Illustrator Brad Woodard (part of Work/Life 3) and his wife Krystal have a Kickstarter project underway to fund a children's book:
In Tatay’s Gift we get to join a young Filipino boy as he goes out to work each day with his Tatay (Tatay is the Tagalog word for dad). The boy and is Tatay do a different job each day of the week, from selling popsicles by the beach to driving a Jeepney through the city. As they work, he learns the lesson of serving and giving to others by watching his Tatay everyday. This vibrant, and colorfully illustrated book is based on stories from Brad’s time spent in the Philippines and the wonderful people he met there. Tatay’s Gift not only celebrates the hardworking, loving, kind, and giving attitudes of the Filipino people, but it also teaches the valuable lesson of giving back to to your community and helping those in need.
I've put in my pledge!
The Happy Happy Art Collective is a new group of artists who met, virtually, in Lilla Rogers' Make Art That Sells e-course last year. They decided to join forces to spread their "happy art all over the world."
The group is comprised of three Work/Life 3 artists: Denise Holmes, Tammie Bennett and Emily Balsley as well as Pauline "Muffin" Grayson, Jill Howarth and Lauren Minco. They've posted some cute Valentine downloads (for personal use) on their communal blog.
I was happy to meet Cleo Papanikolas in person: Cleo is one of the artists in Work/Life 3 and also created the great hat illustrations in our current issue. If you want to be astounded by her prolific creativity, spend some time on Cleo's blog: she has created a long list of intricately illustrated downloadable projects based around her paintings. Scroll through her Tiny Paintings Project, visit her Pinterest boards and purchase craft kits from her Etsy shop.
In December 2012, I received an email that made my heart skip a beat or two. It was from the design director of Liberty Art Fabric in London asking me if I’d like to design a repeat pattern for inclusion in the Autumn/Winter 2014 collection. Of course I said YES!
The brief was to create a paper cut design inspired by something in the Liberty archive. I’m a great fan of the work of William Morris so his fabrics were my starting point. I used to live near his weekend retreat Kelmscott Manor in Oxfordshire and I imagined him walking through the summer meadows and along the banks of the Windrush River that flows near the Manor. My design takes some of the flora he might have found that is indigenous to the Oxfordshire countryside and re-imagines it in a multi-layered papercut and modern colours.
A few weeks ago I received a parcel of fabrics and a shirt made of the black background fabric.
Windrush is now the copyright of Liberty London and the paper cut artwork is in their archives, which as I type this gives me goosebumps—I can truly say it is one of my greatest achievements. The process and making was extremely time-consuming and totally in the sprit of the Arts and Crafts Movement. I’m not sure now how long it took me to finish as I got carried away with the making and even though it was a bit mind boggling getting the repeat to work I was in paper-cutting heaven!!
Meet Cecilie Ellefsen, one of the 100 profiled artists in Work/Life 3:
What is your life story in one paragraph?
I grew up in a small town by the sea in southern Norway. As a kid I loved to draw, play the tuba, ride horses and make small forts in the woods with my friends. When I got older I studied graphic design, moved to Oslo and studied Art Direction. This is where I met my husband who is a film director and 3D artist. We now live and work in Oslo with our two daughters.How and why did you become an illustrator or artist?
I've always loved to draw as a kid and even used to smuggle out pencils and pieces of paper during recess at school and find a quiet place to draw. I initially studied graphic design and Art Direction, but after the financial crisis of 2001 I decided to pursue my dream of becoming an illustrator. I applied to art school here in Oslo to study illustration, but I did not get accepted. So then I just built up a portfolio and showed it to publishers and ad and design agencies and I got offered a job as an in-house illustrator at a design agency and it all snowballed from there.
What is your creative process when working on an assignment?
First I read the brief, take notes and start doing research online if there is a particular object, animal or thing I need to include in the illustration. After the research I often print my research material and often go to a café, out on my balcony or the library and start drawing ideas in my sketchbooks. Since I work from home I find going out for a walk often helps the creative process. I may see something on my walk that I can use in my illustrations. When the sketch is finished I scan it in and finish it on the computer.
What personality traits are exemplified by your illustration style?
Hmm... maybe that I never really grew up? I feel like a kid a lot of the time, and doing illustration is my never ending playground. There is so much colour and life in doing illustration, and I love the feeling of emerging myself colour and drawing new "worlds".
If you were to illustrate a portrait of yourself, what would it look like?
Primary colour skirts and dresses, flower earrings, 60s cat eye glasses, blonde hair and bright red moleskine sketchbooks. I also would include my brown leather messenger bag and brown leather oxford shoes.
What makes you different?
I never went to art school and I am used to this hands-on way of doing things. What I know of illustration, I've learned through working hard through trial and error. I've never gotten a "this is how you illustrate" book or lecture, but then on the other hand I've never been told what not to do in illustration so maybe I think more freely?
What is the best thing and the worst thing about being an illustrator?
The best thing is that I can make a living of playing and drawing. The worst thing is all the endless ideas and the limited time I have to do them all.
How do you maintain a balance between your work and your life? (or not?)
I try to spend as much time as I can with my kids when they are not in daycare. I often make up for the lost hours during the day by working again in the evening when they have gone to bed. That way I get to spend more time with them, and still get my work done. The downside is the lack of social life though, but we try to make up for that in the weekends. Also when I feel the stress of being my own boss and the boss of the family (he he) gets a bit to much I try to wind down a bit and do some yoga. Yoga has given me a whole new and better perspective as to what is important in my life.
What is your ideal day?
I get up at 5:30 and get ready for my day. I then make breakfast for my family, and get the kids off to daycare. I walk through our local park and drop our kids off at the other side of the park where the kindergarten is located. I then meet up with my husband at our local café and we have a coffee and talk about our day and projects. We then walk home to our home studio and start working around 9:00. We work till noon and then have lunch, either at home or at some café. We then bring our sketchbooks and doodle a bit and then go home and work some more. At four my husband picks up the kids, and we have dinner, and play with them until they go to sleep around seven. We then either have some friends over and see a movie, or work until we have to go to sleep again.
What would be your dream illustration assignment?
Designing fabrics for Marimekko or Ikea or wallpaper for Hygge and West, that would be absolutely amazing! I absolutely love working with product design and designing things that everyone can have in their home.
What is your benchmark for success as an illustrator?
I really love to illustrate well-designed everyday products that people can pick up at their local supermarket. I designed chocolate pieces for Freia and illustrated cheese packages for Tine, that was one of my favourite jobs. Also illustrating the new circus line for Blafre was one of the most rewarding things I've done. To see other kids at my daughters daycare holding their new lunchbox that I have illustrated firmly in their little hands as they eat their lunch outdoors is so rewarding. To be part of someone's childhood, and to think that they may love their lunchbox so much that they may save it for their own kids, is priceless.That makes all the hard work worthwhile.
SURTEX is an annual event where where artists, agents and licensors connect with manufacturers and retailers to create many of the beautiful products we use each day. Janine recently explained the allure of SURTEX over on their blog.
"UPPERCASE is a quarterly magazine for the creative and curious with content inspired by design, illustration and craft. As publisher, editor and designer of this independent magazine, I am always searching for content ideas and new talent to feature within our pages and on the blog. Despite never having attended show in person, SURTEX has been a valuable event in showcasing great talent. Every year, as "SURTEX season" approaches, there is a flurry of activity online as bloggers and artists share forthcoming work and their display preparations. Through these posts, I feel like I experience a bit of SURTEX vicariously.
Indeed, SURTEX reaches mythical status among aspiring surface designers and illustrators. I asked the participants featured in Work/Life 3 —UPPERCASE's latest book featuring 100 illustrators from around the world—about their perceptions of SURTEX."
Read the full article here.
UK-based illustrator Gabriela Larios has had her first fabric collection produced through Modern Yardage. "It is called Mochi and consists of eight different designs, available in two different sizes, medium and small and two different colour palettes: natural and deep blue," describes Gabriela. "The collection is inspired by my love for nature, imaginary worlds and childhood experiences. The Mochi name itself is inspired by the way my parents called me when I was little ('Mochis')."
Gabriela is understandably excited about the launch of the project, though it is bittersweet. "With all my heart I have dedicated this collection to my mother who unfortunately passed away recently but who thankfully managed to see the whole project finished."
The collection also includes a special touch of fabric gift tags: "It is an extra special piece of fabric that is included with every purchase of Mochi fabric so people can cut them out and use them to wrap up their presents."
