Through her work, she hopes people can see, touch, and feel colors, using their senses. “The overflowing effects of colors in space will show that colors can give more than a space, but a space with additional layers of human emotion,” she explains.

Moureaux’s use of color is unique, treating colors as three-dimensional elements, much like layers, that create and divide spaces, rather than finishing touches applied on surfaces later on.

Her unique approach was inspired by a week-long trip she made to Tokyo as an architectural student, which according to her gave her “the passion for colors.” “It was the flow of staggering colors pervading the street that built a complex depth and density, creating three-dimensional layers in the city of Tokyo,” she writes. “I felt a lot of emotions seeing all these colors, and in that very moment, I decided to move to this city.”

Now based in Tokyo, Moureaux’s architectural designs are based on the layers and colors of Tokyo that provide a complex depth and density, as well as the Japanese traditional spatial elements like sliding screens. She calls this approach “shikiri,” a word that literally means “to divide space using colors.”

The post This Architecture Has a Passion for Color appeared first on TettyBetty.

But of course, his detailed illustrations are much more than architectural exaggeration. Made using only a pen, his canvases vary between paper, wood, and metal, with his techniques acquired through trial and error. The result is a fascinating exploration of the many ways space is organized. Sometimes disorienting, other times claustrophobic, his art invites you to step inside his endless maze.

Originally from Portugal, and now based in Barcelona, Mourão’s clients include Apple, The New Yorker, and The Washington Post. “Probably the hardest thing to figure out for me was to learn to deal with mistakes,” he says. “Being a perfectionist is a curse in disguise because it’s very easy to get lost in an endless loop of do-undo and never get to the end of a piece. That’s why I decide to work on a medium where I can’t erase or undo. With pen and paper, there’s no backdoor.”

It also means he has to be 100 percent focused when working on his illustrations. Take a look for yourself.

The post Distort, Exaggerate, and Repeat: Vasco Mourão’s Architectural Experiments appeared first on TettyBetty.

As such, her artworks portray buildings and interiors that seemingly defy gravity – a world in which the ceiling is actually the floor and vice versa. “I want the viewers to recognize what they are seeing, but to see it in a very different, unstructured, broken way,” relayed Vidal Agulló in an interview with Hi-Fructose Magazine.

“With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways,” she went on to explain. “Playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us.”

These everyday objects and interiors are drawn in a realistic fashion, so as to make them recognizable. In this, supposedly realistic space, the viewer can recognize the paradoxes that prevail are day to day existence. “The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams,” she adds.

Peek inside.

The post Cinta Vidal Agulló’s Artwork is Seemingly Realistic – Until You Step Inside appeared first on TettyBetty.

But like all good things, it took Jadhav some time to establish a coherent style and artistic voice. After years of playing around with different aesthetics, she says that she found a passion for creating surreal digital spaces.

“When I am creating an illustration in 3D, I start by collecting a lot of real-life references,” she relayed in an interview with Ballpitmag. Inspired by photography, architecture, modern art and textiles, she’s also a fan of artists like Constantin Brâncuși, Peter Tarka and Cabeza Patata.

“Once I visualize it in my head, I go straight to 3D and build basic shapes,” she explained. “I spend a good amount of time on creating compositions with those basic shapes.” According to Jadhav, composition is key. “At this stage, I prefer lighting my scene as it helps me in composing and see how shapes react to light,” she adds. “Then I get into adding details to those 3D shapes, play with materials and render to bring my imagination to life.”

Here are some highlights from her Instagram page.

The post The Key to Sonal Jadhav’s Digital Art is Composition appeared first on TettyBetty.

Inspired by built form, as well as nature, his art is cerates as a way for Tulay to investigate the ambiguity of space. Coming from a background in architecture, this ambiguity intrigues him greatly. “As an architect, I meticulously create drawings to reveal and describe a building’s design and construction,” he writes on his website. “In my art studio, I am able to break from all these conventions and push the gravitational and spatial boundaries of these spaces I imagine.”

Light, or what looks like atmosphere or fog, is engaged in either defining space or dematerializing the landscape or architectural elements depicted in his artwork. This treatment of light, combined with an unclear relationship of the viewer’s place in relation to the ground plane, creates a spatial disconnect with an ambiguity of depth and motion.

Take a closer look.

The post The Ambiguity of Space: Scott Tulay’s Unsettling Drawings appeared first on TettyBetty.

“I see in wire mesh poetics the depiction of a mental projection or, when related to history, the representation of what used to exist but is no longer there,” Tresoldi told Designboom. “Through transparency, I’m also able to keep a direct link with the environment and to establish a new kind of immersive experience for visitors.”

One of his more remarkable installations includes a restoration of the Basilica paleocristiana of Siponto. With this installation, he reimagined the architectural remains of the 13th-century chapel. The result is a unique convergence between contemporary art and archaeology.

“I deeply feel the charm of places and I recognize their expressive potential,” says Tresoldi. “My main interest is the relationship between the different elements of the landscape and how contemporary languages dialogue with each other, building its emotional structure”

Step inside his ghost-like structures.

The post Edoardo Tresoldi’s Absent Structures are Nothing Short of Incredible appeared first on TettyBetty.

