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Guilt by Association

by Heather Goodwind

Phone Skins

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DESCRIPTION

Skins are thin, easy-to-remove, vinyl decals for customizing your device. Skins are made from a patented material that eliminates air bubbles and wrinkles for easy application.

Acrylic paint, colored pencil



allan redd commented on March 11, 2012 6:34pm
i love what you did here!
Maʁϟ commented on March 11, 2012 6:38pm
=) so cool Heather
Andre Villanueva commented on March 11, 2012 6:46pm
Nice! Those cases look sweet.
Heather Goodwind commented on March 11, 2012 6:49pm
Thanks Allan, J. Luna and Andre! And Andre, I'm glad you like the case, I almost didn't go for such a zoomed in crop... :)
Lisa Argyropoulos commented on March 11, 2012 6:59pm
So awesome!
Rae Snyder commented on March 11, 2012 9:00pm
this is gripping
Jacqueline Maldonado commented on March 11, 2012 9:02pm
Great piece, Heather! It reminds me of the Scarlet Letter... like the red stripes are a sort of branding or patch for everyone to see. (I really like how you designed the case too!)
Catherine Holcombe commented on March 11, 2012 10:36pm
Wow, the two equivalent lines, an equal sign? Or more like a "do not go there" sign. Hmm, intriguing....
Óscar S. Cesteros commented on March 12, 2012 2:20am
very deep, the association equals to the identity, (math sign of identity)... and guilty
Hugo Barros commented on March 12, 2012 4:32am
love it!
PAUL PiERROt commented on March 12, 2012 7:14am
thumbs up!
Nayoun Kim commented on March 12, 2012 7:41am
LOVE THIS!!!!!!
Geoffrey Agrons commented on March 12, 2012 8:14am
I think this is brilliant, Heather.
Paul Ulrich commented on March 12, 2012 9:22am
Your images are always such stark affairs... however, i always enjoy the texturally rich passages. I would be curious to see what you did if you removed yourself from your comfort zone and tried some more visually complex compositions. I really like what you did for the iphone cases, BTW. Not to say the image is bad, I'm simply giving you a hopefully insightful observation. :) My final comment is to consider the impact of the text on the image at a distance. When it is on the screen, the text is there and it has influence. When one orders a physical print and it is on the wall, the words will have little use to someone passing by at a distance. All they get is the beige and black and muted red. One thing I strive for (especially in my charcoal drawings) is for the image to make sense at a distance, and to simultaneously reward the viewer who chooses to walk up to the drawing.
gwenola de muralt commented on March 12, 2012 10:19am
That's georgous!
Heather Goodwind commented on March 12, 2012 10:46am
Thanks everyone for the lovely comments, I hadn't actually thought of the math sign but that is very cool!
Heather Goodwind commented on March 12, 2012 10:47am
Paul - thank you so much for your insights, I really do appreciate it. I have been trying to do some things out of my comfort zone lately, namely larger paintings where there is more space for me to be more visually complex (some are working, some are not - but that is another story). All the prints that I've posted on S6 so far are really small, done in my Moleskines. Honestly, before I started posting here I hadn't really thought of them as wall pieces that would be seen from a distance - I wanted to use them to publish a book because I felt like they were more interesting as part of a sequence than as individual pieces. But then people started wanting to buy them individually and I took the books apart, then I started posting them as prints - so they've arrived at this kind of after the fact. I've often wondered how the text will look on the larger pieces as well (not to mention my signature), the first time someone bought an extra large print it kind of freaked me out. In fact, I've been editing (or cropping) out the text on many of them to post as prints. I almost did it on this one as well, but decided to leave it in the end. I feel like I'm constantly torn between the integrity of the pieces as I did them compared to the "good design" of prints and products.
Angela Bruno commented on March 12, 2012 12:13pm
Great Heather! Very cool!
Jesse Draxler commented on March 12, 2012 1:31pm
good to see work like this getting attention around here.
Alec Goss commented on March 12, 2012 2:37pm
I love it!
DesignLawrence commented on March 12, 2012 4:05pm
love it...
Heather Goodwind commented on March 12, 2012 7:11pm
Thanks so much, you guys are so sweet!
Larcole commented on March 13, 2012 8:08am
Very cool!
Geoffrey Agrons commented on March 13, 2012 8:38am
