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In the project, the fruits of the study of the visual techniques and methods of Alfred Columbia should become the embodiment of the concept of disgusting content, clothed in an aesthetic form. Such a privation of esthetical terrorism is the graphics of my first artist.

These are high-quality illustrations, the tracing and coloring of which are usually done with ink and watercolor, respectively. Realistic backgrounds, in which 2D characters are inscribed, whose structure and physics correspond to the canons of drawn animation of the first half of the 20th century, are painted by the latter in blood, and this is in the best case.

Juxtaposition is an effect that exploits our expectation of specific qualities from specific imagery, which, when encountered with unrelated imagery, somehow violates these expectations. It is Al Columbia's comics that contain this contrast in its most extreme states. An almost commercial-looking visual language hosts splatter, filled with disturbing scenes of inventive sadism with unnecessarily outrageously naturalistic mutilations as its result. The artist's pen knows no boundaries, while all the colors and lines fit into their allotted boundaries flawlessly. The style is consistent, holistic, and, from the superficial, it endows the characters with simplification and hyperbolization, with the only difference that the owners of a caricatured appearance here, unlike in cartoons, do not stretch, but tear, cut, bleed out and fall dead.

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The mind map growing from the word “Revolution” produced 8 words in the inner ring and 6 synonyms for all directions except the x-axis.

8 words, the semantic crossing of each of which with its neighbour on both sides gave 8 more keywords. Among them, which have become leitmotifs, are “pathology”, “confrontation”, “opposition” and “conversion”-the upper left quarter. This branch laid the foundation for determining the sub-theme of project, its provocativeness and focus on countercultural art.

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Mark-making: revolution as a physical process 

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Mark-making: revolution as a physical process 

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The delicate contours of white oil pastel refer to the forms of paper abstract sculpture. These same contours are hydrophobic due to the material applied, so the ink applied afterwards bends around them, bringing out the drawing.

The type of marks that make up the painting are spots and blots, resulting from the expressive application of liquid material and from the fact that the excess of this material was locally corrected with paper towels and silica gel pellets, which led to local concentrations of color and its dilution.

Such figurative and pictorial language captures the revolution as unstable and ugly, yet a whole system, the choice of garish color and its expressive application for which should point us to creation through violence. The structure of the revolution, chaotic but integral, owes itself to the allegorical splashes and drips that make it up.

The excessively bright palette removes the tonal pattern, and with it the demarcation of the figures from the spots that make them up, but captures the latter as tongues of flame that appear in a revolution, whether in the form of torches, Molotov cocktails or burning tires.

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The chosen visual is quite far removed from reality and yet, I wanted it to be based on my primary sources, which at first I was able to connect with the planar imagery because Al makes the backgrounds very realistic in his works, which means that using my landscape photographs I will be able not only to try out such a dimensional combination, but also to distort a not very complex structure, the human parts in which will be partial for now.

Trial 1

The first trial was done with acrylic paints directly on the surface and immediately exposed its shortcomings as a way of combining materials with photographs.

On the image, the acrylic was translucent, and to fix this, it was necessary to apply multiple layers of paint: first, the surface had to be primed with dense black color to exclude different appearance of paint over objects of different lightness. In addition, a white substrate was also required to preserve the purity of the color.

Due to low detail control and the required sequence of application, the original idea of transforming branches into hands had to be abandoned as it would be difficult to show the texture and distinguishable characteristics of any of the components so that the end result became animated trees with more common and recognizable visual solutions.

Trial 2

As part of the solving the shortcomings of the previous sample different materials were used. thick paper, acting as a second canvas, will definitely not have problems with the supplies lying on it, because it is intended for this, and my supplies are as follows: ink, watercolor, watercolor pencils. With them, I can already produce neat detailed textures of wood and even its similarity to wrinkles.

The end result is more than impressive, especially since the integrated elements rise above the background, adding depth, but for this result it was necessary to risk many times: first by missing the details with a bulky craft knife, and then over-soaking them with glue.

Trial 3

The most effective way to introduce cartoon details into a natural photograph turned out to be a principle borrowed from hand-drawn animation, when the movement of a two-dimensional character across locations was ensured by placing a drawing of the character on transparent film, which allowed it to be freely moved and replaced without experiencing the integrity of the background.

A permanent marker was used to draw an outline on the front side, and the filling was done with acrylic paints from the back side of the acetate, making the colors as bright, dense and sharp as possible both in relation to each other and in contrast with the background.

