Here’s a thing I’ve had around in my head for a while!
Okay, so I’m pretty sure that by now everyone at least is aware of Steampunk, with it’s completely awesome Victorian sci-fi aesthetic. But what I want to see is Solarpunk – a plausible near-future sci-fi genre, which I like to imagine as based on updated Art Nouveau, Victorian, and Edwardian aesthetics, combined with a green and renewable energy movement to create a world in which children grow up being taught about building electronic tech as well as food gardening and other skills, and people have come back around to appreciating artisans and craftspeople, from stonemasons and smithies, to dress makers and jewelers, and everyone in between. A balance of sustainable energy-powered tech, environmental cities, and wicked cool aesthetics.
A lot of people seem to share a vision of futuristic tech and architecture that looks a lot like an ipod – smooth and geometrical and white. Which imo is a little boring and sterile, which is why I picked out an Art Nouveau aesthetic for this.
With energy costs at a low, I like to imagine people being more inclined to focus their expendable income on the arts!
Aesthetically my vision of solarpunk is very similar to steampunk, but with electronic technology, and an Art Nouveau veneer.
So here are some buzz words~
Tailors and dressmakers!
Stained glass window solar panels!!!
Education in tech and food growing!
Less corporate capitalism, and more small businesses!
Solar rooftops and roadways!
Communal greenhouses on top of apartments!
Electric cars with old-fashioned looks!
No-cars-allowed walkways lined with independent shops!
Renewable energy-powered Art Nouveau-styled tech life!
Can you imagine how pretty it would be to have stained glass windows everywhere that are actually solar panels? The tech is already headed in that direction! Or how about wide-brim hats, or parasols that are topped with discreet solar panel tech incorporated into the design, with ports you can stick your phone charger in to?
(((Character art by me; click the cityscape pieces to see artist names)))
i am so into this wow
sign me the fuck up
I want a solarpunk future. *_*
SOLARPUNK OH MY GODDDDDD i love it
CURVY ORGANIC LINES, REFLECT NATURE, FLORALS VEGETATION, UGHHHH I WANT IT
So pretty. Want. Now.
This is an illustration I did for the August 2014 issue of Popular Science Magazine. The assignment was to show a scifi take on human aging in the future. I wanted to do something relatively positive, so I drew a lady whose life has been been prolonged through cybernetic enhancements and augmentation, so she gets to spend time with her great-great-great-great grandchildren.
Thanks to AD Michelle Mruk!
this is beautiful
this has been a dovekie appreciation post
#it’s like a penguin crossed with a fat swallow
Revenge of the nature IV: Goddess of Nature
Prints available on MY STORE
Demo Friend - Five Nights at Freddy’s (PC)
Fun times and laughs are sure to be had at our new job!
Anonymous said: lately i've been getting a little discouraged because every successful artist i stumble upon has graduated from risd. (every single one of them, i swear.) do you think the education you get/opportunities you are given at a well-known and top notch art school like risd have a significant impact on your chances of "making it" as an artist, or in your opinion is it all down to talent and personal drive? (asking because i of course do not attend risd but i do hope to make a living off of art.)
Wow- good question. And a hard one to answer- I can’t give much more than my own anecdotal experience, and that’s all from the perspective of having attended an art school and benefitted from it.
I do truly believe that the most important aspects of your ability to “make it” as an artist are skill (I wouldn’t say talent, because I believe a lot of it is learned and practiced), drive, and the ability to network.
If your skills are up to snuff, then your portfolio will speak for itself. This field is, unfortunately, not a meritocracy- I wish I could say only the most qualified land jobs- but sometimes they don’t, and it’s baffling. What I will say is that honing your skill and having a killer portfolio is the single biggest thing you can do to control your chances.
That said, drive and networking are important. Drive, because you will need it on the days you don’t feel inspired. You will need to want this hard enough to keep at it despite discouragements from others.
Networking is a bigger piece than most people talk about- for me, the art school experience was a huge boon, but it’s not the only way to do it well. You have to be personable; have a mind to market yourself and put your work in front of people and be approachable and pleasant while you do. People will respond to how you make them feel- and that will determine a lot of whether you do or don’t land work in the long run- you can have all the talent and the drive in the world, but if you are an unpleasant person then you will have a hard time connecting with work (no matter what field you’re in). My experience at RISD was formative for me, but so was my experience at comic cons- many of the best jobs I’ve landed have been the result of bringing my portfolio and some snazzy business cards with me to cons and shopping it around. There are ways to build a network of creative friends and coworkers without having to pay for art school. Even the internet is a HUGE tool and a gamechanger- tumblr, twitter, deviantart, and behance have all contributed in one way or another to any success I have had. We’re actually part of an age where, more than ever, the ability to get your work and name out there is in your hands with a minimum of gatekeepers preventing you from doing so.
I think it’s really important to talk about that last piece, because it’s a huge part of an artist’s career and you don’t actually have to shell out a college tuition to make it happen.
Don’t despair- if you want this and you have the skills you can actually make this thing happen. I can’t promise that it will, all work out (hell, you guys remember 38 Studios? Sometimes things just go sour), but it is far from hopeless.
Toast & cream cheese & garden tomato & a lil salt & a lil pepper & a couple of bites before I realised it would be nice to paint my breakfast.
actual human goofballs ; pt. 1
↳ Christian Kane & Timothy Hutton
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