Page 1

DIGITAL MAGAZINE FOR CREATIVE ARTISTS

InPrint Magazine June - August 2013

11

INSPIRING ARTISTS AROUND THE WORLD

June - August www.inprint.mag.com


2

CopyrightŠ2013 InPrint Magazine Inspiring Artists Around The World

our creatives

Art creates culture. Culture shapes values. Values determine the future. The fascination of art has to do with time. Visual art is the quickest of all serious cultural forms to make its full nature clear to the beholder. It's worth dwelling on the rapidity of art. It is conventional, in the moralizing rhetoric of the critic, to say Rembrandt repays a lot more time than most works of art - you can look at his pictures for a lifetime and still find new depth in them. But what if this is not the most important thing about great art? What if it's the instant effect that matters? So it's not always true that great art takes a long time to appreciate and instantaneous art is shallow. In fact, some of the most revered paintings can be appreciated much more quickly than video art - which has, as I've already conceded, brought narrative time into the gallery. Why is time-based art so popular? Does it seem more important because it takes up time? Personally, I agree with Leonardo da Vinci. The most magical thing in art is the instant and complete image. Would you like to have your works featured in one of our publications? Contact us

artists@inprint-mag.com

InPrint Magazine social media FACEBOOK: facebook.com/InPrintMag TWITTER: @InPrintMag FLICKR: flickr.com/photos/inprintmag

About InPrint Magazine InPrint Magazine is published bi-monthly. InPrint Magazine is a professional magazine for the arts industry - design, illustration, fashion, literature to show contemporary visual arts to a wide variety of audience. Subscriptions and distribution is free to qualified individuals. Single copies may be obtained from publisher for $1.99. All the works published in InPrint Magazine are property of the respective authors.

Editor-in-chief Elo elo@elodesigns.com Programer Tonny D Tonnywdsd@inprint-mag.com Graphic Designers Elo elo@elodesigns.com Alan Calardo AlanC.inprint-mag.com Layout Elo elo@elodesigns.com Contributors/writers Astrid Kricos Astrid@Astridkricos.com RICK BYRNE rick_byrne@hotmail.com Contributor/video POETICA feocampos@hotmail.com

Copyright Š2012 InPrint Magazine, Inc. Some rights reserved. No parts of this periodical may be reproduced without written permission of InPrint Magazine. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. If you have any questions contact InPrint Magazine at (619)630-5735 San Diego, California. Publisher InPrint Magazine media Advertising sales sales@inprint-mag.com Home page

InPint Magazine LLC, some rights reserved Po box 83324 San Diego, California, 92138 USA

InPrint | June 2013

inprint-mag.com


Creativity + Arts + Colors = InPrint Magazine

MESSAGE FROM

THE EDITOR Imagination Is More Inportant Than Knowledge

The transformation of a team happens in the hands of great imaginative leaders, not in indulgent knowledge seekers. While some form of education is generally a prerequisite for progress, we need to understand the balance between knowledge and imagination. Today’s leader should understand both past and present experiences of his/her team, and use that knowledge to cultivate creative progress and imaginative learning. As Einstein suggests, it is our imagination that will propel us to great strides in moving our teams and businesses forward. So how do you imagine yourselves as a different team? By setting BHAGs (Big Hairy Audacious Goals) to stimulate progress and guide your team through the process of creating a Vision and Mission statement. This creative procedure can help encourage your team to think of themselves and opportunities in new ways. When we can focus people on what they can become, we see small changes in the otherwise mundane. Having a Mission and Vision statement clarifies a team’s purpose and allows them to confidently contribute to the creative process. Basically, it puts all workers on the same page and allows them to work in synergy. A mission is simply asking yourself, “what do I need to do everyday to be successful?” While a vision statement is more aligned with, “if we do what we need to everyday, we will have succeeded.” It is important to reference your business’s mission in moments of confusion – the ideal mission statement will refresh you of your business’s goals and put you back on the right track. Give your teams the creative power to solve business challenges by providing clear and concise Mission and Vision statements and letting their imagination handle the rest. “LOVE ART AND LOVE INPRINT MAGAZINE AS MUCH AS WE DO”

Elo Marc

(FOUNDER & EDITOR-IN-CHIEF OF InPrint Magazine)

3


4

READERS INSIGHTS

This is the BEST ARTIST’S MAGAZINE being published. I have had subscriptions to them all at one time or another. It’s the only magazine that I can actually use in a class on how to: MY STUDENTS LEARN from the articles and visual arts, and so do I.

C Murray | Art Institute, Denver, CO

I think InPrint Magazine is a window of visual arts and it helps artists to be inspired more than just look around. It actually features a great amount of fresh artists for us to delight in. Thank you! Samantha | Russia Whether you are a novice or a pro, this magazine is a must. It is not overly technical and it features a variety of media. I am a faithful reader and I frequently commend it to others. My only gripe is the inconsistency of writing, but overall “I LOVE IT” Matt | UK

It's nice to have both a hard copy and an e-version of this magazine. I find it both inspiring and challenging. It creates a desire in me to get the paints and brushes out more frequently. InPrint Magazine provides incentives to move me forward. Thomas Owen | UK

A fairly decent magazine. Not enough information about techniques. Artist profiles would be more useful and instructive if they included more about the artists' techniques and not just bios. Not bad. Renee | France

I ONLY WISH I could paint like

the artists in these publications. The magazine is very helpful and well worth the money.

Lynn Wood | Canada

Our Contributors:

Creative Thinking Questions

Being quite versatile in both left and right brain thinking I have 20 years experience in problem solving through creative direction, keeping projects on track and diffusing tension.

66

Currently I head up the Fast Track team at CBS Interactive, specializing in dealing with quick turnaround design and advertising projects so I'm always willing to be thrown in the deep end. - Rick Byrne Poetica Films is a creative initiative formed by Fernando Campos, with a focus on video and films, as well as other  disciplines. It is a creative outlet and a platform for collaboration with like-minded brands and artists looking to explore storytelling and digital video design. - PoeticaFilms.com

134 Pierre-Paul Pariseau It’s been more than twenty years now that I enjoy a career as an artist and illustrator. My mixed media images have been published in numerous magazines and newspapers; on book covers, posters, greeting cards, CDs and a children’s book.

