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luís soares

Blog do escritor Luís Soares

Screen Time


From The New Yorker:

Television was my primary relationship when I was a child. It was my third parent, but it was the only parent that meant anything to me, or that had anything to teach me,” Bruce Eric Kaplan said, about his inspiration for this week’s cover. Kaplan, who is a prolific cartoonist and a writer for television shows such as “Girls,” “Six Feet Under,” and “Seinfeld,” was greatly influenced by what he described as the “huge, enormous box in the living room.” “I loved television so much that I wanted to crawl into the TV and live there, which I ended up doing by becoming a television writer,” he said. “I’d rather be in a fictional living room than in a real one. I still feel that way when I’m drawing a cartoon. I’d rather be inside my cartoon, in a world that I can control, that looks right to me, than out there in real life.” Of course, the experience of watching television as a child that Kaplan recalls is now largely a remnant of the past. “Television has now gone beyond television,” Kaplan said, meaning that the medium has expanded beyond the traditional family gathering in a living room now that we are able to stream shows on any device with a screen. “It’s a much different world,” he lamented. “Everyone’s watching their own thing, at their own time, on their own little thing.”

Some Of My Best Friends Are Records


From "The Shape of Ideas: An Illustrated Exploration of Creativity" by Grant Snider


What does an idea look like? And where do they come from? Grant Snider’s illustrations will motivate you to explore these questions, inspire you to come up with your own answers and, like all Gordian knots, prompt even more questions. Whether you are a professional artist or designer, a student pursuing a creative career, a person of faith, someone who likes walks on the beach, or a dreamer who sits on the front porch contemplating life, this collection of one- and two-page comics will provide insight into the joys and frustrations of creativity, inspiration, and process—no matter your age or creative background.

Liberty's Flameout


From The New Yorker:

Under more ordinary circumstances, the cover of the issue for February 13 and 20, 2017—our Anniversary Issue, marking ninety-two years—would feature some version of Rea Irvin’s classic image of the monocled dandy Eustace Tilley. This year, as a response to the opening weeks of the Trump Administration, particularly the executive order on immigration, we feature John W. Tomac’s dark, unwelcoming image, “Liberty’s Flameout.” “It used to be that the Statue of Liberty, and her shining torch, was the vision that welcomed new immigrants. And, at the same time, it was the symbol of American values,” Tomac says. “Now it seems that we are turning off the light.”

Michael Dumontier & Neil Farber - Library










Neil Farber and Michael Dumontier are founding members of the artist collective Royal Art Lodge, formed in the mid-’90s by a half dozen young Canadians wanting to hang out together during the cold winters, listen to music, and collaborate on art. What started as a pile of drawings in a suitcase in a run-down studio space in industrial Winnipeg, Manitoba, has become a lifelong practice for the entire group, taking the Royal Art Lodge’s works to galleries and museums across North America, the U.K., Italy, France, Japan, Mexico, and elsewhere. Neil, Michael, and other founding members like Marcel Dzama and Jon Pylypchuk have all become significant solo artists, even as they continue to collaborate.

Book Fetish







Drawn by the distinct, abstract and fluid style of illustrator Aino-Maija Metsola, Vintage Classics commissioned the Helsinki-based designer to work on 6 books by Virginia Woolf.

Here, Aino-Maija expresses her thoughts around working on the cover:

‘I wanted to find a way to translate Woolf’s style of writing and the impressions created in the text into pictures and to discover the atmosphere in each text. Woolf’s writing is very intense and innovative, which was very inspiring for me as an illustrator.

Painting with watercolours enabled me to create pictures that work well with Woolf’s writing. I wanted to use strong colours and combine them with fluid painting that is not completely abstract to give room for interpretation. I’m interested in making pictures with a strong, mysterious atmosphere. I also love playing with colours, and the endless possibilities that they give.

The best moments in my work are the ones when I feel I have made something that is both personal for me and relevant to others. That is not always so easy, but I hope these covers are one of those projects.’

Orlando, A Room of One’s Own, To the Lighthouse, The Waves, Selected Diaries and Mrs Dalloway are published by Vintage Classics on October 6th.

'Art x Smart' by Dong-Kyu Kim







In his project ‘Art x Smart’ Korean illustrator Kim Dong-Kyu updated paintings by Van Gogh, Picasso, Chagall or Munch with the latest achievements of our modern time. Already at the first glance it is obvious how ridiculous gadgets like iPhones, tablets and laptops appear in this ancient art, which questions our dealing with the advanced technologies. The works should be humorous parodies of the way smartphones have dramatically changed today’s social interaction. The models in the classical paintings use the devices to play games, take pictures and listen to music, as if the action was of second nature to them, like it is for us long since.