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Physical paper sculptures and drawings of physical sculptures 

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Physical paper sculptures and drawings of physical sculptures 

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Revolution as a form of Rebellion/Protest traced design

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Revolution as a form of Rebellion/Protest traced design

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Most of the posters, from propaganda to photographs of creative acts, found application in Frankenstein's monster not for their concepts, but for their constituent elements, including text, in the form of art lettering (composition of words and sentences from letters literally cut out of other contexts), with the exception of the Vietnamese political cartoon, whose fists still surround what must be destroyed.

I composed the words quite carefully, often not finding the necessary components, but instead of writing them myself, I was creative. For example: in the sentence "Your country's army = ЗЛО", the word evil was formed from the first three letters of the word "OVER" from John Lennon's transparency, which had to be turned over, creating inclusions of Russian words in the text, for the sake of emotional accents on those places.

Creating a message to the Russian opposition that, remaining the злейшими врвгамиs of their government, they are obliged to show insubordination and non-solidarity with either its decisions or the actions of ЗЛО.

The banal lack of time gave birth to the idea of ​​filling the empty side of the composition with collage elements, on which an animated war in a gas mask, armed to the teeth with warheads, rises above humanization (open to interpretation by of what).

The depth is created by performing a light-air perspective - parts of the collage were divided into layers, and when scanning, they were separated from the main design by one or more sheets of translucent paper, creating a receding space.

The combination and overlap of a realistic B/W photograph with graphics created an association with the ⛓️Drain⛓️aesthetics. This aspect will be developed further.

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Эстетика ⛓️Drain⛓️, но в её русская итерация-менее хип-хоповая и совсем уже оторванная от корней webpunk-а

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1.1. The Disembowelment of Judas' by Giovanni Canavesio was used in the first independent work as a reference. Previously, my indifference to the visual interpretation of the bible with elements of satire and within the postmodern paradigm had already been conditioned, so I decided to try myself in this too, enlisting the help of the most successful of the derived methods: cel.

Such a brutal and meaningful picture of a landmark event: the traitor lays hands on himself immediately parting with his soul for the intrigues caused, but it was this adaptation that always seemed amusing to me, either because of the ridiculous grimace of the hanged man, or because of how his miniature version, who was in the giblets leaves them.

I decided to elevate this seemingly inappropriate fun to an absolute within the framework of the contraversion under consideration, and now the devil looks like a playful чёртик with all the canonical attributes: red skin, an arrow tail, hooves, horns and a trident, endowed with a trollface face from me and a tattoo of a pierced heart on the buttock .

You can't envy Judas, his deb soul is being extracted now with such pain that makes him twitch with outstretched limbs and tongue like a wolf from looney tunes to

чёрту for fun.

I, consider my trick moderately depraved, at least in relation to the original source, then I'm only going to raise the stakes and go beyond.

1.2. The second drawing is already entering the territory of the selection of characters and persons and the transformation of persons into characters, in the sketch under the second of them, Nikita and I from the photo, respectively turned out to be stylized with changed features, which I considered outstanding and worthy of exaggeration.

I now drag the expressive cross from my earring with me, grinning at all the teeth of my triangular face, and Nikita, who then casually applied makeup, now paid for it, because in his shadows I saw the abyss of the ghost's eye sockets, which I made him. It does not contain semantic twists, but contains important evidence of the possibility of making contextual people participate in the unreal simply by drawing them.

Above him, we merged into a Frankenstein monster, because even without it, the photo is pretty two-headed, my spiky hair is beaten like horns, and my obsession with monsters is satisfied.

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All I had were a series of photographs of dead animals that I collected in the summer, perhaps the closest I could get to a guro in achievable reality. The two photographs that formed the basis of the response were a raven, whose empty eye socket was freely visited and left by ants, and a pigeon with a broken head, on which I managed to capture a fly very ironically gnawing on its beak, actually being in the mouth of its food.

Taking the already developed celluloid technology as a form, I was going to bring it to its natural outcome, creating a cel animation, for action on a single background in which objects are placed on a transparent carrier.

Although the main subject was not going to be moving, any movement would still mean breaking it up into frames, and creating each frame manually and separately, I could not afford 24 frames per second. In solving this production issue, a more discontinuous process capture was taken as a reference, from which the concept was subsequently borrowed: Dead Frog with Flies (1630) by Ambrosius Bosschaert II is a series of studies showing the decomposition of a frog with the participation of flies and their larvae in seven paintings.

