InPrint Magazine
INSPIRING ARTISTS AROUND THE WORLD
JULY - SEPTEMBER WWW.inprint-mag.com
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JULY - SEPTEMBER 2012 InPrint Magazine inspiring artists around the world FOUNDER AND EDITOR CHIEF Elo | elo@elodesigns.com
GRAPHICS AND LAYOUT Elo | elo@elodesigns.com
MARKETING STRATEGIST LUCILA XAVIER | lxavier@live.com
PROGRAMMER EDUARDO GARCIA | eds.nett@gmail.com
CONTRIBUTORS - WRITTERS KIMON FOUNDOULAKIS | kimon@eckacreative.com RICK BYRNE | rick_byrne@hotmail.com
PUBLISHER InPrint Magazine media
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ABOUT INPRINT MAGAZINE
InPrint is a bi-monthly online magazine project which main goal is to show contemporary visual arts to a wide variety of audience. - The author's intention is to publish the works of modern designers, fine artists and illustrators all over the world. All the works published in InPrint Magazine are property of the respective authors. Š2011.InPrint Magazine, Inc. All the works are property of the respective authors.
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MESSAGE FROM
THE EDITOR
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Art creates culture. Culture shapes values. Values determine the future.
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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. “LOVE ART AND LOVE INPRINT MAGAZINE AS MUCH AS WE DO”
Elo
(FOUNDER & EDITOR CHIEF @ InPrint Magazine)
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COVER
124 - 137
118 - 123
INTERVIEW
6 -15 InPrint features the best artists around the world in this first anniversary issue
108 - 117 82 - 93
CONTENT JULY - SEPTEMBER 2012 ANNIVERSARY ISSUE
16 - 25 100 - 107
42 - 47 INTERVIEW
66 - 73
27 - 29
76 - 81
50 - 57
58 - 65
INTERVIEW
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INTERVIEW
216 - 227 134 - 143
DESIGNER’S MIND
239 - 243
144 - 149 210 - 215 150 - 157 200 - 209
188 - 199 160 - 165 166 - 171 228 - 237
172- 177 178 - 187 INTERVIEW
FERRARA- ITALY
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ILLUSTRATOR
ALESSANDRO BATTARA Alessandro graduated from the Dosso Dossi School of Art in Ferrara, Italy, and then went for a two-year qualification in anatomical design. Alessandro Battara aims to strike hard on what’s negative around us such as a piece of news or a social/political situation through his work. I believe what we saw and lived first hand in our lives is very helpful, the more things touched us, the more we have to say and express, even violently. I’m always trying to turn my illustrations into a sort of cinematographic manifesto; the situation or the fact that I’m illustrating becomes my own film that I must summarize in a poster.
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CYPRUS- GREECE
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ILLUSTRATOR
ALEXIS MARCOU Alexis is an illustrator and graphic designer.Born and brought up in Greece in the city of Larisa and currently based in Cyprus (Nicosia). He graduated from the University of Plymouth (College of Art) and since thenhas worked for companies in Greece and Cyprus.More recently he has been doing freelance work. A few of his clients include Nike, Black Swan, MSenvy and DACS (Designers Against Child Slavery).
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INTERVIEW
Born in Rochester NY in the mid 50’s, Lou grew up within a typical large blue collar American “Leave it To Beaver” family household. Lou has been drawing and painting faces, figures and forms since he was a teenager. A self-taught artist, Lou has been steadily creating an impressive body of work with a portfolio that spans nearly four decades. He was A US Navy filmmaker for 4 years in an elite motion picture unit called Combat Camera Group. Lou then moved out west and spent the next two decades in Hollywood where he continued massing his body of fine art when he wasn’t working on film and television projects.
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FEATURED INTERVIEW
LOU PATROU
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I work with spontaneous ideas first and then mix in analytical ideas. I take these ideas and explore end stage possibilities, for example if it is a singular idea or something that could become a series of some kind.
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LOU PATROU - ARTIST | NEW YORK
lou’s concepts
InPrint: Tell us a little bit of who you are as an
times they have blatant symbolic imagery, it varies.
The one constant I have maintained for over 40 years is that I only do what I want to with my art. In other words I don’t illustrate or do commission work of any typw because the entire motivation would shift to pleasing someone else’s vision or direction. I can only work while I am stress free and under no comittment. I like the liberating feeling of being free of obligation and being totally open to spontaneity. So, for good or bad, I only draw and paint what intersests me at the time and hope some people get it.
InPrint: How has your work evolved over the years
artist
InPrint: When did you know you where an artist? What do you think an artist is now that you have been one for many years? I have been thinking of art since I was 14 or 15 and have always loved doing art. It has always been a personal and solitary activity for me.
InPrint: Your work deals with images have a very
unique style. Please explain what you are trying to communicate. I don’t always have a specific idea to communicate. Some times a piece expresses only a feeling, other
from when you where beginning?
Over the years a person’s taste changes and matures. InPrint: How has NYC affected your work if at all? Sure, there are all kinds of influences from the area worked into my themes and styles of my work. InPrint: How do conceptualize your images? I work with spontaneous ideas first and then mix in analytical ideas. I take these ideas and explore end stage possibilities, for example if it is a singular idea or something that could become a series of some kind. I do a lot of sketches and studies, and if it is in color lots of color studies. I think about he entirety of the concept and whether or not it will challenge and satisfy me enough to continue. The paintings I am working on right now are made up of design elements and pieces that are like puzzle parts. I work them out in advance to see exactly how they fit together, not only as interlocking pieces but how they fit the final composition and work within the series.
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Lou currently lives in the NYC area and has developed a following among collectors and fans of his work all over the US and abroad. Lou produces and sells signed limited edition prints through galleries and on his web site. Lou has exhibited his work in galleries in Chelsea, New York City and upstate New York. His shows and work have been mentioned in Gallery Guide, Chronogram, Juxtapoz Magazine, BG Magazine in Ecuador, Gallery & Studio and Color Ink Book.
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lou’s concepts InPrint: Do you draw on memories from having
grown up in NYC , or from photographs of events, individuals and locations? I think that I am probably influenced by everything both past and present, including architecture, advertising, signage, cars, magazines, web sites, every visual and message that flashes into my head daily. InPrint: What do you think of the artist commu-
nity in NYC?
I like all the people I have dealt with in the NYC area, great people. There are a lot of galleries around, all sorts, from established super galleries to pretentious trendy ones.
InPrint: What is your family background? Were
there any artists or creative types in the family?
The only other creative person in my family is my brother Allen, who is a professional portrait photographer in Phoenix. InPrint: What advice would you give emerging
artist in NYC who wants to show and be part of the scene?
To be part of any scene all you have to do is join up and participate. I am a bit of a hermit and don’t really pursue any scenes. I push my own work and meet people along the way to to doing my own thing. I am not much of a follower, I just concentrate on what I can do next with my own projects and artwork. The only
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To be part of any scene all you have to do is join up and participate. I am a bit of a hermit and don’t really pursue any scenes. I push my own work and meet people along the way to to doing my own thing. I am not much of a follower, I just concentrate on what I can do next with my own projects and artwork.