Now based in Australia, her work itself revolves around paper, using sometimes a large sheet of paper which she layers inwards, and other times a tiny piece of paper which she works outwards. But most often than not it’s a combination of both – inwards and outwards layering – depending on what the design needs. This technique is sometimes regarded by Cheng as “paper weaving”.

“I often regard the style as a topographic technique, as they really do resemble the natural layers of our environment,” she explained in an interview with Strictly Paper. “The idea of layering became more apparent when I started to draw with my penknife,” she added. This process includes cutting and layering one layer after another, “no drawn plans, no guide, just the knife, paper, and glue.”

Enjoy her work in the gallery below.

The post Jacky Cheng is at a Crossroads Between Paper Art and Paper Architecture appeared first on TettyBetty.

“We developed a simple method we learned at the university in a course called Basic Design,” they told This Is Colossal. “The first and only law is to maintain the minimum number of lines necessary so that the building can still be identified. Once the lines in the design could no longer be erased, we reached the destination.”

They’re currently raising funds for this project on Indiegogo, where you can preorder your favorite design and support them. Until now, they gathered more than 10 times the amount they wanted and the orders just keep coming. If you’re a fellow architecture lover or know one, you know where the next gift is coming from.

The post Husband and Wife Create Enamel Pins Inspired by Architecture appeared first on TettyBetty.

Origianlly trained to be a graphic designer, it was Herem’s first illustrated book Know Your Rodent, that drove him to further develop his skill. Now working full time as a freelance illustrator, his creations are followed by thousands of fans on Instagram.

“I always wanted to be on the illustration side of things rather than the design side,” he told Uncube Magazine. “I’m very interested in the aesthetic aspect of architecture and I find that graphic design allows me to learn about this through the construction of images of buildings. In this way I learn about the history of buildings too.”

“Drawing a building brick by brick allows me to understand its structure and composition much better,” he went on to explain. “The tiniest details are uncovered and the personality of the building itself is also revealed through this process, which is a very lengthy and slow one. During this, I tend to let my mind roam free and often imagine a building’s construction process, trying to picture how many people worked on it, how long it took, the different type of skills they must have had – and then try to produce a drawing in respect to these thoughts.”

Take a closer look.

The post Thibaud Herem Draws Buildings Brick by Brick appeared first on TettyBetty.

The crooked house is actually an entrance to a building where you can find  a few restaurants and clubs. Needless to say, it’s a tourist attraction and you should check it out if you’re nearby.

The post The Crooked Little House in Poland appeared first on TettyBetty.

Through her work, she hopes people can see, touch, and feel colors, using their senses. “The overflowing effects of colors in space will show that colors can give more than a space, but a space with additional layers of human emotion,” she explains.

Moureaux’s use of color is unique, treating colors as three-dimensional elements, much like layers, that create and divide spaces, rather than finishing touches applied on surfaces later on.

Her unique approach was inspired by a week-long trip she made to Tokyo as an architectural student, which according to her gave her “the passion for colors.” “It was the flow of staggering colors pervading the street that built a complex depth and density, creating three-dimensional layers in the city of Tokyo,” she writes. “I felt a lot of emotions seeing all these colors, and in that very moment, I decided to move to this city.”

Now based in Tokyo, Moureaux’s architectural designs are based on the layers and colors of Tokyo that provide a complex depth and density, as well as the Japanese traditional spatial elements like sliding screens. She calls this approach “shikiri,” a word that literally means “to divide space using colors.”

The post This Architecture Has a Passion for Color appeared first on TettyBetty.

But of course, his detailed illustrations are much more than architectural exaggeration. Made using only a pen, his canvases vary between paper, wood, and metal, with his techniques acquired through trial and error. The result is a fascinating exploration of the many ways space is organized. Sometimes disorienting, other times claustrophobic, his art invites you to step inside his endless maze.

Originally from Portugal, and now based in Barcelona, Mourão’s clients include Apple, The New Yorker, and The Washington Post. “Probably the hardest thing to figure out for me was to learn to deal with mistakes,” he says. “Being a perfectionist is a curse in disguise because it’s very easy to get lost in an endless loop of do-undo and never get to the end of a piece. That’s why I decide to work on a medium where I can’t erase or undo. With pen and paper, there’s no backdoor.”

It also means he has to be 100 percent focused when working on his illustrations. Take a look for yourself.

The post Distort, Exaggerate, and Repeat: Vasco Mourão’s Architectural Experiments appeared first on TettyBetty.

As such, her artworks portray buildings and interiors that seemingly defy gravity – a world in which the ceiling is actually the floor and vice versa. “I want the viewers to recognize what they are seeing, but to see it in a very different, unstructured, broken way,” relayed Vidal Agulló in an interview with Hi-Fructose Magazine.

“With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways,” she went on to explain. “Playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us.”

These everyday objects and interiors are drawn in a realistic fashion, so as to make them recognizable. In this, supposedly realistic space, the viewer can recognize the paradoxes that prevail are day to day existence. “The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams,” she adds.

Peek inside.

