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3,75â‚Ź May 2014 Monthly Illustration Magazine Doodle #1

DOODLE Magazine Illustration Graphic & Digital Production/Director: M贸nica Pereira Collaborators: Hugo Sequeira Publisher & Print: Qualquerideia Rua do Campo Alegre, 261 4150-178 Porto Created & Registered 2014


After years of viewing and collecting artwork from a variety of artists, many of us have come to appreciate the talented illustrators who were involved during the time period of 1900 -1940's. During this time, R. A. Fox was making significant contributions with his artwork. This was a period of time in American history called the Golden Age of Illustration.

After years of viewing and collecting artwork from a variety of artists, many of us have come to appreciate the talented illustrators who were involved during the time period of 1900 -1940’s. During this time, R. A. Fox was making significant contributions with his artwork. This was a period of time in American history called the Golden Age of Illustration. One definition comes from Artcyclopedia, an internet-based art guide. “The Golden Age of Illustration was a period of unprecedented excellence in book and magazine illustration. It developed from advances in technology permitting accurate and inexpensive reproduction of art, combined with a voracious public demand for new graphic art.” “The Golden Age of American Illustration,” by the publication American Artist (June, 2006) explains that “In the 1880s American illustration entered a period that is generally regarded as its Golden Age. This happened because of the convergence of a number of factors: New printing techniques were being developed, paper production was becoming cheaper, railways facilitated distribution throughout the continent, and the population was expanding and becoming wealthier as industrialization progressed. National magazines such as Harper’s Monthly, Collier’s, and Scribner’s took advantage of all these circumstances to build enormous circulations—and they needed artwork for their pages. Meanwhile, publishers of illustrated books, particularly children’s books, also found that the new techniques and new markets could make their enterprises highly profitable.

Hablot Goblin, The Goblin and the Sexton, 1836

Although magazines had been in business since before the Civil War, the illustrations they used had always been reproduced by hand-carving the artist’s work into woodblocks and printing it in black-and-white line. However, in the 1880s a halftone process became available that allowed for the direct reproduction of the artist’s work in all its nuances. By 1900 full-color reproduction techniques became refined enough to allow magazines to print at least the cover in color and book publishers to print a colored frontispiece.

Because photography was still in its infancy and color photography unknown, there was a huge demand for illustrators. Artists were suddenly given the chance to make enormous sums of money if they could reach the top of the profession—a fact that attracted a number of immense talents. At this time there was very little possibility for a painter to make a career through art galleries and exhibitions. If wealthy Americans bought art at all, they bought European art. Moreover, there was no stigma attached to working as an illustrator, as there often is today within the fine-arts community. In fact, artists were delighted to see their work disseminated to such a broad public. The American Golden Age of Illustration lasted from the 1880s until shortly after World War I (although the active career of several later “Golden Age” illustrators went on for another few decades).”

Arthur Rackham, Fairy Tales of the Brothers Grimm, 1909

Some suggest the golden age lasted until the 1960s- with comic books, magazine story illustrations and covers, postcards, sci-fi books, posters, pulp novel art, and advertising. To continue with American Artists: “The Golden Age of Illustration came to an end in the 1930s when advances in photographic reproduction and the advent of color photography gradually pushed the illustrators aside… Once again new technologies and new commercial needs asserted themselves”. During this time period, many in the United States came to appreciate the illustrations that accompanied their magazines, newspapers, advertisements, books and calendars. In fact, numerous framed prints of these illustrations were sold during the 1920’s with many of them by R. A. Fox, Maxfield Parrish, Coles Philips, Goddard, Hintermeister, William Thompson, and Beatrice Tonneson to name a few.

Maud Haumphrey, Baby’s Record, 1898




Have you ever wondered what was the first type of illustration? It actually goes all the way back to cave paintings where men and women used the cave walls to illustrate their daily activities. Book illustration came after the invention of the printing press but the Japanese and Chinese cultures had already used woodcuts to accompany hand written books. Delicate illustrations can also be found in western religious manuscripts. The 17th and 18th centuries are a seminal time in the history of illustration as etchings, engravings, and lithographs allowed for a speedier process and the ability to reach a wider audience. Britain nurtured the talent of many world-renowned illustrators like William Hogarth, who concentrated on socio-satirical themes; William Blake, who is best known for his religious engravings; and George Cruikshank, who created the illustrations for Charles Dickens' books.