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LOU PATROU
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lou’s concepts
advice I could give is to continue with your artwork as a life long pursuit and maintain your artistic integrity always.
space some day, this would give me more options on what to work with.
InPrint: If you could be anything other than an
do you have coming up?
artist, what would you be?
My other career was in film production, I was a Navy film maker at one time and then moved to Hollywood to work in the film business. I gave it 22 years, but all along did my artwork as well. InPrint: What is your favorite medium to work
in? Have you always worked in this media? If not, why did you switch? For the last 10 years I have been switching between drawing in black & white and painting with acrylic, both on large sheets of paper. I would like to get into pastels again some day. I would like a bigger studio
InPrint: What upcoming series, projects, shows etc I have been working on a series of 4 paintings on 40” x 60” paper for over a year and a half. I just turned in some designs of my artwork for a series of Iphone covers to a manufacturer and I have a really cool collectible ballpoint pen based on my work that is due to come out this summer. It takes time and luck to find those kinds of opportunities. You have to approach someone that is approachable at exactly the right time and they have to love your work and it has to be a perfect match for their product line. LOU PATROU www.patrou.com
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lou’s concepts
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ADVERTISE WITH US WHAT IS INPRINT MAGAZINE? InPrint Magazine currently has over 20,000 page views per month. You can email us for more specific Google Analytic statistics. Our goal is to show contemporary visual arts to a wide variety of audience which attracts readers from USA, Europe – UK, Spain, France, Germany, Italy, Australia and the rest from all over the world!. InPrint is a bi-monthly online magazine. The author’s intention is to publish the works of modern designers, fine artists and illustrators. All the works published in InPrint Magazine are property of the respective authors. WHY SHOULD I ADVERTISE? We cover major facets of artistic news, events and installations making sure our readers become industry insiders through reading our publication. Our feature writers cover industry topics from top to bottom including technical areas of creative, prepress and print. Our regular commentators are recognized experts in their fields bringing knowledge, depth and passion to the page. The latest technology is unveiled and reviewed with insights from topics on design, prepress, print, bindery, sales and marketing. Fresh ideas will inspire, inform and energize you. WHAT WE OFFER: Our distribution list is constantly updated ensuring your advertising message will be read by the key decision makers in the printing and graphic arts industry. In a sea of competitors, we are a lighthouse of value. Our distribution list is always kept current. Every one of our readers is a potential client for your services whether creative, prepress, print, bindery, or software. InPrint Magazine is published 6 times per year and boasts the most reliable schedule in the market. We deliver on time, everytime. High-quality service and very competitive advertising rates make Inprint Magazine the best value on the market today. WHO SHOULD I CONTACT? You can contact our editor chief Elo @ sales@inprint-mag.com or info@inprint-mag.com. You can also advertise on InPrint website. Contact us for special multi-issue offers!
VIENNA - AUSTRIA
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ILLUSTRATOR
ANDREAS SCHEIGER Andreas Scheiger, born and living in Vienna. Studied economy and business administration. Private studies in graphic education and freelance illustrator.Works as an art director in advertising and on free personal graphic projects. The series “Evolution of Type” is an interpretation of a text by the famous typographer William F. Goudy: A letter should possess an esthetic quality that is organic, an essential of the form itself and not the result of mere additions to its fundamental form nor to meaningless variations of it.“Frederic W. Goudy,” The Alphabet and Elements of Lettering“, 1918. The letters are handcrafted and consist of MDF-wood, polymer clay, chicken bones, corals, acrylics and clear varnish.
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The Digital Millennium Goodbye Paper By Kimon Foundoulakis - Contributor Writter
W
e had a good run, Paper. It was fun and it was sweet. It was also destructive but for what it’s worth, I don’t know what I would’ve done without you. You were born sometime around the 2rd century BC in China, where your inventors realized it was cheaper to write their invoices on you rather than on the expensive silk they were actually invoicing for. Two millenniums and some later, you were coming out of machines, printed with ink, powder, colors and images, feeling glossy, matte and almost everything in between. You’re still around, sure, you’ve turned from a lover into a good friend but now, I’m sorry, I’m seeing someone else. It’s not me, it’s you. You see, all things considered, it turns out you’re rather expensive, cumbersome and truth be told, you’re partly to blame for global warming. We’ve had to cut down our trees, deplete forests and destroy natural habitats, and we also had to burn a lot of gas and chemicals into the air just to move you around and produce you. In a world where information needs to travel quickly, at minimal cost and with a reduced waste and carbon footprint, you have been rendered obsolete and replaced by a litany of practical electronic devices. It started slowly with the advent of the personal computer and the world has now entered a new era with the proliferation of smartphones, tablets and laptops, supported by ever increasing internet speeds.
The Decline of Print Media
Anyone who has lamented the demise of yet another newspaper can tell you that we now live in a digital world. Unable to compete with small, handy machines capable of storing thousands of books and articles in a single memory chip, the print media has suffered a very steady decline over the last decade. The latest data says just as much. Gannet, the publisher of USA Today and many other small newspapers, posted bleak results for its print media operation earlier this year. Quarterly profits declined by 33 percent while ad revenue fell 7 percent in the newspaper division over the last year. Only a handful of news publications are able to stay afloat but are doing so at a very large cost. They are cutting back on staff writers, relying more on syndicated content, and are gradually exporting their operation onto digital platforms. Another telltale sign is that readership is getting younger and thus, ever more reliant on modern digital devices to keep up with the world. In the first quarter of 2012, the 21 to 34 age group has visited internet newspapers by a 7 percent increase in unique visitors, with average daily visits up 17 percent, the Newspaper Association of America has revealed. In the 18 to 24 group, it has risen by 10 percent. That is a staggering increase in just a quarter, indicating that the switch to digital media is accelerating. General viewership has increased by 4.4 from a year ago and average daily visits are up 10 percent. This is a good indication that while benchmarks newspapers such as the New York Times and the Washington Post have had to decrease their staffing numbers and change the way they shared news, they are successfully switching
49 their base readership onto their digital platforms. However, they are now facing strong competition from online media powerhouses such AOL’s Huffington Post and Interactive Corp’s Daily Beast which are offering small-sized, sensation-driven stories that draw in readers and help them take away advertising revenue from the more traditional publications.
