Joy Li, Marta Veludo, kristina Bartošová, Rokas Sutkaitis, Cécile Gariépy, Manjit Thapp, Pippa Toole &Anya Szura
A platform dedicated to discussing Graphic Design & Illustration via long format interviews - something to dig your teeth into!
ISSUE 01 June 2017 Printed by Newspaper Club, London All images used are with permission by the artists. The PLANT Club the-plant.club email@example.com IG: @theplantclub_london F: /theplantclub
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10 - 17 JOY LI
We talk to Joy about not using a logo, display fonts designed in 1998, female designers designing in female colours & being innately pessimistic.
18 - 25 MARTA VELUDO
We talk to Marta about visual adventures, social media, designing in black and white & setting yourself briefs.
26 - 33 ROKAS SUTKAITIS
We talk to Rokas about the freedom of posters, musical inspiration, being influenced by USSR logo marks & creative work places.
34 - 43 kristina Bartošová
We talk to Kristina about hand drawn typography, mock-ups, art direction & custom typefaces for clients.
46 - 51 cécile gariépy
We talk to Cécile about being an imposter, studying in Montreal, the importance of a strong narrative & drawing with constraints.
52 - 57 manjit thapp
We talk to Manjit about not focusing on style, industry briefs, ‘bucket list’ illustrator goals & her current inspiration.
58 - 63 pippa toole
We talk to Pippa about working with dream clients, customising clothing, living in Brighton & the challenge of risograph printing.
64 - 71 ANYA SZURA
We talk to Anya about folklore and story telling, mythical creatures, drawing in the day vs. night & the importance of looking at your work retrospectively.
I am a product of influence of other artists that have come before. joy li Graphic Designer, Visual Creative & Pessimist
GRAPHIC DESIGNER, visual creative & pessimist... Joy is a visual communications student from Sydney,
analyse a client and understand what they’re offering.
Check out her Behance profile - where these images
Australia. Her work ranges from data visualisation to
To know what kind of font and logo style they need
have been sourced (/joyli) for more of her work. Her
branding start ups; her work is well made and
to best represent them is something you learn and
website is curretly under construction but head there to
beautifully designed. Finding Joy’s work through
develop as you move through your practice. But being
see some magic stars! (joyli.com.au)
Behance - Adobe’s digital platform for designers to
able to analyse yourself and try to look at your work
show their work to other designers - I was immediately
from an outsiders perspective can be hard. Joy
interested in her self-branding project.
however, in our opinion mastered this task with seemingly effortless ease.
Often for a graphic designer, self-branding can be the hardest task of all. It’s a skill when you’re able to
What made you go against the idea of using a logo
Rather I took this insight as a point of reference and
on your business cards and instead use a font style
guiding principle into how I wanted to be perceived by
others and most importantly myself.
Aside from the fact that I feel like I’m no good at
Why these specific phrases is perhaps overtly
designing logos, I think that not using a logo was
philosophical, but I am a product of influence of other
instinctively a subconscious doing. I haven’t dissected it
artists/authors that have come before. Both literally
too much but I’m glad you asked since retrospection and
through my name and metaphorically in how I’m
self-evaluation is always beneficial.
continually influenced by the social and historical contexts in which my design practice exists. I also hope
I guess one of the reasons I didn’t feel the need to have
that by not having a logo, there isn’t a need to be bound
this ‘identifying logo’ was the pre-existing connotations
by a certain aesthetic. As a continually evolving designer,
attached to my name. Being imbued with such
I wanted my brand to be built on a concept rather than a
universal meanings and qualities, I have in a sense
become detached from it.
When it came to fonts – are these ones you’ve used in
Your colours are darker tones, but some of your
Or I’m wrong and the colours might just be that I enjoy
the past or are these totally new and
other work you use bright colours / stereotypically
colour and coming up with pleasing combinations.
feminine – what does this say about you? Do you feel your self-branding represents your style
The display font I used was Harbour designed by Gareth
I think I have a tendency to design with a feminine touch
right now and that it could be subject to change in
Hague. Personally, it was a new and interesting font as I
and I’m not quite sure why other than the fact that I’m a
the future, or do you see what you’ve made to last
haven’t used it in any designs previously. But time wise, it
female designer and perhaps it’s just based on a
was designed in 1998 (almost as old as me) so it wasn’t
persistent aesthetic style. Also perhaps that most things I
anything recent. I decided to adopt it after reading about
have worked on I didn’t find it appropriate to have darker
I think it’s a good reflection of my current design practice.
its influences and how the typeface ‘mixes ideas and
I’m almost certain that it will change because the world
shapes from modern and medieval lettering to make type
changes and I will too.
that is new’. It clearly shared similar values in making
As you pointed out the tones in my branding are more
new from ideals of the past. The other fonts I have used
moody compared to my other works and this perceived
before and were paired mainly due to their reliability,
moodiness may be exasperated by the black
functionality and compatibility with the display font
background. But rightly so I think you’ve observed a more personal side of me that I do not actively show. Oddly enough, for someone whose name is suppose to be the epithet of ‘happiness,’ I certainly cannot live up to it as I’m innately pessimistic. Something that’s sort of strange to own up to, and I cannot say for sure, but the colours probably inherit some of these properties being not quite true in nature.