The late 1800s and early 1900s are considered the golden age of illustration with numerous works appearing in books and magazines, both in Europe and America. In Europe a multiplicity of styles developed drawing influences from the art of the time, as well as the arts and crafts movement, and art deco. Walter Crane was at the forefront of the golden age with rather traditional romantic illustrations influenced by the pre-Raphaelites. British illustrators became very popular for their children's books illustrations. Almost every child must have read the Peter Rabbit tale and seen the beautiful watercolours by Beatrix Potter. The mysterious stories by the Grimm brothers were also heavily illustrated with dark images by the hand of Arthur Rackman.

The American illustration scene was taken over by Brandywine School illustrators who studied under Howard Pyle and created works of romantic or adventure themes. During the troubling times of the two world wars the work of illustrators was centred on propaganda posters and flyers. In the 1950s the Push Pin Studios were founded by Seymour Chwast, Milton Glaser, Reynold Ruffins, and Edward Sorel. The collective is one of the most popular graphic design and illustration studios in the world that has influenced a variety of artists and has also contributed to the field with its bi-monthly publication, Push Pin Graphic, which run from 1955 to 1981. The studio exists till today under the direction of Seymour Chwast. From the 1970s onwards the growing development of photography made illustration take a back stage role and lose its place in the market.

Photography became the dominant medium used in the media world and it also took over the art scene. The late 20th century was a very bad period for illustration, however, the constant evolution of computers and the introduction of software like Photoshop, InDesign, and Illustrator have allowed for the re-invention of illustration. The capabilities of such software, the increasingly digital nature of the media world, as well as the globalised nature of today's market has allowed illustrators and graphic artists to take the reign again. The past decade has seen the refocus on the digital graphic arts and the continued expansion of the field. Graphic artists are not only gaining momentum in the media world but also in the art field with artists such as Julian Opie carving out the field for many others, and dedicated fairs, like Pick Me Up filling up the art calendar.

Š Fabulous Noble Team



The Model from Montmartre, Leonce Peret


Spring Days, Brothers Dalziel



Crying Girl, Roy Lichtenstein


Alphonse Mucha


The Russia Ballet, René Bull


I Saw Three Ships, Walter Crane


Vogue illustration, Carl Erickson


Issue nº52, Push Pin Stu


Fashion illustration, Patrick Nigel


Farmacia arte, Mundial


Psychadelic Art, Peter Max


Graham Coxon, Julian Opie


Skull, Andy Warhol


Moon Story, Shiori Matsumoto


Illustration of Robert Crumb, Charles Burns


Cape, Jen Collins

There are no half measures when it comes to becoming an illustrator. Because you are most likely going to be self-employed, no one is going to motivate you other than you. That requires self confidence and self knowledge. You need to know absolutely that you want to be an illustrator, if it's just half an idea or a vague plan you won't be able to stick at it in the long term.

It's your self belief and tion that will get you through lenge of establishing yourself. know what you want that's half

determinathe chalOnce you the battle.

You’ ll need to be able to adapt your way of thinking and illustrating to fit a clients brief who will often want to have input during the process of the illustration. There is a balancing act between keeping clients happy without compromising the integrity of the illustration.


As well as adapting to clients it pays to adapt your work to access different markets. The artist print market, apparel, stock illustrations, magazines, stationary, murals etc.

The part of the day when you are working as an illustrator can be solitary and normally you don’t meet your clients in person (you talk through phone, email or Skype). To counterbalance is that it helps to have a network of friends or colleagues close so you can catch up after work. If you really don't like being alone while you work you can look out for a shared space .

Most illustrators start of with a Mac in the corner of a room and that's the ideal way to start as you don't have the stress of overheads as you become established. After a while you’ll want a different place to work to keep work and life a little separate. If your lucky enough to have a garden studio or spare room that's great, otherwise there are many initiatives where local freelancers can rent a desk or space in a creative community which also has the added benefit of providing you with some office banter and social interaction.