Digital Anywhere and Anytime
With information flowing quicker and with more freedom than ever, the digital era is giving rise to many new voices. With a computer, an internet connection and something to say, anyone can start a blog or create a website and thus easily reach a captive audience. With advanced smartphones and tablets and through Social media, users can now share information as it happens and diversify content to include images, sounds and videos that are worth a thousand words – pun intended. With a large plethora of applications and various operating systems that can adapt to any user’s specific needs, digital devices have become mainstream and an integral part of everyday life. Other than to gather news, smartphones and tablets now allow us find our way via GPS systems, listen to music, download cooking recipes and play games. Additionally, tablets are beginning to enter the corporate business culture and companies are increasingly deploying a BYOD (Bring Your Own Device) strategy that allows their employees to bring in their own digital machines of choice and integrate them into the company network. Obvious benefits can derive from this such as mobility, lower spending on hardware and software as well less time and money spent on staff training. David Needle wrote about this new movement in an article published on TabTimes.com. He described one of the early advocates of this trend, the law firm Foley & Lardner represented by Aaron Tantleff, Senior Counsel. Foley & Lardner has a full BYOD policy and the payoff is massive. “It’s been a huge money saver for us,” Tantleff said. Each employee gets a $1,500 allowance to purchase the device(s) of their choice and up to $3,800 over three years. The reduced costs of training have been significant “It’s the user’s own device, they already know how to use it,” he added. At Alfresco, a content management software provider, tablets have become indispensable. Todd Barr, Alfresco’s VP of Marketing, says almost 100% of the company’s employees are using tablets, most being iPads with a few Androids
scattered about. “The decision to offer company-issued iPads was strategic for where we were going as a company and also about changing the work culture,” says Barr. They hold iPad-only meetings and encourage employees to present ideas and projects using their tablets, even giving prizes for the best presentations. Barr said the iPad’s portability has been a game changer because it allows employees to share and present ideas anywhere without boot up time or, for example, having to balance a bulky laptop during an impromptu meeting in the hallway. Schools have also started deploying tablets to help students bridge the digital gap and to offer more ways to do research and complete homework. Tablets also help teachers by introducing interactive and engaging methods to impart their lessons. The goal being someday to entirely eliminate the need for heavy textbooks and ink-stained notebooks. This movement is just about gaining ground but look out for students walking to school with nothing but iPads before the end of this decade. It is fair to say that digital devices are now fully integrated into our lives, at every level and at a younger age. The demands of society and businesses have deeply evolved as we entered this new millennium. Mobility, quick and easy access to information, ability to create and share media are now the top priorities of electronic manufacturers who are under increasing pressure to create products that adapt to a world in which user-friendly technology and fast connectivity have become the norm.
Having said that, there is still a bit of old-school charm in leafing through a good book with a glass of wine by the fireplace - if only as a salute to an old friend.
NEW ENGLAND - USA
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ILLUSTRATOR
CHRIS PIASCIK Chris Piascik is an artist who recently held his sixth solo exhibition, Chris Piascik is also active in the design community. With six years of professional experience at award-winning firms in New England, he is currently working as a freelance illustrator and designer. He holds degrees in Visual Communication Design and Art History from the Hartford Art School at the University of Hartford, where he has moonlighted as an instructor of several design courses. His work has been published in numerous books and publications including Communication Arts, The Logo Lounge series and Typography Essentials.
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CATANZARO - ITALY
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ILLUSTRATOR
CLAUDIO PARENTELA Born in Catanzaro(1962-Italy) where he lives and works‌Claudio Parentela is an illustrator,painter,photog rapher,mail artist,cartoonist,collagist,journalist free lance...Active since many years in the international underground scene.He has collaborated&he collaborates with many,many zines,magazines of contemporary art,literary and of comics in Italy and in the world... During the 1999 he was guest of the BREAK 21 FESTIVAL in Ljubliana(Slovenja)
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66 Desiree Aspiras Graphic Designer
Student Under The Spotligth
Desiree Aspiras
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esiree Aspiras is a freelance graphic designer in San Diego specializing in work for nonprofit organizations and small businesses. Subtlety, restraint, and the touch of the hand are things she appreciates in all aspects of her life and particularly in design. As a designer, she looks for and
relies on those nuances, details and raw textures that can bring a project alive and tell a story in an authentic way. She has just completed a certificate in Graphic Design from San Diego City College and will begin her MFA in Graphic Design studies
with the Savannah College of Art & Design in the fall. She also loves calligraphy, collage, and book arts, and tries to integrate them into her work whenever possible
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INTERVIEW
Alvaro Tapia- Hidalgo is a graphic designer born in Vi単a del Mar, Chile. At the moment he is working in illustration, producing several collections around different topics, using a combination of traditional techniques and digital image processing. He currently lives in Granada, Spain.
ALVARO TAPIA 77 FEATURED INTERVIEW
ALVARO TAPIA HIDALGO
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I really enjoy being an illustrator. I like it that it is a very friendly world in which I get a lot of support and good vibes from fellow illustrators. I also enjoy the freedom of working on my own as a freelancer. ALVARO TAPIA HIDALGO - ILLUSTRATOR | SPAIN
InPrint: Tell me about your childhood, where did you grow up?
I was born and raised in Viña del Mar, a coastal city in the central area of Chile. There were lots of kids in my neighborhood and we spent all day playing in the street and doing kid’s stuff. I remember that at that time I also liked to collect magazine clippings and make collage art to hang on my room. I have very good memories of that time of my life and I get nostalgic when I remember my childhood.
InPrint: How did you first get into illustration? Are you self taught or you went to school for it?
I studied Graphic Design at Universidad de Valparaiso and then Cinema Studies at Escuela de Cine de Chile, but illustration was not one of my activities then. I started doing illustration when I moved to Spain in 2007, just as a divertimento. It was in 2011 while living in Manchester, England, where I felt very stimulated and I would spend most of my day doing illustration. One day people started to get interested in my work and I started getting commissions. It has been my main activity since then.
InPrint: Your work has a refreshing look to it that
stands out well in a growing sea of Illustration. What are some visual influences that make their way into your work?
As for plastic artists, I am utterly impressed by the work of Francis Bacon, Lucian Freud, Paula Rego and Jenny Saville. I am also interested in popular culture, B movies, cinema icons and outsider characters, losers, etc. I like to discover beauty in the grotesque. I’m fascinated by the body’s anatomy, the flesh, the muscles and bones. I like what is ambiguous, contradictory, disturbing.
InPrint: Could you share your mental approach to developing concepts for your Illustrations and the technical side of your creative process?
I usually start from a preconceived image, something that captures my attention because of the theme, shape or whatever it is, depending on the project I’m working on. I usually start by doing a path by simplifying the main shapes and then I distort some lines or features, generating something more abstract or more geometric. This is a rather mechanical work during which I think of the further development of the piece. My main goal is to stay away from the original model in
78 ALVARO TAPIA order to create something new. Sometimes I work as if I were doing collage art by composing different shapes and colors. I finish the piece by adding hand-made watercolor textures in order to produce a more organic piece.
InPrint: Your work features an evocative combination of dynamic color and shapes. Could you talk about your experience in developing these elements of your style?
I think that’s because of my background as a graphic designer. I use in illustration the same tools as in my design work, I use synthesis, geometrization, vectors, pure colors, etc. In both jobs I am interested in achieving a high visual impact. I think that subconsciously I approach each illustration more like a design commission than as an artistic work.
InPrint: What do you like about your work, and what do you think other illustrators like about it? What I like the most, no doubt, is the process. The problem-solving process to reach a final result. I think that perhaps other illustrators see that I have found a personal style in terms of form and theme.
InPrint: What role does personal work play in your business and your craft?
Recently, my personal work defines my commercial work. I mean that clients look for that personal style when they commission a piece from me.
InPrint: What do you love most about being an illustrator?
I really enjoy being an illustrator. I like it that it is a very friendly world in which I get a lot of support and good vibes from fellow illustrators. I also enjoy the freedom of working on my own as a freelancer.
InPrint: And what are the most difficult things about being an illustrator?
