Michelle Woodward is a Sheridan College graduate born and raised in Southern Ontario. She works as a freelance illustrator with clients including Creative Quarterly, McGraw-HIll Ryerson, Canadian Running Magazine, and Dirt Rag Magazine. Many of Woodward’s illustrations have a feeling of trepidation or unease, which she creates with great use of desaturated tones and lone figures.
Presenting the work of graphic designer and illustrator, Gregory Hartman. Based in Pittsburgh, Hartman is currently a designer at language-learning service, Duolingo. Hartman’s styles comfortable split into two areas. The first being his re-imagined existing characters, with exaggerated physical features, beautifully rendered. The second is a flatter, icon-inspired, with geometric shapes and limited colours. Where does Hartman get his inspiration from? Well…
My most reliable source of inspiration is my drive for creating something different.
Californian Illustrator Bill Cone is well known for his sensational pastel artwork and his ongoing contribution to Pixar Animation Studios. He studyied Painting at San Francisco State University before going on to study Illustration at Art Center College of Design. After his graduation, Cone embarked on a career as a landscape painter and for over 17 years he has exhibited annually, both in group and one-man shows.
Cone is both a Production Designer and Teacher at Pixar. He has produced lighting studied, worked as a storyboard artist, background painter, and character designer. On top of all these roles, for over 10 years, Cone has taught light and color classes to the Pixar alumni. He has contributed to successful animations such as Toy Story (1995), A Bug’s Life (1998), Toy Story 2 (1999), Ratatouille (2007), and Up (2009). Interestingly, it was during work on A Bug’s Life that he started using pastels to do lighting studies. Enjoying them very much and seeing their speed benefits, he decided to use pastels in his personal work too.
You can see much more of Bill Cone’s wonderful artwork on his blog, which he couples with eloquent and verbose descriptions.
Presenting the very majestic work of Matt Rockefeller. Born in Tucson, Arizona he studied illustration and animation at the talent-breeding Maryland Institute College of Art (MICA). After completing his Bachelor degree in 2014, Rockefeller chose to stay in Baltimore and begin his career as freelance illustrator and visual development artist.
During his studies, and in the year that he has been working professionally, Rockefeller has compiled an astounding portfolio. His illustrations are beautifully rendered utilising graphite powder, pencils and digital colours. He is always focusing on how to best convey the narrative and retaining meaning. This care to visual communication is evident looking through his work, and is also what sets it apart.
With the release of the anticipated Marvel title Spider-Gwen nearly upon us, I thought now was a great time to feature American Designer and Cartoonist, Robbi Rodriguez.
With just over a decade of making comics, Rodriguez in that time has worked on a host of great titles including his creator-own title Frankie, get your gun, Vertigo’s FBP: Federal Bureau of Physics, Image’s Night Club, 24seven (Vol.2), Hazed and Oni Press titles Tek Jansen, Maintenance and Polly and the Pirates (Vol.2).
Speaking of Polly and the Pirates, I was deeply disappointed to read all the negative comments it has on Amazon. Mostly from readers who preferred the author and original artist, Ted Naifeh’s style. With all respect to Naifeh, these commenters don’t know what they are talking about. I realise that Rodriguez’s work by no means needs defending, but I can not help but put these comments in their place. Yes, art will always be subjective, but Rodriguez brought more energy and better-developed characters to the book. Which, for a swash-buckling pirate book, can only be a good thing.
Interestingly, comparing his artwork from Polly to his recent work with Marvel, really showcases his versatility. Looking at the pages of Polly, you can see a strong European influence in his work, especially from the likes of Pierre Alary and Denis Bodart. His Marvel work has a rougher more edgy feel to it, in a similar vain to artist like Paul Pope and Jeff Stokely. Then there is his personal work where he really goes to town and experiments with his style, medium, and incorporating more graphic design elements.