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Each illustration by French illustrator Jean-Claude Claeys, represents an act in a story where the protagonists. hustlers and femmes fatales play a game in hyper-realistic tones, where the bank always wins.

Influenced by filmmakers such as the well-known filmmaker Alfred Hitchcock and the classic film noir genre classic cinematographer, of which he declares himself a follower incodicional. In his compositions, the treatment of shadows stands out.

This allows us to appreciate the details that make up each and every one of the illustrations that he approaches, always applying similar techniques. In which color is observed in a very discreet way in the composition of illustration, in whose realization occupies a second plane.

What is important is the gesture of the model he selects to star in his stories, in whose plot emerges a certain bohemian air as well as a purpose of amendment and redemption. The characters are characterized by transmitting a behavior that is at the same time cruel and disbelieving.

Jean-Claude Claeys was born in Paris, in whose streets he grew up spending most of his childhood, as well as his adolescence until he completed his education. This phase gave way to his work in the advertising industry.

READ IT IN SPANISH: Jean-Claude Claeys, la chica del ganster

Stage that he combined with his incipient career as a comic book artist starting in 1975. From this distant date he has developed most of his career. In that his way of working is curious, since each project is triggered by a series of photographs from different periods.

Although preferably are those made in black and white those that inspire him the most, giving his work a bittersweet and taciturn sense of humor. Claeys also works regularly as a cover illustrator for Néo publication's crime collection.

The Chilean Illustrator Fab Ciraolo, distmitifica roles and icons, showing us some of the most ambiguous, frivolous, and even why not say it more bizarre aspects. Of many of the most idiotic personalities of the last one hundred years.

Discontrasting the character sometimes practicing the most militant iconoclasm. His is not only limited to a more or less subjective interpretation from a psychoanalytical perspective of the character. Regardless of whether this is confined to the world of fiction as in the case of Edward Scissorhands.

Emblematic character created by the famous film director Tim Burton. Or real personalities who, due to their transcendence or contribution in some social or historical field, have deserved Fab's creative attention.

Such as relevant and influential figures, each in their own facet, such as Cleopatra, empress of ancient Egypt, one of the first women leaders in history. Or the closest in time, the painter Frida Khalo. He portrays them preserving their almost mythological halo, but subtly incorporating elements that belong to a much more current context.

Adding elements of the contemporary culture that revitalize it, updating it for the new generations that observe it as if it were a figure that was relevant in another time and under another social and cultural prism. He reinvents himself by being able to identify himself with him.

Great fan of music, an element that he adds in the form of a fetish or tattoo to his compositions. In which through collage and nuances of Pop culture, he develops a language where the visual impact of the work leads the viewer to a state of mixed amazement and awe as well as admiration. Exciting sensation that far from being diluted in the innocent effervescence that underlies the background, feeds it by demanding the segregation of large doses of dopamine.

His relationship with art begins in childhood due to the influence of his father, selling his first work at the early age of ten. This makes him think that he can make a living from his art.

READ IT IN SPANISH: Fab Ciraolo - Old School Heroes, retratos mitológicos de la cultura Pop

Graduated in graphic design, discipline that relegates to the background in favor of the stroke of illustration. With whose works he has managed to make a name for himself thanks to the presence he has on the Internet. He combines his artistic facet with the musical, being a member of the band Oh Margot, with whom he has released an Ep at the end of 2001.

Starting from a quick sketch, he draws by hand, both in pencil and the part of color and shading using a mechanical pencil 01, adding the shadows and finally coloring with watercolors, temperas and acrylics, also oils, dry pastel and colored pencils. Once the preliminary version is ready, it is digitalized and the necessary filters are applied to complete the illustration.

The writing of a book is usually inspired by events, experiences or vicissitudes of which one is a first-person witness. Or by the knowledge provided by a third party such as a friend or access to a story read in the media.

Sometimes one resorts to a historical ephemeris that, combined with a personal experience, generates the argument of a more or less plausible narration. This was the case of the cartoonist Meags Fitzgerald, who, due to her passion for taking passport-size photos of herself in photo booths, had the opportunity to get to know the origin of the story.

READ IT IN SPANISH: Meags Fitzgerald - Photoboth: a biography, historias gráficas inspiradas por el fotomaton

She had the opportunity to learn about the origin of this element that has been part of the furniture of any self-respecting city for a good part of the 20th century. Being at present a vintage object that after being acquired almost as an antique can be found in private homes, or as an incentive in a bar.

Becoming the thread of a story presented in graphic novel format, where through the illustrations of cartoons. She tells us about her relationship with the photomaton almost becoming an obsession, which led her to make a diaspora around the world on a journey to find her identity.