As in everything freelancer, you sacrifice freedom for stability and as in every creative work, every now and then you have to deal with difficult clients, but nothing that terrible anyway.
InPrint: What tools do you use for your work?
A computer, paintbrushes, watercolor, paper and a scanner.
InPrint: Do you have any advice for aspiring illustrators?
I mainly recommend perseverance. Have your own web, tumblr, blog, etc. and promote your work on the internet.
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PHILADELPHIA - USA
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ILLUSTRATOR
DOUG SMOCK In addition to working professionally as a Designer, Illustrator, and Art Director, Doug has followed a disciplined regimen of developing personal work, beautiful mysteries, as one reviewer categorized. Doug’s work is in a variety of private, and corporate, collections across the US. His work has appeared on the pages of The Atlantic Monthly and Playboy, amongst others.
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WHERE HAS THE GREAT POLITICAL POSTER GONE? By Rick Byrne - Contributor Writter
INTRODUCTION
T
he political poster has played a significant role in political gatherings for the last two hundred years. They could be produced cheaply and plastered up quickly.Epic clashes of ideology fought it out in visually compelling posters that are easy to show in design and history books. Here are some great examples: (http://thinksmartdesigns.blogspot.com/2010/06/great-political-posters-that-changedus.html)
we passively form our opinion of a candidate as we go about our day-to-day life.� Other processes for mustering up the vote occur in the privacy of the home such as email, telemarketing, direct mail and websites/online banner ads. All of these can bring a more detailed message to specific households. However these messages are more likely to be lost in the daily mass of unsolicited spam and junk mail.
In an online age political posters are conceptually easy to design. They just need a great image, a gripping headline and maybe a logo. There are no clicks or metrics or market share attached to them. However the very idea of a poster is under attack due to the dominance of TV/web as the main mediums for political messaging and green issues of paper wastage. Also, is there still the kind of great clash of opposing ideologies that historically gave rise to all those great posters of previous eras? In this article I ask if the political poster is it now an out of date medium? IS THE MEDIUM THE MESSAGE? “Posters are still cheap, easy to produce and can be put up over night (the time of day they are most frequently put up). Plastic yard signs with prongs for insertion into the ground have sprouted up all over suburbia. These have largely replaced paper posters in the US as the main conveyor of political messages at the street level. This is where
TV remains the dominant medium for presidential or congressional election campaigns as it is the main chance for individuals to see the candidate in person (so to speak). Just like a brand the footage gives a general impression of how the candidate conducts them-
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Large last names and red, white and blue: the main essentials of US political selves–more so than in other media.
name appears big too but it is a secondary element.
However despite all this individuals still wave posters at the party conventions and carry them in parades. There is something about their size and manageability that keeps them in the human scale. The fact that anyone can now design them and get them printed adds to their universal allure. Click here to see CafePresse. com’s Obama (http://shop.cafepress.com/obama) and Romney (http://shop.cafepress.com/mitt-romney) pages and just as before they still remain the main artifact for a political campaign.
Next comes the use of variations on stars and stripes to convey how ‘all American’ the candidate and their values are. Smaller parties like the Greens or Libertarians don’t use the generic American look to present a non standard view of their policies. The concept of ‘Blue’ states (Democratic) and ‘Red’ states (Republican) emerged through TV’s portrayal of the vote counting. However red is not seen as a particularly American color on it’s own in politics probably because of the the color’s association with communism and it’s general negative ‘stop’ or ‘danger’ connotations.
DESIGN OF POLITICAL POSTERS IN THE US
Thirdly I find the absence of party branding on these posters is very odd. Almost all candidates in presidential and congressional elections are members one of the two main parties yet they don’t use their logos. Obama made up his own logo and uses that. By contrast European political parties each have their own distinct Firstly the biggest unique aspect of designing election posters in the US is the use of a candidate’s last name as color branding and party logo on everything. I think only the green party in the US has a distinctive brand the largest element. Sure the name appears on the balcolor but with a name like that it would have to. lot and it’s important to recognize it. However in Ireland and the UK political posters have pictures of the specific individuals on them as the largest element. The So what goes onto these printed posters? There is definitely a very unique view of designing political campaigns in the US. There is a certain psychology at play and design for that process reflects this.
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A VISION OF IT’S TIME Not only does every good political poster have it’s own message but to be a great political poster there usually has to be a strong opposing viewpoint. Consider the iconic ‘I Want You’ Uncle Sam poster from world war one or the equally iconic ‘British Keep Calm and Carry On’ poster originally to be pasted up if the Germans invaded during world war two. Both so captured a feeling of their era that has lived on beyond their origin. Check the links as the end of this article to see American, Communist and Nazi posters from world war 2. While the clash of ideals provides a political viewpoint it also creates an impassioned group trying to use it to electrify or shock the public. If the group also comes from the fringes there may be less to lose. A great example of this is the Silence = Death poster created in reaction to President Reagan declaring AIDS “public health enemy number one” in 1987. Now in this election year what is our vision of the future? Is there an epic clash of ideologies? During US elections the two main parties seem to mostly target the voters in the mid ground. These are the people who will sway an election rather than the dedicated party followers. As a result in deciding their messaging politicians in the US tend to play it safe. Currently Obama and Romney’s political platforms cover job creation, economic stimulus, the deficit, auto industry recovery, healthcare etc.
The detail varies but in the run up to the election these differences will be expanded to appear like the epic ideological clashes of the mid 20th century.
CASE STUDY: OBAMA HOPE/CHANGE
Against the backdrop of stars and stripes dominating political posters the Obama/Hope poster emerged to capture the imagination of the public in 2008. It seemed to capture Obama’s vision, whether real or imagined. It also encapsulated the public’s desire for change, something John Kerry was unable to do in 2004. The artist Shepard Fairey designed the stencil style poster in a single day and then printed off 700. The original poster merely had the word ‘progress’ but Obama’s campaign people later asked if Fairly could do a version with ‘hope’ and even later on a version with ‘change’. The non specific message captured a feeling rather than a specific policy allowing anything to be read into it. It no doubt helped sway many of the undecided voters who needed a clear brand-like sense of what Obama stood for. By October 2008, Fairey and Yosi Sergant, his publicist, claimed to have printed 300,000 posters (most given away) and 1,000,000 stickers. For a year after it’s creation the image and parodies of it appeared everywhere. In fact here’s how you can make your own (http://vector. tutsplus.com/tutorials/illustration/create-an-inspirational-vector-political-poster/).
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residential candidate Lyndon LaRouche’s attempt to deonize Obama
Despite a legal wrangle over the use of the an Associated Press photo the original hand finished collage now hangs in the Smithsonian Institute’s National Portrait Gallery. Unlike most of his predecessors, Fairey has shown the dramatic impact a single political poster can achieve.