Self-branding is the most difficult task that a designer has. MARTA VELUDO Graphic Designer, Art Director & Illustrator
GRAPHIC DESIGNER & art director, illustrator... Marta Veludo, a pattern maker currently based in
Whether she is designing digitally or making three
energetic & vivid work, I look forward to seeing what
Amsterdam, is a Graphic Designer / Art Director, and
dimensional set for shoots and commercial spaces, the
her next project entails! Read about it below.
Illustrator. Lots of her work include impressive
work focuses on being vibrant and eye-catching.
collaborations with companies such as Adidas,
You can find Marta’s work via martaveludo.com -
Reebok, Lego, Vice, Restored, The Bookstore
Her website describes her work as inspired by “the
where the images have been sourced. You can also
Foundation, Amsterdam Spanish Film Festival,
pop-culture, folk art, pound shops and tumblr” - her
follow her on Behance (/martaveludo) & Instagram
Heineken to name a few.
bright colours are visually stunning and fun. Her
confident approach to design has allowed for some really stunning work, and she is definitely a designer to keep your eyes on. As Marta continue’s to make
The bio on your website describes you as being
As a designer with 7 platforms for showcasing your
inspired by things such things as folk-art and Tumblr
work, do you have any advice for smaller designers
- what is it about the social blogging network that
to help make sure they stay in charge of where and
how their art can be contextualised on the internet, or is that just a risk with making your work public?
Itâ€™s not the blogging it self but the fact you can dive into worlds and visual adventures far from standard imagery
I think you just have to let it go. Once you have 7
platforms where you share your work, you have to know
Since you use the site as a platform to showcase your
which risks you are taking. Just be sure that there arenâ€™t
own work, do you have any concerns with the site
any people profiting from your art without your consent!
itself in terms of crediting artists?
All the images I place in my moodboard vs work tumblr are credited, so I have no concerns :)
Marta Veludo X Mr.Frank Socks to celebrate Mr.Frank 3rd anniversary.
White, Soft And Black - Window Design for Restored Shop
I really love the project â€˜White, black and Softâ€™ you
Do you have a preference over being a Graphic
Lastly, what projects can we look forward to seeing
did in collaboration with RESTORED. Since your
Designer / Illustrator / Art Director, and which if
from you in the near future?
work usually involves bright colours, what was it like
any, did you start out as?
working under these constraints of no colour (that
I am developing a new make up brand and working for
you put on yourself?) and would you work in black
Maybe I have a soft spot for Graphic Design, which I
a dutch fashion retailer! I will update my website soon :)
and white again?
started out as. But all of them blend into each other, and
and if anyone would like to know a bit of my process and
thats the magic of it!
stories, I will be at a talk on the 6th of October in Bristol,
Yes! I definitely would like to work in B&W again! I had
at Something Good Festival!
to focus only on shape and composition. It was fun and
One of my favourite projects of yours is the identity
weird. Sometimes I just had the feeling it was missing
you created for The Bookstore. From a Graphic
Design point of view, the design looks effortless and really clean. Did you take any of their previous
What was your thinking process into your own
identity into the new design, or did you start from
self-branding - especially the meaning behind
creating your own graph papers to sell? Thanks! I started from the scratch, having only the Self branding is the most difficult task that a designer
bookstore logo to keep as it was! They were open for a
has. First I start to sketch, design and bang my head
total branding, which is the best way to work on a
into walls. Then I realised, just as a normal client would,
project. The project and people were very inspiring and
I also needed a brief. So I briefed myself and from then
so, yes it was a very smooth and fun project to do!
on it was clearer and easier. I wanted something fun, eye-catching and would work in retail (as I have my own shop).
The Bookstore Identity - Bookstore Foundation
Marta Veludo Identity - Identity for Marta Veludo Studio.
Posters are not limited to static images anymore. ROKAS SUTKAITIS Graphic Designer, Poster Maker, Music Enthusiast
GRAPHIC DESIGNER & poster maker, music enthusiast... Rokas Sutkaitis is a Lithuanian Graphic Designer. His
Posted on Behance, his list of growing bands and DJ’s
I wanted to speak to Rokas to find out more about this
ongoing project called ‘Club Hémisphère’ is a poster
he admires supply us with a vast amount of musically
project and his other loves within the design industry
project where he creates a poster - sometimes
inspired and typographically based images in poster
The images have been sourced from Behance
animated - based on a specific musical artist. “The
format. Bonobo, Fink, Jamiroquai, and Tame Impala
(sitiaktus). His work can also be seen in Instagram
posters are quite experimental as they often feature
are some of the artists he has designed under the
techniques that I never or rarely use”; the work in this
influence of so far.
project is bright and upbeat. He has found many ways of representing sound and feeling through typography and colour, and has made eyecatching diverse visuals.