There are always going to be times when things go quiet and you start to panic, at moments like this it is invaluable to be persistent. Everyday work towards getting more work and analyse your portfolio constantly. Do you need to create new work to suit a particular field that you are not getting any luck in? If you are getting rejected ask for feedback and act on it. It's your best education. Constantly update your blog and post new work to others, create new work and don't let your website go stale. Often it's not the best work that is the most well known, it's the illustrators who work the hardest at marketing. Get on the phone, blog, email new people, set up new meetings, send stuff in the post, get an agent. © Anna Wray



Belgian illustrator Carole Wilmet is almost a magician who knows how to make your smile with her colorful&sweet, as your favorite candies, and witty illustrations.


We know a lot of admirers of illustration that already know who you are, but for those who are unaware, tell us a little bit about yourself.

I'm a 22 years old belgian illustrator and graphic designer. I studied graphic design in Belgium but my passion for illustration is far older than that. Every illustrator can say the same but “I've been drawing since my tender age”. And it's true and it was pretty easy to keep me busy as a child! Yet my graphic design studies taught me to take a different look at illustration in general. I discovered many known and unknown artists during these three years, and learnt a lot about the creating process.

Can you tell us about the characters of your art? You have very interesting set of portraits of belgian politicians showing them from unexpected angle:) How this set was born?

Well, we have a very weird political situation here in Belgium. We own the world record of the longest period without a government. Even if it hardly changes anything in our everyday life, it's still revolting. Why are all those people paid for? If someone doesn't do his job, or does it bad, he just gets fired. Then why is this different for politicians? The situation is very complicated but this is becoming a bit ridiculous now, that's why I thought of this drawing of our politicians as clowns. Usually, there isn't any political message in my illustrations but this was just too much, such a big masquerade.

What do you think about the current trends in illustration field? Do you like it or...?

I love the big come back of simple geometric forms in illustration: triangles, diamonds, squares… you see them everywhere. There is also a very romantic, naive and childish trend in illustration right now. Lots of illustrators draw about their childhood, their memories and I think that's a good thing. It's a good way to do something really personal, because the big problem with trends is that everyone tends to do the same thing in the end.

Who is the most inspiring person of our century in your opinion and why?

For the XXth century, I'd say Alfons Mucha. He didn't walk on the moon or anything, but he had a great influence on illustrators at that time and he still has today. He could draw women like no one, and it's probably at the view of his works that I decided to become an illustrator. So, even if he didn't change the face of the world, he probably changed a lot of things for me. And for the XXIst century, then it would probably be someone like Steve Jobs, or those guys who created Google. I guess they've changed our lives in a way, but they're more like business men and probably less inspiring. This century has just started, it's a bit too soon to point out someone really special.

Do you have other interests beside illustration and design?

Of course! I love traveling and learning about other cultures, other lifestyles… even learning other languages (I'm actually trying to learn Russian, which is far more difficult than I thought. I'll probably have given up in a week or two, haha!). I love cinema, music, summer evenings, reading, cooking and eating chocolate… anything that makes life merrier.

Favorite place to visit?

I went to Stockholm last year and I fell in love with the city. It's so cosy and clean and people are so nice! I love North America too, even if I've only been to NY and Montreal. And, if I could choose any place to visit right now, it would be Saint Petersburg, then Kiev, then a tour in California and then Helsinki. But the list is far longer then that!

If you could change one thing in this world with your art- what would you do?

I would take bad human thoughts from people. I'd like to be able to bring a little something to everyone and make them feel better at the sight of my works. No one would feel envy, jealousy, greed, unhappiness, uneasiness… anymore. If you don't feel bad inside you can't hurt others, right?

© Leivos


I love the big come back of simple geometric forms in illustration.


Michael C.


Michael C Hsiung is a self taught ar tist/ illustrator from Los Angeles, CA.