GET OUT THE VOTE
The urban myth that more people voted for American Idol than in a presidential election of 2008 is widely believed (although not true). As the amount of people casting their votes declines, the mobilization of the non-voters has become the key focus of the Get Out The Vote (GOTV) campaign. Rock concerts, college campus gatherings and posters target the 18-25 age group–the very people who have the vote and want to change the world yet most often feel that they can’t change anything. The narrowness of the margin in votes between the two presidential candidates in Florida 2000 caused an even larger GOTV drive in 2004 and 2008. As a result variSome entries for this year’s Get Out The Vote campaign (inc captions)
98 ous GOTV campaigns in the US are populated with people with left wing/Democratic political views. My gut feeling is that groups with right wing/Republican views mobilize better as a voting block. It is ironic that while previously great political posters used to say who to vote for. they are now just asking people to vote. The AIGA (the professional association for design) has organized a selection of print ready posters open to anyone use. To see the full range of magnificent posters click here: http://www.aiga.org/get-out-the-vote The project is a return to the vision that graphic posters can sway people to vote for something. In the last election approximately 100,000 of AIGA/GOTV posters were printed. There is still an epic clash of great ideals, now the ideological opponents democracy and apathy.
WILL WEBSITES REPLACE POSTERS?
Websites are increasingly used as the main contact point for political campaigns. Unlike other media, online campaigns are a two way process, can be tracked for usage/clicks and are easily updated as policy changes–everything a poster is not. So with websites being a more effective tool for reaching the electorate than a poster should they still play it safe? A disastrous political website appeared earlier this year in the form of the highly racist Bettie-spend-itnow campaign for Senator Pete Hoekstra. Aimed at his opponent Debbie Stabenow’s spending policy it
portrayed an Asian girl in a video saying in pidgin English “Thank you Debbie SpendItNow. You borrow more and more from us. Your economy get week. Ours get very good. We get jobs. Thank you Debbie SpendItNow.” The website had Chinese fans, dragons, the red communist flag all around the video. Click here to see the video (which also played as a tv ad during the Superbowl): http://www.youtube.com/ watch?v=TkQAalcsg5E It definitely cut through the masses of safe political messaging by having a more unique take on the issue and created a big media buzz. Pete Hoekstra discovered the fallacy of the adage that there is no such thing as bad publicity and had a drop of 5% in support (comparing a poll in November 2011 to one in February 2012). It is surprising that the drop was only 5% and not more. The site was taken down due to so many complaints and original URL (debbiespenditnow.com) now directs to PeteSpendItNot.com. Hoekstra’s willingness to not play it safe could have created something great. It clearly changed many of the electorate’s minds.
CONCLUSION
No longer the outsider, Obama cannot reuse the emotive ‘change’ theme of his first presidential campaign. Instead he has now gone for the safer middle ground. Web ads now presents him more like an everyman figure with his wife and children being co-opted into them. There is even a reality TV-like online ad campaign where donators to the campaign can win a dinner with Obama himself. By contrast Romney’s message so far is mostly about jobs and economic growth. Gone is the iconic poster from the fringe.
So how do you end up with a great political poster? Put simply it’s the combination of being at the right time and place to capture a zeitgeist of an epic clash of ideals, preferably in a new artistic style. It seems that without this epic clash there won’t be an epic poster. Maybe as the messaging changes from either side in the run-up to November 1st’s voting, a more diverse clash of ideals will emerge. Someone just as lucky A less safe message that goes beyond the usual stars and stripes yet did not capture the
99 as Fairey may yet capture the spirit of the time.
LINKS http://www.democrats.org http://www.gop.com https://www.mittromney.com http://www.barackobama.com/ http://petespenditnot.com http://debbiespenditnow.com Some fantastic posters: http://webdesignsurvivalist.com/inspiration/inspiration-30-modern-propaganda-posters/ World war 2 American posters: http://speckyboy.com/2011/09/05/30-political-propaganda-posters-from-modern-history/ http://www.zazzle.com/ww2+posters Soviet era posters: http://www.crestock.com/blog/design/propaganda-design-aesthetics-soviet-retro-posters-118.aspx http://www.designer-daily.com/10-amazing-cold-war-propaganda-posters-2901 Nazi posters: http://www.bytwerk.com/gpa/posters2.htm http://www.bytwerk.com/gpa/posters2.htm
The future equivalent of the poster may lie online
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HAMBURG - GERMANY
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ILLUSTRATOR
FRANCIS WILLMANN Francis Willmann is 20 years old, She lives in hamburg where she studies graphic design. As an artist she is focussing on photography and illustration and always wants to improve her art skills, finding new techniques and be unique with my own style. “I want to touch people emotionally, that is why I always want to create different moods in my pictures”.
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RHODE ISLAND - USA
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ILLUSTRATOR
HANNA VON GOELER My money, my currency’ by Hanna von goeler the interstitial quality of money as it travels from person to person is the point of departure for Hanna von goeler’s ‘my money, my currency’. In this this ongoing project the artist chronicles her struggle and relationship with money. Exploring the ethical, political and aesthetic questions that surround notions of currency. The title of the project partially references Warhol and Walter Benjamin with the phrase ‘my money’ but this body of work is not entirely about the reproduction of money. rather it is about the concept of currency what it is and who has it. for the artist currency implies a general acceptance prevalence and trend. Currency is about the exchange of something whether ideas, ethics or culture.
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CHICAGO - USA
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ILLUSTRATOR
TEAGAN WHITE Teagan White is a freelance designer and illustrator from Chicago, currently a student at the Minneapolis College of Art and Design. Her experience working with a diverse range of clients, from those in the music, fashion, and editorial industries to small business owners and individuals, has allowed her to reject much of the sterility of contemporary design in favor of an aesthetically-focused approach that bridges the perceived gap between graphic design and illustration. Intricate linework, naturalistic rendering, and subdued color are integral to her visual identity, while a fascination with natural history, antiquities, and mortality drives the content of her work.
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INTERVIEW
The introduction of digital techniques in my creative life around 2003 unleashed the full potential of my passion for creating images. Therefor I rather refer to myself as an image creator instead of photographer. Every day the intensity of that passion is increasing.My power lies within conceptual photography, which is closest to my heart. I can think about the creation of a new image for several weeks or even months. In the end everything is coming together, the new image is born and everything is starting all over again. I prefer surreal, even rotten, images with a pinch of humor. There’s enough in my mind for one lifetime, maybe even my next life‌
CARLA BROEKHUIZEN 125 FEATURED INTERVIEW
CARLA BROEKHUIZEN
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It’s always my own feeling that tells me what is good enough. You have to trust your artistic eye. CARLA BROEKHUIZEN - PHOTOGRAPHER | NETHERLANDS
InPrint: Carla, Do You Have Lenses...If So What Is It? Since I’m more of a studio photographer, I like the 18/200 lenses I think they are very good and deliver the job pretty well.
InPrint: Which one item of equipment would you say is the most important to you? I think my best and favorite equipment are my brain and eyes. They give me everything I need. And of course, my technical equipment to make my images.
InPrint: Are you a self-taught photographer or did you have a mentor that showed you the ropes? I’m self-taught.
InPrint: How do you decide on locations & subjects?
That depends on the concept. Most of the time use a studio was I build the whole setting for the composition. I have a great collection of props and I often make them myself.
InPrint: Would you give a brief walk through your workflow?
InPrint: Do you rely on lighting (natural, or artificial), or do you rely on dark-room/computer manipulation?
InPrint: In general, during a session, how many pictures would you say you take to find “the right one”?
