A reply from Lindsey for DC and publication


/


Thankyou lindsey-I'm a big fan.  These are the sorts of things I love finding out because it opens my mind to finding influence from other places.  You can see from her answers that it is all about intricate antique detail.  Cool.

This is great for my design Context

 / 

 this old classmate now who now works for YCN made a great video of stuff hes inpired by. It pin points exactly what I am aiming to expose as what is influential to me. 

 His exhibition space below is also interesting 

A reply from the wonderful Matt the Horse, thank you!

/

This one was cool.  Even though it wasn't a standard list of examples of objects, it still painted a picture of the way he thinks and draws from what influences him.  Its very much about living and experiences to bring up emotion in his drawings and characters and humorous shapes and magnificent colours.

A reply for Design Context and the Publication

/

I love how you can so tell what Robbie's work would look like if you didn't know already.  All of the things in his list are imaginative yet bold and nostalgic yet current.  Thanks Robbie-really nice answers for me to work with.

Holly Wales Response for Design Context

/

This was a really interesting response.  It showed me that it's not all about individual lens' on life.  It can be the lens on the brief itself.

Blanca Gomez Interview

/

Such a great interview courtesy of grainedit.  This is so great for my dc. It gives such an insight to her inspiration specific to herself as a designer and illustrator.  There is a lot of information that appeals to me more than other parts but there is alot to play with once I establish exactly what I want to show affects me the most in my dc 'publication'.  It could just be the inspiration section as I think that this is the most important part of a design practice.

Today Grain Edit is proud to present Blanca Gómez of Cosas Minimas. Blanca is a Graphic Designer and Illustrator based in Madrid, Spain. You may remember her work as featured on Grain Edit’s on-going poster pick series. We like her clean and simple style and took some time to talk to Blanca about her work and creative process. We hope you’ll enjoy it.

Where are you from originally?

I am originally from Madrid and that is where I currently reside. I am always saying that I’d like to move somewhere else for at least a while, but here I am. I suppose underneath it all Madrid isn’t so bad.

Tells us a bit about your art/design background. Where did you study?

When I was little I would draw all day long like many kids do and my parents enrolled me in a painting academy. I would always say that I wanted to be a painter, but as I grew older I didn’t see it as a feasible option and the idea faded.

When it was time to head to college I wasn’t clear what I wanted to do with my life. I had always considered drawing a hobby, but never imagined it as one that could earn me a living. Instead I chose to study Publicity because I thought it would lend itself to creativity and aide in my professional development, but I soon realized that Publicity was not for me.

I continued my studies, but explored other alternatives like photography and film through my fourth year, which I spent in Milan. It was in Milan that I became interested in graphic design. I remember attending an eye-opening exhibition of Milton Glaser’s work and somehow finally figuring out what I should do. When I returned to Madrid I enrolled in evening classes at a design school while I wrapped up my publicity studies. I was in classes all day until 11 P.M. and it was very exhausting but well worth it in the end.

One month after finishing college and my design coursework I began working for a small graphic design studio that was mainly dedicated to the production of business literature. That is where I learned to work in a very rigorous and precise manner. I’ve been working for graphic design studios for seven years now.

When did Cosas Minimas begin and how has it grown?

Cosas Minimas got its start several years ago in a very curious way. I was working for another graphic design studio at the time and was in the habit of constantly drawing on post-its. Most of the drawings ended up in my wastebasket and my boss would tell me that I should do something with those drawings, but I never paid much attention. One day he simply told me that he had chosen a name for my website and purchased it for me. So it just naturally morphed out of what was once merely a hobby at work.

What was initially meant to be a personal project gradually and naturally turned into a professional project. Having a site dedicated to my personal projects forced me to learn more and more. As time went on I began dedicating more time and effort into Cosas Minimas. That is how my first commissions and collaborations came about, always via the web, until finally my hobby became my primary job. It’s not like I had a plan or predetermined objective, it just happened. These days Cosas Minimas continues on its undefined path; dividing my time between personal projects, the store, and commercial commissions.

What inspires you most?

To be sincere, I’m not too certain what inspires me. I suppose that everything that surrounds me and everything that I like inspires me inevitably. I’m a huge collector of objects and books. Picasso said something along the lines of it being best for inspiration to find you working, I happen to think that’s good way to put it.

Which artists/designers do you admire and/or are inspired by?