What is it about the medium of posters that you like
I believe that posters will evolve and adapt to the needs
As I mentioned above, I do enjoy printed material.
so much when it comes to producing a visual
of the digital era. As screens are getting cheaper and
However, the needs of the digital era don’t really care
representation of an artist?
more flexible, they will soon replace paper. While I do
about printed works anymore. As more of our life is
enjoy getting my works printed, digital media brings new
being moved to the digital sphere, so is the graphic
I just simply love to design any kind of poster. I find it
fresh ideas to the medium of posters. Posters are not
design industry. Most of my clients don’t even require
the most interesting part of being a graphic designer.
limited to static images anymore; they can be turned into
print-ready files of posters anymore, as they are only
Poster design is a great combination of art and design.
dynamic, moving graphics that are indeed more
using them in social media. It’s naïve to say that
It must convey a message, but there’s plenty of room for
interesting and attention grabbing than printed ones.
everybody will stop caring about printed work, but I think
creativity. This freedom is a great relief after working on
The trend of animated posters is already taking place
they’ll exist like vinyls exist in the music industry. It’s not
more demanding corporate projects where you’re often
and I’m sure it will grow significantly in the future.
necessary to have a physical version of your favourite
controlled by various factors.
track, but people still like them as they are simply nice to Lots of your work is digital; you’ve even turned some
Do you think the poster format will be around
of your posters into moving images. What does this
forever and what could posters of the future look
say about your relationship with print inside a
growing digital world?
What is the meaning behind the project title ‘Club
You say that you design posters based on bands that
abstract graphic language. He used expressive forms
Hémisphère’ and when do you think your poster
you like. Is it easier already knowing a particular
and colours to perceive range of emotions he received
project will be completed?
song or sound before you start designing, or when
from the music. I’m trying to achieve the same result,
hearing it for the first time?
even if I use different materials (typography for example)
The name ‘Hémisphère’ comes from French duo
I try to capture the exact mood which I get while
Paradis. They have a track called ‘Hémisphère’ and it
I’ve listened to these artists on daily basis for a long time,
listening to the artist. I think that the poster I did for
largely inspired me to start this project. I liked the word
so usually I design posters for the artist that have grown
Murcof best represents the idea. Murcof’s sounds are
as it sounds familiar to English speakers yet has a subtle
on me over time. I think it is easier to represent the artist
mysterious, slow, sometimes scary. Listening to Murcof’s
when you’re familiar with his discography. Anyway, there
tracks gives me the sensation of floating and endless
are few artists that instantly drew my attention. For
space - this is what I tried to show with the poster.
At the moment, the project hasn’t been updated for a
example the poster for William Basinski was designed
Another way of approaching the process is based on
while. There are other projects that I’m working on and
after hearing just few of his songs. His music instantly
research. Some of the featured artists already have
so I can’t spend as much time on Club Hémisphère as
grew on my and I got a very clear idea of how I’d like to
developed a wonderful graphic language. Their posters
I’d like to. Anyway, I still believe that I’ll continue working
approach this, even I listened to couple of songs only.
and album artworks are done by great artists, so simply
on the project. There are lots of new artists that I’d like to celebrate with some posters!
taking a look into artist’s Instagram or Facebook pages What is your process into making a design based on
provides me with a clear idea of what I’m going to do
with the poster. This is obvious with the poster I did for Todd Terje. If you look at his album covers or gig posters,
I like to approach the process in two ways. The first one is
you’ll notice how funky and colorful they are. My poster
to try to translate the emotions and ideas that the track
tries to capture the same mood, just in a more abstract
gives me via abstract graphics. Russian painter Wassily
Kandinsky was the first one to translate music into
What other influencers do you look to when
Well, as times passes you stop appreciating your older
Another essential part of any of my workplaces is some
creating your other work such as logo marks?
works, so I’m not too fond of most of the older posters I
kind of audio device- earphones, headphones,
did for the project. As for the newer ones, I do enjoy the
speakers- anything that can play music. As it is obvious
It’s quite hard to distinguish individual influencers. The
one I did for Jamiroquai. I think it captures the mood of
from the Club Hémisphère project, I enjoy listening to
flow of inspiration comes from multiple channels all the
the artist with simple, yet quite interesting solution.
great music when working!
logomarks that I see every day and they come from
As for my favourite genre of music, that’s even trickier!
Do you have any favourite designers making work
I listen to all kind of music- from neoclassic to techno,
time. Instagram, Brand New, Tumblr - there are tens of
from rap to soviet funk. When I started working on Club However, significant influence comes from the logomarks
Hémisphère I was really into techno, but now the range
As I mentioned, it gets harder and harder to distinguish
designed in the USSR. I’ve been collecting such
of genres really varies.
individual creators in this constant stream of visuals.
trademarks for couple of years and I’m always fascinated by their creativity. I’ve even started an Instagram project
Though there are few designers and studios that creates Could you tell us about your creative space?
called Soviet Logos, so other creatives could also take inspiration from the forgotten masters of the USSR.
something that I truly enjoy: Anna Kulachek, Mut Studio, Studio Feixen- when it comes to posters, Grilli Type -
My creative space is quite simple. I rent a tiny office space where I spend most of my day. Perhaps my favourite part
I particularly love your poster for Leon Vynehall
of the office is what I call the ‘inspo-wall’- a large wall
with the red lightning bolt as it is so simple but quite
covered with all kind of posters and other stuff. I post
beautiful. Do you have a favourite poster you’ve
works of mine as well as of other designers there.
made so far / what is your favourite genre of music to design for?
typography, Moniker SF, Kurppa Hosk- brand identity.