InPrint: Was there a defining moment when you knew that it was time to take pictures professionally or was it a gradual transition?
The RAW images hit the light room first. After that I use Photoshop and sometimes even the printed version will be edit by myself using everything I have in my kitchen.
50 pictures are enough to get 3 great pictures. When I started as a photographer, I made hundreds to find that 1 perfect one.
Light is important, of course I have studio lights but natural light is my favorite. Early morning light is probably my favorite but it’s hard to get my models here on time
I have never understood what was meant by “Professionally”. I do it because I love doing it but don’t make
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130 CARLA BROEKHUIZEN (interview continued) much money. I have a day job for 3 days and the rest is for image making and to put my passion on practice.
Any kind of emotion can turn me on but people who are vulnerable are a great inspiration.
InPrint: There are times when everyone is telling a photographer that a picture is good, but some are not satisfied with it. How do you know that a photo is really good?
InPrint: What is your least favorite word?
It’s a gut feeling, I know it instantly. It must be my sixth sense and my photographer feeling.
Making props, mask and costumes for great films like the Lord of the rings
InPrint: Before you put your work “out there”. Do you have it critiqued by someone else, or do you just go with what your heart tells you is right?
InPrint: What is the ONE lasting impression you want to leave in your photos?
It’s always my own feeling that tells me what is good enough. You have to trust your artistic eye.
InPrint: What turns you on creatively, spiritually or emotionally?
can’t and must
InPrint: What profession other than your own would you like to attempt?
It feels good if I can make people smile or think (if they understand the hidden message)
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138 Hanna Volz Graphic Designer
Student Under The Spotligt
Hannah Volz
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annah Volz is a Graphic Design Communications major in her senior year at Philadelphia University. Growing up, she had always been interested in pursuing an artistic career, especially with the influence of her uncle and grandfather, who also worked in the graphic design industry. She believes that graphic design has the ability to make art accessible to the everyday consumer, whether it be through print design, beautiful packaging, or a well designed web site. At Philadelphia University, Hannah has had the opportunity to develop her skills in a variety of design media, but she
is particularly passionate about print design, typography, and package design. As a designer, she appreciates work that is innovative and clean, with a sophisticated use of typography. A project is most successful if it is concept-driven and well thought out. Hannah finds inspiration in older designs, such as the work produced during the Swiss design movement of the 1950’s, as well as vintage typography and packaging.
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CHICAGO - USA
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ILLUSTRATOR
JASON SEILER Jason Seiler began his professional career in a rather unorthodox way. After getting in trouble for drawing parodies of his history teacher in high school, Jason’s quick-thinking principle hired him to draw caricatures of different faculty members. A professional artist was born. Jason went on to study fine art illustration at the American Academy of Art in Chicago for two years before beginning his professional work in earnest. Jason’s humorous illustrations have been featured as covers and interior pieces for TIME, Rolling Stone, Business Week, The New York Times, Billboard, The Wall Street Journal, The Weekly Standard, MAD magazine, GOLF magazine, KING magazine, Revolver, Guitar Player, The Village Voice, Penguin Group, Disney, The New York Observer, New Line Cinema, Universal Pictures, Aardman Animation, and Sony Image, among others. Jason also worked as a character designer on Tim Burton’s Alice In Wonderland, helping to create such characters as the Red Queen, the Tweedles, the Bandersnatch and much more.
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SAN DIEGO - USA
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ILLUSTRATOR
JEFF AMANTE Jeff Amante is an Illustratist. He received his Bachelor of Arts in Illustration from The California College of the Arts. There he learned that everything is connected to art and to the drive for creative expression. Hungry for all manners of mediums, Jeff ’s background as an illustrator is reflected in his need to have his work tell a story. To have some sort of resonance. His artistic pursuits also led him to study graphic design at San Diego City College. He now works as a graphic designer and stays true to his passion-making marks.
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GREAT PACKAGING MEANS USING ALL OF YOUR DESIGN TOOLS TO BEST EFFECT By Chris Penfold - Contributor Writter
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esigning branded packaging is a complex task that is often misunderstood and, to be successful, requires a holistic approach. Essentially brands must meet underlying consumer needs, so it’s important to ‘know’ your consumer ‘inside out’. As well as talking to them to find out what they think they want/need you should also observe carefully to see how they act and use existing products to try and unearth their unarticulated needs – the ones that they are probably not even aware of themselves. Then, once you have a consumer insight make sure that you undertake the design process in a holistic manner. That means that the technology, design and marketing all need to be dovetailed for maximum impact and integrated from start to finish. Make sure that you include all stakeholders in the ‘life of the product’: design, development, manufacturing, supply chain & retail environments – both within and external to your
business. All have their own particular needs. Packaging has a number of ESSENTIAL (must have) tasks that it must perform as well as a number of DESIRABLE (nice to haves).
The Essentials are:
Protection - against damage (transit, moisture, gases, odour, degradation), Containment – of contents (no leakage/disintegration) Identification – describe, inform & promote ….all at optimal cost (with minimum impact on the environment) The Desirable features are: Protection - Provide: Extended shelf life, Choice, Guaranteed freshness, Tamper Evidence & Child Resistance Containment – Integrate with product: Dispense, Deliver dosage & Provide convenience Identification – Provide: Standout, Imagery, Branding & Product segregation
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Colour & Graphics
The great news for you (the designers) is that as we move into the future and the internet & technology converge, there are 3 more variables that a designer now has in his/her armoury to use: Sound, Vision and Interaction. I’m talking here about packaging that ‘talks’ (to you as an individual in you own language), has moving pictures that could demonstrate how to use the product and could provide a useful menu of choices that enable you (as a consumer) to adapt (or will automatically adapt for you) the unique user experience never previously possible. The possibilities are limitless! And how will that happen? Well it already is, to a certain extent, with the help of smartphone technology, which means that these ‘intelligent packs’ will know who you are, where you are, what your likes & dislikes are, what you bought last time and what your preferences are most likely to be. If you tie that in with advances in polymer, material and ink technology…’the sky’s the limit’. Scary? Could be if used incorrectly but will provide (and is providing) some fantastic opportunities. Over coming issues of InPrint I’ll provide some examples of how this technology is evolving and working with packaging to ‘add value’ and change our lives forever….watch this space… Chris Penfold Design Cognition, Nottingham, UK www.designcognition.com chris@designcognition.com
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OHIO - USA
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JOHN SOKOL John Sokol was born in Canton, Ohio. He is a writer, painter and an artist living in Pittsburgh, Pennsylvania. John is the winner of the 1999 Redgreene Press Chapbook Competition. His short stories have appeared in Akros, Descant, Mindscapes, The Pittsburgh Quarterly, Redbook, and other journals. One of his stories has been translated into Danish, and, another, into Russian. His drawings and paintings have been reproduced on more than thirty-five book covers.His poems have appeared in America, Antigonish Review, The Berkeley Poetry Review, Georgetown Review, New Millennium Writings, The New York Quarterly, and Quarterly West, among others.His short stories have appeared in Akros, Descant, Mindscapes, The Pittsburgh Quarterly, Redbook, and other journals. One of his stories has been translated into Danish, and, another, into Russian. His drawings and paintings have been reproduced on more than thirty-five book covers.
