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Digital Journal of Illustration |

Are you interested in submitting to Brightness?

If you’d like the chance of being published in one of issue , get in touch via this page. Please note that we receive many submissions each day and have limited space in each publication. So show us the work you’re most proud of or the work you specially enjoy creating.

Submission Info

Email your submission to Info@brightnessmag.com with “ART SUBMISSION” in the subject line. • Submit images as JPEGs or GIFs • Submit up to 5 images • Image sizes should be at least 600px wide and no more than 1000px wide

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Join our mailing list if you are an illustrator, artist, curator, art director or just interested in art.

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Digital Journal of Illustration |

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COW 2016

International Design Festival COW: ILLUSTRATION International exhibition-competition - a traditional annual event in the field of illustration and book design in the framework of COW International design festival. Admirable works as a young novice authors and world-renowned illustrators you can see at the exhibition. During the existence ILLUSTRATION geography event increased and covers more than 30 countries. For the exhibition in 2016 were selected works of the participants from Ukraine, Austria, England, Argentina, Brazil, Venezuela, Germany, Israel, Iran, Canada, China, Lithuania, Mexico, Norway, Poland, Portugal, Serbia, Slovenia, USA, Taiwan, Turkey, France. Winners 2016 – it’s Top 10 in two categories: Illustration and Book Design. JURY: Anita Kunz, Canada; Shangning Wang, Usa; Zhijun Wang, China; Francisco Valle, Brazil; Mohammad Afshar, Iran; Lev Kaplan, Germany.

WINNERS OF ILLUSTRATION 2016 Weiwei Jiang, China Yu Jiang, China Fatemeh Khosravian, Iran Oleg Gryshchenko, Kiev, Ukraine Wang Jin Huang, China

Elham Ataeiazar, Iran/United States Maja Veselinovic, Serbia Anson Liaw, Canada Oleg Semak, Dnipro, Ukraine Ehsan Bahmani, Iran

In the category “DESIGN BOOKS” Maria Kristopchuk, Lviv, Ukraine Valeria Lihachova, Lviv, Ukraine Justa Justyna Stefańczyk, Poland Alina Komarova, Anastasia Pustovarova, Nikolay Stepanov, Kiev, Ukraine Hassan Karimzadeh, Iran

Maria Gerasimchuk-Djordjevic, USA Sergey Kochmar, Cherkassy, Ukraine Aelina Arshakyan, Kamenskoe, Ukraine Alina Gorbachenko, Alexandria, Ukraine Anastasia Svyatelik, Podgorodnee, Ukraine

official website www.cow.com.ua

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Digital Journal of Illustration |

Index

Spotlight | 20 Mohammad Barrangi | Iranian artist | Iranian-born - Rasht , 12-04-1988 | Bachelor Degree in graphic

Philosophy Books for Children | 22

It was in the 1970s that Matthew Lipman, a professor at Colombia University, started advocating for teaching pre-middle and high school children how to think philosophically on the basis that children require an understanding of the procedure that leads to knowledge.

The creative space | 28 MAGIC OF Colours | 30 Fereshteh Najafi is a versatile artist who works in a wide range of colors and details. She focuses on her unique style. She is known for her illustrations which have been described as imaginative and evocative.

Thinking inside the box | 38 An advertising storyboard artist needs to think inside the box. All of the important elements that communicate and illustrate what is needed must be craftily composed within that space. To succeed in the field you are forced to be diverse.

around the world | 42 She was born in La Plata, Argentina, in 1976. She studied drawing and painting at the School of Fine Arts at the National University of La Plata.

Brightness gallery | 44 “With so many trees in the city, you could see the spring coming each day until a night of warm wind would bring it suddenly in one morning.

short news | 58

In This Issue of

Brigh |6


creator of silent poetry

D

aria Petrilli was born in 1970 and gradued as illustrator At Istitute European of Design in 1995. She lives and works in Rome as a freelancer in the field of editorial illustration for many years, specifically in the field of illustration for children, public both in Italy and on the international market. Her work has been used in advertising campaigns, books, covers, packaging, illustrations, school, encyclopedic. Wins or is selected in numerous competitions and exhibitions related industry exhibiting in Italy and abroad.

htness 10

Editor In Chief

Creative Director & Graphic Designer

Art Director

Hasmik (Narjes Mohammadi)

Sadegh Amiri

Hasmik (Narjes Mohammadi)

International Contributor

Translator

Sales & Marketing

Ali Ghafele Bashi

Yassin Mohammadi

Brightness Studio info@brightnessmag.com

cover : daria petrilli Special Thanks to Mr.Keyvan Ghafele Bashi

To

a s k q u e s t i o n s a b o u t y o u r s u b s c r i p t i o n , p l e a s e e m a i l u s at: info@brightnessmag.com

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w w w. b r i g h t n e s s m a g . c o m

Š All Rights Are Reserved.