Do you have anything to say or any suggestions? Let us know email editor@inprint-mag.com InPrint | June 2013


5


6

DESIGN PHOTOGRAPHY FOOD FASHION ILLUSTRATION LITERATURE PEOPLE

For the greatest inspiration of Art and Artists, the priority is to "lose oneself." Ultimately, an artist is motivated to realize that Higher Self, the completely inspired Self every artist know in their moments of pure expression.. the making of love that motivates pure inspiration. This is when what IS is! These are our spires of inspiration. True words of motivation are like best religious inspirational sayings. This almost incomprehensible motivation embodies the I AM of Moses, the burning bosom, the undressing of flesh to reveal a naked soul, as if touching and tasting dewdrops of spilt blood. Emotional scars upon souls often scream within chalices of pain; nonetheless, tongues can reach hitherto heights, waxing wicks of flight seeking to soar as the light embodies the words of motivation herself.

Inprint Yourself


7

digital magazine for creative artists www.inprint-mag.com


CREATIVES FEATURED IN

th S ssue JIMMY OVADIA RICK BYRNE CESAR SAMANIEGO PAUL CEZANNE- INPRINT HISTORY THOMAS BURNS - FEATURED ARTIST RITA ARANHA - THE POWER OF GIVING SERGIO MORA ELIAS KLINGEN INPRINT CRUMB - CREME BRULEE PIERRE-PAUL PARISEAU


9

12

26

30

38

50

70

94

78

108

112


10


11

TIO N E ATT ALL

IN THE NEXT ISSUE OF

N

OU T? Y E IS AR RT A N A

WE ARE LOOKING FOR

InPrint MAGAZINE ARTISTS

would you like to showcase your work in the pages of InPrint Magazine? Send us 3 samples of your works with a short brief of yourself as an artist to: artists@inprint-mag. com or printed samples to PO Box 83342 San Diego, California 92138. Don't miss this opportunity to show us and the world what you've got!


12

We Are The Makers Of Music & Dreamers Of Dreams InPrint | June 2013


13

ILLUSTRATOR

JIMMY OVADIA

J

immy Ovadia's art leads us on a transformative psychedelic odyssey full of unique and creative dreamlike portholes. It takes the mind through twists and turns perceived through levels of consciousness and mysticism. Born Aries, April 17 in San Diego, California, Jimmy knew at a young age that the path he was traveling on would lead to divine manifestations. Through his adolescence he began to illuminate his core within. By breaking free from the cultural and religious restrictions his upbringing brought him, he was able to unveil infinite realms and dimensions of his mind. Jimmy's inspiration comes from unfeigned life experiences. With the birth of his first child along came the birth of an utopian, a true visionary.His world began to take full cosmic unity. Even though the battles and struggles life throws his way he is still able to persevere and propagate unprecedented work. Jimmy's quest is toward an abstract surrealistic art that visually unites the body, mind, soul and spirit. It elucidates and enlightens the individual and the world around them. June 2013 | InPrint


14


15


16


17


18


19


THE POWER OF ( RED) THE ( RED) MANIFESTO 20

TM

TM

Every Generation is known for something. Let’s be the one that delivers an AIDS Free Generation.

We all have tremendous power. What we choose to do or even buy, can affect someone’s life on the other side of the world. In 2010, 1,000 babies were born every day with HIV. In 2011, that number was down to 900.  By 2015 it can be near zero. We can stop the transmission of HIV from moms to their babies. In the fight to eliminate AIDS, 2015 could be the beginning of the end – it’s the year we can deliver an AIDS Free Generation. (RED) can’t accomplish this alone. It will take all of us to get there – governments, health organizations, companies, and you. When you DO THE (RED) THING, a (RED) partner will give up some of its profits to fight AIDS.

It’s as simple as that. BE (RED). Start the end of AIDS now.

(DELL) when you buy a Mini (PRODUCT) RED™; a portion of the proceeds will go to The Global Fund to help eliminate AIDS in Africa. And with every purchase of a promise pink Mini 10 or Mini 10v, Dell will donate $5.00 to Susan G. Komen for the Cure®, the world’s largest breast cancer organization.


21


22

What will it take to deliver an AIDS Free Generation? Get 1.4MM HIV+ pregnant women on medication

Medication that costs 40¢ a day

The Global Fund. The Global Fund, the recipient of (RED) funds, is the world’s leading financer of programs to fight AIDS, TB and malaria. Created in 2002, the Global Fund has committed $23 billion to lifesaving programs in 151 countries. In 2003, PEPFAR & The Global Fund started funding free ARVs to countries in need. The Global Fund invests 100% of (RED) dollars in HIV/ AIDS programs in Africa, including interventions targeting women and children. Global Fund (RED) HIV/ AIDS grants are selected based on a track record of consistently good performance. Today, programs supported by the Global Fund have provided AIDS treatment for 3.6 million people, TB treatment for 9.3 million people, and by the distribution of 270 million insecticide-treated bed nets for the prevention of malaria worldwide.

The facts An HIV + pregnant woman can give birth to an HIV free baby

98% of mother-to-child HIV

transmission incidents are preventable

Half of children born with HIV will die before their 2nd birthday without treatment


23

(BELVEDERE) 50% of Belvedere profits from Belvedere special edition go to the Global Fund

Every time you pay with your (STARBUCKS)RED Card, Starbucks makes a contribution to the Global Fund to help people living with HIV/AIDS in Africa.

