Whether you’re looking for the hidden keys of just delving into the multitude of brightly coloured objects, you may just find yourself browsing endlessly through the beautiful barrage of colourful debris.

As much fun and excitement these packed illustrations are, Séverin isn’t unfamiliar with a more stripped-back, clean approach too. In editorial work and print design you can also see a simpler side with a few carefully placed elements. Either way works for us, making it incredibly difficult to look away!

© Séverin Millet, 2012

We like the addition of the watercolour textures and more roughly worked-out areas, it’s a nice little twist to add to the vector shapes. However, it’s probably the dead expressions and creepy, vacant eyes that will draw you in and keep you captivated in some of his more abstract pieces. He tells us a little more about how his process works.

I am mainly focused on illustration with mixed media, traditional techniques and digital processing.

Regarding the process, I usually start from a photograph, print or digital image, which I draw on vector graphics software. This process is rather mechanical but, while I am doing it, I am thinking about the further development of the piece.

Sometimes, I follow the lines in the original and sometimes I distort or geometrize some aspects of the image. This is the frame or skeleton of my work. In the second part, I add textures to the piece. I mainly use watercolor on paper as textures, which I do myself and later scan and add as layers in Photoshop until I reach the final result.

© Alvaro Tapia Hidalgo, 2012

The strength in their work comes from the straightforwardness in the design. We like their uncomplicated, geometric shapes and precision in their overall layouts. But, with all the exact alignment and careful consideration, they still manage to collectively inject a little light heartedness.

© Always With Honor, 2012

You can definitely sense the inspiration he has drawn from his studies in product design, but also his interest in Asian art and anime, with a lot of his work appearing like blueprints for various inconceivable worlds filled with imaginative characters.

I interviewed Stephen so as to garner some more insight and wisdom from his life and process…

What is your background, art and non-art related?

I was born in the UK, but my parents are from Hong Kong, so I was heavily influenced by both cultures during my upbringing. I could watch a lot of eastern and western cartoons during my childhood 80′s/90′s, (the source of all creativity) like Inspector Gadget, Tom and Jerry, Ren and Stimpy, Disney…but also Dragon Ball, Saint Seiya, Doraemon, GeGeGe no Kitarō and Studio Ghibli (long before it became popular in UK/US).

This has played a huge part in shaping my thinking and approach to design and illustration.

I graduated from a product design course, but felt that this wasn’t really my calling. I was confused about which direction I wanted to go for quite a while. I did about 4-5 months of placements at several different local media and design studios after graduation.

I helped out on a variety of projects, ranging from branding, web design, graphics and illustration, plus learning how to use macs, photoshop and illustrator during this time (yes, I had no idea how to use a mac until starting work). I ended up mainly focusing on illustration, partly because of meeting Jon Raffe at the last company I worked at, the brains behind Thunder Chunky.

How would you describe your work?

My work is mostly character driven, and often involves large, isometric detailed landscapes and scenery. I try to put my own spin on the isometric style, because illustrators like eboy and Rod Hunt have already established themselves at the top with this style, so it’s hard to stand out.

I like to mix in more organic shapes, like clouds and smoke, or soften the sharp edges of the vectors with textures and rounded objects sometimes. I also like to create patterns from time to time, if the appropriate project and idea form in that way.

What is your technique and what tools do you use?

I’m mainly a vector artist, so Adobe illustrator is my best friend – finished off with a touch of Photoshop.

Can you give me three things that inspire you the most?

I don’t have many hobbies other than Art and design, so anime and movies are my second love and where my inspiration stems.

I think nature, everyday objects and things that you didn’t really notice, (or that didn’t really have any effect on you before) can suddenly inspire a great idea. It depends on the current project you’re working on, and current frame of mind.

Lastly, maybe talking to and listening to other artists and designers. Learning from each others experiences and knowledge. Sharing ideas and developing them, watch the sparks fly…

© Stephen Chan, 2012

We like the experimental feel to the project. The pencil doodles around the edge add a nice, unfinished look to everything. It’s good to get the feel that it’s an ongoing, evolving thing, meaning there’ll be even more great designs to come. In Jan’s own words, “An ongoing series based off one underlying grid structure and made into individual pieces through the reinterpretation of said structure, colour and shape.”

“I’m a graphic designer who incorporates illustration, collage, random mark making, scribbles, music, doodles and rearrangements into my everyday practice.

I like using a variety of tools but I’m particularly fond of the good ol’ ball point pen and a sheet of paper for getting ideas and concepts down and worked out. Then it’s off to the computer for further experimentation and finalization.”