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Digital Journal of Illustration |

Letter From The Editor

I am an

Illustrator Hasmik

(Narjes Mohammadi)

Independent Illustrator

Editor In Chief

As kids only a book’s pictures could engage us enough to flip through the pages for hours at a time. The illustrations were a magical symphony of colors and characters that immersed us into a sweet new world. We drowned ourselves in the exploration of each element in the pictures and enjoyed every moment of it. Many of us even tried to replicate the images we saw, using our youthful and inexperienced pen strokes, without knowing that those images were called illustrations and were the artful work of what is called an illustrator. Illustration is still an unfamiliar art form for not only the general public, but also for gallery owners, professionals, and even visual artists. In many cases the works of an illustrator are thought to be the creations of painters and graphic designers. The problem is further exacerbated by the fact that illustrators are under-compensated for the frames they create, even though each frame requires long hours of painstaking toil to create. Unfortunately, this issue has persisted despite the efforts of many illustrators to be treated more equitably. In order to be able to better tackle the aforementioned challenges and to raise awareness of the artful masterpieces created by illustrators, we have decided to create the company “I am an illustrator.” Our fellow illustrators can also be ambassadors that help the world become better acquainted with the wonderful art of illustration by sharing their artworks in categories such as: advertising, sports, fashion, children, teenagers, the elderly … with the hashtag “Iamanillustrator”.

# iamanillustrator

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Hasmik (Narjes Mohammadi)

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Digital Journal of Illustration |

Daria Petrilli

creator of silent

poetry D

aria Petrilli was born in 1970 and graduated as an illustrator at the Institute European of Design in 1995. She has

lived and worked in Rome as a freelancer in the field of edito-

rial illustration for many years, specifically in the field of illustration for children, which are published both in Italy and the international market. Her work is used in advertising campaigns, books, covers, packaging, schools and encyclopedia. She has won numerous competitions and exhibitions in Italy and abroad.

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Exclusive Interview

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Daria Petrilli

Daria Digital Journal of Illustration |

Petrilli illustrator

My journey into the world of illustration began a long time ago. Ever since I was a child I lost myself in the images of illustrated books and I was completely fascinated. One of my favorites was The Firebird of a Russian edition where the drawings were made with the style of miniatures of Russian lacquer. Even then I appreciated different illustrations, therefore already as a child I always tried to improve myself by practicing drawing, I embarked on an academic art study, which over time have helped me to understand that it was something that I was interested in the most. Having taken a course of classical studies and the fact that I live in a city, Rome, immersed from antiquities and ancient splendor I have always had a passion for the history of art. With a predilection for certain representation and historical periods including one on all the surrealism. When I began this work, I decided to make things more different in various fields that this profession can offer .But I was dissatisfied because I often did things that did not accounted. My most prominent desire has always been to find a personal style that would make me recognized so I began to decline job offers that distracted me from my goal. when my daughter was born, I stayed home to look after her and put aside my commercial work. And because I was home most of the time I found myself spending a lot of time alone with me and my computer. Prior to that I drew and painted especially with the classical techniques especially acrylic, oil, watercolor, pencils, and I used the digital as a compendium. In fact, I favored classic art and was a little against digital techniques. However at some point I have approached me and I started to play with it ... it is the right word, I began to realize that I could convey in a fast and effective manner the ideas that came to me all the time. And I began to compose images like this for they simply pleased me of them without a purpose or aim at something. Thus I created the images with my female subjects where I started to put all my inspirations and visual passions. And things to put in it were many, film quotes, data visual cues from fashion photos, pictorial references, balanced compositions and harmonics and a sense of elegance and composure. The feelings they express are always subdued, because I love to give a sense of emotional withdrawal. These figures could change from a Renaissance setting in a metaphysical space, out of the present time and chase past archetypes. My figures are often accompanied by animals, especially birds . Their eyes fascinated me for that sense of primordial concern emanating. Digital manipulation was the element that allowed me to give it life, mixing, overlapping and by painting my creations have become increasingly personal. My work expresses my most hidden imagination and aspiration. people saw the spread of my work on the web, as if they had life propitiate and from there another story starter, I have been called to illustrate books, covers and other things that finally reflected my imagination.