Nair Al Saif/ Real Estate/ Bahrain
Optometry Today/ Optometry Chain/ Trinidad and Tobago (proposal)
Niskanen/ Audio Engineer/ Finland
I’m allergic to mockups... there’s no need to fake it. kristina Bartošová Graphic Designer, Art Director & Illustrator
Haarschneiderei. Letterings for the shop windows for a 50s-themed hair salon.
GRAPHIC DESIGNER & art director, illustrator... Graphic Designer and Art Director Queen of the
boast bold personalities; working out how to capture
world, Austrian designer Kristina BartoĹĄovĂĄ is perhaps
their essence in a font is certainly a challenge for some,
my favourite designer at this moment in time.
but she does this with ease.
Coming from a background of classic graphic practice, she works mainly in editorial, branding and styling.
I spoke to Kristina about her approach to working with clients and following your gut. You can find the work
Her wide range of hand drawn typography, as well as
displayed here on her website - kristinabartosova.com
custom fonts for clients is impressive; Kristina seems
& also Behance (/kristinabartosova).
to have a strong skill set for designed type. This is seen in the way she approaches working with clients who
Haarschneiderei. Letterings for the shop windows for a 50s-themed hair salon.
Having studied traditional graphic design methods,
If I draw a piece and I’m already happy with its
your case study. Not a lack of talent or imagination, but
you have developed a very strong skill for
proportions, I take a piece of transparent paper and a
often just a trivial thing like lack of money. I have seen
typography. What is your process into creating a
pencil and begin to trace the shape as cleanly as
bad logos from agencies applied on beautiful and
piece of typography / lettering and how much
possible. Only after then I start to vectorise it.
expensive packaging and beautiful logos from
derives from an original hand drawn sketch? It really depends on the project. Usually the first
independent creatives applied as a proposal in just black When did you first realise you wanted to do more
and white. There is a discrepancy between the quality
than just the graphic design element of a project?
of work and the effect it can have that’s made visible
couple of drafts are super messy. I am by no means
through presentation. For me, set styling is a tool to show
someone with a presentable sketchbook. But these first
Probably around the time when I went freelance and
the context in which a brand lives and could live. If done
drafts, though really messy, are still extremely
needed to think about how I wanted my work to be
well it makes every project look like a million bucks.
important for the process, as those are the initial ideas
presented. Because the majority of the projects I made
that I try to put to paper as fast as possible to have a
at the time were quite low-budget, the clients often
basis for later. While other people may just see scribbles,
produced only the most necessary collateral. It is easy to
I look past their current state and try to imagine what the
make an impressive case study on a one color
finished logo or lettering looks like. This ‘fast forward’
backdrop if you have the branding applied on a wide
helps to speed up the process. If I see potential, I go into
variety of products. But when the only thing produced at
fine-tuning and that usually means writing the same
all is a business card, you really need to get more creative
word over and over again in that style. This is to get a
to make an impact. I’m allergic to mockups, if I couldn’t
feeling for the subtleties, what I can push in terms of style
sell the idea to be produced it’s either financial concerns
and what looks weird.
or it didn’t fit the project, but there’s no need to fake it. In
fact, most of the time it’s the client’s production budget that determines how round a project ends up looking in
FELL SALON Identity Creative Direction, Naming & Copy: Thomas Pokorn Art Direction, Design & Styling: Kristina Bartosova Photography: Lipp Zahnschirm Retouching: Kristina Bartosova Web Design & Development: JĂźrgen Genser Hair & Make-Up: GĂźnter Steiniger
FELL SALON Identity Creative Direction, Naming & Copy: Thomas Pokorn Art Direction, Design & Styling: Kristina Bartosova Photography: Lipp Zahnschirm Retouching: Kristina Bartosova Web Design & Development: JĂźrgen Genser Hair & Make-Up: GĂźnter Steiniger
Stefan Leitner Identity Design, Art Direction & Styling: Kristina Bartosova Product Photography: Juraj Bartoš Letterpress: The Infinitive Factory
When coming up with ideas for how to present your
The design, art direction & styling you did for
The styling was where I went overboard. My parents have
work, is that based on research and a discussion
photographer Stefan Leitner, you described as
this insane art deco card table from the 30s. It’s made
with the client, or do you ~ see ~ an image of how you
resembling his work as well as his personality. I was
out of shiny olive wood and has a beautiful grain.
want it to be in your head?
surprised with the font chosen for his contact
Together with the leather-like texture of the heavy
information most - what made you choose this font
Colorplan paper it already looked like a dream, but to
Bit of both. When working on a branding project, I
vs the typical sans-serif easily read typeface you see
push it a little and and make it more cheesy I styled it with
actually talk to the client about materials or interior
on business cards most?