The post Cinta Vidal Agulló’s Artwork is Seemingly Realistic – Until You Step Inside appeared first on TettyBetty.

But like all good things, it took Jadhav some time to establish a coherent style and artistic voice. After years of playing around with different aesthetics, she says that she found a passion for creating surreal digital spaces.

“When I am creating an illustration in 3D, I start by collecting a lot of real-life references,” she relayed in an interview with Ballpitmag. Inspired by photography, architecture, modern art and textiles, she’s also a fan of artists like Constantin Brâncuși, Peter Tarka and Cabeza Patata.

“Once I visualize it in my head, I go straight to 3D and build basic shapes,” she explained. “I spend a good amount of time on creating compositions with those basic shapes.” According to Jadhav, composition is key. “At this stage, I prefer lighting my scene as it helps me in composing and see how shapes react to light,” she adds. “Then I get into adding details to those 3D shapes, play with materials and render to bring my imagination to life.”

Here are some highlights from her Instagram page.

The post The Key to Sonal Jadhav’s Digital Art is Composition appeared first on TettyBetty.

Inspired by built form, as well as nature, his art is cerates as a way for Tulay to investigate the ambiguity of space. Coming from a background in architecture, this ambiguity intrigues him greatly. “As an architect, I meticulously create drawings to reveal and describe a building’s design and construction,” he writes on his website. “In my art studio, I am able to break from all these conventions and push the gravitational and spatial boundaries of these spaces I imagine.”

Light, or what looks like atmosphere or fog, is engaged in either defining space or dematerializing the landscape or architectural elements depicted in his artwork. This treatment of light, combined with an unclear relationship of the viewer’s place in relation to the ground plane, creates a spatial disconnect with an ambiguity of depth and motion.

Take a closer look.

The post The Ambiguity of Space: Scott Tulay’s Unsettling Drawings appeared first on TettyBetty.

“I see in wire mesh poetics the depiction of a mental projection or, when related to history, the representation of what used to exist but is no longer there,” Tresoldi told Designboom. “Through transparency, I’m also able to keep a direct link with the environment and to establish a new kind of immersive experience for visitors.”

One of his more remarkable installations includes a restoration of the Basilica paleocristiana of Siponto. With this installation, he reimagined the architectural remains of the 13th-century chapel. The result is a unique convergence between contemporary art and archaeology.

“I deeply feel the charm of places and I recognize their expressive potential,” says Tresoldi. “My main interest is the relationship between the different elements of the landscape and how contemporary languages dialogue with each other, building its emotional structure”

Step inside his ghost-like structures.

The post Edoardo Tresoldi’s Absent Structures are Nothing Short of Incredible appeared first on TettyBetty.

Now based in Australia, her work itself revolves around paper, using sometimes a large sheet of paper which she layers inwards, and other times a tiny piece of paper which she works outwards. But most often than not it’s a combination of both – inwards and outwards layering – depending on what the design needs. This technique is sometimes regarded by Cheng as “paper weaving”.

“I often regard the style as a topographic technique, as they really do resemble the natural layers of our environment,” she explained in an interview with Strictly Paper. “The idea of layering became more apparent when I started to draw with my penknife,” she added. This process includes cutting and layering one layer after another, “no drawn plans, no guide, just the knife, paper, and glue.”

Enjoy her work in the gallery below.

The post Jacky Cheng is at a Crossroads Between Paper Art and Paper Architecture appeared first on TettyBetty.

“We developed a simple method we learned at the university in a course called Basic Design,” they told This Is Colossal. “The first and only law is to maintain the minimum number of lines necessary so that the building can still be identified. Once the lines in the design could no longer be erased, we reached the destination.”

They’re currently raising funds for this project on Indiegogo, where you can preorder your favorite design and support them. Until now, they gathered more than 10 times the amount they wanted and the orders just keep coming. If you’re a fellow architecture lover or know one, you know where the next gift is coming from.

The post Husband and Wife Create Enamel Pins Inspired by Architecture appeared first on TettyBetty.

Origianlly trained to be a graphic designer, it was Herem’s first illustrated book Know Your Rodent, that drove him to further develop his skill. Now working full time as a freelance illustrator, his creations are followed by thousands of fans on Instagram.

“I always wanted to be on the illustration side of things rather than the design side,” he told Uncube Magazine. “I’m very interested in the aesthetic aspect of architecture and I find that graphic design allows me to learn about this through the construction of images of buildings. In this way I learn about the history of buildings too.”

“Drawing a building brick by brick allows me to understand its structure and composition much better,” he went on to explain. “The tiniest details are uncovered and the personality of the building itself is also revealed through this process, which is a very lengthy and slow one. During this, I tend to let my mind roam free and often imagine a building’s construction process, trying to picture how many people worked on it, how long it took, the different type of skills they must have had – and then try to produce a drawing in respect to these thoughts.”

Take a closer look.

The post Thibaud Herem Draws Buildings Brick by Brick appeared first on TettyBetty.

The crooked house is actually an entrance to a building where you can find  a few restaurants and clubs. Needless to say, it’s a tourist attraction and you should check it out if you’re nearby.

The post The Crooked Little House in Poland appeared first on TettyBetty.