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Exclusive Interview

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Digital Journal of Illustration |

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Daria Petrilli


Exclusive Interview

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Digital Journal of Illustration |

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Daria Petrilli


Exclusive Interview

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Digital Journal of Illustration |

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Daria Petrilli


Exclusive Interview

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Digital Journal of Illustration |

Spotlight

Spotlight Mohammad Barrangi Iranian artist Mohammad Barrangi fashtami Iranian-born - Rasht , 12-04-1988 Bachelor Degree in graphic The winner Diploma in Belgerad Illustrations Festival 2009 | The winner of the Ukraine Cow Festival in 2015 | Accepted in Turkey Printmaking Festival in 2016 | Accepted in Sharjah Dubai Printmaking Festival in 2016 | Accepted in 3th Nami illustration festival 2017 | Take part in Alice illustrations is (always time for tea) - Europe Tour from 2015 to 2017 | Internal Festivals:Accepted in Fadjr Festival of fourth period in 2012 and eighth in 2016 | Accepted in Student yearbook (the semat publisher) | Cooperation:Cooperation with Shabaviz Publishing. Book illustrations (The cat who wanted to be a tiger) by: Kambiz Kakavand | Buffalo book illustrations | Novel Cover Design ÂŤTemple RahilaÂť,Abdi publisher.Cooperation with Soroush magazine for children in 2009 | Exhibitions:Several Groups Exhibitions in Aria Gallery From 2012 to 2016 | Illustration Groups Exhibition in Mehrva Gallery 2016 | Illustration Groups Exhibition in Koochebagh Gallery 2015 | Printmaking Exhibition in Chav Gallery 2012 | Solo exhibition, children museum of Estonia, 2017_2016Group illustration exhibition with Viive noor, Finland, 2017

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Digital Journal of Illustration |

Article

Ph

Bo

C

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hilosophy

ooks For

Children

Anna Ridley

,,

www.lookbookreport.com

Philosophical picture books that allow children to ask questions and explore a variety of answers are a great way to encourage intellectual inquiry from an early age.

It was in the 1970s that Matthew Lipman, a professor at Colombia University, started advocating for teaching pre-middle and high school children how to think philosophically on the basis that children require an understanding of the procedure that leads to knowledge. At the time, Lipman’s ideas clashed with the theories of educationalists like Jean Piaget, who didn’t think children under 11 or 12 years of age were capable of critical thinking, but soon gained traction

following a trial of over 3,000 children which showed those who took the course saw almost twice as much academic progress as those who didn’t. Lipman’s programme, which is now adopted in schools worldwide and endorsed by the UN, creates a community of inquiry in the classroom that can be applied across multiple disciplines. It establishes a culture in which children are encouraged to ask their own questions, exchange ideas and opinions, explore differences of

opinion, and value the ideas of others, and allows children to take the time to think and reason. As Lipman describes in this interview, ‘In a nonphilosophical conversation, one responds to a question with an answer. But in a philosophical discussion, one often responds to a question by attempting to ascertain the meaning of the question.’ Here’s our selection of recently published picture books that we think promote what Lipman described as ‘excellent thinking’. | 23


Digital Journal of Illustration |

Article

I am Henry Finch Drawing on Descartes’ well-known principle, ‘I think therefore, I am’, Alexis Deacon and Viviane Schwarz’s co-created story follows Henry the finch’s mind-blowing journey as he realises that his thoughts are his own and that through thinking he can become someone he’d never previously imagined. At first, thinking lands Henry directly in the gut of a monster, but by holding strong to his conviction, Henry influences finch history and inspires other finches to imagine a life less ordinary beyond the nest. Schwarz’s use of red, inky fingerprints to create the bodies of every finch is a wonderful reminder of our innate individuality.

The Messy Monster Book Rachel Ortas’ extended adventure with Messy Monster, the star of Okido magazine’s monthly comic, is a rare book in that it weaves moments to stop and think into a hugely imaginative and action-filled story. With the appearance of a rabbit-eared character named Platoo, the plot pauses to ponder big ideas. As Messy Monster and friends jump into a deep, magical puddle, Platoo takes readers aside to consider two love-struck, goggle-eyed fish and the idea that beauty is in the eye of the beholder; and on their journey to the planet of the Dreaming Mountains he encourages readers to contemplate our place in the universe. Taking over two of his own double-page spreads, Platoo makes time in the narrative to ask, ‘Is it lying to tell imaginary stories?’ and later, ‘What do you think makes a good friend?’, leaving plenty of white space around him for the reader’s own hypotheses.

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HugMe For many children, independent thinking will mean thinking differently, perhaps oppositely, to their parents or guardians. Simona Ciraolo’s tender-hearted story about a lonely cactus named Felipe who just wants someone to hug him is a charming and gentle way of anticipating that there will be instances when it is necessary to look outside the family unit for the love or support we need. Ciraolo’s expressive and textural style of cartoon illustrations convey Felipe’s sense of loneliness and the disjuncture from those around him with appropriate sensitivity and humour, and celebrates the sense of belonging one can take from finding others who share similar values.

