Artist Translates the Dappled, Grainy Textures of the Printing Press Into his Vivid Illustrations

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

 

▎Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

▎Semarang, Indonesia-based artist Muhammad Fatchurofi translates the dappled, grainy textures of the printing press into his vivid illustrations. Whether sketching on paper or digitally, Fatchurofi gravitates toward surreal, mind-bending scenes tinged with nostalgia that he renders in bright, bold shades of primary colors. In one work, a cairn sandwiches a seated green figure between the stones, while another features a red koi fish leaping from a rippling blue page. “For me, these basic colors give a sense of boldness, vibrant, full of energy,” he says.

 

Fatchurofi works with a long list of editorial and commercial clients, including The New York Times, Google, and Bandcamp, which he balances with personal projects. He likens his practice to journaling, explaining:

 

I’m interested in using illustration as a mindful way of documenting thoughts, interests, and experiences in my daily life. Within this practice, I try to reflect on my thoughts and experiences in a more positive outlook and to learn something from it. The result is often described by my audience as peaceful and calming.

 

Fatchurofi is currently working on a series of acrylic paintings he plans to exhibit later this year and adding more limited-edition prints to his shop.

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

artist translates the dappled, grainy textures of the printing press into his vivid illustrations—Primary Colors and Dappled Textures Give Muhammad Fatchurofi’s Illustrations a Trippy, Nostalgic Feel

 

Om onvervangbaar te zijn, moet je altijd anders zijn.
Er zijn fascinerende beelden hier, en de fascinerende dag van samen!  xo
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Per essere insostituibili bisogna sempre essere diverso.
Ci sono immagini affascinanti qui, e l’affascinante giornata di insieme!  xo KanikaChic

The Coastal City of Casa Pirca—Bordering the Coastal City of Casa Pirca is Located within the on a Rectangular Lot with a Steep Difference in Dividing it in Two, Exemplifying its Greatest Quality

The Coastal City of Casa Pirca

    ▎Bordering the Coastal City of Casa Pirca is Located within the on a Rectangular Lot with a Steep Difference in Dividing it in

西水峪在半山腰鑿出一塊栗樹露台

西水峪在半山腰鑿出一塊栗樹露台

    在西水峪附近,在半山腰鑿出一塊台地,這裡種植大量的栗樹,人們在濃蔭下生活勞動,由於施工限制,早期隨意搭建的棚屋已經勾勒出新建築的輪廓,向棚屋學習,仔細觀察這些棚屋後,發現工人們都是山地生活的專家。此外,平台上的栗樹,巧妙地將棚屋穿插在樹林中。       十五世紀初,昌平府黃華鎮正忙著修築長城。在西水峪附近,一處無名山谷中,人們在半山腰鑿出一塊台地,將無數粗糙的黃石運上去。據推測,當時人們原本打算建造一道圍牆,但不知何故,工程被擱置,留下散落的黃石堆成長長的一坨。千百年來,這裡種植大量的栗樹,人們在濃蔭下生活勞動,每到秋天,方圓百里的山谷都覆蓋著蓬鬆的栗子皮。 2019年我們到達時,台地上駐紮著一支施工隊,搭建了三、四個臨時工棚,建築材料和設備散落在各處。在一片雜亂之中,數十棵老栗樹依然茁壯成長,最大的一棵需要三個人才能圍攏過來。     向棚屋學習。業主原本計劃在這裡開發一個營地,利用階梯狀的階梯搭建幾組帳篷。為了服務營地,平台上需要固定的設施。然而,由於施工限制,早期隨意搭建的棚屋已經勾勒出新建築的輪廓。對於渴望自由繪製藍圖的建築師來說,這最初令人沮喪。然而,仔細觀察這些棚屋後,發現工人們都是山地生活的專家。他們知道哪裡地基穩固,哪裡陽光充足,哪裡可以躲避呼嘯的山風。此外,他們也非常珍惜平台上的栗樹,巧妙地將棚屋穿插在樹林中。       受此啟發,我們重新構想了場地。秋季,栗子殼覆蓋地面的景象格外引人注目——這是燕山地區罕見而豐富的景象。因此,我們將新建築命名為「滿栗台」。在中國古代,「台」是一個定義模糊的建築概念。它可以是人們觀賞風景的場所,也可以是人們與風景互動的方式。我們試圖在原始棚屋的殘骸中重新建立人與景觀之間的連結。         在某些方面,這些棚屋的建造相當隨意。例如,屋頂的建造順應了雨雪的盛行方向,選擇了能夠最有效排水的坡度。至於材料,則採用了簡單實用的方法。外觀則使用了其他項目的剩餘材料。然而,這些權宜之計卻帶來了意想不到的輕盈和簡潔,為這座山地建築營造出一種自由的感覺。這裡有很多值得學習的地方。因此,我們更願意將整個過程稱為「重建」。       木造與新遺跡。由於山地地形的限制,整個建築群採用木結構建造,並在相對緊湊的建築體量內結合了木框架和木剪力牆。在木框架結構部分,我們刻意避免了傳統的木結構形式。例如,平面採用了等間距的開間,立面採用非對稱設計,而對於懸挑的屋簷,我們放棄了木結構,轉而採用更輕盈、更真實的鋼結構。  

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