Ape on the Moon: Contemporary Illustration » Pencil Illustration

Ape on the Moon and Other Illustrations by Sandra Dieckmann

moonape — Thu, 29 Jul 2010 11:25:55 +0000

I chanced upon UK-based German illustrator Sandra Dieckmann’s busy illustrations via an interesting money-raising idea on her blog. Sandra is trying to raise £200 to buy a new printer, and to do so, is creating original drawings for those who donate.

I got involved, and was very pleased to have a drawing done by her centred on the Ape on the Moon theme. She did a great job and put in much more work than I’d hoped. The drawing is below, as well as some samples of the rest of her excellent work. This may be the start of a series of Ape on the Moon illustrations sent in by illustrators, so get in touch if you want to contribute an original Ape on the Moon illustration.

Get yourself an original drawing directly from Sandra, by donating here!

Scratched Illustrations of Christopher Nielsen

moonape — Sat, 24 Jul 2010 10:25:18 +0000

Sydney-based illustrator Christopher Nielsen’s work is brimming with bold images in a fun, vintage style. I asked him some questions about his studio, his work process and his sources of inspiration.

Where are you based?

In a great warehouse studio in Surry Hills, Sydney, Australia. I think it was used to produce uniforms during WWII. I share the space with 4 other awesome illustrators (Nigel Buchanan, Jim Tsinganos, Stuart McLachlan and Lew Keilar) as well as 4 other creatives.

It’s a space where we can get instant inspiration, advice (and criticism), share contacts and hand on jobs to each other.

What’s your work process and the tools you use, especially how do you achieve your grungy/scratchy effects?

I’m the worst drawer in the world so the initial process is the hardest. With editorial work I start out with lots of really bad thumbnails on recycled paper just trying to work with shapes and come up with about 3-5 ideas.

Once they start taking shape I move on to refine the drawings on tracing paper which I can also use to transfer the art to the illustration board once I get a go-ahead on a concept.

I then paint with acrylics on to illustration board, building up lots of layers that I can dig into and scratch away at with just about anything on hand. I want to make the surface look like it has a history and a story to tell. It’s then scanned and I can tweak color and tidy up any marks that I don’t like in Photoshop on my Cintiq Wacom screen.

What inspired you most recently?

I’ve just put together a dummy for a kid’s book that was inspired by my 2 year old son and I’ve been looking at lots of vintage children’s book ephemera. I saw some hand lettering by a guy called ESPO done at Coney Island recently that was really cool.

I saw a talk online by designer Marian Bantjes which inspires me to keep doing what I love doing as opposed to following a trail of money.

As well as all the usual suspects like old medical/health charts, day of the dead imagery, vintage ad characters, battered and beaten hand signage.

What are you working on at the moment?

I just finished up an illustration of Moses handing down “5 things to ask your plan adviser” for PlanSponsor, a female Bigfoot with online customized shoes for Nett Mag, a rum drinking polar bear for The Sydney Morning Herald Good Weekend and 2 Mexican Wrestling cards for an article on credit v debit cards for Money Mag.

Illustrations of Josh Evans

moonape — Mon, 05 Jul 2010 09:32:07 +0000

Josh Evans is a Los Angeles-based illustrator who loves old books and the plays the accordion. I particularly like the thought-provoking work he does, and I’ve asked him a few questions about how he does it and what inspires him.

What are the main tools you use in creating your illustrations?

I mainly use a brush pen and pencil and then I go back with Photoshop for color. I’ve got some background in printmaking and when I can, I try and mimic those techniques in my digital work. So if I have a color layer I try and create it with ink on vellum traced over the drawn layer and I scan that and use it instead of just using a boring Photoshop brush.

I also work with gouache and sometimes acrylic. I love how unforgiving and unpredictable gouache is, and acrylic is amazing for it’s versatility.

What are you working on at the moment?

Right now I’m working on a book cover for Small Desk Press by Lizzy Acker. The book is called Monster Party and I’m super stoked about it. I’m also busy working on some pieces for exhibitions here and there. I’m also trying to learn a few new songs on the accordion.

Where do you mainly get inspired?

I find a lot of inspiration in my extensive collection of books. I worked at a library for a few years and when people would donate books to the library I would get first pick (the books land in the trash most of the time anyways) I got all kinds of great books from there.