The Big Question Elephant has a very big question she wants to know the answer to, so a council meeting is called to try and help her answer it. The question is, ‘How do you know when you’re in love?’. Leen van den Berg’s diverse community of animals and humans offer up multiple answers, all of which are correct; the inclusion of an ambitious ant who doesn’t understand the question is key to balancing the range of perspectives presented, and begs the question, ‘What is love?’. The texture and detail in Kaatje Vermeire’s exquisitely etched illustrations accentuate the infinite number of possible experiences of love and distinguishes those that are romantic with a warm and hazy glow. | 25


Digital Journal of Illustration |

Article

The Day No One Was Angry Through a collection of masterfully written short stories, The Day No One Was Angry plays out the many different ways we can respond to life. Rather than preaching ideals, Toon Tellegen’s insightful animal tales illustrated by Marc Boutavant reveal the depth and breadth of human experience, and just how fundamental the freedom is of being able to make our own decisions, regardless of how

illogical our choices may prove to be. When a hippopotamus and a rhinoceros cross paths in an empty forest, they refuse to let each other pass. Rather than step aside for one another, they wait: amiably sharing a pot of grass, and dancing, ‘with feeling’. At the end of the day, the hippo and the rhino respectfully return along their unobstructed ways.

Where Do We Go When We Disappear? Madalena Matoso’s use of a winding road with many forks in this book is a striking visual metaphor for philosophical questioning. Starting with the single question, ‘Where do we go when we disappear?’, Isabel Minhós Martins’ poetic text explores the meaning of disappearance by applying the concept to objects and subjects that are familiar: socks under the couch, rocks on the beach, clouds in the sky and the people we love. What makes this question so daunting is the fact that we don’t categorically know the answer, which is why Martins’ and Matoso’s meandering journey through different possibilities is so wonderfully reassuring.

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The World Belongs to You InThe World Belongs To You, Riccardo Bozzi’s frank advice on the world that awaits young children is expertly paired with Olimpia Zagnoli’s trademark pared-back graphics. But the insights Bozzi has to offer are far from simplistic: balancing the optimism of having the world at our fingertips with the real constraints this

same world presents, Bozzi’s text provokes readers to think about what it means to be free, to think, to be sad, to be happy, to love and to learn. Zagnoli communicates such concepts through a series of easily read symbols and her distinct colour palette suggests the variety of experiences each image might stand for.

P o k a & M i a : F o o tb a l l The author of an entire collection of intently thoughtful books for children, Kitty Crowther’s Poka & Mia series, the first of her impressive back catalogue to be published in English, focuses on the parent/child relationship between two bugs, Poka and Mia. In Football, Crowther poses through her characters the question, ’Is football a game for boys only?’. Mia, a young girl who is dying

to play football, responds with a nonchalant, ‘Yes, but so what?’. Mia nonetheless faces the challenge of fitting into an existing team. Crowther is careful not to victimise Mia and instead sees her building up the skills she needs to become a valued player, while gaining the understanding that gender is of little relevance when it comes to pursuing one’s interests.

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Digital Journal of Illustration |

The Creative Space

e Creativ Space THE

Collective Arts Brewing is a grassroots craft brewer based in Ontario that aims to fuse the creativity of craft beer with the inspired talents of emerging artists, musicians and filmmakers. Matt Johnston and Bob Russell founded Collective Arts Brewing on two beliefs: The first that creativity fosters creativity. And the second, that creativity yields delicious pints. Each of our beers is a work of art. On the inside, we proudly brew some of the most well-crafted beers with the help of our brewmaster, Ryan Morrow. On the outside, we feature limited-edition works of art by artists and musicians that change every few months. Added bonus? Through the augmented reality technology of our partner Blippar, all labels come to life through the free Blippar mobile phone app. Simply scan the label to hear the music, see the videos and view artist bios.

www.collectiveartsbrewing.com

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Digital Journal of Illustration |

Interview

MAGIC OF COLOURS Fereshteh Najafi illustrator

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Exclusive Interview

Fereshteh Najafi is a versatile artist who works in a wide range of colors and details. She focuses on her unique style. She is known for her illustrations which have been described as imaginative and evocative. She was born in Iran in 1974 and has a bachelors in graphic design and masters in illustration from Tehran Art University. Freshteh has illustrated more than 20 books for children with several publishers around the world. She published 3 books which were written and illustrated by her. She has received numerous international awards . Education Bachelor of Arts in Graphic Design, Tehran Art University, Iran Master of Arts in illustration, Tehran Art University, Iran Prizes and Exhibitions 2016 Sharjah Children’s Book Festival, United Arab Emirates Honorable Mention Prize 2015 Bologna Children’s Book Fair, Italy 2014 Bologna Children’s Book Fair, Italy – New Horizons Mention – Bologna Ragazzi Award 2014 Exhibition at the International Youth Library, Castle Blood Castle, Munich, Germany 2013 Sharjah Children’s Book Fair, United Arab Emirates 2012 Bologna Children’s Book Fair, Bologna, Italy 2012 Sharjah Children’s Book Fair, United Arab Emirates 2011 Bib - Biennial of Illustration Bratislava, Slovakia 2011 International Illustration Exhibition, Sarmede, Italy 2011 International Illustration Competition, Cremona, Italy 2011 Illustration Exhibition Alida BOTHMA and Fereshteh NAJAFI, South Africa 2010 International Illustration Competition, Belgrade, Serbia 2010 International Illustration Competition, Cremona, Italy