If you like centaurs, mermen, and obese hair y men drinking (and I'm not talking about Australians here), then you'll love Michael C. Hsiung works. The ar tist currently lives in Los Angeles, CA, and has produced ar tworks for prestigious names like Enjoi Skateboards, Oxford American Magazine, Dr. Mar tens, among others. I exchanged a few words with this cool “facially hair y Asian�.

You grew-up in Chinatown, Los Angeles and currently reside in Los Feliz, right? How much longer will this be your home, is there a place you and your lip foliage would rather be?

Yep, I was born in Chinatown, and grew up in various parts of the San Fernando Valley. After I graduated, I went to college up in San Jose State University and eventually moved back to LA in 2007. Now, I live over in Los Feliz close to the Observatory. It's a nice area with walkable bars and stuff. While Los Angeles really feels like home to me, I think I'm always open to living somewhere with a little more nature and less smog. Where that might be I'm not totally sure, but if I can do art from there, then I'm game.

Would your friends say that your personality influences your w ork, or does your w ork influence your personality?

I would imagine most of my close friends would all probably say that my personality influences the stuff I make, but that being said, I think they'd point to the tweaked or weird part of my personality that is doing the handy work. I hope that's a good thing, ha.

Did you study art or are you self-taught?

I guess I am a self-taught artist, although I’ve only taken two art classes – figure drawing when I was a teenager, and a 3-D art class in college. I always grew up drawing with my older sister, Pearl, who is now a fine artist, but I didn’t really take my scribblings to seriously and found myself in college undecided for a few years before choosing English Literature.

Your work involves illustration, mostly ink (micron pens, radiographs) on paper. Would you mind elaborating on your interest in mermen, centaurs, cryptozoo- and other mythology?

I've always been interested and fascinated in mythology, fantasy and cryptozoology when I was a kid. It probably started with learning about dinosaurs and Greek Gods that sparked it which later developed into comic book collecting and playing Dungeons & Dragons. I guess it wasn't really until I got settled back in LA and drawing that I started “researching” again at my day job at the time. I'd start printing out tomes of stuff from the internet of unicorns, krakens, centaurs and stuff … take them home and read it. Naturally, when I started drawing I gravitated towards trying to incorporate these influences, passions and interests into some of my stuff, which eventually lead to centaurs, satyrs, and mermen.

Would you say that you have your own style? If so, how would you describe it?

People always tell me I have a certain style, and I guess it’s sort of evolved that way. I tend to draw obese curvy characters and I like to use semi-circles, draw hair, and with minimal colors.

I find that your images are mostly black and white with very limited colour, do you think colour is overused in art today?

I really love color in art and wish I actually used it more, but I sort of ended up drawing mostly in black and white because pens were the mediums I was most comfortable with. I’ve occasionally made attempts to utilize more colors – red, green, blue or whatnot –but not nearly enough. Sometimes for me working in color makes me have to think out my drawing and design differently and that’s something I’ve got to get use to. I used to just tell people I was color blind, which seemed to work for a bit. Haha.


Do you use digital or traditional methods to create your work?

I always draw my stuff first using pen and paper, or ink, but that’s just the way I can do it. I’ve tried using a stylus to draw but I haven’t really mastered that at all. I just end up using it as a mouse or for signatures. I’d love to get good at it, just seeing it really as another tool in an artist’s arsenal. But I generally use the computer to clean or add color to artwork that might be used for shirts or print.

How would you best describe who you are as an artist? An Asian bum with a mustache who draws pictures.

Should an artist’s work be constantly evolving, or should they create what sells?

It should always be evolving, and if you get caught up in thinking about what sells . . Personally I just try to draw something that I enjoy or find entertaining or beautiful and just hope that folks who see it find it enjoyable whether they want to buy it or not. I don’t think one should focus on what sells because it’s not the kind of success I think an artist would want. You start to feel like one-trick pony maybe? Anyhow, I think each artist should do what feels right for his or her art/career. I’m not going judge.

Do you remember the first time someone referred to you as an artist, or showed their appreciation for a piece of your work? Can you describe the first piece of art you traded for dough?