Some nice high end art books, but a lot of old encyclopedias, a book of erotic limericks, medical procedures, military yearbooks, an illustrated children’s pulp novel, and lots of EC comics. I’m also inspired by the Los Angeles. I’ve lived in the area my whole life and the colors and the landscape are everywhere in my work. I think cowboy movies are pretty sweet too.

Delectable Delicacy of Laura Pérez

moonape — Wed, 23 Jun 2010 21:42:22 +0000

Barcelona-based illustrator Laura Pérez caught my eye recently with a collection of illustrations that possess a highly pleasing feel that is both dynamic and light.

Despite only very recently completing an illustration course, her work has achieved a very high level of consistency and accomplished style. I asked her a few questions about her background and work.

What training have you had in illustration?

When I started my study of Arts in my city I didn’t have an illustration department, so I started learning illustration by myself. Three years later I went to an illustration College in Canada. This year I finished my degree in Barcelona.

How long has it taken you to develop your style?

I’ve been always drawing people and animals but I started to be more comfortable with this style while traveling and moving form city to city. At first I used to work with wattercolors but now I always prefer digital.

What materials do you use and what is your work process?

I start working on my sketchbook with a pencil or pen. Then I use Photoshop to finish it.

For personal work I like going to public places and take some roughs from people around me. For assignments sometimes I need go to specific places for referents. If I need to create some animal illustrations I could go to a park, pet shop or the zoo. I love looking for real references rather than photos.

What are you working on right now?

Right now I´m working on a cover book for Penguin Books.

Artwork of Maarten Donders

moonape — Mon, 31 May 2010 14:37:06 +0000

I’m loving the colours and slightly twisted content of the work of Dutch artist and illustrator Maarten Donders. I’ve asked him a few questions to dig a little deeper into the work he does. A picture of his workspace is also included.

What is your work process (and materials) for your coloured drawings?

Usually I start off with pencil, make a rough drawing, and then start on the first ‘layer’ of color. I often use a water-based ink that’s easy to work with.

Then markers, pens, paint etc. to finish the drawing. When necessary I tweak the colors in Photoshop or add finer lines and color with a Wacom tablet. Sometimes I just entirely work on the computer, whatever suits best. Finally, when I’m done i put it away, look at it again in the morning and make changes or start over.

What was the main source of inspiration for your illustrations until now?

When I’m drawing there’s always music playing. Even when I’m not working, music is pretty much my fuel. I go from blues and jazz to doom metal and everything in between, although my favorite ‘work music’ is usually the psychedelic stuff from the 60′s and a lot of new underground bands that really blow my mind.

Besides music I’m always look around for things that interest me. My mind is usually overloaded and I’m easily distracted. If something catches my eye, I’ll investigate further. Things like record covers, weird movies and comics, old movie posters. I like my drawings to have a certain tension or atmosphere to them.

I guess you could say that most of my drawings feel like they are ripped out of their context. A friend of mine always says I make illustrations for stories that don’t exist.

What are you working on right now?

I’ve been swamped with other (non drawing) work for the past months, but I have some good stuff coming up. In the next couple of weeks I will be making drawings for a couple of upcoming exhibits.

I’m working on a shirt design, a skateboard, I’m starting a secret project with one of my buddies who is an animator, and some other things. Between all this I make sketches, take photos, visit concerts and buy records.

Suspended Motion: The Illustrations of Leif Parsons

moonape — Wed, 26 May 2010 10:55:15 +0000

I came across some highly cool artwork by New York based Leif Parsons. One of the re-occurring elements of his work is the capture of movement and action within his compositions, which enlivens the work he does. I sent over a few questions about his stuff to learn more.

How did you get into illustration?

I came to New York as a older student to study illustration, but I disliked it so I switched to part time and studied design.

While there I would also audit / sit-in on other classes that seemed interesting. Near the end I took a independent study with Bleckman and Nieman that re-ignited my interest in illustration, and upon graduation I just hustled and hustled!

What is the work process and tools of the work you do?

My illustration process is idea driven -I usually lie in bed and make notes trying to think of an idea that makes me happy.

I then get reference and sketch it up hoping I have cool editors / art directors that don’t want to make it more literal. For illustration I am essentially just drawing with a pencil though in my art practice I am using paint, collage, and assorted other materials.

What are you working on right now?

I just finished doing a op-ed collaboration with my friend Josh Cochran which was a first and fun. I am also working on the monthly editorial illustration I do for LA Magazine.

What is your one self-promotion tip?