Apple (PRODUCT) RED iPad Smart Case The purchase of 1 Apple Product could provide over 1 week of lifesaving medication to someone living with HIV in Africa

to fight Aids , tuberculosis and malaria For more information about the Global Fund, visit www.theglobalfund.org. DONATE You don’t have to be a large corporation or a governing body to donate to the Global Fund inspired by (RED). There are millions of dollars at work on the ground in Africa thanks to individuals who donated. Click here to find out how you can donate. To donate by check: Please include “Inspired by (RED) donation” on the memo of the check and send to: Director of Finance United Nations Foundation 1800 Massachusetts Ave NW, Ste 400 Washington, DC 20036


World Food Programme www.wfp.org

JOIN FOOD


D FOR LIFE


26

DESIGN CAREERS 101: Get the job you want STORY: Rick Byrne

S

O MANY TITLES Chances are that if you’re reading this post then your title in work is one of the following: Executive Creative Director, Creative Director, Associate Creative Director, Design Director, Creative Group Head, Creative Lead, Art Director, Senior Designer, Middleweight Designer, Graphic Designer, Flash Designer, UI Designer, UX Designer, UI/UX Designer, Communication Designer, Visual Designer, Art Production Manager, Brand Identity Developer, Broadcast Designer, Logo Designer, Illustrator, Visual Image Developer, Production Designer, Production Artist, Artworker, Motion Designer, Motion Graphics Designer, Multimedia Developer, Layout Artist, Interface Designer, Web Designer, Packaging Designer, Junior Designer, Associate Designer.It’s a bewildering array of titles isn’t it? When I moved from London to San Francisco I discovered that in the US titles were much more important in a designer’s career. Previously the work in my portfolio and level I operated at was the key to my career. What my employers called me was far less important. Amazed by the cultural difference in the same industry I decided to write a ‘how to’ article on the jumps between key stages of a designer’s career. It can be hard to work out how to market yourself when starting out 

time job based a series of nightclub flyers he did in his spare time. Failing that, have a look at responding to some design crowdsourcing sites: not for money but to get some work in your portfolio. Pick something that captures your imagination. These are the design areas that you can show some flare in. You can even pick from a great many projects to find something that reflects your current skills or stretches them further. You can also pick projects from industries which reflect a specific job you are going for. To the outside world this is what our average day looks like - if only…

MOVING FROM PRODUCTION TO DESIGNER

There seems to be two paths for most people after being Production Designers. Some choose to be career production people while others strive for something much more creative. This post is aimed at the latter group. They are the ones who are shocked at the lack of creativity that their first job entailed since it probably involved filling in missing bits from an art director’s sketch (or lack of). Photos of designers reflect this and tend to involve them looking at designs or their computer screens. It’s as if they and the work are one. To progress onto being a Designer (Visual Designer, Interactive Designer, Production Artist, Web Designer etc.) you STARTING OUT will have to show mastery of the design software of your So who am I to talk? Well, I’ve been working for 20 years as a designer, art director, ACD and lately as an independ- chosen field (banner ads, motion graphics, UI, print etc.) ent ACD. But lets go back to those early days when I was before moving away from them being the core of your job. a designer starting out. With titles like Junior Designer, While these skills defined your previous role the one you Associate Designer or Production Artist that first job often are aiming for (designer) will involve projects now starting involves putting together the finished deliverables such as with a blank page a with well-articulated problem in front Flash banner ads, coding a web page or preparing InDe- of you. Most agencies have a non-profit client so volunteer sign files for printers. At this level it’s all about learning for that work or find your own non profit clients – there the nuts and bolts of how the process all fits together. The must be one that matches your interests. role involves a lot of being told what to do and rising to Similarly, I was at a talk once where a presenter said designers have to develop their own ‘Hot Rod’ project. What’s the occasion. Like a fledgling star you want your moment to shine and that? Well, if you needed your car fixed and you knew of move up the food chain, so to speak. If something creative two equally skilled mechanics located beside each other or challenging comes along in work then take a leap and and charged the same amount which one would you pick? volunteer to take it on. If it doesn’t come along in your job What if you found out that one of them built hot rods in his try something else – I know one designer who got a full spare time? Now it’s obvious which one you would choose.


27

In order to make the transition to art director a designer needs to stop waiting to be told what to do and start thinking about the problems the ACD/CD is facing and how can you start helping. Think things through like they have to do and offer solutions. Design with more creative uniqueness in mind. Likewise in the design market there are so many designers with similar portfolios it becomes hard to choose who to hire. Every art director’s dream

MOVING FROM DESIGNER TO ART DIRECTOR

When I taught Art Direction in San Francisco’s Academy of Art I told my students that they would be devising concepts and then becoming the champion of those concepts. In order to generate successful concepts an art director has to see the bigger picture, think things through in order to see the problem clearly and then devise a suitable solution. Have a look at the site Hovering Art Directors – there are lots of hands on chins and either expressive or folded arms. In doing all of the above you end up managing projects from start to finish. Everyone else has a part to play but you are the director – hence the title. With that comes the shift to taking responsibility for deadlines, resources, a client (or a group of clients) and implementing high standards, all while coordinating with designers, production, photographers, developers, illustrators, printers etc. In order to make the transition to art director a designer needs to stop waiting to be told what to do and start thinking about the problems the ACD/CD is facing and how can you start helping. Think things through like they have to do and offer solutions. Design with more creative uniqueness in mind.* Start thinking on your feet more, volunteer to take on more problems, aim to present to your concepts to clients. * My own view is that the more the unique the problem then the more unique the solution. Sadly this is the stereotype of CDs – I always give credit for other people’s work

MOVING FROM ART DIRECTOR TO ACD/CD

A huge amount of an ACDs/CDs day involves constantly providing answers, being in meetings, approving work, motivating team members and one-on-ones. You have to champion creative ideas, support the creative team yet tow the company line and advocate the clients needs in order for the business to grow. As a result it can be lonely at the top. I didn’t mention “do really creative design work” as most ACDs/CDs are not actually designing anything any more.

