as the chef-owner of the beloved Prune restaurant in New York City’s East Village, but hear path to the kitchen was neither straight nor smooth. In Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, Hamilton — whose formidable talent as a writer is on par with her culinary mastery — recounts twenty years of seeking purpose in her life, from the idyllic kitchen of her childhood on a farm in rural Pennsylvania, raised by a French mother and an artist-set-designer father, to the difficult and protracted dissolution of her family, to the grit of her grueling and uncompromising work that took her to the peak of New York’s food scene. Anthony Bourdain calls it “absolutely the best food-related memoir, ever.” And, as Bourdain tends to, he might be absolutely right. But Hamilton’s powerful blend of culinary conviction and raw honesty make the book as much a “food-related memoir” as it is a lyrical meditation on being human.
I had no clue that my parents were unhappy with each other until I was sweeping up cornichons and hard salami and radishes off the kitchen floor.”
COOK’S ILLUSTRATED COOKBOOK
Since 1992, America’s Test Kitchen, a 2,500 square foot kitchen outside of Boston, has been publishing its meticulously tested and instructionally detailed recipes in Cook’s Illustrated Magazine. This year, they culled the 2,000 most timeless, essential, delicious recipes from the magazine’s two-decade archive and presented them in The Cook’s Illustrated Cookbook: 2,000 Recipes from 20 Years of America’s Most Trusted Cooking Magazine — an epic nearly thousand-page tome full of “test kitchen wisdom,” strategies, and tricks from the culinary trenches.
Founder and editor Christopher Kimball writes in the introduction:
This reminds me…of a story about the old-timer from Vermont’s Northeast Kingdom, who sat down one night to fill out his taxes. Now, like any thrifty farmer, he hardly found this a pleasant task, and staring him in the face at the head of a box in the top right-hand corner of the printed form where these words in bold type: DO NOT WRITE HERE.
Before going any further, the old gentleman took a firm grip on his pen and wrote in the box, in equally bold letters: I WRITE WHERE I GODDAMN PLEASE.
I guess that pretty much sums up how we go about recipe testing.”
THEY DRAW & COOK
For nearly two years, brother-and-sister duo Nate Padavick and Salli Swindell have been delighting us with their beautifully illustrated visual recipes from around the world. They Draw and Cook: 107 Recipes Illustrated by Artists from Around the World collects the best 107 of these lovely and delicious treats, joining the ranks of our favorite quirky cookbooks with an absolute gem of visual and culinary allure. From the playful and facetious to the elegant and sleek, these illustrated treasures offer everything from Chocolate Haystacks to Starving Artist Goo-lash and, of course, Cooooooookies for good measure.
We hope this book inspires you to cook up something new or maybe even pick up a pencil and doodle out your own favorite recipe and play along by visiting our website.” ~ Nate Padavick & Salli Swindell
A feast for eyes and mouth, They Draw and Cook is bound to make you smile and drool — quite likely at the same time. And if the muse strikes, you can even submit your own illustrated recipe to the online project, adding your pin to this impressive world map of contributions.