Hmmm, I don't really recall the first time someone referred to me as an artist, but the first piece I think was at the Hive Gallery in downtown. A yoga instructor who was full nude but had a painted on bathing suit had bought a drawing of a ice skater I drew throwing roses. That was kinda of weird.

What were you doing before you committed to pursuing art as a profession? I was working as an assistant to a grant writer at a museum. Previous to that I was a typist promoted to background investigator in San Jose. I also worked in a bunch of schools as a teacher's assistant for development. I've pretty much worked a job from the age of 15 till I ended my stint at the museum in 2009.

I f y o u m e s s u p d r aw i n g a n e y e , t h ro w a n e y e pat c h o n i t .

Has being an artist affected your personal life?

Being an artist has greatly affected my personal life in so many positive and different ways. I've finally found something I enjoy doing, that gives me confidence, and has allowed me to meet new and interesting people! Art led me to different opportunities like working for Vans to being able to collaborate with my talented sister, Pearl, on projects like Fight To The Death. It's led me to be frugal, resourceful, and more self reliant. But It hasn't always and still isn't always stress free and easy - there's tons of ups and downs. So I've really learned to take things in stride this year and just not focus on things I can't control. It really has allowed me to figure out my own way of living. I mean I can't fail if there's nothing else I can do. Maybe I don't own a fancy car or a house, but I'm happy with having participated in life through making art, even if its a drawing of a merman sucking on his own tail or two fat guys riding on a bike.

So, you work from home? How does your studio enhance or hinder your creativity? Working at home works well for me, although I do use part of my bedroom as my art studio. The first couple of years it totally worked out and didn't have any problems, but I gotta say it's harder and harder every year now to create in the same space. I'd love to have another bedroom or a close studio to be able to work in on a daily basis, but for now, I've set up a table and light in my living room to draw in. It's got windows and more light in general.

What is your relationship with the Internets as it relates to art making?

Generally speaking, I use the internet as it relates to art making mainly for research and stuff like that. Sometimes I'll find images to reference or just research some article I've read, which usually leads me to other interesting finds. Sometimes I'll compile image folders of things I just basically find interesting. I may use them in drawings or I may never have any use for them. Not a very exciting relationship with the internet sadly.

Any mediums you'd like to explore that you haven't already? Film?…hint…hint.

I'd like to check out more painting, animation, sculpture, film or whatever really … i just gotta do it really.

Final words?

If you mess up drawing an eye, throw an eye patch on it.

© Justin Cooper


Lara Luís is part of the group of young portuguese ilustrators that are on the merge of taking the ilustration world by assault. With a singular approach of her own she focus her work on the creation of unique characteres that have become well known and take major influences of childlike illustration. Currently she’s working on her masters in Illustration & Comics at ESAP in Guimarães with her work’s popularity growing ever since she was invited to display it on two of the major Portuguese TV channels. On a professional level Lara has worked with important brands such as FNAC or the publisher Azul Caramelo. On her bag she can count several features in colective exhibits as well as solo ones in galleries like Ó! Galeria in Porto. She also has experienced editorial work on Jornal Universitário do Porto (JUP) and CRU, amongst others. © Lara Luís Facebook

“Born in Portugal (Porto), soon I started drawing on walls (sorry mom!) and as I grew up I knew I wanted to pursue arts. Decided to make it work - you do need perseverance and love to pursue a field where there aren’t many opportunities - I went to communication design at the faculty of Fine Arts in my hometown. And even though I liked it and enjoyed learning with every class I took, after 2 years I realised my passion lay elsewhere: animation. I then went to Budapest and studied animation there for 8 months. I also end up doing some illustration classes, which led me to my first published book after being one of the 5 selected in a contest, and the rekindling of my interest and passion for illustration, drawing characters with a personality and telling stories with pictures. When the time came to choose an internship to finish my degree, I packed my bags (and a little part of my huge collection of books and memorabilia) and moved to Berlin. Here, I was lucky for participating in a feature film (The Congress, by Ari Folman) as an assistant and later as an animator. (on a side note: I’m not sure how I will react when I see my work on the big screen… so if there’s a grown-up girl crying like a baby in the same theatre room as you, say hello!)


