Friday, March 17, 2017

Marcos Chin

Here is a little blurb about another of my favorite illustrators: Marcos Chin.

Marcos Chin is an award-winning illustrator based in New York. He has worked on a variety of projects including wall designs, books, CD covers, advertisements, fashion, and magazines. He also has his own T-shirt label called Yee Yee. Marcos also teaches at the School of Visual Arts.

Marcos' illustrations are beautifully detailed with his elegant lifework. He creates dream-like worlds with bright colours. Many of his illustrations include flowers and plants. Marcos also uses a lot of pattern in his work.

http://www.marcoschin.com/

Friday, March 03, 2017

Little spot

A little spot illustration I did for Discorder magazine. They are putting out a zine for a fundraiser and were looking for submissions. They gave several themes to choose from, the ones I did were independant media and Vancouver.

This is the original print.





Friday, February 24, 2017

Capability Club logo

This is a logo I completed recently for Capability Club, an after-school program for kids with disabilities. I worked in the tagline visually, which is "Nutrition + Skills + Community = Growth". I also used hand drawn lettering for the company name. The tree and leaves in the center symbolize growth.

Friday, February 17, 2017

Broken Pencil illustrations

In December I worked on two illustrations for Broken Pencil magazine, a zine and independant arts magazine. They were for two short stories, one titled "Girl" and the other "Dissections".

This one is for "Girl", a short story about a girl getting lost in the forest, and starts to hallucinate.

This one is for "Dissections", about a high school biology class, and a mishap that happens.




These are the roughs for the two illustrations.




Friday, February 10, 2017

Poppy






This is my submission to the first issue of Future Fossil Flora, a UK-based magazine. Each issue they feature a different flower. The first issue is the poppy. I illustrated a prickly poppy. They want the images to be a modern interpretation of botanical illustrations, so I kept it simple with a cream background.

Friday, February 03, 2017

Stegosaurus

Getting back into silkscreen these past couple weeks. I bought a silkscreen kit from Opus and have been trying it out at home. This is my first print. It works pretty good, I found the screen let through a lot of ink, not what I'm used to. Also my first time using Mask Ease, which is like a big sticker that you stick to your screen to physically block the ink and make the stencil.

This print is available on t-shirts from Threadless! 

Here are some process pics.

My sketch that I worked from, figuring out the layers on tissue paper first.

The first layer, stencil ready and ready to print. The yellow stuff is the Mask Ease, which you cut out your stencil from.

Print with two layers down. Homemade drying system.

Last layer, the black layer. This was a little tricky to cut out from the Mask Ease, because of the thin lines. But it worked out OK.

Completed print, hanging to dry.




Friday, January 27, 2017

Should you work for free?

Working for free is something that comes up often when you are beginning your career. There are mixed answers to this question on the internet. My answer is: "it depends". It depends who is offering the job, and what they will be doing with the artwork. If the person offering the job is someone anonymous on Craigslist and is offering you exposure as "payment", I would say no to these jobs. They don't really care about you or your artwork and are just looking for free work. If the person offering the job is an art director at an already established magazine, for example, Discorder, this is a little more credible and you can accept these jobs if you are looking for experience working with an art director. These kind of jobs will also result in portfolio pieces for you. If a friend wants you to do free work, I think this is a personal decision you have to make. Basically I think you need to ask yourself some questions:

Is the project interesting?
Will you get a portfolio piece out of it?
What kind of exposure do you get?
Will it be good experience (i.e.: working with an art director)?

My first magazine illustration gig was with Discorder, a local Vancouver magazine. It didn't pay, but I got some portfolio pieces out of it. I also learned how to work with an art director, and how to work within certain restrictions (i.e.: black and white, spot illustrations). I also learned how to work under a  deadline. Working on a real life deadline is different than working under soft deadlines in school. There were no real consequences if you didn't get the work done on time. For me, those first non-paying jobs were worth it. Paying work followed, and I had more confidence going into those jobs knowing I had some experience already.

Friday, January 20, 2017

life drawing

A couple sketches from Dr Sketchy life drawing this week. Theme was Twin Peaks.



Friday, January 13, 2017

Gary Taxali



This week I am featuring an illustrator that is current: Gary Taxali.

Gary Taxali is an award winning illustrator based out of Toronto, Canada. He graduated from Ontario College of Art & Design. He has exhibited in numerous galleries and is also known for his illustration work and 3D work such as toy design. Taxali's style is retro and reminiscent of the 1930s. His work is often humorous and is quite whimsical. He begins his pieces by doing ink drawings and prints his illustrations onto found papers. In addition to his gallery and illustration work, Taxali also teaches at various schools around the world.

http://www.garytaxali.com/


Friday, January 06, 2017

Coles Phillips


Here is another one of my favorite historical illustrators. I like Coles Phillips work because he has a designer-ly approach to his illustrations.

Coles Phillips was an American artist and illustrator born in Springfield, Ohio. He studied at Kenyon College and the Chase School of Art. In 1907 he met with the publisher of Life magazine, and was hired on to the staff. Phillips is well known for developing the "fadeaway girl", where the figure disappears into the background, and the viewer uses closure to complete the image. He uses negative space to allow the viewer to fill in the image. Phillips worked in water-colour and painted from life to create his illustrations.