Isabel Seliger was born in Germany, 1984. She studied Illustration and Comics at the School of Art & Design Kassel and she is now taking commissions. Her work can be quite intricate and a little abstract at times, and she tackles some interesting topics in her work (dwarf portraits intrigued me…) She has been interviewed over at Light Grey Art Lab, if you’d like to read a little more about her.You may also like:
Posts Tagged ‘interview’
Wenqing Yan has an unusual mixture of work; from cute and fun, to despair and abstract, I find a lot of her work really captivating. The most interesting illustrations for me are the surreal works, full of imagination and fantasy. There is an excellent interview on The Daily Californian, if you’d like to find out more about her.
Sidenote: I Googled Wenqing Yan and it was interesting to find an ‘award winning artist’ copying one of her illustrations!
See Wenqing Yan’s Deviant Art page for more. You’re in good company, she’s had over 8 million page views and counting…You may also like:
In the world of fashion there is a constant push and pull over the dominate medium splashed over the magazines. Mats Gustafson began his career in the 1970s where all the magazines were ripe with photography, with very little look in for illustration, and even less for abstract watercolours. He graduated from Scandinavian Drama Institute in Stockholm in 1976 and immediately got a job as a costume designer for Swedish television. His break into fashion came in 1978 where he had his first fashion illustration published in British Vogue. That lead the path to illustrating for American Vogue, Interview, Marie Claire, and the New York Times Magazine. He has helped developed advertising campaigns for Hermès, Tiffany & Co., Yohji Yamamoto.
Mr. Gustafson soft monotone palette, and ever so delicate brush strokes actually combine to create truly powerful imagery. This technique leaves very little room for mistakes, as there is no covering it up, which gives you a deeper level of appreciation of his work. So can see more of Mats Gustafson’s work on his website.You may also like:
Ridd Sorensen is an Art Director in the animation industry. He has an incredible sense of style; everything he creates is captivating in its own way. On Pixar Times you can read a nice interview with Ridd, where he mentions his love for street art and how inspirational it is to him:
“I really believe it’s one of the last completely honest and pure art forms.”
Well said, Ridd. To see more of his work, visit his blog.You may also like:
Flamboyant fashion illustrator Antonio Lopez started his career in the 1960s. Though relatively short, he worked with many of the big names in editorial fashion such as Vogue, Harper’s Bazaar, Elle and Interview. His illustrations are a fabulous product of their time, absorbing pop culture and high-art alike, creating something unique and trendsetting. His work continues to be popular today, with fashion designers Hannah MacGibbon and Marc Jacobs citing Antonio Lopez as their source of inspiration.You may also like:
Zar is based in North Hollywood, California. She is a Calarts ’09 graduate currently working as a character designer for Pixar. She creates some stunning ‘wood burning’ paintings, which you can find on her blog along with loads of other interesting visual knick-knacks. Well worth a visit. Oh, and for a little giggle check out her rant about wearing 3D glasses!
Zar has also been interviewed on the Chracter Design Blog, for those who’d like a little more insight.You may also like:
We are very excited about our very first interview on The Lounge. We knew it would have to be somebody with an incredible talent and style, so we are proud to welcome Petra Börner on this here website.
Q. You are originally from Sweden, but have been living in London for many years now. What brought you to the United Kingdom?
A. I came to London to study fashion design for one year, but one thing led to the next and after fashion studies at Central St Martins, various collaborations in fashion and now as an artist and illustrator, I am still here!
The thought of living in the same city as Vivienne Westwood and Zandra Rhodes, being surrounded by creative, driven people and going to Portobello market on Fridays for vintage clothes and objects, was a tempting prospect. I instantly felt at home here.
Q. You seem very versatile as an artist; how do 3D projects such as packaging, ceramics and textile compare with traditional 2d illustration? And which do you get most excited about?
