Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
Oscar Wilde

1.
Pharaboz Charles
www.glossom.com/pharabozcharles
www.pharabozcharles.fr

2.
Ruben Ireland
www.glossom.com/rubenireland
rubenireland.co.uk

3.
Filippo Rieder
www.glossom.com/filipporieder
www.behance.net/rieder

4.
Taylor Wessling
www.glossom.com/taylorwessling
www.taylorwessling.com/

5.
Fragiskos Lemonis
www.glossom.com/fragiskoslemonis

6.
Vivienne Strauss
www.glossom.com/viviennestrauss
www.vivienneart.blogspot.it

7.
Malwina Adaszek
www.glossom.com/madaszek
www.madaszek.com

8.
Luca Laurenti
www.glossom.com/mklane
www.mklane.com

9.
Cilla Moerman
www.glossom.com/cilla

10.
tête de caboche -
www.glossom.com/tete-de-caboche
tetedecaboche.blogspot.it/

11.
ninhol lima
www.glossom.com/ninhol
ninhol.com

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Thinking about how much richer Romney is than anyone we have seen in politics, I decided to play with the portrait as infographic.  The result, in collaboration with Mary Parsons and the editors of The American Prospect, is the double page spread in the current issue, dissected below. What we see is a remarkable man: loaded with enough money to get what he wants, but blinded by it from clearly seeing the difference between his country and his country club.

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Drawger | How Rich is Mitt?
This is a selected news. Every week we select the best articles about creative fields. You can see the original source here

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Sketches by the Glaswegian comic will be exhibited at Newcastle’s Castle Galleries ahead of their sale later this month.

The Born On A Rainy Day collection, is an insight into the “Big Yin’s” inner consciousness and the first time his work has been shown in public.

The ink drawings reveal the Bafta-nominated star’s lively imagination and will be on show at the gallery inside Monument Mall, Blackett Street and pieces will also be for sale.

The Bafta-nominated actor began drawing for pleasure after a rainy-day visit to an art shop in Canada in 2007.

The 69-year-old started his stage career as a musician and eventually took main parts in the box office hits, Mrs Brown and The Last Samurai.

“Art, for me, bears no relation to comedy or music,” he said. “My art is pure and unjudged, I am creating it for myself. It is personal and private whereas with a film, comedy show or music you expect people to be critiquing, watching and assessing. Art is different, it liberates you.”

Copies of the prints will be available for sale but each will be a limited edition print of 95.

Individual prints cost £395 unframed or £625 framed. Alternatively collectors can buy the set of six for £2,250 unframed or £3,500 framed.

Sarah Manghan, manager at Castle Galleries, said: “There is nothing contrived or intended about Billy Connolly’s work. It is creativity in its purest form.

“It has come from a place inside Connolly that is not concerned with an audience or showmanship.

“His unique characters are faceless and completely anonymous, seemingly devoid of emotion or expression and yet we see the emotional connection with the audience is quite prevalent.

“We feel honoured to be able to work alongside Billy to publish and exhibit this stunning and inspirational collection.”

—
ChronicleLive | Newcastle debut for Billy Connolly’s works of art by Rachel Wearmouth
This is a selected news. Every week we select the best articles about creative fields. You can see the original source here
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[...] Mr. Johnson is a UK-based designer/illustrator whose work spans editorial, print, motion, and his own self-initiated projects. He has designed for Mastercard, Giant Robot, Vodafone and Stussy, to name a few. In the interview, Adrian talks about his background, inspirations, creative process, and of course, zeitgeist.

A lot of work nowadays is stylish, and fun, and cool, but can ultimately become irrelevant due to poorly executed ideas, or lack of decent concepts. I see Adrian’s work as a nice balance between kick-butt graphics and style, and smart ideas that get through to people.

1. Where are you from originally?
Originally I’m from Liverpool. I moved to London to go to art college and have been in or around London ever since (14 years I believe). A couple of years ago we moved out to the countryside (well nearly- there are cows and sheep and stuff like that) and since then I’ve commuted into the Smoke every day on the train with all the suits.

2. How did you become interested in graphic design?
I’ve always been interested in design- that’s another way of saying I can’t count or spell, and I went off the idea of being in the SAS around about puberty.

3. Did you attend a design school?
Yeah, I studied Illustration at Kingston University. It was / is a great art college affiliated to a not-so-great former polytechnic on the outskirts of London. It was a pretty hardcore degree- lots of intensive life / location drawing which is perhaps considered quite old fashioned these days.

