Luke Pearson is a British illustrator and comic artist. He has worked with a wonderful array of client including The New Yorker, Penguin, Cartoon Network, The Guardian, and Little White Lies. However, he probably best known for his award-winning series of comics, Hilda.
Born in Stockton-on-Tees in 1987. Doodling from very young, Pearson started adding speech bubbles as soon as he figured out how to draw people. He knew early on that he wanted to be a professional cartoonist. But he was daunted by, and unsure of, how the industry worked. And so, he went to university to study illustration.
Harry Partridge, a British independent animator who came to our attention with his satirical Saturday Morning Watchmen short. A child-friendly reimagining of the acclaimed comic, with some nods to the adult material of the original. The juxtaposition of the two worlds, funny in itself, becomes funnier when you stop to consider the true butt of a joke was the many children cartoons based on inappropriate content we were actually exposed to.
23-year-old Michael Driver graduated earlier this year from Kingston University with a first class degree in illustration and animation. His image, “Working Hard”, won a Wood Pencil at the 2015 D&AD Awards, answering the brief “Draw Yourself in Ten Years”. Astonishingly, in little over ten weeks he is certainly working hard. Represented by MP Arts, the freelance illustrator has already worked with companies including Absolut Vodka, Wired Magazine, The New York Times, The Telegraph and The Wall Street Journal.
Flicking through his portfolio I discovered the wonderful project, Wall of Wally. It is both a tribute to branding guru Wally Olins and a directory providing practising illustrator more exposure. Continuing my perusal, I also noticed that Driver contributed to the Secret 7’s exhibition at Somerset House, illustrating The Maccabees single ‘Go”.
If the last three moths are anything to go by, Michael Driver is without doubt one to watch. You can keep tabs by following him on Twitter and Instagram.
Originally from Stockton-on-Tees, United Kingdom, Alexander Wilson currently residing somewhere between “Teeside” and LA, and caters for clients both sides of the pond. He is a freelance illustrator and visual development artist, member of the SCBWI, and represented by Advocate Art.
Mr Wilson started drawing relatively late. He was 17 and studying for his A-Levels, but after watching Studio Ghibli’s Spirited Away, he was suddenly inspired to pursue the craft.
I bought my first proper sketchbook and proceeded to fill it with very poor drawings. As it turns out, drawing was rather difficult and I was probably going to need some form of structured education in the subject. Alex Wilson, Words & Pictures, 2014
He switched subjects from Physics to Art, and it was through sheer determination and hard work that he would catch up on all the years he missed. Slowly improving and ultimately scraping a passing grade. After completing his A-Level and going on to further education, Mr Wilson kept the same level of commitment and began to further expose himself to the world of illustration and illustrators. Joining the SCBWI in 2013, he attended their British Isles conference and was awarded the Illustration award for Best of Portfolio. Shortly after which, he was picked up by the Advocate Agency.
Alex Wilson’s journey is truly inspiring. He has since continued to hone his craft, constantly experimenting with new mediums and techniques. He has worked with Viz Media, Disney Press, and Storytime Magazine. You can see lots of his preliminary work and sketches on his tumblr and the finished product on Behance.
This weekend I caught the last day of the AOI Illustration Awards 2014 at Somerset House, London and was introduced to a host of new illustrators. One of which was William Grill whose tiny pencil colour illustrations force you to take a closer look.
Mr Grill’s work on display, much of it from Shackleton’s Journey, was drawn on large sheets of paper but each figure could not be more than an inch high. Small details and primary colours combine to create bustling scenes that you really can’t help but smile at. I kept thinking how often he would have to sharpen his pencils to get those thin line and especially the dots of the eyes.
Mr Grill’s hard work earned him an AOI Overall New Talent Winner & Children’s Book New Talent, 2014 award.
There was, of coarse, a lot of talent at AOI Illustration Awards 2014, Jillan Tamaki, Geoff Grandfield, Jasu Hu, to name a few, so do not be surprised if I post more about it in the weeks to come.
I remember getting off the train, looking up and getting distracted by a poster. Stopped in my tracks, I stood staring at Queens of the Stone Age’s …Like Clockwork poster. As soon as I got home I “investigated” (quick Google search) who the illustrator was. It was Liverpool-base creative, Boneface.
You may already be familiars with Mr. Boneface’s work, especially if you are a habitué to Society6. A few years ago he did a series of illustrations depicting some of our most-loved superheroes severely injured. So severe, I believe if they had experienced a beating like that in their comics, they would have probably just quit.
That grittiness is a definite draw of Mr. Boneface’s work. Coupled with deft linework and vibrate colours, you don’t need many more reasons to keep and eye on this canny illustrator. You can find more of Mr. Boneface’s work on his website.
Born in 1871 Dorchester, England, Harold Edward Hughes Nelson is probably best known for his heraldic style and postage stamps designs. He studied at both the Lambeth School of Art and the Central School of Arts and Design. He was a prolific man working as an artist, illustrator, etcher, engraver, designer and lecturer. Illustrating postage stamps, advertisements, magazines, books and bookplates. One of his many notable achievements is illustrating the novel, A Real Queen’s Fairy Tales, authored by the Queen of Romania.
Mr. Nelson was strongly influenced by the styles of the times. During the early 1900s his work incorporated Arts and Crafts and Art Nouveau elements. Then by the 1930s his work embodied the Art Deco ethos. This only made is work stronger allowing him to choose from variety styles that would best suit the content.