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COLLAGE ARTIST
LEONARDO MATHIAS Leonardo Mathias lives in São Paulo and is engaged in activities related to product and graphic design, visual arts and literature: “Start a job from the chaos going on without specific claims, composing with the pieces already in my daily repertoire. I play to find the gaps between things, as said Kazmir Maliévic, the economy is the fifth dimension, which sets the making of contemporary art. Everything I do looms the reverse of what I think, the deconstruction of my ideas is crucial in my work.”
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INTERVIEW
Monty Montgomery began exhibiting his work in 2002. Born and raised in Virginia, Montgomery loved black lines and bright colors at a very young age and was influenced by his mother who was a kindergarten teacher. “I started doing art really young,” Montgomery says. “Grabbing crayons and markers and trying to fill in good old-fashioned coloring books. I remember having a massive amount of coloring books and being able to sit for hours with my mom at the kitchen table trying to get each page perfect.” Montgomery’s use of “starz” in his work comes from years of sitting with his Grandfather as he pointed out constellations through the dark, small town, Virginia skies. “It was always magical listenin
MONTY MONTGOMERY 173 FEATURED INTERVIEW
MONTY MONTGOMERY
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My work is a true combination of what I am feeling and what I see from what flows through my body and mind every passing day.. I feel that’s what art should be, it should be for you and then for others to appreciate and take in. MONTY MONTGOMERY - ILLUSTRATOR | SAN DIEGO
InPrint: Tell me about your childhood, where did you grow up?
I truly enjoyed growing up in Central Virginia with a strong Family Background. I spent many days running around in the woods with my brother and loved hanging with my friends and playing many different sports all through my younger years.
InPrint: How did you first get into illustration? Rae you self taught or you went to school for it?
I grew up playing in the arts with my Mom through my youth and then truly started digging deep when I hit my college years. I majored in Graphic Design in college and dove fully in after I graduated, it has been my life ever since!!
InPrint: Your work has a refreshing look to it that stands out well in a growing sea of Illustration. What are some visual influences that make their way into your work? Influences crawl into my mind everyday as I watch all around me. Images jump out at me in many different
styles and colors and then I grab certain ones and combine them with other moments.
InPrint: Could you share your mental approach to developing concepts for your Illustrations and the technical side of your creative process?
I very much pay attention to all that surrounds me everyday. I listen to the sounds around me and I watch the butterfly flutter through the air, I combine so many different elements and then produce some type of feeling that make a person respond.
InPrint: Your work features an evocative combination of dynamic color and shapes. Could you talk about your experience in developing these elements of your style? All of my combinations come from combining very different moments over very different periods of time. I think about how I felt, what I saw, how I wanted to be and what I wanted to relay to myself and everyone who views the works. I always see various images in very different color combinations, I feel that imagery has a
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color it should be and often it is not the color it may be in real life, I make it my color!!
InPrint: What do you like about your work, and what do you think other illustrators like about it? My work is a true combination of what I am feeling and what I see from what flows through my body and mind every passing day.. I feel that’s what art should be, it should be for you and then for others to appreciate and take in. I feel folks enjoy my works because it simply sparks an energy within them that causes something inside to respond. No matter what that response may be, I feel the combination of color, imagery, and placement along with specific texture here and there will enable a response.
InPrint: What role does personal work play in your business and your craft? n/a
InPrint: What do you love most about being an illustrator?
I truly enjoy watching paintings and drawings come to life with color and line. The full process from start to finish is what makes me feel so excited to see what is coming next!
InPrint: And what are the most difficult things about being an illustrator?
Trying to figure out how to get what I envision in my head fully to the canvas. What tools do you use for your work? Acrylic paint and canvas or panel, ebony pencil.
InPrint: Do you have any advice for aspiring illustrators?
Be you!!!! Study and follow other artists if you need to but always stay you when you create…
InPrint: Where can we find Monty online?
Monty Montgomery Art Website: http://www.montymontgomeryart.com E-Mail: monty@montymontgomeryart.com i-phone email: montymontgomeryart@me.com Facebook: http://www.facebook.com/ montymontgomeryart Twitter: http://www.twitter.com/montyart Society 6: http://www.society6.com/ montymontgomery Zazzle: http://www.zazzle.com/montymontgomeryart Cilli Original Designs Website: http://www.cillidesigns.com Twitter: http://twitter.com/cillidesigns E-mail: monty@cillidesigns.com KREASHUN Website: http://www.kreashun.com E-mail: monty@kreashun.com
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ILLUSTRATOR
STEPHEN SWENY Stephen Sweny is an illustrator from New Jersey that went to two different art schools in New York City, Pratt Institute in Brooklyn and School of Visual Arts in Manhattan. He has done illustrations for Advertising Agencies, Book Publishers and many magazines and newspapers such as The New York Times, Business Week, Forbes, National Lampoon, Playboy, Psychology Today, The San Francisco Examiner. The Chicago Tribune, Fortune and many other publications. He currently lives and works in Decatur, Georgia. In addition to freelance illustration, he has taught at The Atlanta College of Art, Portfolio Center and presently at Callonwolde Fine Arts Center in Atlanta
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DUNAUJVAROS - HUNGARY
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GRAPHIC DESIGNER
MIKLOS KISS I am a Hungarian designer and artist. I worked on a projects in architecture, fine art, design, graphic design, typography. Mindfreek Productions is a Hungarian start-up production office, which produces movies, TV ads and manages music bands. They asked me to make a classic but a little bit playful logotype, which shows the word-play between Mindfree and Mindfreak. Thank you for Balazs Makrai, Istvan Hanzel and Daniel Magyar giving scope for my abilities. After getting the faculty diploma Miklos received a special invitation from the Essl contemporary arts museum in Vienna for the Essl award exhibition, where he received a special award. In 2008 he turned towards design, and began working on graphics, design and architecture. At age 28, in year 2009, he designed a tire service building, mocked as Rubberhouse, which was built based on his plans and design. The walls of the building consist of recycled tire filings. The same year he designed the Budapest Airport Terminal 2 and Sky Court information system’s graphic design. In 2011, the Museum of Applied Arts bought his furniture collection named HOOP. About the same time he designed the LACK magazine’s identity and front cover, which achieved great success. His identities and graphics can be found on many international design blogs and design books.
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Nayoun Kim was born in Seoul, South Korea. After graduated from University majoring in Fine Art, she started drawing illustrations for children’s book. After moving to Toronto, she is an Illustration student at Sheridan College in Oakville.
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NAYOUN KIM
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MINNEAPOLIS - USA
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ILLUSTRATOR
JAMES O’BRIEN James O’Brien is a freelance illustrator, artist, and graphic designer specializing in advertising, editorial, and children’s book design and illustration. His conceptual and decorative art has been recognized by 3x3 Magazine, Creative Quarterly, American Illustration, The Society of Illustrators, Communication Arts, PRINT, The Society of Publication Designers, SBS Digital Design, AIGA, and SILA. .