They often steer other’s design work, suggest solutions or clearly define a problem. Their personality is driving the team towards increased creativity. As a result photos of ACDs/CDs tend to have them looking straight at the camera. This partial involvement often causes them to take much of the glory should the project go well (see Lunchbreath’s cartoon above). The opposite is true if the project goes badly. An ACD/CD also has to stand back and look at the biggest possible picture – where the business is going, improving the relationship with the client, building a creative team. Out of all the positions mentioned in this post this one has the highest stakes. You are responsible for the entire creative output of a firm/agency without any buffer zone. This really puts your head on the block. Perhaps it is finally having the greatest say (or greatest ego) but I have never worked for a CD who has not been laid off or fired at some point unless they were one of the company’s owners. Guttenberg was not the inventor of moveable type – he just made it more accessible

MOVING FROM ONE LEVEL TO THE NEXT

When I was in the military we were always taught to think two levels up in case that person was killed or wounded in action. This may seem like an overly dramatic example compared to the world of design but a similar process will help get you to the position you want since we all have those emergencies where suddenly we are pulled off one project and shoved onto another. Basically if you are a designer you should be thinking what is the Creative Director/ Associate Creative Director really looking for or hoping to achieve. If it’s “they want to look good when they are presenting your ideas to the client tomorrow” then you should be working backwards from there i.e. what will impress this client in particular, what rationale will be easier to present to them and what is the key takeaway to make it a memorable presentation. It’s not just beginning to understand what the person two levels above really wants but thinking at that level on a daily basis. Soon it will effect everything you do. It’s not about needing the permission of a title to start thinking at the level but ‘being’ at that level. In some situations you


will grow and thrive. In others you will create waves and may lose your job. Either way you will be true to your aspirations and not waiting for the day when someone grants you permission to think at a higher level. Whether you get a chance to display this higher thinking in your job or not, start a blog or website on the area of design that is most of interest to you (especially if you are in a more stifling environment). Use it to demonstrate your ability to think like a leader, which will put you in the drivers seat and get you where you want to go. It also shows everyone else what you are capable of – a key step in getting the job you want. Recruiters have seen so many portfolios that few things are new to them.

TITLES, SALARIES AND JOB HUNTING

When it comes to titles it’s recruiters who have the clearest idea of what each title means and what a designer should be capable of. It’s their bread-and-butter so they don’t want to get it wrong with their clients. However, different companies have their own idea of what each title actually means and they don’t want to take a chance at stretching someone to a level above their current one. You may feel you are quite capable of the job in question but the design industry places such a heavy emphasis on titles and it may become a barrier to your career progression. An anecdote from my own career really illustrates this view in the design industry’s job market: in a previous job most of the creative staff had a range of titles (Art Director, Senior Art Director and Associate Creative Director) but all did roughly the same work. The title translated to the equivalent of a position one step lower in other companies or agencies. In a bizarre twist of fate years later a recruiter mistakenly sent my details back to the same firm again for another ACD position (I had left as an ACD). The firm asked “why had I taken a step down in my career by becoming a Senior Art Director after leaving?” I had to explain that despite the title, the next position was actually a huge

step up in responsibility. This point became a big stumbling block for the ACD position in question as contrary to reality, in their eyes my career had gone downhill after leaving them, not uphill. Since most design salaries are tied to a particular title the latter becomes the gateway to the former. As a result hiring managers and recruiters are very title centric when looking at your résumé. In the agency world everyone moves around so much that the market reaches its own equilibrium and balances out. Companies who don’t have creativity as their core business tend to pay lower. Jumping from one to the other can cause a shift in title and/or salary. In this case look closely at the creativity of the work and the level of responsibility to gauge what the job really entails. Volunteer for creative side projects but beware of these common pitfalls that come with them

AFTER ALL IT’S JUST A TITLE

While I have detailed some of the main aspects of the various stages in a designer’s career there are key things to do at every level that will help you ultimately get your ideal job: - Ask yourself what your boss or their boss is thinking about and act accordingly - Start your hotrod project (this blog is mine) - Rise to the occasion when a challenge comes along - Always try to meet other creatives (they may recommend you for a job) - Go to design events to see what is going on in the industry* Think of yourself as not just being the title you currently have but instead acting the part of the position you want to be. Others will start to see you that way too. Only you can decide to be the person that you want to be whereas anyone can just make a title up. Mine previously was ‘Grand Poo-Bah of Art Direction’. At that time the designer beside me held the title ‘Zombie Killer’. Another’s was ‘Superhero’. After all, they’re just titles.

more about the writer

designcareer.wordpress.com


29


30

ILLUSTRATOR

César Samaniego

C

ésar Samaniego was born in Barcelona in 1975. Graduated at Llotja illustration school of Barcelona in 2010. Since he decided to focus on children’s illustration , he has published a few books and now has a few more projects to do. He likes to play with the lights and shadows, with strange people and a little disturbing, with monsters and many, many animals, his big passion, under a sky of warm textures that invite to stand still, even for an instant... Great lover of animals, now lives in Canet de Mar, a small town on the coast of Maresme, Barcelona, with his wife, daughter, five cats and a dog. The Imaginarium of César Samaniego leads to a very personal world, lost somewhere between childhood and sleep. A world with monsters and many animals, reminiscent surreal framed in an atmosphere that envelops the viewer. InPrint | June 2013


31

Don’t give up, persevere in what you want to achieve, because in the end, you will.


35


36


37


38

InPrint History

Paul Cezanne

P

aul Cezanne January 19, 1839 - October 22, 1906) was a French artist and PostImpressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cezanne can be said to form the bridge between late 19th century Impressionism and the early 20th century’s new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cezanne “is the father of us all” cannot be easily dismissed.