a portable telephone. It had to be American. I’m a sucker
design from a very early stage on, before I even start
for the TV series Columbo and I have always loved its
working on the logo. Though I see the logo as the
Stefan could easily be a Mad Men character – not
technological optimism. In every episode they end up
essence and the heart of the brand, it is never first on the
because he’s always in a suit, quite the opposite – but
showing how a piece of technological equipment works
list. I do a lot of moodboarding to make sure that we’re
because of his extremely direct, yet very charming
and it’s always something that was cutting edge at the
on the same page of how everything should look and feel
personality and strong work ethic. I was asked to do his
time. It is often as central to the plot as the motive of the
together. This helps define the context and vibe a project
personal branding and originally we wanted to create
suspect. The styling for Stefan Leitner was a little bit of
should have for both the client and me. There’s a lot of
something very sober. Just a clean grotesk type, black
an homage to that.
discussion involved for all these elements and that’s how
and white. I created several proposals for this direction
the branding takes shape. I start connecting the individ-
but it always felt off. It just didn’t look like him at all. You
ual pieces that make up this particular project and ideas
have to imagine that he has a signature style for epic
for the presentation sort of evolve out of this. The feeling
nature shots and extremely glossy advertisements for
in the shots is anchored in all these discussions we had
BMW and such. He is really a true maximalist and I
along the way. What my presentation looks like
simply couldn’t see him handing out an understated
afterwards is the way I personally see it, how I intended it
business card. No way. I went with my gut and made a
and entirely up to me.
bold logo and a soft type that would match his character.
Design, Art Direction & Styling: Kristina Bartosova Copywriting: Thomas Pokorn Photography: Lipp Zahnschirm Retouching: Kristina Bartosova Print: The Infinitive Factory
Do you approach Art Direction in the same way you
It’s a lot of fun once you get a hold of it and I love that
When I finished the logo, I felt like the identity could really
do Graphic Design, i.e. this font goes well with this
there are really infinite options to communicate by
benefit from a custom typeface. I could write headlines
font, and so in the same way this material can only
combining all of these elements and disciplines together.
with nesting ligatures and combine it with Futura (which
work with this other material in the context of this project? Totally! But this is a skill that I’ve started practicing only
I was already using in the branding) in smaller text sizes. I really love the custom type face you designed for
So I started adding letters as I needed them. First the
SESTRA. Was it a case of designing the logo first
uppercase and ligatures and then some lowercase. I
and then the other letters after?
ended up with quite a large amount of letters and figured
recently. Materials are a great way to set the mood. The
I could turn it into a font. Plus I was really curious what
same way I’m influencing how you perceive a project if
Thank you for the compliment! Yes, that’s exactly how
I use a certain typeface or paper for print, I can make a
it went. I had a very distinct picture in mind of what the
statement by choosing a certain material when I am
word Sestra should look like – a contrast between
At first, only the Es were drawn with multiple widths.
doing the art direction for a photoshoot. It’s about
condensed letters and more geometric proportions. I had
Later, when the New York Times approached me
figuring out what works by trial and error. There’s no
been searching for a font that would fit, but did not find
asking to use Sestra for their annual The Lives They Lived
rulebook or anything to hold yourself to, it’s often about
one that matched my ideal. So I decided I might as well
issue, I added more alternates and ligatures and Sestra
the magic of the unexpected that works in a photo.
draw the forms myself, since it’s just five letters.
now has over 500 glyphs.
the finished typeface would look like myself.
I O N 35
A storyteller can be both film director and illustrator... cĂŠcile gariĂŠpy Illustrator, Imposter & Story Teller
Cécile Gariépy ILLUSTRATOR, imposter & story teller... I first came across Cécile’s work on Behance. Her
that the characters she draws are left ambiguous in
Follow Cécile Gariépy on Instagram @cecile.gariepy.
projects span from designs for homeware - towels,
many cases - she often misses out facial features in her
Images are taken from her website -
duvets and glasses - to designs for hand painted wall
murals and more. Her digital design work is perhaps the most common though, and she has illustrated for
Perhaps my favourite illustrator to come out of
clients such as The New York Times, Red Bull Music
Montreal so far, I was very happy when she agreed to
Academy and Bosquet Magazine to name a few.
let us interview her about life before she got into illustration, and her role as a storyteller.
What I love most about her style is the gentle colours which are both slightly autumnal but friendly, and also
Could you tell us a little bit about how you got into
I think it is important for new students to perfect their art
Often you don’t use lots of facial features -
illustration, and at what point did you refine your
skills and to develop a bold style. But we should never
sometimes just eyes - why is this?
style to the way it is now?
forget the importance of the message we put out there. Its really not just about the aesthetic.
I was writing my master’s thesis in Paris and was trying
I like my images to be easily and quickly understandable. By reducing the number of details, I hope to succeed in
all the ways not to sink into madness because of my very
I love your colour choices - they’re warm and
sketching out the idea and going directly to the concept.
academic research. I started to draw more and more,
friendly. What is your process into choosing the right
putting my characters on the Internet. Before I could
colours for that particular drawing?
What is your favourite kind of client or brief?
I try to keep a nice balance between flashy colours and
I don’t really have favourites because I am always
neutral palette. This way I can put emphasis on some
super excited to work with new people. I love the
As for the style, it came pretty naturally: it is a blend
elements in the drawings, and keep the illustration
constraints! They allow you to see how far your
between the love of stories, colours and shapes.
creativity can go.
Did you study your craft in Montreal, if yes - what is
In regards to your digital work - how much time do
Who are your favourite designers / illustrators in
art education like over there and what advice would
you spend planning / sketching out the drawing first
Canada right now?
you give to new students of illustration?
before making it digital?
realize what was happening, I got my first illustration jobs - wait a second, I can get paid to draw?!
I am inspired by a lot of people, but I can say that I feel like an impostor! I studied cinema and worked as
I give great importance to the concept or the story
Mathilde Corbeil, Catherine Lepage, Vincent Tourigny,
a commercial and film director for 5 years in Montreal. I
behind my images, so I spend more time thinking about it
Isabelle Arsenault and Benoît Tardif are, in my opinion,
was loving it, but the illustration world surprised me when
than actually drawing it. When I start having a good idea
amongst the most influential illustrators right now in
I wasn’t expecting it!
of what I want to illustrate, I might do between one and
three sketches before drawing the final one. Now, I can totally see how a storyteller can be both film director and illustrator: its just a matter of what you tell as a story and how you unfold it.
I donâ€™t focus on style because it can feel very restricting. manjit thapp Illustrator & reacher for the stars
MANJIT THAPP ILLUSTRATOR & reacher for the stars For our next post, we got in touch with one of our new
What we love about her work is the fluid combination
favourite female illustrators. Manjit Thapp is currently
of hand drawn pencil lines and digital blocked shapes.
based in the UK. I was fascinated about what she had
The colours she uses are perfectly chosen, and the
achieved with her degree - setting the stage for future
details are on point.
illustrators. Find Manjit on Instagram @manjitthapp. All images What I find really interesting about Manjit is that not
are taken from her website - manjitthapp.co.uk -
only has she produced really beautiful work for clients
‘Personal Work: Illustrations’.
such as DAZED, VOGUE India and Instagram, she has also produced a vast QUANTITY of work. It has all been produced so well, and I can’t help but feel amazed. She makes it look so easy! Her Instagram follower count of over 52 thousand is impressive, and so is her range of items to buy from her shop. From zines to stickers, she has done them all.
In terms of your style, has that come from studying
During your time at UAL, did you feel that you
How do you feel about setting yourself goals as an
and being surrounded by hard working peers, or
learnt enough about the design industry before
illustrator, or do you let your design work go where
has a lot of that come from independent practice in
the wind takes you?
I’d say I learnt about it from a mixture of the two. I did the
I do have some ‘bucket list’ illustrator goals but I don’t
I don’t focus on ‘style’ because it can feel very
FdA Illustration course for 2 years and then joined the
put time limits on them, they’re just in the back of mind of
restricting. A drawing style is always going to be
BA Illustration course in my 3rd year. The FdA was good
things I’d love to do!
changing and evolving, as it should! My style has
because it’s very industry led and I got to work on very
definitely evolved over time just by me drawing more and
practical briefs which I liked. Since I left school I’ve been
Finally, who is your biggest female inspiration right
posting my work online and running an online shop so I
order to arrive at your refined and particular style?
think I’ve learnt a lot along the way. Has there ever been a time when you felt that your
Right now maybe Solange!
work did not compete against other illustrators,
What advice would you give to new design and
and if so, how did you overcome doubts in order to
illustration students starting university?
pursue what you love? For me it was really important to do my own personal I really don’t think of it in that way, it’s a very
work alongside university briefs. I knew what sort of work
personal process so I don’t compare my work to
I wanted to do be doing and often briefs don’t really
others, I think that can be quite dangerous.
allow for that, especially at the beginning, so it’s good
to work on your own thing on the side and it just means more to add to your portfolio at the end!
Maybe one day I’ll be cocky enough to wear a jacket I’ve painted! pippa toole Illustrator & witch lady
PIPPA TOOLE ILLUSTRATOR & customiser Pippa Toole’s work is immediately striking - the style is
Her ability to alter and change clothing has led her to
Images have been taken from Pippa’s website &
unique and the characters boast bold
create some amazing one off pieces that people seem
Instagram. Find her work online at pippatoole.com &
personalities. Finding Pippa’s work through Instagram,
to die for... Such social media comments from fans are
@pippatoole on IG! Her shop can be found at
I took a liking to the fact that her work consistently
~ Wonderful!!!! ~ Love this ~ So amazing ~ Fooking
portrays a halloween bad bitch vibe, and her lits of
rad ~ Super nice! ~ !! ~ This is amazing!! ~ Yesss ~
clients and collaborations fully support this theme.
Love this!!! ~
Based in Brighton, she makes posters, pins & prints...
I wanted to ask Pippa about what it’s like working with
as well as a host of hand painted customised clothes.
dream clients, life in Brighton and musical inspiration.
