Ape on the Moon: Contemporary Visual Culture » Watercolour Illustration

Cosimo Galluzzi’s Detailed Watercolour, Bustling, Alien Scenes

Philip Dennis — Fri, 13 Apr 2012 05:33:10 +0000

It is almost impossible to look at one of Cosimo Galluzzi’s illustrations without wondering more about the world his characters live in, how they got there, and where they’re going.

His work depicts scenes that would not be out of place amongst stills from science fiction and fantasy films. We like his backgrounds, which are perfectly painted in detailed watercolour. But, it is the multitude of exotic characters that fill these places that really spark the imagination, each with their own crazy little lives going on, and alien business to be getting on with.

“At first, I see abandoned cities, temples in deserts, solitary mountains—but slowly figures begin to populate them. Execution is largely dependent on time, the less there is the more things happen inside the computer. I prefer ink and watercolors, the rest is patience.”

Vladimir Stankovic’s Warm and Weird Insect Drawings

Philip Dennis — Fri, 06 Apr 2012 11:19:00 +0000

‘Entomology’ by Serbian illustrator, Vladimir Stankovic contains beautifully fragile drawings of insects with just the right amount of wonderfully weird. At a glance you might miss the odd extra eye or misshapen head. After further inspection, you’ll see that they are strange little, alien creatures.

As he tells us below, the soft, warm feel to Vladimirs drawings is achieved through a love of more traditional materials like pencil and watercolours, although the computer is still used.

My name is Vladimir, I’m a graphic designer and illustrator born in the town of Nis, Serbia, currently working on my master’s thesis in Finland.

No matter if I’m working on a personal project or for a client, I always try to combine different techniques and approaches. I love the idea of contrasting type and vectors with the handmade and hand drawn elements and illustrations. The use of Photoshop, Illustrator, etc. is a necessity for every designer, but colored pencils, watercolors and markers are the materials I’ve been using ever since I can remember, and it’s always fun experimenting and finding new ways of applying them and seeing the results.

Hexen 2.0 by artist Suzanne Treister at the Science Museum

Alex Mathers — Thu, 08 Mar 2012 17:45:17 +0000

HEXEN 2.0 is a mind-bending new project by British artist Suzanne Treister. It charts the coming together of diverse physical and social sciences in the framework of post-Second-World-War US governmental and military imperatives. If this is your thing, then read on…

It investigates the development of cybernetics, the history of the internet, the rise of ‘Web 2.0′ and mass intelligence gathering and the interconnected histories of the counterculture, and explores the implications of new systems of societal manipulation and the development of a ‘control society’ alongside historical and current responses to advances in technology.

It will be showing at the Science Museum in London from March 7th to May 1st 2012.

As well as a book, which you can win via this Facebook competition, the artist has created a series of tarot-style card illustrations that accompany the exhibition, shown below.

To win the book, head over to the facebook competition here.

Warm Tones and Inky Brushwork by Illustrator Joel Benjamin

Philip Dennis — Tue, 17 Jan 2012 17:26:49 +0000

We really like the brush work and warm palette being used in these ink illustrations by Norwich-based Joel Benjamin. Originally from Suffolk, he grew up with a love of the outdoors, which can be seen in his drawings and their soothing, rustic tones. A great use of ink and watercolour, scanned in and reworked for a modern edge to a traditional medium. He tells us more about his inspiration.

I work with Indian ink to create sensitive, figurative images. Largely inspired by man and beast’s relation to the great outdoors. Sometimes showing concern for the progress of the modern world and its distancing from nature and traditional cultures. That said though, when I let myself relax, I just like to do anything related to fixed gear, skateboarding or modern girls.

People, faces and clothing are my favourite subjects, so I try to incorporate as many of those things into my illustration as possible.

The line work is drawn using pencils, then Indian ink with a fine brush, putting a lot of emphasis on creating contoured lines of even thickness. I use Photoshop to colour and shade, then add some painted textures from a folder full of scanned-in watercolour washes I’ve collected.

My main influences include classical art, good comics (and some bad ones), folklore, skate vids, fashion and ancient cultures/

Discussing Digital Vs. Analogue With Illustrator Daniel Mackie

Philip Dennis — Tue, 04 Oct 2011 18:13:39 +0000

I love Daniel Mackie’s combination of warped figures, pattern and delicately rendered water colours. Interestingly, up until last year, his work involved a much greater use of the computer and the switch back to hand-crafted, analogue means was a thought-out, conscious decision. We were able to grab a little time with Daniel to find out a little more about his work and this change in technique.

You mention on your site that you abandoned Photoshop in 2010. What brought on this decision?

The first thing that led me to question using Photoshop as an illustration tool was that, like many other illustrators, my line was hand drawn and scanned in, but the colour was flat. Even scanned in textures take on a sort of Photoshop flatness! It was only when I started painting with watercolour that I realised how much short cutting and corner cutting I was doing working with Photoshop.