© Jan Avendano, 2012

Looking through the entire project, we’ve enjoyed the progression of the architecture from Lego-inspired blocks to more complex, Escheresque buildings with warped perspectives. Overall, her tight, vector style and eye for structure makes it a body of work that is as interesting as it has been long-term.

I’m a designer in the daytime, and illustrator at night, although I do think these two roles can be merged. They are, in my opinion, same approach, different disciplines. I create my illustrations mostly with Adobe Illustrator.

The isometric lettering is one of my favourite projects. I started it without even thinking of finishing. My progress is sssssslllllloooooowwww. I draw very little in a long while. Sometimes, if I’m stuck, I would leave it for months. And, it’s been nearly 3 years now, it’s still ongoing (I’m doing the final letter Z). That is the fun of personal projects, because there is no rush. 

© Jing Zhang, 2012

Malinic explores the magical and bustling part of the capital in a series of elaborately illustrated poster designs, bringing together classic old century design with the dazzling neon future of the 22nd century.

Through a combination of bold typography, illustration and poetry, each piece tells the delicate story of classic design over-shadowed by the limitless offerings of this exciting city.

Malinic interprets his love for London by exploring the true characters of the real life musical that is London’s West End. ‘The West End Show’ offers an inspiring touch of nostalgia for the frenetic capital resident.

The show is now open to public at Nancy Victor Gallery, London, admission free until March 2.

© Radim Malinic, 2012

My artworks have recently moved away from abstract graffiti-inspired drawings to more figurative ones. Those often show monkeys or other animals in a tribal or cult-like situation. They tend to have a vigorous expression, that contrasts with their almost soulless eyes. I mostly use pencil, ink and aquarelle on big sheets of paper. 

For my commercial illustrative work, I use a combination of hand drawn elements and vector forms. I don’t like the very digital outlook of images, so I try to make all them look a bit more tangible.

© Philipp Zurmöhle, 2012

Pleased to announce that the winner of the Great Book of Fashion Illustration is Claire Kearns. Well done! The book will be heading your way shortly!

Thank you to everyone who contributed and took part in the competition!

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We’re lucky to have partnered with Anova Books to give away a free physical copy of the brand new ‘Great Big Book of Fashion Illustration’, published on September the 16th, 2011.

Written by Martin Dawber, an internationally acclaimed author on contemporary fashion, style and image, the book provides a range of fantastic illustration images from around the world. From the publisher:

As the scope for today’s fashion illustrators is ever widening, the artists and illustrators featured here relish the opportunity to embrace a multitude of techniques and values that challenge the accepted ‘rules’ of traditional fashion expression.

Digital masterpieces as well as traditional drawing and painting are included along with styles and sketches using techniques such as drawing, painting, collage, photograph and watercolour. Further details are below.

Shiho Matsubara. Personal Work, Adobe Photoshop, Adobe Illustrator.

Victoria Kim. ‘Lovers 2′, Pastel

Kerstin Wacker. ‘Flower Dress’, Watercolour, Ink, Pen, Adobe Photoshop.

To be able to win, you’ll need to do one of the following:

Tweet this line, exactly as it is, on Twitter:

Win a copy of the Great Big Book of Fashion Illustration, on Ape on the Moon > http://su.pr/2IfQj6 < RT for a chance! (via @moonape)

…Or write a comment in the comments area below this post!

The winner will be announced here on Tuesday 4th October, 2011 and contacted individually. You have up until the afternoon GMT, on the 6th to tweet or comment.

Bob Kessel. ‘Roger Federer’, Adobe Illustrator

More details from the publisher:

Fashion illustration is an almost lost art, with our digital age providing endless alternative sources for creating and crafting new art forms amid limitless boundaries. Full of fresh, cool and creative artwork – every kind of fashion is covered here, from women’s couture to tweenies, from lingerie to lipstick, swimwear to separates.

New for this edition, a range of fashion sketchbook work for insight into the creative and technical process is also featured. With over 1000 illustrations, this is the must-have sourcebook to have on the shelf of all those involved in fashion and graphic design as fashion illustration continues its onslaught on today’s media.

Good luck!

My name is Denis Carrier, I’m 28 years old and I live and was born in France. I founded Studiofolk, my graphic studio where I work everyday on illustration, graphic design and art projects. I also work with Aurélien Arnaud under the name PNTS and with Oriane Latour under the other name J’ai pas qu’un physique. 

My work could seem very simple but I always try to tell something with fewer shapes. I would like to do illustrations which are a mix between intelligent and fun and which talk to a lot of people and not only to illustrators or artists.

In my work, I use two technics, I draw and scan my work and I use Photoshop for the color or I do the illustration with Illustrator. It all depends on what I want to tell through the illustration.

© Denis Carrier, 2011