Hand painted shoes
Live Fast Die fast Flag
Your work is super cool and comes through so
What has been your favourite item of clothing /
consistently. What inspired you or led you to
accessory you’ve illustrated so far, and have you
create work with a halloween / bad bitch vibe?
customised much of your own clothing in the same way?
The Cramps! They started everything for me. I recently painted a red leather skirt and I think that’s my I absolutely love the work you’ve done in
favourite thing I’ve done in a while. I don’t wear
collaboration with Dr Martens. What was it like
anything I make really apart from a couple of bootleg
working for such a huge brand so many times?
band badges, maybe one day I’ll be cocky enough to wear a jacket I’ve painted!
I actually made a design for them a couple of years ago which was meant to go in to production but fell through,
Do you have any advice to new (or old) illustrators
so I have a sample of what could have been tucked away
who are struggling to get the kind of clients they
under my bed which I can’t show anyone! So that kind of
want to make work for?
sucks but it was still amazing to go through the process of designing a boot with them. Despite all that I still love
Stick with it like I’m trying to! Contact people, the worst
hand customising shoes and boots, the result is always
thing they can do is say no. And don’t let it halt your
creativity if someone does say no!
Do you think sticking to not just an illustrative style
gallery space upstairs. We need more stuff like that in
What is your favourite stage of starting a new
but a specific theme allows you to work on projects
town. There’s lots of dogs in Brighton which I guess is the
that you believe in more, or do you think it pigeon
most inspiring and important thing of all.
holes you into only producing work for a particular clientele?
When it’s finished, when I’m over stressing my butt off! The slogan ‘BORN TO LOSE’ has appeared a few times in your work - where does this come from and
Do you have any cool projects you are working on at
what do you think it says about you as a person?
the moment you could tell us about?
for you then what’s the problem there. If sticking to a
It was in a Cramps song that I heard when I was a
I wish!! Just stock piling more leather goods at the
particular theme gets me jobs that I want to do then
teenager and it stuck with me.. I think it’s pretty relevant
moment to paint all over.
to how I feel most of the time!
From what I know, Brighton seems like the kind of
Do you enjoy designing for risograph printing & do
place that is full of creative people. What do you like
you prefer it to designing for standard digital
/ not like about living in the city when it comes to
I’d like to think I wasn’t pigeon holing myself with the themes in my work, but at the same time if it works well
letting you feel free to create? I consider colour a lot more which is the nice thing about Brighton has a great creative atmosphere although I
risograph printing for me. The hail satan print allowed
think it can be lacking in a contemporary illustration
me experiment with colours I’d never normally use and it
scene sometimes. My friends at Family Store are really
tuned out pretty cool. It can also be unpredictable which
filling that gap at the moment, selling small press books,
zines, comics and prints as well as opening up a new
Symmetry has a sacred, magikal feel to it. ANYA SZURA Illustrator & dream queen...
ANYA SZURA ILLUSTRATOR & dream queen... I found Anya’s work through Instagram and
of work alone, despite her only canvas being 1080px X
immediately fell in love! The dreamy colours and subtle
1080px we know to be Instagram images. Her
textures promise mythical stories with a narrative
following through social has been steadily growing
nature. Some of the animals she draws reflect those
since she started and I can’t wait to see where her work
that exist in our own world, and some come with
takes her next.
multiple eyes and would fit more in the myths from the books we read as children.
You can find the images in this article, as well as more work on Anya’s Instagram - @anyaszura.
What’s interesting about her work is that it is so pleasing to the eye,and very easily accepted as a piece
I feel as though you are as much a story teller as you
Lots of your drawings found on Instagram are about
are an illustrator. Do you feel that there is a story
humans interacting with varying animals. Lots of
told behind lots of your illustrations, and do they
them look like they’re based on real animals, while
others are more mythical - why is this?
Oh wow, thankyou! I have always been heavily into
That’s an interesting question, I’ve never had much
folklore - everything from the old Native American tales,
desire to draw things that are of this earth, it just doesn’t
to the Slavic Folklore relayed by my family and the Welsh
retain my interest for very long! It’s much more fun to
Mabinogion we studied throughout school. There is a
make things up. It’s also the difference between the lion
heavy mysticism and moral focus to them that I yearn to
and the griffin - we understand the lion and we all have
recreate in my work, and I often reference old pieces with
things that we associate with him, but the griffin still lives
recurring symbolism which allow them to interconnect.
in that place where imagination and curiosity reign. I
I’m glad you feel that way!
tend to draw creatures that have some identifiable qualities of real species’, but which overall come across as otherworldly.
Sometimes symmetry is used in your drawings. Is
symbolise so much depending on the context... ghosts,
Things can can’t be true in the day, suddenly become
there a reason for this in your eyes or is it just about
spirits, deities, guardians, freedom.
very real, and it’s this feeling I suppose that I’m trying to
communicate! I would love to say my spirit animal is something wild and
The way I draw is very loose, organic and flawed - I love
majestic, but realistically it’s probably something more
You seem to only use Instagram to show your work
it when this is juxtaposed with symmetry, repetition and
like a slug.