What Jesse said. Amen.
Paul Ulrich commented on March 13, 2012 11:01am
Now that you mention they're moleskines, the paper color makes total sense. If that is the format of the paper, then I adjust my opinions and say not to worry about it as much. Moleskines are excellent places to experiment with variances on objects, text, themes, textures, whatever. I kinda view them as a place to let me foofy side out... :P Anyway, can't wait to see some of these larger pieces! I'm trying to get back into bigger formats myself. My recent posts have basically all been practice flashwork for my tattoo apprenticeship. The world of tattoo flash is really very rich and bold, and neverending in inspiration. Even those themes that keep reoccuring... i still see new insights.
Wayne Edson Bryan commented on March 13, 2012 1:24pm
You never cease to amaze me with your work... a true inspiration!
Valerie Anne Kelly commented on March 15, 2012 4:48am
Fab U lous sweetheART 5*****zz ;~} Valz
Heather Goodwind commented on March 15, 2012 7:32am
Aw, thanks again you guys, you make me so happy! Paul - I've been thinking lately about how when I post these little drawings they have the same weight as the larger paintings, you put them next to each other on a wall and they are so incredibly different. The irony is that because these little ones fit in my scanner they can be printed huge while I can't even get a good enough photo of the large ones to have them print at real size. And yes, the moleskines are a good place to let it all out - I think that's why I like them so much.
Paul Ulrich commented on March 17, 2012 10:57am
I know exactly what you mean, Heather. Some food for thought-- if you have a mega walmart nearby ( i know, walmart... but bear with me), some of them have those "professional" photostudios. You could easily get a well-lit reference photo of your large-scale works on the cheap. You just need to let them know the work has to be shot with even lighting and maybe request they shoot in RAW format if they have a digital setup (most do, these days). It's more money than free, but less money than a $6,000 camera body and lens, studio lights, polarizing filters and computer workstation.
There's also the possibility of getting some materials on the cheap. A couple of halogen lights, some jury-rigged stands made on the cheap from Home Depot parts, some polarizing gel sheet filters ordered online, and a friend with the best camera amongst friends with cameras, and a camera tripod. a remote for the shutter control for bonus points. Again, shoot with the highest image setting possible or, if possible, RAW format. The goal is to mount the work in question completely flat and vertically. Then, set up your lights equidistant on either side of the image, making sure they evenly hit the image. The gel filters should be placed in front of the lights, to reduce glare in the digital photo ( i forgot to mention this, but for maximum glare reduction, there should be a filter on the camera lens as well). The Camera should be set up so that it is exactly at the center of the image, and far enough back that the image fits in the photo without any need for zooming in. If the camera has a histogram readout, rely on this rather than the digital viewfinder. there should be an even distribution on the histogram, with no blowouts on either of the ends of the histogram. Well, that was a long-winded comment to be sure, and I know you can find detailed instructions online with photo examples, but that's the crash course. Hope this helps!
Heather Goodwind commented on March 17, 2012 6:13pm
Wow, Paul, thanks! I am going to copy and paste your advice into one of my files to read again later when I get back to somewhere where all those things exist. Right now I'm in the middle of nowhere (literally, on a dirt road in a small town in Argentina) and I think I'm better off just waiting to even try for print files of the larger works. The Wallmart idea is really interesting too, I never would have thought of going to a portrait studio to have shots taken of artwork - I will definitely check it out. :)
agnes Trachet commented on March 25, 2012 11:35am
love!!!
David Finley commented on April 2, 2012 8:07pm
This is fantastic. There's such weight in the piece. It all just works really really well. Impressive work!
Heather Goodwind commented on April 2, 2012 8:51pm
:) Thanks Agnes and David!
Bryan Keith Lanier commented on April 12, 2012 12:04pm
I love your minimal, organic style, Heather...feels very spontaneous(which is great). Very strong piece here :)
Deleted commented on November 1, 2013 10:41pm
Lovely.
Tyler Spangler commented on February 19, 2014 2:22am
So cool!!!