Archive for the ‘technique’ Category
There’s nothing better to get a new creative project started than by making your own inspirational mood board. Creating your own mood board of idea’s and inspiration will help you to build a collection of concept base ideas to build a new art piece from whether a series of illustrations, photographs or painting. It’s not all that hard to do and once you get started creating a mood board can actually be a really enjoyable part of project building, although if you’ve not made one before here are afew easy tips to help you get started on making your own.
What do I put in a mood board?
A mood board can contain anything from doodles, words, photographs, textures , colour swatches, fabrics and much more based around a chosen theme for your project. So for example a theme maybe “ocean” to which you’d include images of its inhabitants , sea blue colour tones and meaningful words tied to the theme etc.
What do I need to make one ?
Its really down to personal preference but you can make a mood board easily in anything from the pages in your sketchbook, sticking them to a piece of artboard or a cork board with pins. There’s really no right or wrong way because your mood board is personal, there to give you idea’s and pull together concepts for your project that will help it grow.
Putting a mood board together.
- To begin putting your creative mood board together collect a series of images and inspirational materials linked to your chosen theme.
- On an a3 blank sketchbook page ( or any page size of your preference but bigger is less limiting to your mood board ideas) begin to add your mood board research to your page.
- Stick bits down with patterned washi tape or masking tape to make it more visual and allow you to change things around.
- Make it personal and have fun.
- Keep your creative mood board in sight throughout your project to stay visually inspired and consistant to your project theme to prevent getting creatively lost along the way.
Image by illustrator Katt Frank you can find out more about their work here .
Self-described “designy illustrator” Mikey Burton is a Philadelphia-based creative with a serious bear preoccupation. His professional work centers around editorial illustration, infographics, and identity design. He’s also been bestowed with awards from ADC Young Guns, Communication Arts, & Graphis, some of the most prestigious organizations in the industry, and has worked with clients like The Atlantic, Converse, Facebook, Fast Company, and Wilco. Mikey values simplicity in principles of color and design, using minimalism and traditionally-inspired typography to an effective advantage. The understated elegance of his work is what secured his spot in the Art Crush Friday Hall of Fame.
Mikey’s aesthetic is identified in the intersection between sharp, geometric vector designs and substantial, meaningful textures. I use the word meaningful not to be an art school asshole, but to say that the textures have strong purpose and intent in his work.
As I’ve learned more and more about graphic design, I’ve started to see the fork in the road that exists between flat and realistic design (this gorgeous Webby-winning site explains this very conundrum in further detail). As I mentioned earlier, Mikey’s process allows real textures to shine through flat shapes, seemingly creating atmospheres within the simplest of flattened shapes. Interestingly enough, he’s referenced his really old HP LaserJet printer as being the very tool that creates these fascinating textures. [More about his process here.]
Mikey swears by two things in particular before starting his design process: coffee and preliminary sketching. He’s a refreshingly real person who needs to participate in real humany things before dragging along on the computer for hours on end. He will routinely post final work to his Dribbble account, modestly seeking feedback from the peers he so deeply respects. I admire his humility, honesty and continual hustle for meaningful work, even amidst his great successes thus far. For budding designers, here’s some of Mikey’s advice: create work that you want to be hired to do, and don’t be a lame person to deal with.
Follow along with Mikey and his adventures to come:
Mary Kate McDevitt is one of the most successful hand-letterers and illustrators working today. A graduate of Tyler School of Art, Mary went on to work at a design studio in Lancaster, Pennsylvania. After 2 years, she moved out west to pursue a freelance illustration and design career in Portland, Oregon before ultimately settling in Brooklyn, New York, which is where she presently resides. While she previously imagined that she would work as an illustrator, dabbling in some lettering on the side–but it turned out to be quite the opposite. Her ever-growing client list includes Chronicle Books, CMYK Magazine, Fast Company, and the United States Postal Service.
She is specifically inspired by vintage type and techniques, including the ones of her own family. As a teenager, she discovered a plethora of handwritten letters that her mother and aunt wrote to her grandmother during college. She used this inspiration for her Your Handwritten Letters project, a daily hand-lettering exercise. Mary would hand-draw a letter of the alphabet and mail the original to a unique participant each day.
You can follow along with Mary Kate McDevitt on her website, blog, Instagram, Dribbble, and can also purchase prints through her Etsy shop. She also has two online classes on Skillshare that can be found here and here.
Post by Angie Brown
Lane Smith is rather cheeky and he doesn’t even try to hide it. It’s kind of his thing. He says: I don’t like ordinary, middle-of-the-road books. I like funny, odd books that excite and challenge a child. There are enough people doing nice books about manners and feelings and magical unicorns. I do not do those kinds of books.” I first found him when I stumbled across his book review blog, Curious Pages: Recommended Inappropriate Books for Children, where he writes rather cheeky reviews of children’s books that are somehow a little “off.” It’s hilariously entertaining.
I was fascinated by the mottled textures in the illustration directly above, from his aptly named “It’s a Book”. Luckily, he’s rather forthcoming in describing how he achieves this effect: he paints hot press illustration board with oil paints and then sprays them with an acrylic spray (water based) while the paints (oil based) are still wet, causing a chemical reaction. Brilliant.
He currently lives with his wife and two cats in Connecticut and New York City. Before he became a children’s book illustrator, he worked as a freelance illustrator for magazines like Time, Sesame Street, Rolling Stone, Ms., Newsweek, Sports Illustrated, The New York Times, Atlantic Monthly, Esquire and many others. He is quite prolific and his titles include It’s a Book; John, Paul, George & Ben; The Stinky Cheese Man; Grandpa Green; and Big Plans.
Hands are so hard. They take practise but they can be conquered.
Here are some visual tutorials from Marlo Meekins to get you practicing :D
Ernestina Gallina lives in Cesenatico, Italy, and paints rocks. She’s been doing it because she loves it since 1996. In 1987 she moved to Kenya with her family and stayed in Nairobi for ten years. Life in Africa enabled her to learn the english language and to discover nature and animals.
One day at the library she stumbled upon a book on rock painting and was blown away at the way river stones could be turned into animals. A new, exciting world opened to her, and she started to combine her love for both painting and animals. The results are amazing.
On her website, she offers free PDF tutorials. So you can try some rock painting out for yourself!
View more rock painting inspiration: Website