Through blurry childhood memories of the past, and the wishful imagination for the distant future, I draw my inspiration from events both seemingly insignificant and profound to create my art. I wish to evole a sense of mimicry gone fantasy since imitation can provide an understanding not only of the structures and systems that surround us in everyday life, but also an opportunity for the exploration of the possibilities of restructuring the systems to construct new identities and functionalities.
Scott Teplin’s candy-colored paintings and incredibly detailed line drawings of wrecked vehicles as well as his Sims-like images of surreal, fantastical urban structures express both malaise and wonderment at the spaces we have created for ourselves in modern life.
Timelessness is surely one of the most sought-after characteristics that any artist, writer or musician can aim for in their work. It’s a wonderful feeling to know that what felt good a generation ago still holds true to this day; perhaps even better to know that what made one tick as a child still draws […]
Presented as a tableau of vignettes, the work of UK illustrator Jody Barton is executed in a variety of techniques and mediums, yet manages to run the gamut from delicately bold watercolors, to thoroughly noir black and white ink drawings, to child-like, and endearing, colored pencil scribbles.
Josh Cochran’s illustrated world is full of hard-edged shapes, coarse textures and clashing colors that somehow seem to fall into place. Just. We asked him in what ways his illustration style has evolved over the years: ‘My style really came from a general frustration I had towards painting while I was in school. I started drawing early on and have always felt fairly comfortable about it. Teachers at Art Center would constantly encourage me to make my work look more like my sketchbooks, which got me thinking of ways to produce finished looking artwork, using a more linear style. I took a printmaking class fairly late in my education, which really changed everything for me. Silkscreen and flat color provided a much needed contrast to my obsessive line work’.
We checked in recently with illustrator Josh Cochran and asked him how he kept the creative process fresh and stimulating, despite producing so much new work: ‘I try hard to keep pushing new ideas in my work. Of course, there are often times when I feel tired and stale and produce work that isn’t that isn’t challenging. Generally, though, I try to keep building on things I’ve accomplished in my work. To me, that’s what keeps my work consistent as well gives me room to grow. After a while a certain direction will feel boring to me and I’ll start pushing out to try something different’.
The loose linework and watercolors that mark the illustration of Victor Kerlow bring to mind several other well known editorial illustrators, but Kerlow is clearly doing his own thing. I love his White Sheik illustration, which he did for the New Yorker, in particular. The New Yorker, yes. It’s hard to believe this guy is only just about to graduate from SVA. We will most certainly be seeing more of him in the years to come.
Yoko Furusho’s work leaves me absolutely speechless. There are so many lines in all of her drawings that I really wonder how she can do it all with one single hand. Just take a look at her Galliano and Fantasy drawings, and you’ll know exactly what I’m talking about. Not to mention her magical characters, her endless parade of patterns and her remarkable use of colour, which makes you feel like you’re swimming inside of a whipped cream and strawberry pie!
I’m keeping a sharp eye on Florida illustrator Francis Vallejo. Upon first glance, you’d never realize that he is about to enter his senior year at the Ringling School! Vallejo has the draughtmanship and expressive brush work of a top tier, seasoned professional. Having already busted out work for clients such as Vibe and grabbed […]
Obsessive, impossibly intricate art can sometimes veer off into self-congratulatory messes, overwhelming viewers while not having any real substance. Vasco Morao’s Escher-esque line drawings are rather simple, however, and have a gorgeous, meandering, and meditative quality about them.
Tom Giesler’s My Anatomy series is a playful take on the anatomical charts you might find in a high-school biology lab. They have a boyish, frat boy quality to them, as if its subjects are cheekily showing off their insides to a room of drunken onlookers.
Bath based Lucy Oldfield has just moved onto a Canal boat — a risky move for an illustrator whose art is based on delicate linework. Luckily it hasn’t affected her steady hand. Her work is beautifully constructed with a fine eye for feminine detailing. She’s currently working on greeting cards, having previously worked for the […]