And whose adventures have been published in a volume entitled Photoboth: a biography, where parallel to this search. The story of this photographic device is told in a global key and from a domestic and personal point of view, a story dotted with numerous episodes of autobiographical character.

Upon completion of its construction, the architects of RO & AD did not hesitate to baptize it with the title of one of the most quoted biblical passages. But nothing could be further from the truth: the Moses Bridge.

It has little or nothing to do with the ephemeris represented in the sacred text, not even in an aesthetic sense. Its inspiration must be sought many centuries later, specifically during the seventeenth century. The Netherlands built a series of moats and fortifications in the region of West Brabant.

In order to provide protection against the incursions of the French and Spanish forces. One of these forts was known as Fort de Roovere. It was surrounded by a small fosse that served as protection against attacks and floods produced when the tide rose.

From a distance, the Moses Bridge is invisible to the eye. The flow around the fosse seems continuous, as the water level is parallel to that of the moat that crosses it, reflecting its natural environment. As visitors approach the fortress, the bridge is visualized as a break that divides the watercourse, creating a unique visual phenomenon.

READ IT IN SPANISH: RO & AD - Moses Bridge, un puente que cruza a ras del agua

The tank that divides the watercourse is a structure anchored to the bed by steel piles. Lined with wooden slats for the walls, which are made of the same material as the pillars. The bridge and its components are made of sustainable wood.

The wood is Accoya, a type of material that, when properly treated, makes the bridge waterproof and reliably resists the erosion produced by the current. Protecting it from fungi and increasing its durability. Being an ideal material for a bridge of these characteristics.

It has recently been recognized by the Dutch College of Architects as the best structure of the year 2011. In addition, the sponsors are among the finalists for the Dutch Design Awards 2011.

Inspired by the first recorded house in Japanese culture, built during the Yayoi dynasty (200 BC - 250 AD). Known as Tateana Jukyo house, the peculiarity of this type of archaic constructions.

It is that they were the result of digging in the rock, or houses that were built by digging a hole in the ground about seventy centimeters, covered in a second phase with a pyramid-shaped roof made of plant material.

The young architect Makoto Tanijiri from Suppose Design Office, a studio specializing in single-family homes, asked his future residents, a young couple from Hiroshima. A solution that was practical, comfortable and respectful of their privacy.

It is a three-storey house with a living area of 100 square meters. Partially sunk into the ground, it is surrounded by an elevation built with the earth resulting from the hole, acting as an organic barrier and natural protection for the house.

In addition to marking the natural perimeter of the property. The structure of the building is supported by four steel plates. The problem of the lack of lighting on the first floor was solved by replacing the partition walls with large windows.

READ IT IN SPANISH: Suppose Design Office arquitectura Japonesa de vanguardia que mira al pasado

From the center of the room is the staircase that allows access to the other two remaining floors, where the double bedroom and a space for the children's room are located. Finished in a claraboya that culminates the house.

Although what is most remarkable is its exterior facade, consisting of four sheets one on each side, black upholstered and whose first height has been installed terrace for solarium, a place of social character where residents have the opportunity to establish a dialogue with the outside.

Surrealism as an artistic current since its appearance coinciding with the dawn of the twentieth century, was already postulated as an expressive movement that transcended the purely aesthetic. Apart from having an evident connotation from its beginnings.

That linked it to a greater or lesser extent with the exploration of the unconscious, having therefore something more than a flirtation with the Vienna school and psychoanalysis, as a practice that in some way established the basis for describing the exploration of our oneiric universe. A nuance referred to by Andre Breton in his famous Surrealist Manifesto.

It also had an interpretation or capacity so that many of the works could lend themselves to analysis or political-social readings, of which apart from their allegorical capacity. They became a chronicle of the episodes and events that we witnessed as individuals.

Describing with more or less fortune the patterns of behavior, that both in individual and collective terms we were acquiring. Opening highly suggestive debates in ethno-anthropological terms regarding our standards of behavior as human beings.

Within the prolific work of the artist Alex Gross, resident in the Californian city of Los Angeles, there is a tendency to apply this analytical approach. Exercise through which he makes us an inventory of an individualized society.

Based on the value of consumption and aesthetic values that atomizes the behavior of the individual, presenting him as a zombie illuminated by the religion of POP culture. Whose artistic component makes an appearance not only at the time of adding.

READ IT IN SPANISH: Alex Gross, La ilusión POP de un futuro cancelado

Elements and objects belonging to the digital era, making continuous references to the increasingly pervasive technology and the excess of information. Transmitted in loop by the doctrine of the unique thought. Where temptation is represented by the head of the hydra that divides and multiplies, projecting from its eye sockets.

Commercial brands alternate with icons of popular culture, and political figures that have marked an era, in compositions where surrealist, pop and figurative elements cohabit.