Given the easy access we have to thousands of good artworks today, it
is impossible for me to recall all of the artists that interest me. Moreover, the Internet has produced an interesting phenomenon thanks to sites like ffffound, and I believe that many works have come to
eclipse the very artists that produce them. It seems these days we are more likely to recognize an image or style long before we know the artist. I find this interesting because in the end it is the work itself that matters most.

Let’s try anyway: The French illustrator Sempé has stuck with me since I was little and read Nicholas. I love the tenderness and humor in his illustrations. Other illustrators that are among my favorites include Dupuy and Barberian who also illustrate comics. I’ve always been very interested in Comics. I also like many Japanese illustrators. I recently discovered Tatsuro Kiuchi and the simplicity in his drawings, especially those in black and white, I found to be very impressive.

As far as designers go, I am clearly a fan of mid-century design, above all else people like Alexander Girad(especially), Olle Eksell, And Bruno Munari. Presently, I am smitten with Vostok, a Catalonian studio that employs unimaginable printing techniques. Another illustration favorite is illustrator and designer Cristobal Schmal who also happens to be a colleague.

You mention your love of mid-century design and that’s clearly an affinity you share with Grain Edit. Would you agree that during that era of design it was much easier to identify where work was coming from than it is today or can you identify any regions around the world that have made their work unmistakable?

Although it is evident that it is becoming more difficult to identify where work is coming out of I think there are certain countries that continue to hold personal characteristics that are very identifiable. Clearly this is my own subjective opinion and without any solid backing. For example, I think that the design from the Nordic countries of Europe maintain a style that is recognizable and all their own. Their illustrations maintain certain characteristics that are common to their work. There is a common simplicity in style with great expression underneath it all. There are also many Japanese illustrators, especially for children, that when you see their work you know that it can’t be from any where else in the world.

You say the Internet has brought about interesting phenomena and that your first commissions and collaborations found you via the web. How has the Internet influenced your work and how do you think it will continue to evolve?

Not just at the beginning, today my clients continue to find me via my website as the Internet helped mark a significant point of flexion in my career. If it weren’t for the Internet I would probably still be working on more corporate type projects because at the time I lacked the confidence needed to contact potential clients to present my personal work. Moreover, if I had to promote my work in other ways it never would have occurred to me to do so outside of Spain. Today, the majority of my work is done for foreign clients and that truly widens my professional horizons.

I also have an online store and I communicate with clients via email. And thanks to the Internet I have met colleagues that I speak to on a daily basis who keep me from going crazy as a result of working alone. My blog is another way that I get feedback about my work.

In any case, what I am saying is rather obvious. I suppose that in the future things will continue to evolve and I don’t see myself working any other way. Sometimes I think that in the future I would like to interact more directly with my clients, but then I remember the closeness of clients when I worked at an agency and realize that it’s possible to be much closer to a client thousands of miles away than face to face.

Can you tells us about any projects you’ve been involved in that you’re particularly proud of?

It’s not a project in the strictest sense, but I was very flattered that Janine Vangool chose an illustration of mine for the cover of the first issue of Uppercase Magazine. I had never before seen my work featured on the cover of a magazine much less the first issue and now I fear I won’t see it again. The best part is that my work was on the cover of a fantastic magazine, but I feel honored more than proud.

On another note, I’ve just finished a series of greeting cards for Carrie and Hal of Red Cap (they’re lovely people). They asked to use existing works, but when I proposed new illustrations for them they accepted and gave me free reign when it came time to work. I think this will be obvious when you see the final results. I am very happy with the final product and recently had a chance to view some samples. They left a great impression and I can’t wait to see the real thing. Generally I feel most proud of my personal projects over my commercial projects.

It sounds like you’re involved in a lot of fun and interesting projects. Is there anyone you’re interested in working with or for?

I am lucky to have a collaborative project pending with some friends that aside from being my friends also happen to be really great at what they do. The less positive side is that the project is currently stalled because of me. In reality, the paradox is that I am rather individualistic in my work and I’ve been used to working alone for a long time. On the other hand, I would like to collaborate with so many people that I am incapable of naming just one.

I would like to see my work in other arenas and in mediums that at first glance appear distant from my own work, a line of skateboards, wooden toys, or textiles for example. So if anyone out there would like to reach me you know where I am!

Sasha Barr Interview

/

another grainedit find. See above .. same rules apply with the fantastic answers concerning inspiration.