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INTERVIEW
Ruben Ireland, 23, received a degree in illustration from Middlesex University in 2010. Since then he has worked for a range of clients producing album art, t-shirt designs, digital media, limited edition homewares and editorial illustrations. Ruben has also shown work in galleries in San Francisco, London, Warsaw, Stuttgart, Stroke and Berlin with more shows to come. Whilst holding a mirror to the world within and around us, his work often features solitary women, quietly imposing animals and minimalistic environments, conveying a sense of inner peace, curiosity and understanding whilst exploring a range of subjects surround life, death, love, loss and fear. His tools include ink, acrylic, weathered papers, foods, photo-collage and a warn-out macbook with a Wacom tablet.
RUBEN IRELAND 217 FEATURED INTERVIEW
RUBEN IRELAND
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I’m inspired by all sorts, from music, books and films to things I see lying around on the street or growing in nature. I’m also fascinated with people. People are strange as Stina Nordenstam once put it...
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RUBEN IRELAND - ILLUSTRATOR | UK
InPrint: First of all we would like to thank you for taking the time to provide InPrint Magazine with this interview. Your work was selected for the 3th issue of the magazine. Please tell us more about your art and design background and what made you become an Illustrator and designer? I come from an artistic family and always enjoyed art lessons at school, so it was a natural choice for me to become an illustrator.
InPrint: Your work is pretty unique and full of creativity. Where does your inspiration come from?
I’m inspired by all sorts, from music, books and films to things I see lying around on the street or growing in nature. I’m also fascinated with people. People are strange as Stina Nordenstam once put it... Lately I’ve been reading a book by Ken Dychtwald about the ‘bodymind’ Which explores the idea that the mind and body are perfect reflections of one another, more so than we may think, and that every aspect of the mind can be described by analyzing no more than the
body, and vice versa. Anyway, I find the concept really inspiring and would love to explore some of that in my own work.
InPrint: Could you describe for us your typical ‘start to finish’ workflow when working on a illustration?
I tend not to have a regular workflow. Sometimes a brief or idea warrants a series of sketches and a mess of paint, sometimes I work straight on the computer with digital collages to realize a concept. I do however, try to maintain the balance between hand and computer in every piece so at some point during every project I go wild with some texture making and scribbling balanced with much more careful work in Photoshop.
InPrint: What are your tools of the trade, both hardware and software?
My tools include anything I can find that makes an interesting mark as well as ink, acrylic, weathered paper or cardboard and of course a Wacom tablet and Photoshop.
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InPrint: How does your job as an artist and designer influence your life? Do you feel that you see things around you differently for example?
The best for this kind of time waste are XOTE, Desire To Inspire, Rock The Room, Veneer and Nice*Room.
I draw inspiration from looking at as much art as possible, as well as film and TV, I also find that music really helps me to work. I would recommend listening to Mount Kimbie, Clint Mansell, Dimlite, Joanna Newsom, Neil Young, Nine Inch Nails, anything that inspires thought and creativity really. I also really like to travel and have spent quite a bit of time in Norway where it’s difficult not to be inspired, I think it’s important to leave you’re comfort zone as much as possible.
Lastly, although they stopped posting, I’m still a big fan of Cgunit.
InPrint: What are your coming projects?
InPrint: Where to find Ruben on the web? rubenireland.co.uk
I’m working on a couple more album covers for artists in the US and UK as well as more personal work and a few pieces for upcoming exhibitions with PRISMA. All very hush hush
InPrint: What are your favorite 5 websites, and why?
Society6 is number one for me as it allows me to share my work and discover new work by others constantly. It’s a great place to meet other artists too and of course try to sell a thing or two. Secondly would be Ffffound, not because it’s the best image blog around but because it leads to such a great variety of better image blogs. And it never stops! I love Leivos too as the girls who run it are just great people and they share the work of brilliant up and coming illustrators regularly I’m an avid fan of any kind of interior design and can spend hours looking at other people’s beautiful rooms.
InPrint: Once again, thank you very much for the interview. As a final word, do you have any tips for upcoming artists and designers? Thank you! Yes, Work really hard and enjoy what you do.
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ILLUSTRATOR
DAVID FULLARTON David Fullarton is a Scottish born, San Francisco based artist. He keeps notebooks filled with scraps of paper, scribbled phrases, and other ephemera that he incorporates into his artwork. These elements represent the oftenoverlooked stuff of daily life, which is the root of Fullarton’s inspiration. He sees beauty in the ways people manage to find joy and meaning in the minutiae of existence. The artist paints vibrantly complex canvases whose disparate elements jumble and mix together in a facsimile of modern life. Fullarton compliments these with smaller mixed media drawings on paper. These paper works are sometimes the genesis of the finished paintings, but are more often stand-alone vignettes featuring forlorn characters who find themselves in compromising situations
SAN FRANCISCO - USA
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IT MIGHT BE TIME TO RE-BRAND YOUR COMPANY. MY FORMULA IS SIMPLE artful brand strategy + strategic identity design + great marketing strategies + well-crafted communications = great brand value
MY PROCESS IS MORE COMPLEX I collaborate, I listen, I ask questions, I find answers about your vision, your products and services, your customer, and your market place. I seek the competion and mesure impact - what is working , what is not. I articulate a brand message that reinforces your core values, your reason for being. The end result? A brand experience that adds business value.
I SHAPE YOUR BRAND DNA www.elodesigns.com
DESIGNER’S
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MIND Jesse DenHerder Graphic Designer
What is your philosophy when it comes to the design world? Crowd-sourcing and Spec-work are killing design innovation and driving down pricing, making it harder for the mainstream to appreciate the true value of good design. If you weren’t a designer you would be? a forest ranger or deep sea fisherman In your career what has been your favorite project and why? There are so many... Non-profits with good causes and anything consumer product related. Start-ups that have a good team and vision. I like design projects where the product/company itself is being developed from scratch. I love the challenge of designing/ branding when a product is in it’s infancy, design has to encapsulate the
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essence of that company in it’s present and future form. I really love working on projects that incorporate an equally innovative marketing strategy to their design and branding. Who or what influences your work? The talented team at Mindtwister USA, Mid-Century Design, the midwest, my Family, Skateboarding,
Whose design and art direction you most admire and why? There are so many... I think Aaron Draplin is one of the greats of our generation. he has this super raw, blue collar approach to his work. And a sincerely respect for good typography. In your professional life what is one thing you can’t live without? iPhone
Tell us a secret no one would guess from you. I hate olives What is your idea of a perfect day? Going to the local Flea Market, eating some fresh ‘Brownwood’ doughnuts and Swimming in Lake Michigan with my family What is on your iTunes? The Cave Singers, Of Monsters And Men, Built to Spill, The National, Johnny Cash
The content of someone’s refrigerator can say a lot about him or her what is in yours? Eggs, sausage, Whitefish, Cherry Chutney, Fat Free Vanilla Yogurt, Kid’s Yogurt, grapes, lettuce, string cheese, “Fruitables” Juice boxes, 2% Milk, Cherry Juice Concentrate, Peach Salsa, Sweet Corn, and a Whole Grain loaf of bread.
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contact Jesse: denherderdesign.com
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JULY - SEPTEMBER PO BOX 83324 SAN DIEGO, CA 92138
Inspiring Artists