Ape on the Moon: Contemporary Illustration » Pens and Markers

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!

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.

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.

Matreshka Illustrations of Irina Troitskaya

moonape — Mon, 29 Mar 2010 01:48:36 +0000

As I am away in Japan for three weeks beginning March 18th, I have handed over a few posts to my guest poster and friend, graphic designer and proprietor of Aqua-Velvet, Amy Henderson.

Greetings, Ape on the Moon fans! I am very honored to be with you and help out my talented and hard-working friend Alex whilst he is away on a much deserved holiday. I will be back next week… same time, same place.

Today I present the super clever work of Irina Troitskaya, an illustrator and educator based in Moscow, Russia. Irina’s portfolio is quite dense with an exciting mix of personal projects and client work. Her illustrations have been commissioned by Elle, Hewlett-Packard and BMW amongst many others.

I am particularly fond of her contemporary reinterpretation of Russian matreshka dolls which you can get a taste of below along with a sneak peek at her terrific sketchbook. Enjoy! –Amy

“Irina Troitskaya grew up in Izhevsk, an industrial city deep into Russia. She has been drawing for as long as she can remember. Her delicate, surreal and poetic works record those fragile moments of life which hard to capture, because they vanish from our sight in a blink. She tells us stories of intimate relationships between a bear and a bird or a fish and a lion whose coexistence seems impossible, but yet true.”

See more on Irina’s website + flickr

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John Lee Illustrations

moonape — Thu, 11 Feb 2010 19:48:34 +0000

John Lee is a freelance illustrator based in Memphis, Tennessee who caught my eye recently with his striking yet delicate artwork with really excellent choices in colour. He’s also a writer, so I look forward to a self-illustrated book of his!

MoonApe on Twitter!

All the Art That’s Fit to Print: An Ape’s Review

moonape — Fri, 08 Jan 2010 23:48:55 +0000

Writing a review of a book on a site normally reserved for illustration features and interviews with artists is deviating somewhat from the usual route. This is made especially unusual by the fact that the book focuses for the most part on the last few decades of the twentieth Century, although it does provide a commentary leading up to Obama’s election.

However, having been introduced to the book ‘All the Art That’s Fit to Print (And Some That Wasn’t): Inside the New York Times Op-Ed Page‘ and spoken to its charismatic author, I saw that it contains insights that are actually very relevant to this blog, and to the contemporary illustration world in itself.

The book reveals the story of the world’s first Op-Ed (opposite the editorial) page, which was introduced to the New York Times newspaper in 1970. It was the first newspaper page written by readers as opposed to members of the Times’ staff, which allowed for commentary from a different perspective. This book focuses on the illustration element of that page, which saw art compliment the often controversial views of the page. The Op-Ed was the first public platform that published conceptual illustration. Interestingly, before Op-Ed, illustration was mostly literal or decorative.

The New York Times art director and author of the book Jerelle Kraus, who worked on the Op-Ed page for a record 13 years (longer than any other editor or art-director), writes a fascinating account of how the page has developed, showcasing a vast range of illustrations by many influential artists who now have household names. The book also introduces work that was rejected, often for the sake of ‘political correctness’ or perceived sexual content, revealing a large body of beautiful and edgy art that had never before been published.

As the Op-Ed page acted as a platform for the contributions of the public, this story brings with it a fascinating insight into a system that is effectively mirrored by the way in which the views of the public are shared through the blogosphere. The difference with today is that illustrations, as well as the opinions of people at all levels, are published and shared on a massive and viral scale without passing through the editorial stage.

This documentation of important illustration work showcased through a public platform emphasizing the merit of free speech, makes this book relevant to not only readers of Ape on the Moon, but to an understanding of how the contemporary illustration world has been shaped through changing attitudes to publishing and various events in history.

Reviews of the book are very welcome in the comments section here.

You can get yourself a copy at Amazon with user reviews here.

MoonApe

Illustrated Monsters of Eleanor Davis

moonape — Sat, 02 Jan 2010 22:06:11 +0000

Georgia-based comic book artist and illustrator Eleanor Davis makes some very nice work which feature a lot of particularly cool monsters. Her strong use of deep black add a defined depth to her work too.