Cezanne’s work demonstrates a mastery of design, color, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cezanne’s intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. Cezanne’s goal was, in his own mind, never fully attained. He left most of his works unfinished and destroyed many others. He complained of his failure at rendering the human figure, and indeed the great figural works of his last years-such as the Large Bathers(circa 1899-1906, Museum of Art, Philadelphia) - reveal curious distortions that seem to have been dictated by the rigor of the system of color modulation he imposed on InPrint | June 2013

his own representations. The succeeding generation of painters, however, eventually came to be receptive to nearly all of Cezanne’s idiosyncrasies. Cezanne’s heirs felt that the naturalistic painting of impressionism had become formularized, and a new and original style, however difficult it might be, was needed to return a sense of sincerity and commitment to modern art. For many years Cezanne was known only to his old impressionist colleagues and to a few younger radical postimpressionist artists, including the Dutch painter Vincent van Gogh and the French painter Paul Gauguin. In 1895, however, Ambroise Vollard, an ambitious Paris art dealer, arranged a show of Cezanne’s works and over the next few years promoted them successfully. By 1904, Cezanne was featured in a major official exhibition, and by the time of his death (in Aix on October 22, 1906) he had attained the status of a legendary figure. During his last years many younger artists traveled to Aix to observe him at work and to receive any words of wisdom he might offer. Both his style and his theory remained mysterious and cryptic; he seemed to some a naive primitive, while to others he was a sophisticated master of technical procedure. The intensity of his color, coupled with the apparent rigor of his compositional organization, signaled to most that, despite the artist’s own frequent despair, he had synthesized the basic expressive and representational elements of painting in a highly original manner - (From www.repropaint.com)


40


41


42


43


44


45


46


47


48


49


50

INTERVIEW

THOMAS

BURNS InPrint | June 2013


COVER ARTIST

INTERVIEW

51

We are confronted with insurmountable opportunities.- Walt Kelly THOMAS BURNS - ILLUSTRATOR | USA

more about the artist ThomasBurnsStudio.com theispot.com/tburns facebook.com/thomas.burns.1291

Could you tell us where you’re from and how you got started in the field? I’m originally from Detroit, however I grew up in north central Florida and attended the University of Florida where I received a BFA in graphic design. I also received an MBA in supply chain management from Michigan State. I ended up in the purchasing department of a major telecommunications company in Atlanta in the late 90s and figured out pretty quickly I didn’t want to buy fiber optic cable and digital switches for the next 30 years. I continued drawing and designing as a creative outlet while toiling away at my corporate day job. I finally decided leave corporate America and open my own illustration and design studio in 2007. I also went

Thomas Burns grew up in Gainesville, Florida and received a BFA in graphic design from the University of Florida. Artistically he remained unfulfilled until eventually he created his own freelance studio in 2007. He finished his MFA in illustration at the Savannah College of Art and Design in Atlanta and produces beautifully textural and witty illustration work. His areas of expertise include editorial illustration, advertising, children’s books, children’s products, and packaging. He is creative, easy to work with, and versatile enough to meet the needs of any client or project. back to the Savannah College of I think it covered 4 or 5 pages of Art and Design to pursue my MFA pencil drawings. Oh and I’m talking in illustration. about the original series from the 70s. Yeah, I’m old. A lot of your illustrations are very colorful, unique and fun, what mainly inspires you to come up with these ideas? I have a 6 year old daughter that I like to use as inspiration. If I’m trying to get something fun and wonky it has to pass muster with her first.

What role did books play in your childhood?And what were some of your favorites? I really didn’t come in contact with books until I was 35. Kidding. I think some impactful books were The Night Kitchen, Where the Wild Things are, Strega Nona, Snail Where Are You? and one funny one called Felt Do you remember the very first Smelt. I really liked the whimsy and piece of art that you worked up? line quality of those books in the Funny question. I don’t know if it’s late 60s and early 70s. the first piece of art that I worked up but I remember taping together a lot of paper and drawing an elaborate Tell us about the physical battle scene between the Cylons and process of developing imagery. Do humans from Battlestar Galactica. you begin with sketches and then


52


53


54

THOMAS BURNS (CONTINUED)

scan them into your computer to be rendered digitally or do you work another way? I generally start with pen and ink thumbnails and either scan those in to use as a guide or sometimes I start directly in Adobe Illustrator. I generally change parts of an illustration a lot so I like the having things in a vector format. How did you find your style? Has it changed since you started? I’ve probably been using either

Illustrator or Freehand for 20 years, which comes from having a background in graphic design. My style sort of evolved from the slick looking vector work in the mid 2000s to this sort of wonky, whimsical retro look. At the end of a piece I usually put it in Photoshop and start distressing it or add bits of tape or textured paper. I like the idea that the illustration has some age too it, that it’s been around for awhile.

Your portfolio is full of characters that you’ve created over the years. Which would you say is your favorite and why? I’ve always had an affinity for a little space man that lives in a one to ten counting book I did a couple years ago. I think it’s because I wanted to be an astronaut when I was little. Then I found out you needed to be good at math. I’m not. So that dream shattered long ago.


55

What would you say are some of the most important lessons you have learned concerning Illustration? A while back I had the privilege of interning with Bill Mayer. I learned a couple important lessons hanging out with him. First is to have your work everywhere you can, and do self promotional pieces you enjoy. Draw what you really want to draw. I also think it’s important broaden your work beyond one specific area,

try to do some editorial, children’s, and advertising. Don’t limit yourself to just one type of illustration. I think it strengthens your whole portfolio if you come at illustration from different angles.

Do you have side projects you work on? I do a line of retro city landmark prints as well as football prints. They’re more graphic in nature and sort of get me back to my graphic design roots. A lot of the things I do If you could change one thing in those illustrations tends to filter about being an illustrator, what its way into my other illustration would it be? work. I’m also trying to become a The lunch hour. 20 minutes is not professional crokinole player. Only long enough. Canadians will understand that.


56


57


60


61


62


63


64


65


66


67


68

TM

www.wetransfer.com


y

Good design IS OBVIOUS,

GREAT DESIGN

is transparent


givin 70

the power of

From waste nobody cares about, to cool products...