A. Every project differs and has specific limitations, which makes the process interesting and challenging. Regardless of the final format the main challenge for me is to create an interesting artwork, with balance and impact equally. The brief might somehow dictate the direction, which might compromise my idea for a certain artwork. Working 3D poses practical challenges with layout, size and scaling which I sometimes struggle having a visual rather than a logical approach. Seeing a design 3D or large scale is secondary, for me the quality and finish is key to a successful project.
Q. Floral shapes and other elements inspired by nature are common within your work. How much does nature inspire you? And what else has helped shape your style as an illustrator?
A. I often use natural elements as inspiration for my work, as this offers a well-defined starting point. In contrast I love to draw from technical, mechanical or designed objects. Being brought up in the 70’s has had a defining influence on my work. I used to spend lots of time exploring ways of dying fabrics, printing, sewing and making textiles and garments with my mum and aunts. I’ve collected vintage books on photography, design and the arts and craft since I was a child and refer to them daily along with photocopies and other images I keep in my ‘library’.
I like to mix references from the past with the present and perhaps I try to capture a timeless feel in my work, independent of trends and the ‘now’.
I’ve always enjoyed posting letters to friends and unknown people worldwide and would draw and decorate the envelopes for hours as a child, which helped me develop my drawing and painting techniques and learning to work with a format.
Q. Your book covers are tremendous. What makes a great book cover for you?
A. Thank you! It’s very challenging to achieve a great book cover, as it’s an interpretation of a project at the heart of the author as well as with the reader. As a slow reader book projects are time consuming and the subsequent process can be equally slow. I have to trust my instinct and stick with it to get a natural interpretation, something challenging to achieve, as the idea travels between all parties involved.
I like a book jacket to be striking, simple and surprising- within a concise design. The artwork shouldn’t give away the plot but spell out the mood. The balance between type and artwork is also essential and the elements have to be in harmony or contrasting each other.
Q. It is a generalisation (so please forgive me), but it is known that illustrators are not particularly good at marketing themselves. Yet you use an elegant hand-drawn logo and your style is very unique to you. Do you think of yourself as a brand?
A. I’ve been creating, making and promoting my own products since many years and have experienced that exciting visual presentations have been key to getting projects rolling and gaining interest. The learning curve has been (and is) steep as my interest lies within creating art and not with promotion and marketing. I put off practical tasks and indulge in drawing instead. Quiet often I wish I could become two people or find someone who’d free up creative time!
My logo is a replica of my father’s (Peter) personal stamp and it now represents my family and creativity and I aim to live up to this elegant yet stylized design of it with my work.
Q. Can you briefly explain your creative process?
A. I work manually, though the final artwork is often digitized. Repetition is key to defining my interpretation of a theme or subject within a specific composition or pattern, so the process usually starts with series of sketches from objects, collages of images or photographs. I sketch with marker pens, collage, pencils or brush and ink and later I might finalize the artwork as a more structured collage cut in paper, a painting or a drawing or sometimes as an embroidered piece. Sometimes ideas grow from a selection of colours or paper samples.
There are two people in me; one is working quickly, energetically and rough, the other meticulously pedantic! My challenge is to find the right balance between subject, space, colour, lines and shapes. I like tearing up old work, though I treasure my sketchbooks and letters.
Q. What’s on the horizon for you? What should we be looking out for?
A. Projects out now/soon:
Classics series incl. ‘The Lover’ by Marguerite Duras (Bonnier, Sweden)- Aug 2011
‘The Intolerant Gourmet’ by Pippa Kendrick (Harper Collins, UK)- March 2012
NordiskaKompaniet packaging (Sweden)- July 2012
Classicseries incl. ‘Out of Arica’ by Karen Blixen (Bonnier, Sweden)- September 2012
Artwork for knitwear for Minimarket (Sweden)- September 2012.
Currently I’m working on a few exciting new developments with crockery and toy manufacturers parallel to creating on my own book project and products.
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Portrait of Petra Börner by Annika Lundvall.You may also like: