A Large Evil Corporation do exactly what you may suspect, steal candy from babies and worship the almighty dollar. However, in the plus column, they do produce wonderful animations! I was alerted to their work, like many, through their superb Cornetto… Evil Vinyl designs. Something that started as a fun homage quickly began attracting a lot of attention. After the huge positive response and endless questions such as, “These are awesome, where can I buy them?” the Evil Corp. recently announced they have partnered with toy company Funko, to capitalise on their success.
A Large Evil Corporation has produced adverts for clients including Unilever, Orange, Virgin, and General Mills. Many of these adverts as well as their shorts can be enjoyed on their Vimeo channel.
Now you know all about the evils that A Large Evil Corporation do, you may want keep an eye on them. You can do so via their twitter and Facebook pages.
Jocelyn Joret is a Canadian illustrator and currently the Senior 2D artist at Gameloft. Part of the Gameloft team since 2009, Mr Joret has worked on titles such as Earthworm Jim HD (2010), Bailout War$ (2009) and Bridge Odyssey (2009). In that time he has contributed in variety of disciplines including Pack illustrations, mock-ups, backgrounds, character design and Concept art.
Presenting the very sumptuous work of Amélie Fléchais. A French children’s book illustrator and visual development artist. Graduated in 2011, Ms Fléchais earned a diploma in 2D animation from ESAAT (Ecole Supérieure Arts Appliqués et Textile). That same year she interned at Cartoon Saloon, an Irish animation studio responsible for the Oscar-nominated The Secret of Kells. There she produced concept art for the feature film Song of the Sea. A couple years later, Ms Fléchais was asked back to do further visual development and background art for Song of the Sea. More recently Ms Fléchais has shared her talents with Dreamworks and Hornet animation studios.
Additionally, since graduating, Amélie Fléchais has worked on three books, Chemin Perdu (Lost path), Le Petit Loup Rouge (Little Red Wolf) and soon to be released L’homme Montagne (Mountain Man). Both Chemin Perdu and Le Petit Loup Rouge are a feast for the eyes. Each page is carefully created. The illustrations are intricate, textured and rich in colour. Ms Fléchais has an incredible talent for the whimsical and joyous, and her talents really shine through in these books.
When 3DTotal offered the Illustrator’s Lounge an opportunity to review their Sketch Workshop series I jumped at the chance. I first heard about it through their exceedingly successful Kickstarter campaign. My intrigued was peaked, how would they tackle explaining some rather complex and layered subject matters to a novice?
Expecting to receive one or two of the workbooks, when I opened the parcel to find the entire Sketch Workshop bundle, there was a genuine gasp of joy. It included the leather-style folder, all five workbooks, and a set of drawl-inducing drawing tools, including five Koh-I-Noor graphite pencils. It is a very attractive set, which I sat staring at for a while, before it suddenly dawned on me that I may need some help if I planned on doing a review of this set any justice.
I decided to recruit the help of my 8-year-old cousin, (appropriately named) Arty. Definitely younger than the demographic that these workbooks are aimed for, but I was interested to see how accessible the tutorials are. I know that Arty already has an interest in illustration and has an attention span that could rival mine. So I knew it would not be too laborious to ask him to sit down for an hour or so and work through some of the pages with me.
I thought that Robot & Spaceships and Creatures workbooks would be best, as I know that Arty has a love of cars, and as you can’t really draw “creatures” wrong, can you? When I arrived workbooks in hand and told Arty that today we will be drawing together, he got really excited. When I pulled out the stationary he got even more excited, which is an indication of a future artist if there ever was one.
Given the choice of the two workbooks, Arty decided to go for Creatures. So I opened it up to a tutorial which looked the simplest. I showed him the page and explained what we would be drawing, then I read all the instructions to him, to which he responded “Wow, that’s hard”. I laughed and then tried to simplify the instructions a bit for him. He chose his pencils and got started.
Interestingly I had already given the Anatomy workbook a go a few days earlier, and my initial reaction was very similar to Arty’s. I am a competent illustrator and there was not anything in the Anatomy workbook that I would particularly struggle drawing, but yet I found some of the tutorials intimidating. A combination of a beautifully rendered sketch accompanied with instructions that neglected to explain the basics just threw me off. All workbooks have multiple tutors, so this scenario is not case for all tasks, but it is a common theme across the workbooks.
An example that came up when drawing with Arty was that he did not understanding the 3D aspect of the jaw and stuck to drawing the front row of teeth. I sketched a cylinder to help explain how he should think of a jaw and he quickly understood adapted his drawing to show back teeth. After an hour of drawing, Arty had filled a couple pages of A4 paper with a few pretty impressive creature teeth and dinosaur eyes. That was sadly as far as his attention span went. He then proceeded to shape the putty rubber into a rocket and throw it around the room. However, working alongside Arty’s helped me better gauge whom these workbooks are best suited to.
It is sadly a tad advanced for an 8-year-old (specifically Arty). I felt the tutorials were a bit too specific for my own needs, but I will probably give Robots & Spaceships and Cityscapes another go, as I have always found this area of technical drawing difficult. So ruling out the novice and the seasoned illustrator (ahem) I would say that these books best suit intermediate artist, those who have a good grasps of the basics, understand construction well, and have just starting to push their art into a direction.
Which brings me to the strength of the Sketch Workshop. It does a great job of encouraging the artist to really think. If you are drawing a creature, is it dangerous? If so where will their jaw hinge? If it is a robot, what fuel does it use? After you have really thought about the physicality of the drawing you are asked to consider lighting, so that you can render your drawing as realistic as possible too. These are definitely areas which can get left behind when learning to draw, so there is obvious merit in their approach.
All in all, if I had the Sketch Workshop when I was in Secondary School it would likely be one of my most prized possessions. It is beautifully presented and impossible not to get excited about. I will surely be wrapping the bundle up and gifting it to Arty for Christmas, and just like a Christmas jumper, hope he grows into it.
Try Sketch Workshops for FREE!
3DTotal is currently giving away a free sample chapter of the Robots & Spaceships Sketch Workshop on their site. Check it out here.
Sketch Workshop Bundle 3DTotal Publishing Includes:
The Sketch Workshop leather-style folder
5 Workbooks (Anatomy, Characters, Creatures, Robots & Spaceships, Cityscapes)
A set of drawing tools (graphite pencils, sketching pens, a putty rubber and dual pencil sharpener)
Based in Rome, Italy, Daniela Volpari is a freelance art director and children’s book illustrator. She graduated in 2009 from the Scuola Internazionale di Comics (International School of Comics), which is quite possibly the best school I have ever heard of. Ms Volpari landed her first published work the very same year creating editorial illustrations for Un duetreStella and Grazia. Also in the same busy year publishers Paramica released a children’s book based on Giacomo Puccini’s opera La Bohème, retold by Fbrizio Silei and beautifully illustrated by Ms Volpari. Since then Ms Volpari has work consistently. She has received multiple awards and regularly exhibits her work at Gallery Nucleus, most recently taking part in the Imaginary Friends event.
Ms Volpari’s gouache paintings are warm and playful. They are harmonious in tone but often dynamic in composition. I particularly love her illustrations for Oliver Twist. They have a very “Illustrator’s Lounge” feel to me, that may just be because of all the top hats. You can find Daniela Volpari on twitter, facebook, and etsy, and find more of her work on her website and blog.