ECO DESIGNER

InPrint | June 2013

I graduated as a graphic designer and worked for many years as a freelancer. Things were very different back then, everything needed to be done by hand literally, with just a help of an ink pen, amber leaves, a “T” ruler and a clipboard. I was doing really well until my second pregnancy. Then things got a little difficult for me to deal with my newly born son and the amount of work I was getting at the time. But since I’m a fighter, I knew I had to find a solution and work on something that was not so exhausting and could contribute to my family’s budget. Besides being a graphic designer I’m also a letterist and a blue print architecture designer. But one day I saw a TV program that instantly sparked my in-

terest. A person on TV was doing a tutorial on how to make paper baskets. It was very challenging for me in the beginning, but I did over and over again until I finally learned how to do it. And then, an instant curiosity took over me and I decided to add my own twist to things. Great ideas were just coming out of my head, and I started to have this great urge to help the environment and the planet. That is basically how it all started. I have always been a crafty person.So I thought I could combine those two abilities together. I’ve noticed that a lot of vinyl records were being disposed due to people switching to CD players. I instantly thought someone should do something about it. I started to make handbags with them for myself. People would see me in the streets, stop me and ask were I bought them, and tell me how cool they were. I basically created a new trend back in 2005. My bags became so popular that more and more people wanted to buy them. And I figured I could make a good amount of money selling them. In


ng

71

the mean time, I started to realize that my work contrasted with a real global problem: “Waste”. This problem can be solved. (at least in part) discarding solid waste into the environment creatively, converting them into accessories, bags, and home furnishings could be fun and eco friendly. All my works are hand made, mostly with techniques I developed through the years. And I also put a special touch of love on every and each piece I create. But the biggest challenge for me was yet to come. To make people conscious that recycling is important within our communities and it helps our environment, Today I’m glad to

June 2013 | InPrint


72


73


74

say that I have been doing an extensive work with the poor communities, favelas(slams) where they seem to be the ones who produce the most waste in my country Rio de Janeiro, Brazil. Those people can be really affected by the damage it brings to their community called “Complexo do Alemão”. Specially on the rainy days, when the waste clog gutters causing flood and brings diseases to the community. Today we turned a community known for its violence and waste producer into a marvelous community of tourism. People from all over the world just come to visit the favelas. The arts and crafts of the locals, their history and the recycling work that is done in the community. The tourism is reality booming in our city. But in some regions of Brazil, especially in the hoods, garbage can still be a

real problem. It is very rewarding for me to make those people recycling conscious and make them realize that doing it they can change their own lives. I work with them affiliated to some non profit organizations that teach them how they can create accessories out of trash, recycling tips and how important it is to our environment. Their faces just light up when I do a lecture and show them that garbage can be turned into money and that can be added to their families’ budget. We all know that waste and over consumption is an addiction in our society, we need to slow down our actions and realize that living a simple life is not a synonym of poverty. We just need to understand that the media always brain washes us. We must ask our-


75

selves if it is really fundamental to our existence to get what they are trying to sell us. My goal with my work is also to show people that a small simple action can make a huge difference in our future. We need to act and start saving electricity, re-use rain water, use solar electricity and find better ways to re-use our waste. Some people who come to my lectures may still have an “out of sight, out of mind� mentality with regard to recycling, rationalizing that someone else should worry about the problem, but that can manifest even larger waste-management problems. Nowhere is this more apparent than in the middle of our seas, where our disposable culture has yielded such a monumental plastic problem that it has infiltrated multiple oceanic gyres. Despite popular belief, these debris-covered re-

gions don’t actually look like floating trash islands. In fact, constantly pulsating and rotating ocean currents have transformed our post-consumer plastic waste into tiny bits and pieces, many of which are inadvertently consumed by countless marine species since the garbage often resembles plankton. Beyond the unfortunate increase in mortality rates among seabirds, turtles, seals and other types of fish, scientists are now concerned that the endocrine-disrupters found in our bisphenol A-laden plastic waste ultimately move up the food chain to humans where they bio accumulate in our bodies resulting in assorted health issues and reproductive challenges.

more about the artist

ritaranhadesigns.blogspot.com


78

InPrint | June 2013


79

ILLUSTRATOR

Sergio Mora

S

ergio Mora is like the protagonist and the director of the film “Big Fish”, who know the value of the light of fiction and the energy of daydreaming. Magicomora (as he sometimes signs his work) we could say, like Nick Drake´s song: “I was made to love magic”. The difference is that he has not given up and successfully fights the melancholy that stalks around us: he creates his own magic and recreates himself in its figures and colors. But maybe the most important factor is that Sergio Mora has conserved the child within himself, he has not lost it, and as he is, he will never lose it. In the work of this cartoonist, illustrator and painter, various ages and tones live together: transgression and tenderness, explicit sex and lyricism, seduction and weirdness, beauty and a little bit of monstrosity, everyday immediacy and fantasy, truth and game, surrealism and pop art. We should never miss any possibility of increasing pleasure and clarity, reality should not be impoverished in exchange for comfortable tedium. June 2013 | InPrint


80


81


82


83


84


85


86


87


88


89


90


91


92


93

It’s not what you look at that matters, it’s what you see. - Henry David Thoreau.


94

Patience is the most important thing

InPrint | June 2013


95

PHOTO MANIPULATION

Elias Klingén

E

lias Klingén is a graphic designer and digital artist from Sweden. Hes currently studying graphic design and doing some freelance jobs on the side. Elias is a part of The Cosmos Art Collective and are currently working on some artwork for the next exhibition. His style is a mix between photomanipulation and abstract work, focusing a lot on details and dramatic lightning. He spends alot of time each day to get better and better, “fight until you get what you want”. I started with illustration when I was a kid. my mother taught me some different techniques and I was hooked. The real passion started when I found photoshop, in 2007. The possibilities are endless. I think my style is very mixed. If you look at my portfolio, you’ll understand what I mean. I do both handmade stuff and computer-made. But I would describe it as detailed, eye-catching and weird. I try to not have a style. I always want to create new stuff that I haven’t seen before. My inspiration and ideas comes from music, no doubt. I always have music in my ears while working. Daft Punk helped me finish Instant Crush. Also, the internet, of course. Just looking around at awesome portfolios provides me with a lot of new ideas. June 2013 | InPrint


96


97


98


99


100

How it works: Sign up for an account and complete your profile. When Get jobs done fast. Get the work done right. 1. Browse profiles. portfolios and reviews to assemble your 24/7 online workforce. 2. Tackle jobs easily. Collaborate in shared online work rooms and receive daily activity reports. 3. Pay freelancers safely. Only pay for work you approve, plus Elance takes care of all invoicing and taxes.

you have the basics in place, you can browse through jobs and bid how much money you could realistically do the project for. If you beat the other applicants, either in skills or in pricing, the client will choose to work with you. Payment and project completion are all done through Elance.