The latest installment to the Grain Edit interview series takes us to Seattle, birthplace of grunge music and home to illustrator and designer, Sasha Barr. I was first introduced to Sasha’s work a few years ago when I stumbled upon his website, positively titled “This is the New Year.” His work often employs rough textures, intricately drawn patterns featuring elements from nature and little creatures, and cool color palettes.

In this interview, Sasha discusses how he made the trek from Tennessee to Seattle, his influences and creative process, how he landed an awesome gig working at Sub Pop Records, and also shares incredible views of his awesome home.

Let’s dive on in!

What’s the story behind “This is the New Year?”
In 2001, a friend and I started making posters under the name Nocturnal Showprint, but after a while I took a break from screen-printing to learn more about photography. In 2004, some Memphis bands and good friends (Snowglobe, The Glass, The Coach and Four, etc.) convinced me to start making posters again. I started putting a website together and I needed a name. It was the beginning of a new year, and I wanted something that represented a new beginning; it was also an easy answer. I’ve always been terrible at naming things. I renamed my cat 3 times before settling on “Fatty,” if that gives you any insight to my naming abilities.

How do you like Seattle compared to Tennessee? What are some of your favorite things about Seattle?
This is a big question! I moved to Seattle for no good reason, really. I wasn’t escaping the South, per se, just changing up the environment. There are plenty of things I miss about Tennessee, but I’m finding myself really happy with Seattle. Seattle has so much going on and so many opportunities; it’s a great place for creative types. I was lucky enough to come in to some great jobs, as well as a great relationship, all of which wouldn’t have happened had I not moved here!

The water, mountains, and parks (Discovery Park especially) are amazing. It’s really easy to take a walk through the neighborhood and end up on some beach or in a giant park. Every time I see the snow covered Olympics, Mt Rainier, or the Puget Sound, I feel incredibly thankful for being near such beautiful nature while living in an urban/suburban environment. I’ve been a skateboarder for some years, and Seattle has a ton of skate parks, something that was super hard to come by in Memphis. Oh, and the buses are handy. Top Pot donuts are another fantastic thing about Seattle…and no mosquitoes.

How long have you been in your space?
We moved in last May, so a year. We plan to stay for a while!

What do you like most about it?
It’s a crazy 50’s house, with all sorts of retro style and accents. We’re the first people to ever rent it, and the owners had lived in the house since 1961. They left behind all kinds of old fixtures, jars, cans, matches, boxes, curtains, bolts…we could of open an antique store with all the cool stuff they left for us. [We have] vaulted ceilings, big picture windows, a Frigidaire Flair stove, a full finished basement complete with bar and woodshop, plus a really incredible view of the Olympics from the backyard. Words really don’t do the house justice. There’s enough room upstairs to have a life, while the basement provides ample space for the working. I’m a big fan of being able to work at home. It’s nice to take a break from working to clean up a bit, dig a hole in the yard, make some chai, or take a nap with the cat.

What are some of your favorite objects in your studio?
All of the random old stuff that came with the house are fantastic additions to the space. The old wooden Wonder Bread box I screwed in to the wall for a bookcase/ shelf is pretty nifty. There’s also a bunch of old spray paint cans that have neat labels. Oh! My favorite thing could be the Jim Beam bottle that Meagan found hidden behind one of the big tool boxes, Grandpa’s secret stash!

When did you first become interested in illustration/design?
My parents were both art students in school, and are still creative people, so art and creativity have always been a big part of my life. My mother was a printmaking student in school who now spins, knits, and weaves fabrics, and my father is a screen-printing ceramicist. I did a fair amount of drawing, painting, and collage in high school, and learned how to screen-print as a teenager. After moving from Middle Tennessee to Memphis for college, I started getting in to street art stuff, teaching myself Photoshop basics to make 11 x 17 flyers to paste up around the city. I don’t have many pictures to show for it, but I tried my best to cover Memphis with flyers of Buddy Holly (for no good reason). I surfed around on the internet and just found stuff that inspired me, essentially trying to figure out the processes. My first design project was for a local band called Pezz; just some photos in a basic CD jewel case. Somewhere in there, I found Gigposters.com and instantly wanted to try and screen-print posters. I was friends with the guys in the band Lucero, who were kind enough to let me do a poster for them. [It is] pretty obvious I was way in to the Eduardo Recife at the time. It’s really just evolved since then […] lots of books, peers, and the internet.

