Crafty Magazine Paper Craft Free Magazine
arlo Giovani is a graphic designer, illustrator and animator. A few years ago decided to work on projects as diverse as impossible, blending techniques and media to achieve unusual results. Donâ€™t rely on the expertise and believes that the most important work is the creative process. With this thought, Carlo was the founder of Atelier Ludovico, a creative studio focused on meetings between profes-
sionals, new ways of looking at exchange processes and in generating ideas. These creative packaging ideas was made by Carlo Giovani, a Graphic Designer and Illustrator from Brazil. He has a genius in the art of paper engineering as he is able come out with absolutely witty and unique packaging design. He took the art of packaging to a whole new level!
Julia Brodskaya “Typography is my second love, after paper and I’m really happy that I’ve found a way of combining the two. Having said that, I don’t want to exclude non-typobased designs, I’d like to work on different projects.” Yulia Brodskaya (born in 1983, Moscow) is an artist and illustrator known for her handmade elegant and detailed paper illustrations. Originally from Russia (Moscow), she is now based in the UK. In 2004 Yulia moved from Moscow to UK where she continued her education in art, at the University of Hertfordshire, graduating with a Master of Art in Graphics Communication degree in 2006. Prior to moving to the UK, Yulia Brodskaya became interested in diverse creative practices, ranging from Textile Painting, Origami and Collage, to more traditional Fine Art practices. Soon after her arrival to the UK, Brodskaya started working as
freelance graphic designer, while studying for the Masters degree in Graphic communication, but she very quickly switched to the illustration field. However, the graphic design background has an influence on her art work as most of the pieces have a strong typographic focus: Much of Brodskaya’s work uses an old technique called Quilling, in which ribbons of paper are used to create intricate designs; however she takes it to an entirely new level. She has swiftly earned an international reputation for her innovative paper illustrations and was named the ‘breakthrough star’ of the
2009 by Creative review magazine (Dec 2009, p32). Her work for g2 (The Guardian) has been included in D & AD Annual 2009. To describe her craft works Yulia uses the term ‘papergrafics’. In April 2009 Yulia has been invited as a speaker to eighth annual Friends of St Bride Library Conference. The topic of her talk was ‘Reviving paper craft: quilling in a new context’. In her presentation Yulia spoke about how making creative use of quilling can give this paper craft technique a new life and significance in the context of graphic communication. She also designed one of the Google Chrome themes Yulia Brodskaya Google Theme.
JULIEN VALLEE The young Canadian designer Julien VallĂŠe is a leading expert at melding a variety of analog and digital design techniques into outstanding work.
Where are you from and to manage considering the frame per second and each where did you study letters. More recently, I I am from a small town called had the opportunity to work Gatineau. It is nearby Ottawa, on an opening for MTV hits in Australia. Their only which is the capital of Canada. Iâ€™ve studied three restriction was to use the colyears in Montreal (about 2 or pink. This was the perfect opportunity to refine hours drive from Gatineau) at the UQAM and at the some ideas we were toying ESAG Penninghen in Paris with for some time. Amongst other things, we wanted (France) for a year to play some more with black Tell us outstanding projects of your career I had the privilege to work on a number of really cool projects. One I really liked to work on was stop-motion for the New York Times Magazine. We spent hours calculating each letter for each frame, because we wanted to unroll them with an easy of motion from the beginning of the title to the end. There was so much
helium balloons and sticks we used for another project for Cully Jazz. That was a lot of fun. Your work has a particular style, unique, one might say, what aspects are within your graphic? I like when you can understand an image directly, but where you can also take
Julien Vallee time to enjoy every small details. I think it that styIe may come from those details. What makes a strong minimalist image is when you can understand quickly the message with a simple composition, and still enjoy small details by looking at it closely. I like to tell Talking about the role of the paper I think is a crucial point. Tell us Why you choose to work ‘’Handmade’’ and why the paper is such an important element for you I think in some way it’s the joys to transform a single flat sheet of paper into an object that can communicate something that made me go into this direction. But I think since I started into design I was always in love with manual art. I’m attracted by theatrical scenes, land art and staging. I’ve been limited to work with basic
material in a matter of budget and tools for a certain time. But I love to work with other solid material like woods, plexiglass and even lights. There are other recurring elements in your work as colors and shapes you use. Tell us a little of this Playing with haptic forms and materials is something that every one of us did as a child, and I think people can relate to this unconsciously. They know how it feels, how it weights, their smell or how tick it is... Then it’s easier to understand how things are made and why they are disposed this way. It has always been important to me to connect with the audience trough fascination and fantasy.