Do:

Look at the average proposal bid, located above the applicant list on each job. This will help you gauge what you might want to bid. Complete your profile entirely. The more people can see about your work, the more likely they are to hire you. Communicate with your clients. You’ll see your messages on your homepage, so this should be easy to keep track of. Set up your payment account. Whether it’s PayPal, a bank, or something else, you’ll have to wait a few days to use it.

Don’t:

Get intimidated by the average bids. If they seem low, you still might get the job because of your experience. Take on more than you can handle. Clients need to know they can trust you with deadlines, and one piece of feedback could be all she wrote for you. Forget to withdraw your money. It takes several days to process, so when it comes through, withdraw it. Final takeaway: Even though I prefer oDesk over Elance, there are plenty of freelancers that think the opposite. It’s worth giving it a shot.

Tutorials

Psdtuts+ is a blog/Photoshop site made to house and showcase some of the best Photoshop tutorials around. We publish tutorials that not only produce great graphics and effects, but explain the techniques behind them in a friendly, approachable manner. Adobe Photoshop is a fantastically powerful program and there are a million ways to do anything, we hope that reading Psdtuts+ will help our readers learn a few tricks, techniques and tips that they might not have seen before and help them maximize their creative potential! If you want to take your Photoshop learning further, visit Tuts+ Premium – our online education platform for digital creatives. visit: www.psd.tutsplus.com


101

Free Textures CGTextures strives to be the world’s best texture site. Being a 3D artist myself, I know how difficult it is to create textures without good photo materials. Making textures should be about creativity--not about frustrating hours looking for images on the Internet. By supplying good-quality textures in an organized manner, I hope your everyday work will be easier and more enjoyable. visit: www.cgtextures.com

Advertise And Contribute InPrint Magazine is looking for professionals from the creative community to

become our regular contributors. For more information contact editor@inprint-mag.com

DO YOU WANT TO LIST WITH US?

Contact us: sales@inprint-mag.com Take the world’s best courses, online, for free. Corsera

Discover a course you’re interested in and enroll today Choose from 300+ courses in over 20 categories created by 62 Universities from 16 countries. Learn with 3 million Courserians Watch short video lectures, take interactive quizzes, complete peer graded assessments, and interact live with your new classmates and teachers. Achieve your learning goals and build your portfolio Finish your class, receive recognition for a job well done, and achieve your goals, whether they be career, personal, or educational. visit: www.coursera.org

Expertory

Learn, teach & consult practically anything online via video chat, to your schedule, from your home or office visit: www.expertory.com


102

THE BOOK CLUB

THE BOOK CLUB

The graphic language of Neville Brody Author: Neville Brody Price: $25.85

7 BOOKS BY ICONIC DESIGNERS YOU MUST READ

You’ll find this book on the must-read list on every self-respecting graphic design course, and with good reason. Neville Brody may now be president of D&AD and head up Research Studios’ global studio network, but it was arguably his 1980s heyday that had the biggest impact on contemporary graphic design. First published in 1988, The Graphic Language of Neville Brody explores the thought process behind some of his bestknown work, including his genre-defining art direction of The Face magazine.

InPrint | June 2013


THE BOOK CLUB

Love Song by Non-Format Author: Stefan Mumaw, Wendy Price: $270.18

Designed by Peter Saville Author: Ellen Lupton Price: $180.25 Like Brody, Peter Saville famously built his reputation in the 1980s with iconic album artwork for Factory Records-signed bands such as Joy Division and New Order - but this 2003 publication was the first to chronicle his career.

An iconic studio for the modern age, NonFormat is a fruitful transatlantic collaboration between Oslo-based Kjell Ekhorn and US-based Brit Jon Forss. This 2007 monograph is packed with awe-inspiring imagery and insight into the duo’s creative process over five years between 1999 and 2003, from advertising work for Coke and Nike to stunning art direction for The Wire magazine.

Starting in 1978, it inevitably covers the Factory era in detail but also explores Saville’s design and art direction for the fashion and advertising industries, taking in brands such as Dior, Stella McCartney and London’s Whitechapel gallery.

June 2013 | InPrint

103


104

THE BOOK CLUB

A Designer’s Art by Paul Rand Author: Paul Rand Price: $359.60

Heralded by many as one of the fathers of modern branding, Paul Rand has several inspiring books to his name. Design, Form and Chaos is unfortunately out of print, but if you can track down a copy it’s worth it to immerse yourself in his talent for simplicity, and to explore the thinking behind some of his bestknown identities. A Designer’s Art, meanwhile, probes more deeply into the process of graphic design in general: why it’s important; the impact it can have on society; what works, what doesn’t, and most importantly, why.

InPrint | June 2013

Perverse Optimist by Tibor Kalman Author: Peter Hall & Michael Bierut Price: $759.35 Written by Tibor Kalman and edited by Peter Hall and Michael Bierut, this is another notoriously hard-to-obtain volume which, like Rand’s Design, Form and Chaos, is sadly out of print. Dedicated to the visionary editor-in-chief of Colors magazine and creative director of Interview, Perverse Optimist is a weighty tome by any standards, and packed with high-impact images and insightful analysis of the art direction process behind them.


THE BOOK CLUB

Beware wet paint by Alan Fletcher Author: Jeremy Myerson (Author), Rick Poynor (Author), David Gibbs (Author) Price: $14.68 pounds Alan Fletcher, the legendary co-founder of Pentagram, penned various thought-provoking tomes during his illustrious graphic design career, but The Art of Looking Sideways is perhaps the best known – questioning the way designers think about everything from colour to composition. Picturing and Poeting explores the link between imagery and meaning through a series of visual mind-teasers, games and visual puns, assembled from his personal notebooks and diaries, while Beware Wet Paint is a more conventional monograph, looking back over 35 years of inspiring work and putting it all in the context of Fletcher’s remarkable thought process.

