Happy Illustration Friday, fellow artists!
We’re ready to announce this week’s topic, but first please enjoy the wonderful illustration above by Eduardo Guimarães, our Pick of the Week for last week’s topic of HEART. Thanks to everyone who participated with drawings, paintings, sculptures, and more. We love seeing it all!
You can see a gallery of ALL the entries here.
And of course, you can now participate in this week’s topic:
Step 1: Illustrate your interpretation of the current week’s topic (always viewable on the homepage).
Step 2: Post your image onto your blog / flickr / facebook, etc.
Step 3: Come back to Illustration Friday and submit your illustration (see big “Submit your illustration” button on the homepage).
Step 4: Your illustration will then be added to the public Gallery where it will be viewable along with everyone else’s from the IF community!
This week’s Island #2 comics anthology features cover and interior art by the great Emma Rios! I first noticed Rios’ art on Marvel titles like Cloak & Dagger: Spider Island, Osborne, and the Firestar 1-shot. Now, Rios is taking her artwork to the next level on her new Image series Pretty Deadly, with Osborne collaborator Kelly Sue DeConnick on writing duties. It’s a supernatural tale that follows Death’s daughter, as she rides through lush and horrifying lands, seeking retribution.
Emma Rios is a Spanish comics artist and illustrator who has made a name for herself here in the States as well as Europe and beyond! She broke into the American comics scene in 2008 with the Boom Studios series Hexed, then worked with writer Mark Waid on the Dr. Strange series “Strange” for Marvel. I see that one of her earlier works is a comic called APB, but apparently that’s not available here in the U.S.
You can see the latest art and follow Rios on her twitter page here.
For more comics related art, you can follow me on my website comicstavern.com – Andy Yates
Submitted by Sanne Dufft for the Illustration Friday topic of HEART.
Submitted by Lena Erysheva for the Illustration Friday topic HEART.
Miroslav Sasek was a Czech illustrator and author, who originally trained as an architect, as his parents did not approve of him being a painter. He was most famous for his series of children books. His first This is… book was Paris which was published in 1959, which turned into a collection of 18 books. He was inspired by the great cities of the world including Rome, London and New York. To prepare the books he actually visited the cities and explored, creating sketches of what he saw, until they came to life. His three favourite books from the series include This is Edinburgh, This is Venice and This is Hong Kong.
Learn more about this timeless illustrator at his website.
Posted by Jessica Holden on 08/19/15 under artists
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Hello fellow artists!
As part of our ongoing efforts to make Illustration Friday more of a community focused on the art of idea generation, here’s our Inspiration Board for this week’s topic of HEART.
You can download, save, drag and drop, print, or do whatever you want with it if it helps you to brainstorm ideas for your illustration.
Let us know in the comments if this is something that you think is helpful or inspiring enough for us to keep doing!
Posted by Thomas James on 08/18/15 under artists
Comments Off on Fun Editorial Illustrations by Dom McKenzie
Submitted by Vicky Alvarez for the Illustration Friday topic HEART.
Post by Chloe
Firstly, I advice you not to look at Ohn Mar Win’s work if you are feeling slightly peckish! Her work is so packed full of delicous looking treats, it will leave you reaching out for a sneaky snack.
Ohn Mar Win is originally from Burma and now lives in the UK and it was this journey that led Ohn Mar Win to drawing as a method of expressing herself, after all, art is a universal language. She is inspired by food and all things retro and vintage. The textural, handmade quality to her work really brings it to life.
If you would like to view more of Ohn Mar Win’s work, please visit her portfolio.
[Editor’s Note: This article is an excerpt from our ebook Inside Illustration Competitions, which is available for FREE here.]
The outcome of an Illustration competition is largely dependent on the judges who view the work and decide which artists deserve to be recognized. Ever wonder how this jury is chosen and how they make these tough decisions?
Since so much depends on the subjective personal tastes of an Illustration competition jury, it’s important to pay attention to the list of jurors any time you’re considering submitting your work, and familiarizing yourself with who’s involved.
With the help of many organizers and judges of all the major Illustration competitions, I was able to get an inside look at what drives the method of assembling the jury.
It is in the best interest of all parties involved to have a professional, experienced, and esteemed panel of judges to view the artwork and select the best of the best to be featured in the organization’s annuals, shows, and online galleries. In this way, the various competitions maintain their relevance in the industry, encourage a comprehensive collection of high-quality Illustration, and offer Illustrators the opportunity to have their work viewed by the top tier of their target audience.
In most instances, the jury is comprised of some combination of Illustrators, Graphic Designers, Art Directors, Artist Representatives, Educators, and other creative professionals who have made an impact on the Illustration industry. Potential jury candidates are often recommended by Illustrators or past Chairs based on quality of work, talent, years of experience, and standing in the field. In addition, judges are often assigned to vote in categories that are a good match for their particular area of expertise, whether it be publishing, editorial, advertising, children’s books, etc.
One interesting variation on this theme is the competitions run by American Illustration, which limits the selection to only Art Directors and others who are able to actually hire Illustrators.
Another alternative is practiced by 3×3. Because of it’s uniquely international focus, 3×3 makes sure that all judges represent different countries and tries to have one or more Art Directors and Illustrators from each of the primary illustration markets around the world.
One of the most intriguing aspects of the judging process is the criterion by which jurors are instructed to select work, or rather, the lack thereof.
Sometimes, the organization running the competition has an introductory meeting to outline the overall purpose and criteria of the selection. However, rather than instruct the jury with specific guidelines, most competitions rely on the experience and aesthetic sensibilities of the jurors involved.
Therefore, each judge votes along the lines of their individual tastes, with a focus on the effectiveness of the image, its ability to solve a visual problem or communicate an idea, its professional execution, and any other strengths they typically look for in a successful Illustration. Jurors are encouraged to take their time and go with their instincts while seeking out Illustration that reaches a higher level of excellence.
“We do not believe in quotas, we ask judges to select the very best pieces in each category.”
– Charles Hively, 3×3
“Jurors are encouraged to make brave choices and [select] images that represent the finest work from the year. Our goal is to recognize work not typically honored by other organizations and publications.”
– Mark Heflin, American Illustration
“Judges are asked to use their own judgment as to what constitutes creative excellence.”
– Patrick Coyne, Communication Arts
As stated above, due to this personal approach it can be very beneficial for an artist to familiarize themselves with the list of jurors involved, because it can potentially offer some level of insight when choosing which of their pieces to submit.
As expected, the actual steps involved in the scoring process is another area in which each competition is different. Sometimes it’s simply a matter of saying whether each Illustration should be “in” or “out”. Other times the judges are asked to rank each image on a scale of one to ten or some variation thereof.
Here are a few examples of the various voting methods employed:
“Jurors meet as a group and view all images. They first nominate images they like. From there, the nominated images are viewed and voted on individually by secret vote. It only takes one juror to nominate an image in the first round. It takes a majority or better in the second round to get into the book (usually 4-7 votes). All images that were nominated and then received at least 2 votes are presented on the website only.”
– Mark Heflin, American Illustration
“The first round, each Judge adds a dot to the entry. Second round, the judge’s team up to view entries that received the highest votes. Finally, the judges come together as a total group to discuss the final selection.”
– Scott Hull, Artist Representative & Juror
“The Art Directors Club does 3 rounds of judging. Each round is assigned through a point value system with the last round being a medal round.”
– Luke Stoffel, Art Directors Club
“In the professional and children’s show, each judge votes each entry in or out. In the student show, each entry is given a grade 0-4, 4 being the top grade. It takes a majority of votes by the judges to have a piece accepted into the show.”
– Charles Hively, 3×3