I eventually stayed (with an amazing talented group of freelancers at bitteschö and am now happily working in the two fields I love, enjoying a city with so much to offer and making friends and plans for future collaborations and projects.” © Carolina Búzio

Bernardo was born in Lisbon in 1973. He studied Graphic Design at the Faculty of Fine Arts of Lisbon and took the course of Illustration of National Society in the same faculty. Even before knowing how to read he was already fascinated with stories in “squares“, perspectives and frameworks. He is an illustrator and editor for children’s books. He is one of the founder for the editor “Planeta Tangerina“ (which this year was a candidate for an ALMA award), surf and beach lover. He assumes to be profoundly connected to the comic book and photography universe, as well as loving illustration. He doesn’t like being repetitive in his illustrations so he doesn’t use the same materials and techniques too often. His work has been acknowledged sistematically for awards everywhere, even from Coreia and Venezuela. Bernardo was the protagonist of the third edition of the Bologna program. Anually, an illustrator renown is invited to concieve his illustrated vision of the city following a philosophy of an editorial project driven to adults and children. The originals were reunited in an individual exposition. © Galeria Portuguesa

Born in Portugal, André da Loba is a published and exhibited artist whose work has received international acclaim. As an illustrator, animator, graphic designer, sculptor, and educator, Andre’s combination of curiosity, experience, knowledge and unknowing serves as the constant medium with which he creates and inspires. His work is an invitation and a challenge to change the world, however big or small it might be. He lives in Brooklyn where he is secretly happy. As an avid fan of editorial illustration, it’s always nice to see how illustrators achieve such a level of conciseness in a single image. André da Loba is one of those talented folks and, among other things, he works his magic for the New York Times, especially in Room for Debate where knowledgeable outside contributors are invited to discuss news events and other timely issues. Describing himself as an artist and reluctant poet, André has had his work published and exhibited all around the world. He currently lives and works in Brooklyn as an illustrator, animator, graphic designer, sculptor, and educator. More of his work (including more images from this series) can be viewed on his website © Andre da Loba


Jorge Colombo was born in 1963 in Lisbon, Portugal; moved to the USA in 1989. Has lived in Chicago and in San Francisco. Living in New York City since 1998 with his wife, artist Amy Yoes. He has worked as an illustrator, as a photographer, and as a graphic designer. After using mostly ink and of watercolor for decades, he started finger-painting on an iPhone in 2009. His cover illustration for the that year’s June 1 issue of The New Yorker was the first one created on an iPhone for a major magazine. He currently works almost exclusively on touch-screens (iPhone or iPad). The book “New York: Finger Paintings by Jorge Colombo,” containing one hundred landscapes created on an iPhone, plus essays by Jen Bekman, Christoph Niemann, and JC, was published in 2011 by Chronicle Books in association with The exhibition “Night Windows”, featuring prints of NYC images, opened December 2011 at Jen Bekman Gallery. He has three books published in Portugal: “Fullerton,” a collection of his watercolor drawings from the 1990s; “Of Big and of Small Love,” a photographic novel created in collaboration with novelist Inês Pedrosa; and “Lisboa Revisitada,” photographs after poems by Álvaro de Campos, which were exhibited at Casa Fernando Pessoa in Lisbon. He currently shoots with an iPhone for the most part. © Jorge Colombo

Jorge Colombo was born in 1963 in Catarina Sobral is a trained and qualified illustrator and communications designer and is also experienced in printmaking and film animation. Her work is a regular presence in editorial illustration; she collaborates with the daily newspaper Diário de Notícias as well as a variety of Portuguese magazines. Her first picture book, Greve [Strike], shows the influence of graphic art in her work, where she experiments with photo-collage, ink drawings and bitmaps. For this project she is both illustrator and author, and the text is the raw material that influences her choices of colour, composition and technology. A limited palette, full rich images, and an ironic sense of humour that underlies the multiple levels of potential interpretation, are the marks of her first children’s book. © Portugal Bologna 2012


He's 20 years old, and by any means does he call himself an artist. Currently attending a course to become a Multimedia Technician in the Institute of Multimedia, he claims it allows him to manage new programs, developing more skills and elevating himself to other levels.