Did you attend a traditional art school? If so, what was your experience like?
I went to the University of Memphis as a printmaking student, with a lot of photography and ceramics classes. I think I had a hard time focusing on school work, so I was always doing different things. It was a weird situation to be in, freelancing regularly but also having a bunch of creative work due for school. I concentrated more on the freelance work and perhaps my class work suffered. Throwing on the wheel was a really good way to not think about anything and just make shapes. With the photo classes, I was in the darkroom all hours of the day and night. I’d stay late and just develop prints till I was too tired to stand. The printmaking department was pretty small and I was one of the only undergraduate students at the time. Attendance was pretty relaxed so I usually went in by myself late at night to print class work and posters. I learned how to use Adobe Illustrator because it was easy to set things up for screen-printing and my skill level with it has grown over time. I don’t know, when I think about it, my school experience was kind of weird but I’m happy with the way it all worked out. It’s been a slow process, and I still have much to learn.

Who or what are your influences?
I learn a great deal from my co-workers Jeff Kleinsmith and Dusty Summers, so they’re obviously big influences on me. I’ve always been a huge fan of Chris Ware’s storytelling and structures, despite the fact that his stories always bum me out. Having been a skateboarder for many years, skate art has played a big role as inspiration: Andy Jenkins, Evan Hecox, Michael Sieben, Donald Pendleton, Andy Mueller, Michael Leon, so on and so on. There’s without a doubt a huge list of poster artists that have always inspired me: Jay Ryan, Jesse Ledoux, Sonnenzimmer, Tim Gough, Raymond Biesinger, Invisible Creature, Aesthetic Apparatus, Diana Sudyka, Mat Daly, Aaron Horkey, Spike Press, Methane, Dirk Fowler, Jason Munn, Tyler Stout… Then there’s just a random list of folks who’s stuff I dig: Jim Datz, Travis Millard, Brian Gaberman, Atiba Jefferson, Lab Partners, Geoff McFetridge, Josh Cochran, ISO50, Paul Rand, the folks at Pixar, Vasco Mourao, Adrian Johnson & 50’s cartoons, Mike Perry, Saul Bass, Ray Fenwick, Frank Chimero, Tom Gauld, Nate Powell; it just goes on and on and on. I just like looking at nice stuff, trying to figure out how it’s done, and letting it influence what I’m doing.

On another side of things, I found the recent series on PBS Craft in America quite inspiring. Coming from a family of craft artists, I enjoy the history and humility behind it all. My girlfriend, Meagan, and her family are also big influences for me. She’s a fiber artist and I really love her sense of humor and musings on the world around her. Her family also consists of craft artists, growers, cooks; much like mine. Meagan and I also share Wonder Thunder, so it’s only natural that we influence each other.

Music is of course a huge influence, but to compile that list completely would be a bigger task than I could even begin to imagine. Lately I’ve listening to the upcoming releases from Sub Pop’s Wolf Parade & Foals, The Band, All the Saints, The National’s High Violet, Mr. Gnome, Big Star, Dead Meadow’s Three Kings, Maserati’s Passages and …And Justice for All. Radiolab and This American Life have kind of taken over the music lately, though. I prefer to listen to the stories and talking when doing the more production stuff: screen-printing, fabric cutting, order packing, and the like. [That’s] always inspiring.

For those that may not know, Wonder Thunder is a line of handmade goods that you & Meagan collaborate on. Can you tell us more about it? How did it start? You guys were featured in Better Homes and Gardens last year. How did that turn out and what other cool goods are you planning on making this year? 
Wonder Thunder started out as an Etsy store Meagan ran when she was living in Portland, but had been on hiatus for a while. Our first winter in Seattle proved to be cold, grey, and wet everyday all day so we really needed something distract us. I’d always really liked the name and it seemed like a fun way to pass the time so we just started making things. We started out making little pockets for iPods and it grew from there. Our process usually begins when sitting around, doodling on an envelope, and coming up with funny ideas like a watermelon dressed up as a cowboy. We seem to work off each other’s ideas pretty well.

Wonder Thunder’s holiday season was truly out of control. We’re really glad we had such a fantastic response from Better Homes and Gardens; it was incredible, but truly tiring.

The vegetable bags have been a big hit for us, so we want to keep the future of Wonder Thunder in that sort of vein. We like doing the kitchen towels as well, we recently redesigned them with all over patterns and one new graphic of wide ruled notebook paper.

