Bird screen print by Elizabeth Graeber
Post by Kristen
Rich Gemmell combines pencil and ink washes with digital elements to create a deep, rich texture for each of his illustrations. Rich keeps sketchbooks during travels through other countries, such as Scotland, France, and the United States, and his illustrations are developed from these entries with tracing paper. After pencil lines are thickened and ink washes are added, Rich scans his work into the computer to add some final touches.
My absolute favorite of his works is Falls, which he designed from one of his sketches observing kayakers descending some falls at the foot of the Ben Nevis mountain in the British Isles. This particular piece (below) is available on The Working Proof, where 15% of the sales from his illustration goes to profit Transportation Alternatives.
Located in Cambridge, UK, Rich has worked as a freelance illustrator for a variety of sources including The Guardian, Future Snowboarders Magazine, and Sunday Times Magazine. View more of his absorbing artwork on his website, richgemmell.net.
Watercolors are a flexible medium. One technique to create layers is to mask areas of the paper prior to adding a wash
You will need:
- watercolor paper
- flat watercolor brush (size 2-4)
- painter’s or masking tape
- non-stick scissors
For this sample I used painter’s tape which for some reason I have in abundance around my home. You could also use
masking tape. I don’t recommend regular tape as it is difficult to remove. For the star, I cut two triangles and then overlapped them.
Add several washes of watercolor. As I was going for a night sky theme, I chose blues and purples.
Allow your paper to dry thoroughly. If you are anxious to see the results, use a hair dryer or heat gun to speed up the drying process. Once dry, remove the tape and proceed with the rest of your painting!
Posted by: Natalie
Tim Probert is an illustrator based in New York. He studied painting at Boston University and has illustrated two children’s books, “Pickle: The (Formerly) Anonymous Prank Club of Fountain Point Middle School” and “New York, Phew York,” a scratch-n-sniff picture book. He has also illustrated for a variety of advertisements and promotional materials and has worked in animation production.
See more of Tim’s work here: Portfolio
Post by Alice Palace
Ashley is a freelance illustrator living in the UK. He gets most of his inspiration from wildlife and nature, the rest from his quirky imagination. His illustrations of animals are well drawn, with good humour!
Have a look at his website
Wow. Just…wow. Georgiana Teseleanu sometimes makes her work under the name Anai Greog. The sources online are varied in terms of who she is or how she does what she does (her personal sites offer no bio), so the only thing I can say for certain is that she is from Romania. Her work is beyond inspirational, it’s all based on what fits inside of a simple circle. This really gets me thinking about sacred geometry and empowering constraints. I want to get out there with my ruler and protractor and make something insane. If only I had discovered her back when I took Color 1! Definitely go to her sites and click around:
Post by Sarah
Goñi Montes has created a delightfully organic style with flowing lines and masterfully creates highly imaginative sceneries, settings and characters that never feel staged. He often chooses a perspective that makes you a part of the work and draws you in. Selected clients include: Dwell, The New York Times, The Washington Post and Wired.Goñi also very generously shares a lot of his process on his blog for those who are interested.
Post by Clio.
I had the utmost pleasure of hearing British illustrator and designer Kate Moross speak last weekend at the Offset Design Conference in Dublin.
At just 27 years old Moross blew the crowd away with her witty banter, unbelievable charm and incredible work. Never taking herself or her work too seriously Moross gave the crowd advice on fear (ignore it), the creative ‘wall’ (it doesn’t exist) and following one’s desires (always, always).
Kate Moross is unbelievably cool and mature and you’ll want to hop on twitter right away and follow her. Be sure to check out her website too for more beautifully illustrated type work and video work and design work and branding and clothing and shoes and and and…is there anything this girl can’t do?
This week’s topic is:
Suggested by Ragne Uutsalu
Have fun creating!
Post by Naomi
I am in awe of Yan Nascimbene’s breathtaking watercolors. Such a sense of stillness, light, and life.
Yan Nascimbene was raised in France and Italy. After working as a photographer in a Paris fashion studio, he studied at the School of Visual Arts in New York and at the University of California at Davis. He later spent many years living variously in California, France, and Italy. His illustrated edition of Marcel Proust’s Swann’s Way. Antibes, Clarievere et Autres Couleurs, his first book as author and illustrator, won the Graphic Award at the Bologna Book Fair in 1992. Yan illustrated Italo Calvino’s Invisible Cities, Palomar, The Baron in the Trees and others. Nascimbene has illustrated over 50 books and 300 book covers. He passed away in Mexico on Feb 1st 2013.
Here is what he had to say about working with clients:
Rather than feeling limited by a client’s idea, I find that the challenge of expressing precisely his/her idea in my own aesthetical terms forces me to think harder, to search deeper and ultimately to create a much stronger and interesting image than if I had been given total freedom of style, format and subject-matter. I try to illustrate a literary piece between the lines, and I feel that an illustration must reflect at once the client’s idea and my identity. First and foremost comes the need of the client, then my understanding of such a need and the elaboration of a concept. This is the most taxing and important phase of the work, often the one that will require most time. A thorough sketch (or sketches) will allow me to explain the concept to the client and structure the image (composition, balance, etc.) until his/her unequivocal satisfaction. The final painting, although still an emotional and creative task, will rely at least as much on technique and my ability to translate our early discourse and sketches into a factual image, as it does on pure imagination. In my case, it is usually a quicker stage, as all but a few challenges have already been resolved.