New York based artist and designer Samuel Gomez works at a large scale in graphite and ink to create his complex, intricate arrangements of mechanical and biological forms.
He apparently uses fine line markers to delineate his subjects, rendering the exactingly applied tones with graphite in an almost airbrush-like effect. He makes use of subtle and controlled ranges of value within his compositions to keep then visually organized, while still maintaining a forceful presentation of form.
For reasons that are lost on me, his website opens with an inappropriately resized and over-compressed video of an animation made from one of his pieces; you just have to scroll down past that to get to the work.
You can get a better view of his work, and a clearer idea of the scale, on his Behance gallery, which also includes a number of in-progress images and photos of Gomez working on the drawings.
What isn’t made clear on either his website or Behance gallery is that three of the pieces presented as separate works, “Cochino’s Agenda”, “The Harvest” and “Deadpan Comedy”, are meant to work together as an integrated triptych, the overall title of which is also “Deadpan Comedy” (images above, bottom four). You can get a better view of it on Twisted Sifter.
There is a very brief interview with the artist on Vimeo. I’ve linked below to some other mentions and articles that may shed additional light on his work and process.
[Via Artist A Day]