MoonApe

Monochrome Designs of Johanna Basford

moonape — Sun, 06 Dec 2009 23:44:17 +0000

I’m happy to talk to Scottish designer and illustrator Johanna Basford for this feature who’s pattern work is outstanding. She has a host of awards and has had her black and white pattern designs used by clients like the BBC, the V&A, The Body Shop and Hendricks Gin.

Her detailed and controlled work exhibits a very finely tuned drawing skill with a strong natural element to them.

Johanna has answered a few questions about her style and process for us.

How did you first get into illustrating in the style that you are now known for?

I began working with intricate, hand drawn pen images at art school in my final year. I was studying textiles and whilst everyone else seemed to be creating digitally manipulated images, or bold graphical silhouettes with lots of flat colour.

I decided I wanted to do something different. My style of work was born out of an attempt to make my work different to my contemporaries at the time.

How do you go about planning and developing your typical inked piece?

Every piece is different, but if I know the outline shape of the design, circle, heart, square etc, I draw that out first. I then start filling in the shape, working in pencil first before going over the lines with fine liner pen.

I sometimes draught out where large elements are going to to be placed such as birds or big blossoms, but generally its a fairly organic creative process and I just start from a point and the design grows to fit the shape.

I work with layout paper, pencils and a lot of fineliner pens. After I’ve created the pen and ink drawing, I scan it into Photoshop and do any tweaking / sharpening / flipping I need to do before finishing the piece.

What are you working on at the moment?

A Christmas Card design for a large high street store, illustrations and brand identity for a new luxury spa opening in London and 3 large hand painted canvases for a cocktail bar.

That sounds excellent Johanna, thank you.

MoonApe is on Twitter.

Biro Drawn Fashion Illustrations by Niki Pilkington

moonape — Wed, 02 Dec 2009 14:36:14 +0000

Niki Pilkington is an illustrator who spends her time between Wales and London, focusing on fashion work, having been a fashion illustration student at college.

Her work featured here is a very wholesome combination of style in two senses. One is in the fashion-conscious people she chooses as the subjects for her work, and the other is in the highly skilled way in which she puts this to paper.

I’ve given Niki a quick interview on her background and the work process involved in these pieces.

What training have you had in getting so good with drawing people?

In terms of training, I did all the usual routes: GCSE art, A-Level art, and then I moved on to do a ridiculously intense art foundation course, which really taught me about the disciplines of drawing, and just how important sketch books are. This is where I began to develop my own style.

We did lots of life drawing and had a great teacher who made sure that we didn’t cut any corners.

From here I went on to receive a first class hons degree from Ravensbourne College of Design & Communication, London.

It was here where I was able to combine my love of fashion with observation and illustration to create a more specific style and purpose to my work, the end product being my book ‘Voyeur Fifty. My Obsession With Girls’.

What is your work process for the biro illustrations?

Much like most of my illustrations, the ‘Bicture’ illustrations feed off the everyday people I see. I tend to get sucked in by a certain type of person, and this encourages me to take their photograph and get drawing.

I felt that using a ball point pen would keep the portrait simple and more about what I saw that day, not just how elaborate I could make it look.

What are you working on right now?

Right now, I’m working on my latest project called ‘Archetypal Welsh’. I’ve just moved back to my studio in North Wales, and after spending the last three years in central London, I’m seeing huge contrasts, so this is what I’m trying to document. The project will be shown in various galleries once it’s all completed.

Thank you Niki, I’m looking forward to seeing more from you.

To keep track of her work and more, see her site over here.

MoonApe on Twitter.

Typeface Illustrations of Sergio Jiménez

moonape — Sat, 21 Nov 2009 23:16:24 +0000

Madrid-based Sergio Jiménez works with hand drawn and digital typography to produce engaging illustrations that have appeared in publications that include Bello Magazine, Uno Skateboard and Snowplanet Magazine.

Using typography in illustration is not only aesthetically very effective, but it has a clever way of drawing in the eye.

Nice work, Sergio.

MoonApe is on Twitter!