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ISSUE 01

Joy Li, Marta Veludo, kristina Bartošová, Rokas Sutkaitis, Cécile Gariépy, Manjit Thapp, Pippa Toole &Anya Szura

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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 theplantclub@outlook.com IG: @theplantclub_london F: /theplantclub

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We love all things illustration and design! We want

We hope that you find the content of our site and

to talk about you / talk to you! For this reason we are

newspaper informative and exploratory. Stuck in a

interviewing big name Illustrators & Graphic

drawing rut? Read our interviews! Lacking inspiration?

Designers around the world, but also new comers into

Read our interviews!

the industry. Dedicating your life to making beautiful work is something that we at The PLANT Club think is

If you are interested in getting involved ready for

cool as hell and want to celebrate and talk about it -

ISSUE 02 - submissions / writers / ad space - head to

no matter where exactly you are in your career.

the back for more information!

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Graphic Design

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.

Illustration

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.

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I am a product of influence of other artists that have come before. joy li Graphic Designer, Visual Creative & Pessimist

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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

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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

with phrases?

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

style.

become detached from it.

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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.

exciting?

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

forever?

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

hues.

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.

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Self-branding is the most difficult task that a designer has. MARTA VELUDO Graphic Designer, Art Director & Illustrator

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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

(/martaveludo).

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

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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

interests you?

how their art can be contextualised on the internet, or is that just a risk with making your work public?

It’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

archives.

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 aren’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.

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White, Soft And Black - Window Design for Restored Shop

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I really love the project ‘White, black and Soft’ 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

something!

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

scratch?

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

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Marta Veludo Identity - Identity for Marta Veludo Studio.

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Posters are not limited to static images anymore. ROKAS SUTKAITIS Graphic Designer, Poster Maker, Music Enthusiast

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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

(/rokassutkaitis).

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.

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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

like?

growing digital world?

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have.


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

French twist.

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

sound?

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

manner.

Kandinsky was the first one to translate music into

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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

various artists.

I listen to all kind of music- from neoclassic to techno,

right now?

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?

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typography, Moniker SF, Kurppa Hosk- brand identity.


Nair Al Saif/ Real Estate/ Bahrain

Personal wordmark

Optometry Today/ Optometry Chain/ Trinidad and Tobago (proposal)

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Niskanen/ Audio Engineer/ Finland


I’m allergic to mockups... there’s no need to fake it. kristina Bartošová Graphic Designer, Art Director & Illustrator

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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

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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

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fact, most of the time it’s the client’s production budget that determines how round a project ends up looking in


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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

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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

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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.

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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.

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the finished typeface would look like myself.


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A storyteller can be both film director and illustrator... cĂŠcile gariĂŠpy Illustrator, Imposter & Story Teller

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Filles Danse

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

drawings.

cecile-gariepy.format.com.

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

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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.

visually compelling.

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

Quebec.

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.

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I don’t focus on style because it can feel very restricting. manjit thapp Illustrator & reacher for the stars

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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.

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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

graduating?

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

more.

posting my work online and running an online shop so I

now?

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

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to work on your own thing on the side and it just means more to add to your portfolio at the end!


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Maybe one day I’ll be cocky enough to wear a jacket I’ve painted! pippa toole Illustrator & witch lady

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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

pippatooleillustration.bigcartel.com

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.

Custom Jacket

She-Devil Pin

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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

very satisfying.

creativity if someone does say no!

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Skull Pin

Gig Posters

Gig Posters

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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

project?

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.

that’s great.

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

printing?

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,

I like.

zines, comics and prints as well as opening up a new

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Symmetry has a sacred, magikal feel to it. ANYA SZURA Illustrator & dream queen...

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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

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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

interconnect?

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.

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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

composition?

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

online reach?

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.

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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

so?

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.

committal!

and view your work from afar. What did you learn in

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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.

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We challenge the way sustainability is communicated by simply curating and showcasing the best designers, artists and thinkers leading the way.

re-visionmagazine.com | CONTACT@RE-VISIONMAG.CO.UK | IG: @revisionmagazine | F: /revisionmagazine4thefuture


The PLANT Club the-plant.club theplantclub@outlook.com 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!

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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 the-plant-club@outlook.com IG: @theplantclub_london F: @theplantclub

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The Plant Club - Issue 01  

Issue 01 features interviews with 4 Graphic Designers, and 4 Illustrators from around the world! Printed in newspaper format, this newspaper...

The Plant Club - Issue 01  

Issue 01 features interviews with 4 Graphic Designers, and 4 Illustrators from around the world! Printed in newspaper format, this newspaper...

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