Make something nice enough (and interesting enough) that you would want to keep it, then perhaps an art director will want to do the same…

Drawings and Digital Work of Stephane Tartelin

moonape — Wed, 28 Apr 2010 12:07:43 +0000

I first noticed Paris-based Stephane Tartelin’s ‘Lyrics and Type’ (below) work in an online print shop, and really liked his loose style. Stephane uses graphite pencils in combination with Illustrator and Photoshop to create some exciting work, with a unique, strong style.

Interview with Illustrator Laszlito Kovacs

moonape — Thu, 25 Feb 2010 18:58:44 +0000

I found Amsterdam-based illustrator and designer Laszlito Kovacs‘ work through Poolga, and really like his uniquely styled creations. He’s also a contributor and designer for excellent Spanish design site End Topic. His fun illustrations have also been used in various inspiring animations. I’ve asked him a few questions on his style and work process and we sneak a peak into his studio.

1. What got you illustrating in your specific style?

I do try to get close to the world where I would like to live. Illustrating is actually a therapy for me. It helps me to focus and let me forget about thinking for a while. I can’t stand a day without drawing.

2. What are the tools you use and the work process behind what you do?

I used to waste so much paper (I don’t feel great about this, but it’s the truth), sharpening my favourite pencils til they are almost running out, and keeping those that are 3 cm tall inside a tin. After the briefing from the client I take down the strongest ideas that keep in my mind.

Think about them twice before I begin to draw or try a sketch. My sketches are very easy and most of them don’t look like the way they look at the end. I’m used to drawing with my Wacom.

Once I get to that process, finally most of the time I spend on erasing, simplifying and correcting mistakes, leaving the idea as pure as I’m able to do it.

3. Who inspires you most at the moment?

I’ve been inspired by the work of animator and illustrator Chuck Jones.

4. What are you working on right now?

Now I’m working on a graphic-poem book called ‘Mi diente de oro’ (‘My Gold Tooth’) by a Spanish musician called Remate. I’m also finishing a Poolga App for the iPhone and iPad, my second one for iPhone as well after what I did for Qr Love Code. I’m excited about those two projects.

Thanks Laszlito!

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Drawings of Magda Antoniuk

moonape — Tue, 16 Feb 2010 21:31:59 +0000

Originally from Poland, UK-based illustrator Magda Antoniuk makes extremely well-crafted drawings, using a mixture of pencil and digital tools. Her ability to mold real depth into these drawings through close attention to shading, is very impressive.

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Santiago Uceda’s Bigfoot Poster Tutorial

moonape — Sat, 06 Feb 2010 17:13:43 +0000

You might remember Oregon-based Peruvian designer and illustrator, Santiago Uceda’s poster art as featured in a previous Ape on the Moon post here. What he’s great at is the hand-drawn, rough style of his artwork.

Santiago is back to share his step by step work process behind one of his recent posters, featuring the Portland hipster Bigfoot. Enjoy!

Materials: Pencil; Sumi ink and brush; Block printing ink; Roller; Plexiglass; X-acto knife.

1. Ideas

The challenge was to create a poster for a Society6 Portland poster series based on fun facts centering around Portland in Oregon.

One thing that is often associated with the Northwest is the mythical creature Bigfoot. Bigfoot is not necessarily associated with Portland, but I figured this is a place he would call home if he were given the chance.

2. Sketch

I always start with a light pencil or blue pencil sketch and then ink that. I don’t do to many preliminary sketches. There’s usually a very rough sketch just to get the idea and placement across and after that is final.

I sketch & ink the different elements separately and then assemble and color them in Photoshop.

I wasn’t quite happy with the first Bigfoot, so I drew another one on a separate piece of paper and then collaged them together.

3. Color and Texture

I create my textures with mono-prints or with ink. For the river texture I made some wavy textures with mono-prints. I rolled some ink onto the Plexiglas and made some wavy strokes with a brush.

I then transferred the ink to a piece of sketchbook paper.

Colors don’t really matter at this point, I usually change colors in Photoshop.

For the clouds I cut out some cloud shapes, rolled ink on the Plexi, put clouds face down on ink, place another piece of paper on top of cloud, cut out and then scribble on top of that sheet. The scribbles are transferred onto the cloud cut outs.

The bridge and hand lettering were done with Sumi ink and brush..

Once it’s all been scanned and composed in Photoshop, I start playing with color by applying color to individual layers with layer effects.

The multi-colored rain was a bit much so I toned it down and ended up with a more subdued palette.

And there you have it!

Excellent, thank you Santiago!

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