Made You Look by Stephan Sagmeister

Author: Stefan Sagmeister (Author), Peter Hall (Author) Price: $15.99 pounds

Austria-born, New York-based designer Stefan Sagmeister has hit the headlines a couple of times in the last year with his nude promotional shenanigans, but these two monographs, published in 2008 and 2009, are all about his creative approach and output. The former revolves around 21 thoughtprovoking phrases, transformed into typographic works for various clients around the world. The latter, fully illustrated with a red PVC slipcase, spans 20 years of his graphic design in depth, and the two complement each other excellently.

June 2013 | InPrint

105


106


107

Have you purchased your InPrint Magazine Hard Copy? Purchase your InPrint Magazine On MagCloud website on demand. Rich colors and affordable prices. Don’t miss out, get your copy today!


108

Recipe by Astrid Kricos

Name Of The Dish Lemon Creme Brulee

Origin Of The Dish

France, Catalonia, Cambridge

Ingredients:

2 c. heavy cream 2 Tbsp finely minced lemon zest 8 egg yolks 1/3 c. granulated sugar 1 1/2 tsp vanilla extract 1/4 c. granulated sugar, divided for caramelizing tops 1 c. fresh raspberries

History Of The Dish

The earliest known reference of creme brulee as we know it today appears in François Massialot's 1691 cookbook, and the French name was used in the English translation of this book, but the 1731 edition of Massialot's Cuisinier roial et bourgeois changed the name of the same recipe from "crème brûlée" to "crème anglaise". In the early eighteenth century, the dessert was called "burnt cream" in English. In Britain, a version of crème brûlée (known locally as 'Trinity Cream' or 'Cambridge burnt cream') was introduced at Trinity College, Cambridge in 1879 with the college arms "impressed on top of the cream with a branding iron", The story goes that the recipe was from an Aberdeenshire country house and was offered by an undergraduate to the college cook, who turned it down. However, when the student became a Fellow, he managed to convince the cook.


109


process

110

1. - Preheat oven to 300 degrees. - Combine cream and lemon zest in a small saucepan and bring to a simmer. Remove from heat but keep warm. - Whisk together the egg yolks and sugar until thickened and sugar is dissolved.

2. Very gradually add a small amount of the cream mixture into the egg mixture, whisking constantly until 1/2 cup of the cream has been incorporated. Now, slowly add the egg mixture back into the saucepan with the cream whisking constantly until full incorporated. Add in the vanilla extract. Whisk again. Allow the mixture to stand for 10 minutes.

You will also need a creme brulee torch

3. Strain the custard into a large bowl.


process

111

4. Place 6 ramekins into a deep baking pan. Divide the strained custard evenly among the ramekins.

5. Fill the baking pan with boiling water so that it comes halfway up the sides of the ramekins. Bake the custard for 50-60 minutes until the centers are just set. Center should still “jiggle� a bit. - Remove the ramekins for the water bath and chill uncovered for at least 3 hours.

6. Next, sprinkle 2 teaspoons of sugar evenly over the tops. Using a kitchen torch, melt and caramelize the sugar evenly until they are a light amber color. - Allow the custards to chill again for 30 minutes before serving. Do not let them chill longer than 2 hours otherwise the sugar topping will no longer be crisp. Garnish with fresh raspberries. - ENJOY!

credits: Photography and recipe from Food Babbles visit their website at: foodbabbles.com


112

CREATIVE

THINKING

Pierre-Paul

Pariseau

It’s been more than twenty years now that I enjoy a career as an artist and illustrator. My mixed media images have been published in numerous magazines and newspapers; on book covers, posters, greeting cards, CDs and a children’s book.

sible with my girlfriend What is your philosophy and friends. when it comes to arts? “Art is what makes life more inWho and what teresting than art”. This is not from me but from Robert Filloux. inspires you? My big influence was, at the beArt is important but should not ginning, the surrealist artists be taken too seriously. Some of like Dali, Magritte, and others. Everything that was surrealist, it is definitively overpriced. in painting but also in literature, in poetry and in movies. PhotoWhen you are not montage pioneers also like John creating you are? Heartfield, Max Ernst, Jacques Promoting my artworks, read- Prévert. Rapidly although I being, bicycling, watching movies, came inspired by a lot of things spending as much time as pos- coming my way, in my surround-

ings, to a point that it is difficult to name anything in particular. I always carry on me a notebook in which I can write (mainly) and draw ideas for new images, for titles of work, etc. In other words, everything that touches me is inspiring me, artistic or not. TV, Ipad, or none? None of those, but my Imac. I do not watch much TV but watch many interesting things on the Internet.


113

What is the design artistic world lacking these days? Not enough jobs for all the illustrators there are.

What is your idea of a perfect day? A day in my studio.

What plays on Tell us something your itunes? curious about you nobody Mainly pop, rock, electronic, would guess. hip-hop, jazz. I have a Milli Vanilli song on my Ipod. Tell us one thing in your life you can't live without. If you had the power to There are many things I can’t change anything for one day live without, these are the things what would it be? I would elimi- which are essential to life, like nate fear. Everything is possible love, eating, drinking, etc. But I then. wouldn't be able to live well without my computer as it is with it

that I can earn a living. Unless we go back in time and live all without computers, then I could go back doing my collages with scissors, paper and glue, like I did at the beginning of my career.

more about the artist

pierrepaulpariseau.com saatchionline.com/pariseau behance.net/pierrepaulpariseau


114


115


116


117


118


119

love InPrint as much as we do. InPrint Team


120


121

Beautiful prints+ebooks. Made by you

Create more, visit. blurb.com


They always say times change things, but you actually have to change them yourself -Andy Warhol

June - August PO BOX 83324 SAN DIEGO, CA 92138

InPrint Magazine Issue 11  

Showing contemporary and visual arts to the world. visit us at www.inprint-mag.com

Read more
Read more
Similar to
Popular now
Just for you