We both feel pretty guilty about waste and plastic trash, so we’ve recently been concentrating on switching all our products to organic and more sustainable materials. Hopefully 2010 will provide us with some time to concentrate on new designs as well.

If you had the chance, would you incorporate some ceramic work? 
I saw Tad Carpenter’s plates not too long ago found myself intrigued by dinnerware, but I haven’t looked in to it much further. We would have to have something like that made for us, we just don’t have the facilities or equipment! Someday perhaps!

How did you land the awesome gig working with Sub Pop & Suicide Squeeze? They put out some of my favorite bands! What are some of your favorite things about it? Do you find it easy to generate artwork for bands?
I really lucked out with both labels. With Sub Pop it was just a chain of timely events. The art department at Sub Pop just needed someone to fill in for a little while, but then their 20th anniversary came around, things got really busy, so they asked me to stay! I’m fortunate to have such talented dudes as co-workers. I feel like I’ve learned a ton from Jeff and Dusty. The whole environment at Sub Pop is great, everyone’s really in to what they’re doing, and it’s all centered on music I love. I don’t think generating art for the bands is typically easy, but it really varies with each project. Sub Pop is very open to whatever the bands’ vision might be, and sometimes we just help them see it to fruition. It’s always a unique challenge, which I appreciate. The Mark Sultan 7″ is the only project I’ve had complete creative control over, and I was really pleased with how it turned out. I’ve also had the opportunity to work on some interesting projects such as their Nike shoe and Manik skateboards. It’s been a great experience so far, and I’m honored to be with them.

With Suicide Squeeze, I help out with everyday sort of stuff, ads, one-sheets, posters, the occasional layout, etc. The fellow who runs it, David Dickenson, has been doing it for a while now and he’s great to work with. I dig what they release, and feel privileged to help them out.

Interview with Shout


/


What makes Shout -Shout?

4. Can you briefly explain your creative process, mediums, etc?

I always start with pencil sketches on paper. But the very first step is the article/brief. I highlight the key words, I work a lot on some small but important phrases, titles, headlines, synopsis, try to find the core of the project.  I write them down on the paper, near the sketches, to remember the path. I look for the alternative words which explain the same words in a different ways, synonymous etc..

Third step is the composition. I basically work with 2 standard perspectives: 1) high view or bird eye for the narrative/suggestive images (frequently used in book covers, posters, some ad campaigns), and 2) close up one for the iconic image, where the idea/concept is the main thing, straight to the point, those images works very well generally with business magazine, politic, some ad campaigns too. Those are not my only two ways, but works that way in a broad sense.

Visual metaphor is the forth step. I look for the “thing” can explain the concept visually.

Fifth and the last step is the color table that depends on my feeling at that moment. I love medium tones anyway, not saturated colors. Often monochromatic background with a red details where I need your eye go for first.

Interview with Yunmee Kyong


What makes Yunmees work his?

4) Can you explain to the readers your creative process and medium?

I usually draw with pen and ink, pencil, brush and colour with actual paint or digitally. I also use bits of printed paper and fabric to collage. I try to do something new each time I get a job however small a thing it is. That way it is more exciting for me — but it doesn’t always work well when I have a tight deadline! I like thinking of ideas walking around or going to my favorite cafes.

Interview with Ward Schumaker


/


http://illustrationfriday.com/blog/2008/02/21/illustration-friday-interviews-ward-schumaker/


Whats makes Ward Illustration his own and successful?


key parts.

What is your process when working with clients? Can you run us through a typical job?

Three sketches, revise one of them, then do finish (with revises if necessary) in Photoshop.

What has been inspiring you lately?

The sculptures of Elie Nadelman, The Confessions of St. Augustine, the Bhagavad Gita, ArtForum… and younger illustrators �??�?? who are a marvel to me.

Any advice for others who are pursuing creative goals?

Listen.

How do you market/promote your work?

I used to be the postcard king. But today emails seem to work better. Limited emails, that is. And getting in shows. That’s where much of my work comes from. Especially, Print’s Regional Design Annual. That’s been good for me. But word-of-mouth and repeat customers are my best source of work. I pride myself in clients I�??ve had for a long time; I’ve done over 70 illustrations for one of them.

Do you have a rep? Why/why not?

I have reps in France and Germany. I don’t speak a word of German; and my French rep can get me through doors I’d never be able to open on my own — like Hermès.

Julia Rothman Interview on Grainedit

/

CLICK HERE