2009 Colors of Iran, Genova, Italy 2008 Bologna Children’s Book Fair, Bologna, Italy 2008 International Illustration Exhibition, Sarmede, Italy 2008 Fantasmi e Fughe, Mostra Internazionale di Illustrazione, Associazione Culturale Teatrio in Italy 2008 Second Prize, Noma Concours for Picture Book Illustrations, Accu – Asia Pacic Cultural Centre for Unesco, Noma International Book Development Fund, Tokyo, Japan 2007 Bib - Biennial of Illustration Bratislava, Slovakia 2007 Iranian illustrators, Mantova, Italy 2006 Zoroastro, Goa, India 2005 Appreciation board from the 13th press festival, Tehran, Iran 2005 Second prize of the 2th illustration festival of educational books, Tehran, Iran 2005 Appreciation board of the “Elmi-Farhangi” publication, 2005, Tehran, Iran 2005 Appreciation board of the “Roshd publication”, Tehran, Iran 2004 Appreciation board of the 1th illustration festival of educational books, Tehran, Iran 2003 Appreciation board from the 6th press festival of Kanoon, Tehran, Iran 2002 Biennial of Illustration, Tehran, Iran

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Digital Journal of Illustration |

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Interview


Exclusive Interview

T

he magic of colors and mystic world of fantasy and dreams made me become a children›s book illustrator; Potent force that I knew since childhood and is still with me. When I was 8 or 9 years old most of my times passed with painting and making crafts. One of my interests that then it became a problem, was that I made puppets and every day invented a story in my dreams and in the morning, before the class starts, I performed for my classmates. That potent force that brought me to the world of fantasy and dream of my childhood which there I was playing for hours with colors, lines and forms, now after going to college was stronger and more powerful and had more passion for knowledge and creates new experiences for me. After graduating, I did art direction and graphic design of many books and magazines. Enormous workload didn’t let me have enough time to write my stories and illustrate. In 2008 I decided to leave Iran to find new experiences. This was not an easy decision, but something inside me took me to discover new horizons. From this year onward I stopped graphics work and began writing and illustrating my stories. For years I was thinking to a story, a little painter girl who approaches the city of demons with a message of peace and friendship. For years, in this city poet demons didn’t write poems, hunting bird and have rooms full of jailed birds and the ruler of city has a long nose like Pinocchio›s. Although I had already illustrated the book, did new illustrations for the story after going to Italy, and an Italian publisher published the book. This was the beginning of my professional career abroad. My next book was a story about Iranian adage «practice makes perfect filling» and the story of Bahram -e- Goor Kingdom which published in French in 2009. During living in Italy, I worked on many books with publishers from Italy, France, the United Arabic Emirates, South Africa, Lebanon and Brazil. I met many international illustrators. Illustration Exhibitions, especially Bologna Exhibition, and various programs and new books which are published every year, meetings and dialogues, all were very effective in my life and work.

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Digital Journal of Illustration |

Interview

One thing I like, collecting and drying plants in every area and use them in a different way or different concept in my illustrations. At the start of each work new exploratory to achieve harmony with the colors and forms is very interesting to me and affects me. I spend many hours to search and find my characters and I get a lot of ideas for designing spaces from my surroundings, but everything passes from the filter of my look and design style and becomes a new mode of expression. More than being faithful to the text, I like to add more things to my illustrations that are not in the story, but they’re interesting to the reader and would be figured out in the image. When I find my color palette, my characters and sketches are prepared. Everything is very enjoyable like a childish game and well put together with a good energy and acts like a meditation. I believe that I convey my energy with my work and colors to audiences. In 2015, with invitation of Positivo, a Brazilian publisher, I went to Brazil for a workshop in Sao Paulo and the ceremony for the book Pe And The Wide World. There I met international illustrators like Nelson Cruz, Marilda Castanha, Andre Neves, Mauricio Negro, and Rogerio Coehlo. Then in 2016 came to Brazil to collaborate on an illustration project and now I live in Brazil in Curitiba and work with several publishers as well as the development and exchange of cultural projects. This beautiful city in any season is always full of trees with colorful flowers and birds that their song is heard at all hours of the day, and for me is very impressive and inspired a workshop with the theme of the The Conference of the bird which was held in Curitiba and was highly regarded. Years of living in Italy and Brazil has great influence on the formation of my work. Meeting artists and living in new conditions that comes with bittersweet moments have been an important part of my life over these years. Conditions combined with historical and cultural roots of my country lead to create works that today goes to different parts of the world. It is a pleasure and honor for me that I bring children and audience of my work to the world of dreams. Where they can make their dreams become reality.