Congratulations to Gabriela on a fine entry into fabric design!
Work/Life 3 artist Molly Hatch is in London this week as part of London Design Week (September 14-22). You can see her work in person in the beautiful gallery at the Anthropologie location on King's Road. Of this particular body of work, Molly writes: "All of the works in this group source the historic textile collections at the Victoria & Albert Museum and have been sourced in collaboration with curators of the museum for this exhibition."
To see more of Molly's illustrations and surface pattern design, click here for her portfolio. Below is Molly's full page image from Work/Life 3:
A creative gathering is happening in the woods of Connecticut this weekend. Co-hosted by larks & japes and art school girl, RETREAT will see a small group of artists introduce each other to their craft through a series of participant-led workshops.
To support the event, some of the 2013 attendees have made work available in the RETREAT shop with proceeds helping to fund the event. Prints of the illustration above, by Work/Life 3 participant Sun Young Park, are one of the items available.
Brad Woodard is a man in motion. During the interview phase for Work/Life 3, I asked him how being an illustrator affected his personal life. "My creative mind never takes a break," he answered. "It is a problem. As a result, I tend to move a lot. And the places I like to move to are generally beautiful. Hence my living in the Seattle, Philippines, Newport Beach, California, and Boston." He can now add Austin, Texas to that long list—Brad and his young family just made the move to a new state. This transition also marks Brad's decision to leave a steady job and delve full time into his illustration and design business, Brave the Woods.
When I asked Brad what his dream assignment was, he replied, "To illustrate a children's science book. That or illustrate the side of a U-Haul truck." Seeing this moving trend in Brad's life coupled with his belief that the best thing about being an illustrator is that “you have the chance to interpret the world around you and visualize it how you see it.”, I wrote the following assignment for Brad:
Illustrate an idealized road-trip of your life, and/or depict your life as the graphics on the side of a U-Haul trailer.
Work/Life 3 is available in our shop and if you order now, you'll also have the chance to get the second edition at a special discounted price!
You may remember when we told you about Lilla Rogers' Global Talent Search. We're happy to provide an update today—Emily Balsley is a finalist! She's one of six finalists in this contest which had over 1500 entrants from 30 countries. Emily is over the moon and so are we!
"As my shaky doodle above shows, I went through a LOT of emotions when I found out the results—I was stunned; I wept; I couldn't stop talk-talk-talking about it; I paced a lot; I freaked out," exclaims Emily. "When I drew this, my hands were shaking so bad. But all of it was out of sheer excitement! I have to say - yesterday's productivity level was pretty low - it was so hard to focus!"
Emily's next task is to create a line of home decor and/or gift products. The winner will be announced on Thursday October 3. Good luck Emily!
Emily is also a participant in Work/Life 3.
Lauren Venell's illustration process is a bit different than most of the other illustrators featured in Work/Life 3. Her work is dimensional and rather than having a set style, she lets the demands of the assignment influence the medium of choice. This variety is interesting—this giant burrito, the wreath made of credit cards, or these meats made from fleece—but her work is consistently high quality and well-made.
I was pretty excited when I came up with Lauren's assignment:
THE ASSIGNMENT: Go to the hardware store, a grocery store or a flea market and select some objects to use in an assemblage or composition about you.
Pretty fun! I'd like to assign that to myself sometime (or perhaps as an open call for the magazine? to be determined...!)
With a baby on the way, family was on her mind. Lauren devised this family tree in which bent wires express the names of her relatives. The little red swing represents her soon-to-be-born child. Read Lauren's honest play-by-play of her Work/Life experience on her blog.
Let's all marvel at how amazing Helen's shelf of inspiration is!
Helen Musselwhite is a UK-based illustrator who specializes in cut and folded paper illustrations. Her technical skill combined with her artistic eye makes her work extremely appealing. I am so pleased that Helen is part of Work/Life 3—that's her contribution above. I gasped when I first saw it!
I gave each Work/Life participant a "bespoke illustration assignment" — a directive that I based on a lengthy questionnaire and portfolio review.
Go for a walk with your dog in the English countryside and construct a paper illustration inspired by the experience. Envision the resulting illustration as a still from an animated film or a page from an illustrated book.