4. What was your first design job?
It was a children’s book called ‘What! Cried Granny’ in 1997. It was all hand painted (badly- I’ve never been that good with paint), and is still in print today. It’s page after page of cringe-inducing nausea…

5. What are your biggest design influences? What current designers do you admire?
It’s funny, as influences go they’re pretty obvious, especially in the context of this website. When I was at college I was really into Paul Rand, Saul Bass, Saul Steinberg… the usual suspects. I’m obviously into 50s and 60s design in general, and in turn, people keep on bombarding me with more great stuff from the era. A year or two ago a graphic artist friend of mine, JAKe, sent me a link to Ryohei Yanigahara- that was a bit spooky to say the least as I’d never seen his (amazing) work before, and there were obvious similarities. With the internet (Grain Edit in particular!) you have access to so much inspirational design. I’d have never come across the likes of Charley Harper, Jim Flora, or Miroslav Sasek without it… When I was at art college you just didn’t have so much at your fingertips… which might have been a good thing in retrospect. The thing is, I’ve always striven not to reference any existing work, full stop… I consider myself more conceptually driven / inspired, with the idea leading the way, as opposed to being more stylistically led.

Of the current crop of designers, you can’t help but doff your cap in the direction of Geoff McFetridge. He’s mighty.

6. What is the typical adrian johnson work day look like?
I’m certainly no early riser, although that will change soon with the imminent arrival of our first child. I tend to rock into the studio for around 10.30am, but once I’m locked into the hot seat, that’s me scribbling until it’s time to eat a cheese sandwich. Then I work some more until it’s time to go home to eat something more substantial.

7. How would you describe your creative process?
It wholly depends on what I’m working on. Obviously if I’m working on an editorial feature I’d sit down with the copy, a coffee, and a highlighter pen. Then I’d knock out a few thumbnails in sketchbooks or on random sheets of paper. In fact, too much of my work begins on random sheets of paper that in turn somehow evaporate into the ether, thus leaving me scratching my head thinking ‘why didn’t I just work in the sketchbook’. oh, it’s crazy around here…

As for self-initiated stuff, a lot of my ideas come whilst I’m on the train on the way to or from the studio, and quite often totally random and inappropriate places….

I’m also really into daft puns and word play, actually, words in general, so reading the newspaper or a book often sparks something off.

Top: Cover image for Monocle about gold production. Bottom: Samurai image for the ‘Insiders, Outsiders, and The Middle’ show at Scion Installation L.A, curated by Giant Robot.

8. Where do you draw inspiration from?
I honestly don’t know. Sometimes I leave inspiration at home- probably in the bath or watching TV.

9. How do you pair a concept with your distinct style?
This is the crux of what I do / aspire to do. I like to take on a strong concept- perhaps quite a serious one, and juxtapose it with something perhaps a little bit daft, charming or puerile. That is always the challenge I set myself- imagine as being tickled under the chin then a taking frying pan to the face… with a comedy ‘gong’ sound reverberating in your eardrums shortly after.

10. How do you know when a project or illustration is finished?
When there’s no more time or money left, or I decide that I think what I’ve done is so unbelievably shit that nothing I can do can rescue it.

I have this curse, even when I’m happy with the artwork and call it a day, I think it’s shit the day after.

Top: Ad for Vodafone. Bottom: Artwork for PartOfIt.org

11. You are currently in a show curated by Giant Robot in Los Angeles. How much of your work is personal vs. commercial? Do you prefer one or the other?
I honestly believe there has to be a balance. I’ve found that in the past taking a brief sabbatical from commercial work has been hugely beneficial from a creative perspective. Commercially It’s easy to be pigeon-holed (as an illustrator)- as a result you end up producing a whole load of work that’s more or less the same- formulaic (especially in editorial). It’s all about integrity as an artist isn’t it? Integrity weighs heavily on my shoulders on a dally basis, but at the end of the day you’ve got to earn a living. The two (integrity and commercial work) rarely co-exist (in my case). Nothing would please me more than to produce self-initialted work on a full time basis and get paid to do it- that’s a bit of a Holy Grail as far as I’m concerned. The reality is though at this moment in time I’m doing mostly commercial work and try to find the time to do personal work whenever I can- not the other way around. Sorry if this seems like I’m rambling, but it’s really quite an issue for me… I’ve worked on quite a few advertising campaigns in the last 18 months where very often you’re just a ‘wrist’… You’re commissioned more or less just for what you do from an aesthetic perspective. This is often unbelievably frustrating as quite often the work I’ve produced that has the biggest audience is the work where I’ve had the least creative input. There’s also a fair degree of ‘turd polishing’ if you get my gist. Commercial work is often all about compromise, but that’s the nature of the beast isn’t it? At the end of the day you’ve got to like what you do… I get a much greater sense of satisfaction / fulfillment from personal work.