When using watercolour the drawing has to be spot on before you start painting. Watercolour is easy to put on, but dreadfully difficult to paint over or rub out! With Photoshop I found I never had to make a solid decision because with “control z” I never had to. I have found that making solid decisions makes for better illustrations.

How has the move into analogue influenced the look of your work?

I have discovered colours I would have never used, cobalt turquoise, quinacridone gold and permanent rose to name a few. My work has also become more stylised. After I decided not to use Photoshop anymore I sort of paused for breath and went through quite a long experimental period to find out where I was headed.

Have there been the kind of benefits or drawbacks you might have expected from choosing not to use digital means anymore?

Benefits, as I mentioned, are that you have to be bolder in your decision making. The down side is when you make a bad decision you may have to start again! I have to confess I do miss “control z”!

A lot of your figurative illustrations incorporate body art. Is this something that has always interested you?

Tattoos have crept into the mix really as a way of telling a story or as a smaller part of the narrative that is going on in the main idea of the illustration.

Have you found the inclusion of testimonials and a description of your process on your site beneficial?

I think third person endorsement is good, having someone blow your trumpet looks a lot better than blowing your own! As far as the “process” goes, most commissioners know the score but it helps build confidence I think.

Have you got any upcoming projects or plans that you’d like to share?

I’m currently working on a job for Mens’ Style in Australia about playboys …

Stina Persson’s Lush Watercolour Illustration

Philip Dennis — Mon, 09 May 2011 21:23:45 +0000

I love the lush swathes of ink running and bleeding into one another in Stina Persson‘s watercolour illustrations. Choosing when and where to let the colours seep and collide, and when to take a more controlled approach to her mark making gives her work a nice mixture of freedom and design.

From her base in Stockholm, Sweden, Stina has worked for a number of big name clients, including Coca Cola, Absolute Vodka, Sony Music, and Atlantic Records. While obviously knowing her way around a set of watercolours, her portfolio also has some lovely work in papercut, photography, and acrylic.

Fashion Illustration by Sandra Suy

Philip Dennis — Thu, 10 Mar 2011 21:32:45 +0000

Barcelona-based, Sandra Suy studied fashion but has always had a love of drawing, making fashion illustration the ideal way to satisfy her two passions.

I love the way she mixes fine, pencil drawings with energetic splatters of watercolour, collaged together in simple silhouettes.

Liza Corbett’s Gothic Watercolours

Katherine Holt — Mon, 03 Jan 2011 12:26:27 +0000

Working mainly with ink and watercolour on paper, Liza Corbett embraces Victorian Gothic in her portrayal of strange ladies in hoop-skirt cages with the heads of dogs, and literary heroines confused by Venn diagrams. In her style, these jarring scenes seem not only plausible, but beautiful as well.

In addition to paintings, Liza also creates stuffed ‘beasts’, t-shirts and badges, all decorated with her beautiful, nightmarish drawings. She was kind enough to answer a few questions about her work.

What are your methods for creating an illustration?

I work with pen and ink, watercolor, gouache and acrylic. I often use Photoshop to digitally color and manipulate drawings and paintings.

What inspires you to pick up your pencil?

I find inspiration in fairy and folk tales, mythology, art history, fashion and nature.

What is your favourite thing to draw?

Big-haired ladies and wild animals.

What is your proudest achievement as an illustrator?

When I see something I’ve worked on in a magazine that’s sold where I buy my groceries!

What would be your dream project?

My dream project would be to illustrate a highly fictionalized book about the life of Marie Antoinette.

Fashion Illustration by Mydeadpony

Philip Dennis — Mon, 20 Dec 2010 20:01:15 +0000

Raphael Vicenzi aka mydeadpony uses a mixture of various paints, inks, pens, and brushes to draw his illustrations before fitting them together on the computer. It’s the way he places these different materials together that I think creates the real dynamism is his work. Soft water colours are placed next to energetic pen marks and doodle-like adornments grow into bold, hand-drawn typography.

His work, although incredibly beautiful, has so much put in to to it that it always warrants a second look.

Lora Zombie’s Ink Splats

Katherine Holt — Sat, 11 Dec 2010 15:48:39 +0000

Working with watercolour and ink on paper as well as spray paint on walls, Lora Zombie’s pop-culture influenced pieces are knock-out. Working with unicorns, pandas, Superman and Spiderman, and accompanied by her trademark paint splats, the self-taught Russian impresses with her thoughtful take on modern culture.

As a big ink splat fan myself, I love the almost neon colours Lora uses as an accent to her well-observed drawings. With a nod towards comic-culture, Lora also makes use of speech bubbles to add an extra dimension to her work.