1/6/2024 0 Comments The letterboxThese works had a tremendous impact on me. Which professional creatives do you look up to and why?Ĭhristoph Niemann’s hugging toothbrush and paste picture was a very important image for me, and still pops in my head at least twice a day Stanley Donwood’s artwork for Radiohead’s “ OK Computer” Michel Gondry’s music videos Stefan Sagmeister’s “ Made You Look” and “ Things I Have Learned In My Life So Far” James Victore’s “ Celebrate Columbus”, Jennifer Daniel’s “Creation of Adam” everything Paul Sahre does Matt Dorfman’s editorials Nicholas Blechman’s “ 100% Evil”. If there’s further interest, I’ll describe my medium/style and clientele. I say I’m an illustrator for magazines and papers. There are few of those available in my store.Ĭocktail party talk: how do you describe what you do to someone who isn’t in a creative field, and what’s the typical response you get from them? I also have a new edition of Linocut plus silkscreen prints. There was so much positive response from fellow parents. There was a specific problem to solve, and a very sentimental process. We did it together with Len Small and Francesco Izzo. The latest is a visually challenging editorial on breastfeeding for the splendid Nautilus Magazine. Is there a particular project of yours of which you’re especially proud? “…it’s also a challenge to not forget to get away from it all, sit back and take it easy.” Keeping organized despite the spontaneous nature of the job you have to deliver on time. That said, it’s also a challenge to not forget to get away from it all, sit back and take it easy. What is the most challenging thing about a career in illustration? I use Google Images a lot, my Wacom, a Macbook Pro, a phone, a few mechanical pencils, a Hahnemühle A4 sketchbook at the desk and small pocket notebooks to carry around, black coffee, a fine record and a window by the desk. Tools of the trade: do you have any specific pens, pencils or other instruments that you swear by? When it’s done I’ll send in the hi-res files or GIFs. If needed, I’ll look at it in the process together with the art director. Finally, when the concept idea is approved, I’ll start drawing the actual piece. Then I’ll get to sketching ideas, collecting reference visuals, editing concepts and choosing the best ones to show to the client, emails and discussions. If time allows, I’ll sleep on it and let my opinion ferment. Getting an assignment, reading the article or an outline, understanding my role and the art director’s motive for choosing me, understanding the publication’s context, page layout, overall tone, existing colors and researching the article further. Walk us through your usual creative process. Then if I get used to something, gain enough level of confidence, I’ll carefully use it in commercial work. Behind the scene, in personal work, there’s a lot of experimentation and craze with printmaking techniques, graphic styles, materials. In editorial work I keep a steady concept in the core and grow visuals around it in a more or less constant style. How would you describe your illustrative style? Do you fight against having a particular style, or do you embrace your style as your “brand”? That moment made me realize it was time to get serious. In 2011 I failed to answer my first New York Times Magazine assignment email because I was hungover after a birthday celebration. When did you discover that “Hey, this could actually be a career”? All of this and my parents’ careful guidance brought me to six years of architecture in university, simultaneous graphic design work in local agencies and drawing/painting in my bedroom by night. cartoons, MTV, video games and finally the internet. Add in years of academic drawing classes, occasional Warner Bros. At some point I discovered my mom’s architecture and art bookshelf and dad’s rock and jazz tapes, my brother’s bubblegum wrapper collection, video games, my friend Tigran’s box of Legos and the CD shelf with endless booklets. Perhaps the beginning for me was piano classes and learning jazz improvisation. Where did your childhood artistic inclinations come from? (but based in Tartu, about every kid can draw, but not every kid is particularly gifted at it. This time around, we have an Armenian editorial illustrator who loves his coffee black and his desk with a view. This has proven to be one of our most popular themes, and we are excited to keep it going into February!įor the third day in a row we are reaching out beyond the United States to showcase a very talented ADC Member. ADC’s Illustration Month continues to impress, as even more artists who are also card-carrying ADC Members step into the spotlight and share their stories and their skills.
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