Anyway, I digress. The Giant Robot show was a lot of fun. No brief, you just go ahead and produce some artwork, which was obviously liberating. Whilst working on the stuff for the show I had a little epiphany where I realized that I tend to put too much pressure to be clever, informative, or conceptual. I decided I wanted to draw a samurai, because- well, just because, and samurais are cool aren’t they? It sold almost as soon as the doors opened strangely enough…

One last thing on the subject though. Whenever I’ve taken time away from commercial work I really miss it, and it’s exactly the same vice versa. I’m so hard to please… I know, it’s my thing, deal with it etc.

Top: Various Illustration. Bottom: Illustration for 2K By Gingham

12. A lot of your work has that entertain and inform aspect to it. Can you elaborate on how you’re able to make those necessary connections, and come out with a cool piece?

I think the ‘entertain and inform’ aspect as you put it perfectly illustrates what’s at the core of what I do. I’ve found that I couldn’t really get across what I wanted to say with image alone. The interaction of image and text and the whole aesthetic of text and image in harmony is something I’ve been into since I was a student- inspired by graphic design.

13. Can you offer any advice for newer designers struggling with the concept vs. style problem?
I think a lot of students think that it’s all about having a recognizable style- you know, like being a ‘brand’. I get the impression over the last few years (in the UK in particular) that many illustration students / graduates are directly influenced by contemporary illustration / illustrators. It’s all about zeitgeist. It’s understandable I suppose- you just surf the net, see some great websites and there’s your inspiration. Because the internet hadn’t really taken off at the beginning of my career my work was more influenced by the music I was listening to, the books I was reading, or the films I was watching.
Whenever I’m teaching (which is not that often these days) I find myself saying the same thing. Ideas never go out of fashion. Style does.

Top: T-shirt design for Stussy. Bottom: Illustration for the children’s book, “Gently Elephant!”

14. Any current projects you can talk about?
Yeah, I’m working on another animated TV advertisement with Nexus Productions (who I worked with on the animations for Robinsons and MasterCard) for an ad agency in San Francisco. It’s exciting as unusually for this sort of thing it’s my original concept, script, and design. When that’s finished I’m slowing things down for a couple of months once the baby’s born. That’ll be quite a project…

We would like to thank Adrian for taking the time to share with us. You can see the rest of his work, and keep up-to-date with his shows and happenings on his website. Adrian is represented by CIA, Boutique / Bernstein & Andriulli (USA), and Tiphaine (France).

You can purchase original prints, posters, and t-shirts from Adrian at his shop.

—
grain edit | Adrian Johnson interview
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What is your specialty in illustration?
I’m primarily focused on editorial illustration, but I am also interested in comic book/graphic novel work and little exhibitions here and there.

Is there a web address where we can see some of your work?
richiepope.com
richiepope.blogspot.com
studentsofhiphop.com (under the “art gallery” section)

Have you completed formal art studies, or are you self-taught?
I am actually about to recieve a BA in Communication Arts at Virginia Commonwealth University. Before that, other than my AMAZING high school art teacher, Brian Kershasky, I never had any formal art-training. I just drew what I liked…and liked what I drew.

What past or present day illustrators do you admire most?
Sterling Hundley and Tin Salamunic, two of my former instructors and mentors, are both huge inspirations to me. Jim Mahfood, aka Food One, has a really amazing improvised street sensibility in his work that I like. Frank Stockton and Tomer Hanuka have a really clean digital flat coloring to their pieces. Gustav Klimit and Egon Schiele are both masters at distortion and composing things into interesting shapes. All of these illustrators, including so many more that would take too much time to name, I admire a lot.

How similar are your current drawings to those you did as a child?
I’d have to say that technically they’re much better from when I was a kid. I will say that the same energy and sense of fun in my linework is still there and will hopefully stay that way for a long time.

What was your favorite comic book as a child?
Batman. Batman. Batman. Batman and Batman. I still love it to this day. I could sit down and have a philosphical discussion about him any day.

What type of music do you listen to while you work?
I listen to everything from rock, to pop, to hip hop, to folk. I may switch from Kanye West to Animal Collective to Radiohead in one sitting. I love all good music.

What new techniques have you been experimenting with lately?
I’ve been really interested in adding collage elemtents to my work. Cutting up my drawings, painting shapes of color over them, then adding more cut-ups on top has really been fun and I think I’ll continue doing it.

What part of your work do you do on paper and what part digitally?
For most of my past work, I do an ink drawing on board, sketchbook or regular xerox paper. I then scan that in, with whatever other texture I’ll use for it, then do most of the coloring digitally.

What research do you do for your illustrations?
I do all kinds of research. I look online. I look at books. I look at old artists. I look at new artists. I even listen to music or watch a movie. Anything can be inspiration really.

Do you have any specific goals as an illustrator?
One of my goals is to get pieces into every major illustration competition in America. Winning a medal or two would also be pretty amazing. My second goal is to have my illustrations in magazines all across the world, maybe even the internet if that’s where editorial illustration spreads to. My real ultimate goal is just to be happy, making a living doing what I love to do, and that is to illustrate.

What advice do you have for someone who likes to draw and would like to make a living from it?
Keep drawing. Draw everything. Draw everyday. If you love to draw, don’t let anyboy tell you not to. If somebody tells you that you won’t make it, show them you will. If somebody tells you that you can’t draw, show them you can. If you want to get better, just keep drawing and learning. Look up different artists. Inform yourself with art history and contemporary art. Whatever you do, just don’t give up. As long as you work hard and believe in your work, you’ll get somewhere.

—
Whohub | Interview with Richie Pope
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What is your preferred working medium for illustration? And, why?
I’m very narrow in personal choices when it comes to medium. I practically do all my Illustrations with ink and watercolors, I used to work with digitalmedias (with 3d programs) and I was becoming fed up with digital.

While your style of illustration can be described as “euro-comic”, any plans to venture into illustrating for action hero comics?
No I don’t think I have the nack of that (it’s a field were there is so much talent anyway), I was brought up with European traditions and I think I’m to old to re-learn.

Share with us one interesting fact about the industry of illustration that most people won’t know of.
You mean a sordid secret along the lines of “it’s not all parties and jetset living”? One interesting fact that I’ve found out that very few customers are in cronic shortage of money regardless where located.

Do you doodle and sketch with your two children, and at the same time share your creativity with them?
Unfortunately not anymore, we used to though. But as they grow older they’ve found their own favourites. My oldest child is heavily into manga.

So, what do you have planned for the coming months?
I’m currently working on a book for a Swedish publisher, and I might do another book with them when that is finished. Ultimately, I hope to get a grant so I can finish some of my own projects I’ve been working on.

Meanwhile, I’m sure everyone would love to see your current working space. How about showing it to us?

Nice chatting with you Mattias! Before we end, if you had a Taxi that could take you anywhere, where would you like to go at this very moment?
I’d love to go to theVictoria and Albert Museum and see their exhibiton on the Baroque.

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DesignTAXI | Featured Artist Interview – Mattias Adolfsson
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Matthew Richardson worked as an illustrator for many clients in the UK and abroad. He’s represented for illustration work by Heart Illustration Agency in London and New York. He originally studied Graphic Design at Middlesex University, London (BA) and later, Illustration at Central St. Martins, London (PG cert) and Fine Art at UWIC, Cardiff (MA). His inspiration for illustrative work comes from a diversity of out-of-the-way places such as folk art, outsider environments, 1930s studio photography and choice finds in bric-a-brac and secondhand bookshops. As well as working to commission, as eclectic artist, Matthew also exhibits his own work which mixes print, photography, drawing, the moving image, assemblage and various digital media. [1]

Design for the binding

Part 1, chapter 2: ’I decided to go for a swim …
In the water I met Marie Cordona … I had the whole sky in the eyes’

About the book
The Outsider was a shocking assault on traditional mores when first published in 1942. It remains one of the most influential novels of the 20th century; a work of great literary power, in which the physical realities of Meursault’s experiences – the heat, dust and light of Algiers, the coolness of the sea, the longing for a cigarette in prison – contrast with the apparent emptiness of his interior being. Albert Camus was a key philosopher of the 20th century, winning the Nobel Prize in Literature in 1957, with judges citing the ‘clear-sighted earnestness [with which he] illuminates the problems of the human conscience in our times’. [2]

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This is a selected news. Every week we select the best articles about creative fields.

[1] Matthew Richardson | Matthew Richardson as an artist
You can see the original source here.

[2] The Folio Society | The Outsider by Albert Camus illustrated by Matthew Richardson
You can see the original source here.
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Taiwan-based artist Rola Chang, aka Jungshan, moonlights as a freelance illustrator during her off time from her day job as a general office clerk at a technology company. She keeps her creativity flowing and thriving through her emotionally charged ink illustrations.