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laser art elements

I twisted the textures, printed them, painted them, scanned them, painted them more heavily. I wanted a balloon effect, because the photo has a street mood, and an electric flomograph came to the rescue. The machine blows paint out of a felt-tip pen, in general, producing a result similar to normal airbrushing, if you get the hang of it.

*I am attaching a photo with a different lettering

At first, I made the graphics linear, with a brush for pixel art. I was guided by all sorts of Japanese book engravings, there are enough wonderful creatures there, then I wanted to populate the world more densely and I also added weirdos with a fill. At first I only wanted Slava and Grisha's avatars, but they were visually lonely, so I drew some more friends.

I made a toad-bird in three materials, I chose a drawing with a gel pen.

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Both birds ended up as an amalgam of each other and their subjects in the final animation. I didn't want to take the pegion because its multi-colored plumage would have to be repeated for each frame, but the monochromatic raven at the same time carries too much dark symbolism in its appearance to look inorganic, subjected to something vile. So the final design minimizes the color palette, but still leaves contrasting areas that can contain process details such as color changes, and is a chick with the characteristic big head and eyes of cute characters, evoking empathy, doomed to face the indifferent ugliness of death.

Similar to Bosschaert's paintings, a multitude of flies periodically appear in the frame to lay eggs, and I thought it was very interesting to give the flies white gloves and boots, in the manner of early animation characters whose limb movements in black and white had to be accented by something. This gives the flies a personality, instead of being just a force of nature sweeping away everything in its path, they are the same characters as the corpse they tormented once was, doing things that are mundane to them.

As a reference to the photographs of the raven, anthropomorphic flies penetrate the clouded pupils, making them holes from the 3rd frame.

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Червяки орла

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извлекуха.PNG

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On a large scale, acrylic paint (left) proved to be poor for coloring, as it retained the texture of the brushstroke, leaving translucent marks. It was impossible to correct this with a large amount of paint where control was needed, and it would dry too slowly.

The solution was to use gouache, the binder of which spread, filling in the gaps. This saved a lot of time and expanded the palette, additional shades could now be used to change the state of dead flesh, which "faded".

After painting, each frame was scanned, cut out in ibis Paint and placed on a common background, dirty, unattractive and stylistically very different from the content.

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•Process/technique: enclosed color spots, naive drawing, contrast of complementary colors, contrast of planar graphics and realism, contrast of figurative and texture that makes it up or goes against it, damage to the drawing surface.

•"Artist": Icpyt999(3:); dj.spizdilremix; Anna Aldobaeva; Olesya ot.eb1s; globalallianceofgod; Alexander "Tikhon Myshkin" Alenin; gasuiji; Jakiv Burov; 3t3rn4lbl155_999; q9naamah119xhss9sakh.abyssia__; Cybermodern; 914ny; Taylor Morrison; Matija Bobičić.

•Writers: Victor Pelevin; Venichka Erofeev; Vladimir Sorokin; Mikhail Elizarov.

•'inspire': Postmodernism; experimental art; counterculture; aesthetics of the ugly; conceptual art; extreme performance.

•Subject matter: Simulacra; borrowed imagery (appropriation); distortion of the real (mainly subjects)

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I planned to make the second artist, a primitivist who focuses on texture and technically dirty execution of his naive canvases, Victor Zabuga. Such a progression would make the project very structured, due to the movement along the anti-aesthetics from horrific content to horrific execution. However, I continued my journey with comic illustrations, whose appearance, unlike Columbia's works, is not deceptive regarding the repulsive themes.

McMillen's visual style remains formal, yet scruffy and with creative touches reminiscent of children's drawings, which makes sense for his most popular game, where the child-centered narrative is the concept, as well as the contrast of how all of these truly nightmarish figments of a child's imagination are interpretations of the underbelly, the flesh, religion, and fear objects filtered through the fantasy prism of his own.

Thus, McMillen's creations are a skeleton created by a child, subject only to his unique logic, onto which disturbing details and horror elements are hung, as if an attempt were made to make Kolobok anatomically correct by squeezing a musculoskeletal system and a full set of organs into this ball with a face.

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The visuals of The Binding of Isaac are almost entirely based on flesh and its transformation. One of the characters that emerged from a human body is a Teratoma (from ancient Greek τέρας→gen. n. τέρατоς - monster + -oμα - tumor). I was attracted by its uniqueness, despite its pathology, teratoma does not exist at the expense of the organism, but tries to be one, growing muscle tissue, hair, teeth inside itself, without having a body.

The image of the tumor in section, namely the pink formation surrounded by a shell, is associated by me with Leonardo da Vinci's embryo study, where the contents of the womb were shown in a similar way.

By combining these two concepts I intend to give the teratoma character, allowing random body fragments to fetal develop in its shell, alongside pus and clumps of hair.

The development of a design for an underdeveloped fetus based on a teratoma would touch on two elements that are widely used in narrow circles of immoral/protest creativity: babies and disfiguring diseases.

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тератома.PNG

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Viscera Infest – Teratoma(2024) album cover

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The design for Teratoma was influenced by the cover of the eponymous album by the brutal goregrind band Viscera Infest. Esthetical terrorism is almost always found in the visual design of extreme genres of music and anti-music (noise), which is most likely due to the sophistication of consumers of such, as well as the marginalization of all participants.

The baby in the cyst is also a cyclops with displaced organs, only the anglerfish appendage acts as its body. There is more ingenuity in this than in Edmund's take and it may not be a completely functional character design, but the style is conveyed authentically. In addition to non-volumetric solutions, I followed the visual language of correlating the thickness of the outline line with the size of the object to which it belongs, and chose alcohol markers for saturated colors.

Introduced nastiness and violated the 2D space by making real hair part of the drawing.

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My friend was beaten up again because of his alternative appearance, and I thought this style was simple and ugly enough to show the disgusting situation as clearly as possible without embellishment. I knew right away that I wanted to use the ability of PVA glue to absorb pigment already applied to paper, so that the color that had spread despite the strict lines would show the lack of control and destructiveness.

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препизделово.PNG

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The only colorful elements belong to the standing out victim of the attack, and the only way to stand out to the rest is to paint themselvs in the blood of the nonconformist.

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пизделово.PNG

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1. Pencil

2. Ballpoint pen-continuous line

3. Paint-marker

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As I have described: shocking and controversial content always comes in handy for the visuals of underground artists. Especially in the case of musicians, creating a cover is a matter of placing a logo in a quarter of the image over a frame from snuff, photos from a morgue or an abortion clinic. The latter option is especially artistically valuable, as it involves the bright symbolism behind the image of a baby in juxtaposition with its death or mutation.

A successful find in this regard was an exhibit - a British gas mask from the time of the 2nd World War for children under two years old, accompanied by a full-size doll inside. Such a crossing of something militaristic not just with a child, but with a children's toy seemed to me to exactly fit the anti-values ​​of noisecore, and I was looking for the embodiment of its specific concepts because->

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Because I wanted to use in the drawing the reaction of Sharpie to white spirit, which was originally supposed to be used as part of the development to smooth out the characteristic roughness of pencil marks.

From the solvent, the lines of the permanent marker spread out into pallid "mycelium" within a radius of 0.5-1 centimeters. This effect was ideal for a logo of the kind that usually mimics mold or dirt, and the logo itself, as Plushy rampage suggested, could be created by scribbling with repeating patterns.

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The final artist on my path of deconstructing ugly art is Mike Diana, an illustrator who uses a repulsive visual language to depict repulsive plots.

He is the final boss of gory gruesomeness and is not shy about even being offensive. Unlike the solutions of the previous two colleagues, Diana's works do not contain a contrast of form with content, but represent perhaps the only kind of harmony in his work. Otherwise, the unique style of the author of "Boiled Angel" is excessive details, not even hyperbolization, because hyperbolization usually places accents, stylizes something (if a character has a big head, this is someone smart or someone with an ugliness that needs to be paid attention to, but in the case of Michael Diana, someone without an ugliness will be a great rarity), disharmony, disproportionality and non-observance of perspective.

Ironically, adapting peculiarities of visual language of the artist of most extreme imagery I will focus on more restrained experiments with the grotesque. There are two reasons for this: my reluctance to attract the attention of security in an attempt to keep up with the level of depravity and not to lose such important aspects as color, line and construction in a composition overcomplicated by artifacts.

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Following the instructions of Jason Wilsher-Vills' coloring book, I continue the theme of things that can disgust me with a caricature of my father. This amalgam of worms, amphibians and humans embodies the irrational homophobia so characteristic of people from the Soviet Union. I was able to deprive him of the primary sexual characteristics that he clings to so much, but he is left with a trophy of my sharpened nails, which I had to cut off in a hurry before his arrival...