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Exclusive Interview

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Digital Journal of Illustration |

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Interview


Exclusive Interview

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Interview


Th in king Insi de th e Box

David Reuss | 39


Digital Journal of Illustration |

Interview

An advertising storyboard artist needs to think inside the box. All of the important elements that communicate and illustrate what is needed must be craftily composed within that space. To succeed in the field you are forced to be diverse. You need to be able to draw any object, any person, any animal doing anything, anywhere that can be imagined. You can have style but be careful not to stylize, you can be expressive as long as you are good at expressions, you must interpret but also be adherent. In short being an advertising storyboard artist is a juggling act, but you can›t throw the balls to high and you can›t swing your arms out too wide. You have to draw, compose, communicate and think‌inside the box. Though my work encompasses a large range I have largely focused on storyboards for television commercial work. I create advertising concept art for presentations. The illustrations are presented to clients to communicate the idea before it is actually produced. The work is often detailed and in full color. I also create the artwork for animatics which are essentially simple animated presentations. In addition I do the less detailed often black and white shooting boards that directors utilize when they are filming the actual commercials. I was taught and began my career using traditional materials, pencils, paper, pens, markers rulers, triangles, and templates. The work was either done on the premises for the client or it was hand delivered where the actual original illustrations were used in the presentations. Though I was exposed to and taught how to develop my skills in high school and in college I learned most of my professional skills while working on the job. | 40


I was fortunate enough to get a position in an advertising agency shorty after I graduated from the School of Visual Arts. I began in the studio doing traditional presentation work but soon my drawing skills were noticed and I was given the opportunity to work in the illustration department. It was there that I essentially apprenticed and developed my craft. This included taking classes, practicing every day and attending drawing sessions at the Society of Illustrators. While I was at the agency I typically worked with local people from the area. However it was a British agency and they had locations throughout the world so I also worked with people from other countries. This was a great experience as it exposed me to different professional styles that ranged from extremely polite to quite rude. After I left my staff position at the advertising agency I began working independently with my own business, Black Wolf Studio. Very soon I transitioned from working traditionally to working digitally. This transition affords me to work with clients literally all over the world. I find very little difference with clients from New York City or Los Angeles or even Europe. When it comes to illustration, quality, budget and deadlines seems to be the universal language of all peoples. I believe interacting with people is key to developing a career in illustration. For me there was no better place to do this than at the Society of Illustrators. I first began attending receptions, lectures and drawing sessions at the Society of Illustrators in 1993. I immediately recognized the value of the social aspect of the organization. I was interested in joining and being involved. Eventually I applied and was accepted as a member

in 1999. Soon after in 2004 I was offered to join the board as the Membership Chairman and the executive board in 2006, where I still serve today as the Treasurer. In addition to the honor of serving and participating in the ever progressing development of the Society of Illustrators I am proud to be responsible for the creation of the membership category, Illustrator-S, which allows latitude for younger illustrators to join and be involved with the Society. I am also appreciative that I campaigned ardently to attract and accept comic book illustrators as members and supporters of the Society. I am very fortunate to be busy with many steady clients and I have branched out into working on comic books and even dabbled with a Children’s book. I continue to work on other personal creative endeavors and projects including fine art. Every day I draw, compose, communicate and think‌inside the box. | 41


Digital Journal of Illustration |

Around The World

REBECA LUCIANI She was born in La Plata, Argentina, in 1976. She studied drawing and painting at the School of Fine Arts at the National University of La Plata. 
In 2.000 traveled to Barcelona, where she has directed his creative work through illustration. There she graduated from the Faculty of Fine Arts. In recent years combines illustration, giving workshops with teaching illustration in Barcelona, Sao Paulo, Santiago de Chile and Buenos Aires. Her work is characterized by the intensity of their spaces, charge chromatic with their environments, by the strength of its characters and the warmth they give off their artwork. Her innate vitality combined with a demanding effort to seek communication with the reader and the expression of feelings through text brushes. In 2006 she was awarded in the White Ravens Internationale Jugendbliothek Munic, Germany, for two of his books: “The muntanya of them Ametistes” Ed Barcanova and “Seeking A Mother”, Ed La Galera. In 2008, the illustrated album “The cloud of Martín with text by Javier Sobrino, “ was a finalist in the First International Prize Compostela. In 2011 she was awarded with the Premi Serra d’Or for “The Princess malalta”. Ed Publicacions L’Abadia de Montserrat. Barcelona. In 2012 her illustrated album “Diáfana”, with text by Celso Sisto and edited by Editora Scipione of Sao Paulo, has been awarded with the prize Açorianos for best book of the year. In 2014 her illustrated album “Mishiyu”, with text by Ricardo Alcántara and edited by Editora Combel of Barcelona, has been awarded with the prize Junceda.

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Eva Montari www.evamontanari.com

About «Federico» This is a book about Federico Fellini published by Kite Edizioni in Italy. The text is mine. I am from Rimini and the idea came to me in a simple way. Once I heard that as a child Fellini used to play in a puppet theatre that his mother gave him. His friends came to the show. So I imagined that the puppet Pinocchio came to the show too and meet the child Federico. The two great liar. But who’s telling the through and who’s telling a liar? We won’t know it till the end of the book. About «The Little Tin Soldier», this is the original story of Andersen. The illustrations are realized on acrylic and oil paint. It’s going to be published by Bejing Normal University Publisher but it has free rights for all the rest of the world at the moment.

Kelly Pousette I’ve been creating and drawing all my life, since I was small. I’ve always been drawn to nature, animals and outdoor themes. So it just seems appropriate that the majority of my work is focused on this. Many of my created landscapes are influenced by the beautiful surroundings from where I live. I use a variety of medias - watercolour, gouache, charcoal, pencil crayons, pencil. I didn’t go to school for art, I just kept reading and experimenting, trying out different techniques. I’m not afraid to be unconventional in my approach, mix different paint types, layer, glue and cut holes in my pieces. I believe that there is beauty in both following the rules as well as creating your own. My shadow boxes slowly evolved from my desire to create small beautiful worlds. I love the idea of a small scene, contained in a wooden box. I guess part of it comes from my love of nature, of the natural world, and my desire to show its delicacy and vulnerability. The scenes within shadow boxes are protected forever by the wooden walls of the box, and I wish we could extend that same reverence to our own natural world. I suppose to, they act as an outlet, allowing me to show scenes of peace, tranquility that I hope anyone can relate to and desire. I also love how shadow boxes, with the right display, have naturally developing, beautiful shadows. By making the smallest changes to the arrangement of the pieces in the box, the mood, the light and the scene changes. I usually start with an idea in my mind, and it grows from there. Often the idea comes to me when we (usually my husband and I and our dog) are out hiking, fly fishing or enjoying the outdoors. We live in a beautiful part of British Columbia, Canada, close to nature. I have never been very good at using sketch books, although I’m trying to use them more frequently now. But my idea usually grows in my mind - I develop the scene, the mood, the circumstances, the characters.. And from there I just dive in and start creating all the pieces. Each shadow box takes quite a bit of time to create. I create each piece for the shadow box and then I cut each out, using an X-acto knife. Each piece in the box is individual and all together, the pieces create the scene. The pieces are then stood up and secured in the shadow box. By having individual pieces, beautiful, intricate shadows develop, and mood of the box changes. I like to think that with each passing day, I grow and develop by trying to learn more, and adopt different techniques. I am working on adding more detail, more intricacy and personality to my shadow boxes. It takes practise, lots and lots of practise and hard work. But it is my passion - I wake up thinking of it, and go to sleeping dreaming it. I am in love with the process and I really can’t imagine doing anything else.

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Brightness Gallery

Brightness

Gallery

This section is devoted to the works of some of the best illustrators from all around the world. As with any real gallery , ours too aims to introduce and present those creative and elegant artworks which are created by both of professional and enthusiastic young artists. However, as opposed to the real galleries, this one will not be restricted by physical barriers or geogeraphical borders, which implies that artists could easily connect to a wider range of audience worldwide.

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Spring “With so many trees in the city, you could see the spring coming each day until a night of warm wind would bring it suddenly in one morning. Sometimes the heavy cold rains would beat it back so that it would seem that it would never come and that you were losing a season out of your life. This was the only truly sad time in Paris because it was unnatural. You expected to be sad in the fall. Part of you died each year when the leaves fell from the trees and their branches were bare against the wind and the cold, wintry light. But you knew there would always be the spring, as you knew the river would flow again after it was frozen. When the cold rains kept on and killed the spring, it was as though a young person had died for no reason. In those days, though, the spring always came finally but it was frightening that it had nearly failed.�

Ernest Hemingway A Moveable Feast

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Brightness Gallery

Cara Carmina

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Jesus Cisneros

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Brightness Gallery

Nasim Bahary

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Rabee Baghshani

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Brightness Gallery

Mar Azabel

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Mar Azabel

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Brightness Gallery

Carole HĂŠnaff

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Elena Queralt

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Brightness Gallery

Somaye Alipoor

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Maria Elinal

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Brightness Gallery

Giovanna Ranaldi

Mariacarla Taroni | 56


Alain Verster

Submit Your Illustration to: info@brightnessmag.com | 57


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Short News

Short Short News News Book Illustration Competition

Darya Shnykina

Selected as Winner Darya Shnykina has been announced as the winner of the annual Book Illustration Competition. At an awards show presented by Lucy Worsley it was revealed that Shnykina had been chosen by a panel of judges to illustrate a new edition of Mansfield Park by Jane Austen from The Folio Society. Shnykina is a student of the Moscow State University of Printing Arts. The rest of the shortlist who each receive a ÂŁ500 prize are Natasa Ilincic (Italy), Katie Ponder (UK), Meizhen Xu (Germany), Alexandru Savescu (Romania) and Pedro Silmon (UK).

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It’s time!

Call for the 2017

Cheltenham

Illustration Awards entries is now open!

Last year we had over 1000 entries. Many that weren’t included were still outstanding -we could have made 5 annuals! So please don’t disheartened if you weren’t successful last time. We try to make the awards as diverse as we can. The new poster is Here! Please feel free to save and share it. All info about this year’s awards and how to submit is now updated within this site. Have a read! Thank you.

Blue Peter Book Awards 2017

The winners for the Blue Peter Book Awards 2017 have just been announced! The award for Best Story went to Podkin One Ear by Kieran Larwood and the winner of the Best Book with Facts was Survivors by David Long. The Blue Peter Book Awards, now in their 17th year, aim to guide children towards quality literature, encouraging them to read and establish a love of reading for life. | 59


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Short News


2017 MoCCA Arts Festival

The MoCCA Arts Festival is a 2-day multimedia event, Manhattan’s largest independent comics, cartoon and animation festival, drawing over 7,000 attendees each year. With 400 exhibiting artists displaying their work, awardwinning honorees speaking about their careers and artistic processes and other featured artists conducting workshops, lectures and film screenings, our Festival mission accelerates the advancement of the Society’s broader mission to serve as Manhattan’s singular cultural institution promoting all genres of illustration through exhibitions, programs and art education. Starting in 2017, the Tomie dePaola award will become the SCBWI Narrative Art Award. A rotating panel of judges from the SCBWI Board of Advisors will provide an assignment and will judge the submissions each year. The assignment will require three images, in the format of panels, to show sequence and narrative. The theme and specific assignment will change each year. The prize will continue to be a trip to the SCBWI New York Winter conference, with tuition, travel and hotel included. The winning piece will be displayed during the New York VIP Party and Portfolio Showcase. We will also continue to have an online gallery displaying the submissions to the award for anyone who wants to participate. The first assignment of the Narrative Art Award will be announced in July 2017, submissions will be due in September, and the winner will be announced in November. The winner will attend the SCBWI 2018 Winter Conference. | 61


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Become a volunteer

We Need You! Become a volunteer

We’re looking to recruit volunteers to join our team. ( Brightness ) is an international digital magazine discussing and exploring the field of illustration. We are making an effort to improve the standing of illustration as an independent profession in the world. As another major objective, we feature outstanding and creative contemporary illustration projects in various fields.

So, we are looking for volunteers to help us in these areas: - French/Spanish to English translation (assistant needed). - Publishing and collecting illustration news from around the globe (illustrator or illustration student needed) Obviously, you’ll be part of our team and we will publish your name as one of our own colleagues.

Email us at: info@Brightnessmag.com

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Welcome Articles From Writers

Brightness welcome articles , researches and interviews from writers, activists, journalists and also from artists around the world, on topics that we deal with regularly or on topics that you think need a wider circulation in illustration subject. We are most likely to publish those articles which are well-written, concise, offer a unique progressive perspective and have appeal to national and international readers. Please keep submissions under 1000 words. Since we have a small editorial staff, we cannot spend much time editing submissions. Please send us final drafts of your work. We do not guarantee that we publish all the articles we receive. They will be published after a confirmation by twice of the managers. Please send all submissions as plain text within the body of an email - you can also attach the article, for the safer side. Please include your name, contact information. A short paragraph bio is a must. If you wish, you can also send a thumb size photo of the author. We’ll be glad to publish it along with the article. You can submit your articles to i n f o @ b r i g h t n e s s m a g . c o m One word of caution. When you are submitting articles use the word -submission- in the subject line. Finally, it is very important to respect copyright and write the names of artists who their arts are used by you in the caption.

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Brightness Magazine 2  

Digital Journal of Illustration | April 2017

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