Drawing inspiration from Chinese and Western styles, Jungshan merges Asian and contemporary techniques to produce her expressive images. The artist works primarily with Chinese ink, accentuating certain aspects with digital pens and brushes in Photoshop. Her strong portraits often feature warriors and samurais in motion, while employing a style similar to calligraphy painting.

Despite her affinity for Japanese culture and customs, Jungshan has never been to the land of the rising sun but is set to pay a visit later this month for the very first time. Perhaps she will find more inspiration from another Asian country that is as rich in tradition as it is modern.

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My Modern Metropolis | Emotionally Charged Ink Illustrations by Pinar
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Indeed it’s a subject that often arouses the interest of artists in visual arts, so that the animal subject is probably in the most used topics along with the human figures and natural landscapes.
In Glossom you can find many illustrators and the animal theme is recurrent and made from time to time with different techniques and styles.
Below we present a selection of 10 Glossom illustrators who have faced this topic and created an interesting work. It’s just a taste, enjoy!

1.
Philip Harris
www.glossom.com/philipharris
www.philipharrisillustration.com
  

2.
Inés Iglesias
www.glossom.com/pintaycolorea
www.pintaycolorea.com
     

3.
Alvaro Tapia
www.glossom.com/alvarotapia
www.alvarotapia.com/index.php?/ilustraciones/animales/
  

4.
Alicja Stankiewicz
www.glossom.com/alicjastankiewicz
www.alicjastankiewicz.com
  

5.
Carla Fuentes (Little isdrawing)
www.glossom.com/littleisdrawing
www.myspace.com/littleisdrawing
 

6.
Heather Goodwind
www.glossom.com/heathergoodwind
www.heathergoodwind.com
 

7.
Charlie Bearman
www.glossom.com/charlie_bearman
www.charliebearman.tumblr.com
  

8.
Karen Gutiérrez
www.glossom.com/littlestthings
www.flickr.com/people/littlestthingss
  

9.
Marco Wagner
www.glossom.com/marcowagner
www.marcowagner.net

10.
Fernando Aldea
www.glossom.com/fernandoaldea
www.fernandoaldea.com/secciones/dibujar
    

In his teens, Ale Siniestro made poster and flyer illustrations for underground punk rock bands from Argentina. At the of age 22 he moved to Berlin, Germany, where the explosion of the 1990s underground art street scene influenced and encouraged him to develop and dig deeper. Street art often associated as a platform for social or political activism, notoriously if not always blurs boundaries. With Sinestro it is no different.

Contemporary culture is his medium as he uses iconographic collage as a primary weapon, superimposing colorful images evoking dreamlike scenes. The succubus surrealist narrative of his work is clear. In which the element of surprise and unexpected juxtapositions are common, if not defining theme throughout his prints and videos. His prints, generally small in scale (no larger than 12x16in in size), often depict an uncomfortable mix-mashed confusion of human figures with animal anatomy and vice-versa. Described as dreamlike, they could only be found in the darkest of fetish nightmares or perhaps on the downward spiral of the brightest acid trips.

In September of last year Siniestro had his first exhibition in the United States in the C.a.v.e. Gallery in Los Angeles, California. Dig for Fire was a group show curated by Kevin Titzer, of art inspired by the 1980s American alternative rock band Pixies. Siniestro exhibited art-work Ed is Dead, a canvas print which had been digitally collaged. Characteristically Ed is Dead is true to Siniestro’s vexatious nature, a colorful contortion of nine human hands manipulated to depict features of a human face.

Where the eye would find the eyes, they are round wide and startled, symptomatic to that of an owl. The mouth is a dark hole surrounded by the eroticism of a single male hand gesture. It speaks of the self-satisfaction of masculine power play. However on closer inspection of the image as collective whole, another hand gesture could be in the foreground, a symbol of anti fascism-the Nazi salute appearing upside down as a nugatory. Given Siniestro history with Berlin and the street art scene, this may not be such a far off assumption. The piece is a colorful mix of suggestive stupor.

Currently living in Barcelona, Spain, the theatrical eccentricity and complacency of Siniestro’s work continuous to attempt to reveal the unconscious and reconcile it with rational life.

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An-Mag.com | Art and Aesthetic Aces: Ale Siniestro Paints a Colourful Mix of Suggestive Stupor by Clare Felicity Reid
This is a selected news. Every week we select the best articles about creative fields. You can see the original source here
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