The playful context connects with the childish-literary execution of most of Diana's works + the incorporation of 3D objects

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Cryptids. These particular drawings, continuing from the context with the mythical creature, became the moment when I was confused. Here it becomes clear to me that Mike Diana's ability to create is something I do not possess, and this would not be a problem within the artist responses, the continuity of style in which can be regulated to my taste, but it became a problem in relation to the fact that Diana was placed by me third as a culmination and from myself I expected to bring my works to something close to his illustrations in terms of content - psychedelic compositions filling all available space, consisting of symbols and grotesque images.

But in my attempt, the deliberate curvature simply made it look low-quality, which is very subtly delineated in comic book expressiveness. And, then not yet realizing it, I returned to the sphere of my interest, that is, to experiments with form. The diligent but dirty coloring with children's accessories made me enjoy the process again, and the childish approach created some kind of contrast with the genitals and devouring of the inhabitants of the fairy forest.

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Looking for variety in execution, I turned to the familiar linocut, which could be done much better than in previous projects. The lack of a visual basis or idea again led me to the pages of the interactive booklet from the Welcome Collection. Disappointment in my own imagination did not stop me from trying to enclose the "trash" in a cartoon shell, which is good for depicting accurate and capacious images, so the pig does not necessarily relate to me, but its characteristic features are very easy to convey through such an unmaneuverable material as lino.

By quality improvement I meant edging the outline of the design instead of following the line with a graver, a very painstaking process that brings new possibilities, such as creating identical empty contours that can be colored in individually.

In terms of design: the wings were originally comical additions like the x-eyes, symbolizing that the character is dead and confronting the rather unashamed flaps of cut skin. I added them to make the composition fuller, but the nails on them make it look like a gutted pigasus, ending the Afliction of myths before I dive into the materials.

encroachment on the color core to such an extent that not only the color changes, but the very essence of what that color was a characteristic of (if something red becomes green without additional context, and if the context is modified, then even with it, it can be perceived completely differently in another palette, in this case in color inversion).

And already the signature contrast of 3d and 2d due to the twisted figured balloons.

P. S.

Linocut Links into Nestor Engelke's method of creating a planar image by damaging the surface with 3D manipulations

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Drawing from life became the bifurcation point of the project. Optical transmission technology is used here in two forms: white chalk on sugar paper and reduction drawing on a light base covered with a layer of charcoal.

This became very important because this method of "carving" figures from the place where they are, just not yet illuminated, requires much fewer steps before the work begins to look complete..

Плоскостной рисунок наполнен столкновением цветов, пропорций, толщины линий и наличие контура отсекает объекты 2d рисунка не только от их окружения, но и их элементы друг от друга, из-за чего полного завершения требуют все участки, прежде чем дизайну можно будет дать оценку. Слабо освещенные

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залупная зайка.PNG

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глупый лис.JPG

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пожилой план.JPG

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глаша и кикимора.JPG

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Ceramic glaze + color ink mix for temporary wet effect and shadow enhancement with dark pigment settling in dents

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покраска.JPG

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Tests of lighting for artistic photography

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Tests of lighting for artistic photography

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1. Spotlight, red/blue/white mode

2. Minimum illumination

3. Flash in complete darkness

4. Dimmed extraneous flashlight

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освещение.JPG

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Distant lighting from the corridor

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More and more often in modern media, mainly in horror, one can find a reinterpretation of God as a monstrous paranormal phenomenon, usually accompanied by an oppressive atmosphere and techniques associated with the fear of the unknown or impossible to know as with cosmological Lovecraftian examples.

As for the design of such "special Gods", the emphasis is always on flesh or body structure, for some reason in the minds of authors of indie and analog horrors, God can only be embodied in the world as meat and bones, and necessarily configured in a frightening way.

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"With his belly ripped open, the still living God was washed ashore

Beautiful God" Slava KPSS (c)

In the image I created, the symbolism of the baby collides with an illness whose consequences are as hard to look at as death in its most violent form. Two themes that are in no way connected to grace and a third that should not intersect, but they do. I can only make things worse by adding religion to the pot, and with the ground prepared by the study of atypical biblical interpretations, it will be very easy to say that this is not a transcendental God.

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Artist 5 response/demo version of the final piece

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Artist 5 response/demo version of the final piece