- is this intentional for where you are in your career
order. Symmetry also has a sacred, magickal feel to it which fits the mythical themes in my work.
right now, or are you looking to expanding your Lots of your work includes stars and darker
colours - does this come from drawing at What is your favourite animal to draw and is this
different times of day that influences you in this?
your ~ spirit animal ~ ?
Right now it’s intentional, I still feel as though I’m experimenting and finding my feet with my work, and I’m
I actually do all of my drawing in the day, but I’m a hor-
in a very ‘inbetween’ place in my life at the moment in
When I sit down to draw, the first thing that my hand
rible sleeper and so do all of my thinking, and research
general. I’m trying to let everything happen organically
does is draw a dog-wolf-thing, and it has been this way
at night. I’ve always been afraid of the night, for some
and at it’s own pace rather than throwing myself out
for years! I’m not sure why it happens. I’ve also had a lot
reason once it’s dark my imagination runs wild and a
there. The time will come, though!
of ‘birds’ come up in my work recently, I love that they can
world of possibilities opens up.
In one of your posts, you write that you took a short
Your illustrations are digitally drawn - what is your
Finally, who is your favourite illustrator or source of
break after studying so you could take a step back
process when starting a new illustration?
inspiration right now?
retrospect and did you have an epiphany upon doing
It depends really! Often I begin with research, for
My biggest sources of inspiration at the moment are
example recently I’ve been reading about Simona
Native American, Inuit and Aboriginal art - their work
Kossack who lived in the Polish forest with her pet boar
has a strong narrative about the natural world, filled with
I did. During that time I started to work for a design
and crow. I put on some fitting music to get me in the
repeating symbology. A book that I always go back to for
agency which worked primarily in interiors and graphic
right frame of mind (so for Simona Kossack, I’d choose
inspiration is Carl Jung’s ‘Man and his Symbols’, my copy
design. I learnt a lot about working with clients, and
something like CocoRosie), I’ll then jot down some key
is falling apart! I’ve been trying to avoid spending too
about interior design trends, pattern, colour, and the way
quotes or get doodling in my sketchbook, and then I’ll
much time looking at other illustrators lately, but I really
artists infiltrate into that world. I started to think about
move into illustrator. I piece together basic shapes and
love Yuko Kan’s woodwork & Leif Low-Beer’s installations
how I could turn my work into something more tangible,
add detail at the very end, but this is usually where I get
moving away from prints because they didn’t excite
stuck and scrap the whole thing over and over again
me. So that’s what I’m doing at the moment, I’m trying
haha. Actually, in answer to your previous question
to teach myself some new skills that I feel my work will
about Instagram - I probably use it because it’s non
translate into well.
and view your work from afar. What did you learn in
Freelance Illustrator & Maker of Things All My Plants Are Dead allmyplantsaredead.com allmyplantsaredead.bigcartel.com F: /allmyplantsaredead / IG: @allmyplantsaredeadd
RE-VISION Magazine At RE-VISION Magazine we believe that ‘sustainable’ fashion doesn’t have to compromise style. We’re bored of the language of environmentally conscious design and we’re ready for change.
We challenge the way sustainability is communicated by simply curating and showcasing the best designers, artists and thinkers leading the way.
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The PLANT Club the-plant.club firstname.lastname@example.org IG: @theplantclub_london F: /theplantclub
get INVOLVED Submission: If you would like us to write about you and your work, please send us an e-mail with the subject line ‘Submission’ & your name, telling us about you / your work with links to relevant social media & website! Note: All interviews we do are published online, but only a select few are printed. We are looking for purely illustrators & graphic designers for the time being. Ideally you are your own boss, you make super cool work, and you’d love to answer questions giving advice to the future designers of this world! Ad Space: If you want to contact us about buying ad space in our newspaper, please use the same e-mail but write ‘Ad Space’ & the name of your company / brand or business in the subject line! We are looking for related ads. The PLANT Club is targeted to young creatives who want to learn more about the art & design industry. If you host art classes, are part of an art university or educational establishment, are a design studio looking for interns etc... then we’d love to have you in our newspaper! Drop us an e-mail to discuss. Writers: This project is the love child of Graphic Designer & Illustrator Sophie Rawlingson. The Plant Club is a project she is working on in her third and final year of her degree, studying Graphic & Media Design at the London College of Communication (UAL). Through her love and practice into both of these subjects, she is mixing together her curiosity into how things are made as well as branding and editorial design. Although The PLANT Club currently only has one writer, we are looking for writers to add to our network! If you like art & design, and know how to put together some interesting questions for our readership, then we need you! Drop us an e-mail with the subject line ‘Writer!’ if you’re interested in joining the team. Please also include links or examples of previous interviews / written work you’ve done!
This newspaper has been created / designed soley by Graphic Design student Sophie Rawlingson. Find her online: @allmyplantsaredeadd allmyplantsaredead.com
The Plant Club the-plant.club email@example.com IG: @theplantclub_london F: @theplantclub
Issue 01 features interviews with 4 Graphic Designers, and 4 Illustrators from around the world! Printed in newspaper format, this newspaper...
Published on Mar 1, 2017
Issue 01 features interviews with 4 Graphic Designers, and 4 Illustrators from around the world! Printed in newspaper format, this newspaper...