Many moons ago when I made the switch from design to illustration, I only did the minimum sketches necessary for any given assignment but rarely drew for fun. I don't think I even had a sketchbook for years. Luckily, that changed with time and I embraced drawing as a daily ritual.
I started teaching this semester to a mixed group of illustrators and designer and drawing has become the perfect common ground from where we start every single project. I keep remind them about the importance of drawing constantly. Drawing without thinking and drawing with a lot of thinking. Drawing uninspired and drawing with a muse. Drawing fast thumbnails but also complete concepts. Drawing to spark strong ideas instead of spending hours and hours clicking the mouse around waiting for ideas to happen. Here's a few recent editorial jobs and some of the doodles I do (for fun) in between assignments.
Pictured above, a piece about young hackers and their mighty power for Wired magazine
An illo on how bad 3D video games are for little children for Baby and Toddler magazine (left) and a fast sketch inspired by a cool kid I spotted at the airport in Atlanta (right)
This one was for The Atlantic, for an article about robots that have been programed to answer people's tweets... hah, and you thought someone was actually interested in how special your cat is!
Doodles on scrap paper
A piece about retirement and dangerous investments for Plansponsor magazine
And last but not least, some small details from a couple of commissioned pieces that started as personal work from my sketchbook.
A friend of mine wanted to show me one of my illustrations in the iPad version of Wired the other day and we ended up pointing at all the nice details that FINALLY make digital magazine design relevant. Then he showed me this book and although I'm not a fan of gimmicks, this app sent my head spinning with possibilities.
Our industry is changing platforms, reinventing its language and stepping into unknown territories... how exciting!
KesselsKramer's New Tapestry is an updated version of the Bayeux Tapestry, a huge medieval work of art showing the current affairs of its time. Where the Bayeux Tapestry told the news stories of 1066, New Tapestry tells the news events of 2009. It's 30 meters long and illustrated by 44 international artists.
New Tapestry was created by Christian Bunyan, Keefe Cordeiro and KesselsKramer.
My contribution to the projects focused on the tension between Venezuela and Colombia during the past years. Most specifically on the personal conflict between their presidents, Hugo Chavez and Alvaro Uribe, and how such a destructive relationship is affecting the region.
New tapestry will be on view between the 28th January 2010 - 2nd February 2010.
Opening Hours: 1300h -1730h
see the New Tapestry online
I question the real purpose of illustration when the art created is purely personal. Yet again, personal work has been getting more recognition in our field due to the fact that illustration has been embraced again in other arenas like fine art galleries, the toy and fashion industry, and animation & film to name a few. I'm really glad to see that happening because I'm loving the creative process that emerges out of little sketches like the one you see above, soon to become a limited editon self promo print. Would you call it illustration?
Glad to see the Drawgeroids invading the newstand with such terrific work. Glad to see illustration everywhere these days: In videos, in toys, in textiles, in apparel, in galleries, in books, in furniture, in homeware, you name it! Despite this awful economy we're in a good place; Think about it. We just have to use our noodles to help our doodles stay alive.
Here's a great new video from Of Montreal to prove my point! Have a happy friday everybody!!! :+)
Congress is rushing these bills through to a floor vote. The House will start marking up their version of the bill at 2:00 today; the Senate will do so tomorrow. To try to stop this bill, we first need to slow down the race to get it passed. Take Action
Non U.S. artists please go here for a sample letter and the U.S. agencies to contact.
Artistas que no sean Estadounidenses pueden ir a este enlace donde encontrarán un ejemplar de carta para el Congreso y una lista de agencias Americanas para contactar.
I love when computers take over and do unexpected things with my artwork. The example above happened while tinkering between Illustrator and Streamline when I was creating the illustration of Dice-K for the Boston Globe. The computer gave me about five random versions and this one was my favorite. it was like the machine was presenting me a round of sketches for me to pick from. While staring at the bizarre results I remembered something I wrote years ago: "In today's world humans and computers have merged so close together that it would be absolutely impossible for us to live without them; Without the humans."
I need some feedback before an important move, kids: Since I first started in this field I've been solving editorial assignment in a very tight style and I guess it's because the use of Illustrator and also because I was educated as a Graphic Designer and not as an illustrator. I feel I want to leave the vector look for my licensing ideas and have for editorial+advertising something with the very personal look of my Sketchattack gallery. I have a portfolio almost ready to upload at Illoz but any word of wisdom or suggestion before I do so, would be appreciated. Gracias.