When did your interest in drawing/illustration begin?

My interest in drawing began when i was about 9/10 years old when i spent afternoons drawing futuristic buildings and customized transports, they allowed me express everything i imagined in the morning of those days while i was daydreaming in class. Teachers were constantly calling my name for me stay focused, so my attention in class wasn't the best and i didn't really care, not even today.

There was a time when you became interested in urban art, how did that come up? Do you still practice it?

In my 8th grade i met a guy in my class who was starting to paint graffiti e we started to take our first steps towards that art. I got really involved in the graffiti culture and in it's concept, but i started to notice that the value of street art (stencil, intervention, wall) were a little above the values of lettering and tags for someone who wanted to pursue illustration. I was present along with Mr. Dheo e with Best Ever (UK) in an event, which after i saw them paint, i started to get excited about the idea of painting on walls. I also began researching and started to admire artists such as ETAM CRU, Aryz, Nychos, Banksy, Cyrcle, etc. I would still pursue it today, if this “addiction” wasn't so expensive for my wallet, although i would paint willingly if someone asked and payed for the material.

Who are your main influences (portuguese and international artists)?

My main international influences are Ricardo Guasco, Guim Tió, Neckface, Steve Simpson, McBess, Pat Perry, Sainer, Ron English, Brecht Vandenbroucke and other artists with different types of work like Isaac Cordal and Jenny Holzer, the list would go on and on if someone doesn't stop me. I appreciate portuguese artists such as Aka Corleone, Kruella d'Enfer, Draw, Ana Aragão, Nicolau, heymikel, Afonso Ferreira, Mesk, Miguel Ministro, Ricardo Cabral and João Fazenda.

How do you describe your style?

I would say that my style is very personal and still developing, because my themes are very private and only recently did i start making illustrations with more secure contexts and subjects. I can never define my style because it's updated daily.

Which materials do you use the most?

All i can say is that the pencil is most of the time, the first thing that comes out of my pencil case and that charcoal allows me to make more expressive lines. Although, to vectorize, i've been using all types of markers. I still don't have favorites, because i'm still learning to paint in oil and acrylic and i know that i want to learn to dominate more techniques and materials.


Explain to us the stages of your creative process.

The first step is coffee, then comes sketches and doodles until i find something that i can work with other materials or transform in Adobe Illustrator.

Where does inspiration come from?

Inspiration can come from a movie scene or a band that i've been listening to. It can come from a daily situation or even from my own dreams.

What do you like to do, beyond drawing?

Beyond drawing i also like to watch movies e discover new directors, that one day will help me when it comes to social satire or other subjects. I like to listen to music just like any human being, i frequently listen to stoner rock or jazz music which correspond to my extremes in daily situations.

Do you have a favorite place/space to work and develop your skills?

I would like to one day, define my own 4 walls of space, but nowadays i have my room or a coffee house in Maia, called Abacaxi where i spend some afternoons drawing or drinking beer with friends.

Is there a reason of why a cigar is a constant show-up in your creations?

I can't help it because i associate what i'm drawing to what i'm doing and i end up giving it that detail. Some people already consider it a “characteristic” in my illustrations.

You most challenging work.

The most challenging creations are in a near future like a poster for a short film, ones that i'm not really experienced in doing or others that i would like to be proposed to do. The current work i've been doing aren't really challenging because they're personal.

The work you're most proud of.

The one that i'm most proud of, i don't have a foto but it was one of the biggest that i've done for my first exposition with the Matilha Pulcra collective.

Mention three positive aspects of illustration.

The possibility of expressing feelings with signature lines, the creation of a creative identity which is easy to clarify subjects and situations through the creator's own “signature”.

... because it's updated


“I can never define my



ESEIG Escola Superior de Estudos Industriais e de Gest茫o Student: M贸nica Pereira Subject: Graphic & Publicity Design Professors: Ana Rita Coelho Jorge Marques Marta Fernandes Created & Registered 2014

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