give a totally different feeling. Colors can enhance a simple composition, but I also believe that it can be inappropriate. I think it comes with the projects. It depends, but I usually like the basic-flashy colors. I realize it’s very important to pick the right one, and often when I work on my images and I feel there is something wrong I find out that it’s a wrong use of color.
The roles assumed by the computer and handmade are very significant in your work. Tell us what represent each of them for you. I think technology act more as a tool than a part of the creative process. I think about the idea first and then if it possible after. It is then that technology can become As for colors, I guess that it al- handy. I believe that technolways depends on the purpose. ogy always push the limit of what is doable or not but I Colored images versus black and white images hate to be a slave of the next
BERT SIMONS Bert Simons created these paper sculptures after digitalizing the model and reconstructing it in 3D with Blender 3D. After that he printed every part of the head, cut into polygons, and assembled them like a paper toy. I can only imagine how difficult creating faces must be for an artist, because the slightest distortion could make the character unrecognizable. Instead of struggling with the art of perfectly replicating facial proportion by hand, however, Bert Simons sculpts people digitally to increase accuracy. The Dutch artist creates 3D
papers sculptures using a “dot per dot” method. “These are papercraft sculptures made in the same way as the familiar papercraft houses and animals,” the artist says on his website. The first step is digitization, which is what you see in the images with the little marks dotted over the head in some of the images below. Simons then uses Bender, a 3D program that allows him to make planes, then creates texture maps that he cuts and glues together to create the 3D portraits.
“I hope to speed up the next portrait by using my laser scan setup which I am experimenating with right now.”
JEN STARK Jen Stark is a contemporary artist whose majority of work involves creating paper sculptures. She also works with drawing and animation.
en Stark is a woman who knows how to make an unforgettable entrance: literally. Not only has she managed a smashing debut as an official LA-based artist, moving here from her native Miami a matter of weeks before the opening of â€œTo the Power Of;â€? but the most dazzling of all the hypnotic works in that show are a pair of sculptural objects carving out geodesic portals that shimmer like rainbow rifts in the fabric of space. Both the freestanding Cosmic Distortion, 2012 (standing 36 1/2 inches) and the wall-embedded recess Whole, 2012 (with a radius approximately 42 inches) are impressive feats of patience, precision, and advanced fractal mathematics
that beckon viewers forward, daring them to lean further, to reach inside when no one is looking, to go in. These negative spaces contain within their receding dimensions crisply defined, twisting stacks of cut paper, orchestrated to replicate geological, cosmological, and striated optics. Engineered through a process of algorithmic measurement and chromatic zestiness, her results speak to both the mysteries of sacred geometry and funhouse psychedelia. By way of contrast, the wall-hanging Cascade (69 inches long) is made with the same classroom-simple set of materials, but references looser kinds of fractal math, such
as that which might formulate the patterns of a waterfall, or a peacockĂ•s feathery spread. The level of dense, tiny detail in all the work seems to defy the limited powers of the hand and eye, rendering with a microscopic precision and macroscopic perspective at the same time, laying claim to the universal fundamentals of material structure, and to the joy of pure delight. Other acrylic paint-based works reference the striated fields, or alternatively set them to dissolving in waves of layered, organic, expressive abstraction. Those paint and felt-tip on paper works are vibrant and organic and quite beautiful, like ramshackle English-style gardens