left to right, Chloé & Trovata (both Spring/Summer 2009)Saturday, January 31, 2009
Spotty Fever
The February backpage of Paper Magazine.. with 2 left in the series!
left to right, Chloé & Trovata (both Spring/Summer 2009)
left to right, Chloé & Trovata (both Spring/Summer 2009)
Friday, January 30, 2009
Tuesday, January 27, 2009
To those of you on the other coast, Matthew Palladino (more work of his killer work here) will be showing at the White Walls Gallery along with Ryan Schaffer Feb. 7th - 31st. I wish I could go– such awesome work!
Suggest a link!
We added this feature a while ago, but never really promoted it. If you have a site that you'd want to share with us, we'd love to hear from you!(The form can be found at the bottom of the right hand column.)
Monday, January 19, 2009
'Andrew Warhola' skate deck
From artist Charles Lutz:'Andrew Warhola' is based upon a found sepia toned school photograph of a young Andy Warhol, taken during his formative years in Pittsburgh, Pennsylvania in the 1930's. Silkscreen enamel on 100% Canadian Maple skateboard deck.Read full press release here.
Each piece is signed, numbered and titled from the edition of 100.
Buy here.
Friday, January 16, 2009
Josh Cochran Interview
Very generously, the ubiquitous Josh Cochran was kind enough to answer a few questions for me for Lost At E Minor recently. I thought everyone would most definitely enjoy this interview so I've posted it in it's entirety here. Enjoy!
IK: What is your artistic background?
JC: I studied fine art and animation at the University of Southern California for three years then I went to the Art Center in Pasadena for four more years to complete my degree.
IK: How long have you been working as an illustrator? How have you seen your career progress? Anything you'd consider a milestone?
JC: I’ve been working as an illustrator for four years this June. I think my career has been progressing ever since I got that first job for the New York Times Book Review. Sometimes things will progress in tiny increments and other times its much more dramatic. As far as milestones go...probably the Communication Arts cover and feature interview was one. That article gave me a certain amount of exposure that I’ve never really had before.
IK: How would you say you found your 'style?' How would you say it's evolved since you began?
JC: My style really came from a general frustration I had towards painting, while I was in school. I started drawing really early on and have always felt fairly comfortable towards it. Teachers at Art Center would constantly encourage me to make my work look more like my sketchbooks, which got me thinking of ways to produce finished looking artwork, using a more linear style. I took a printmaking class fairly late in my education, which really changed everything for me. Silkscreen and flat color provided a much needed contrast to my obsessive line work. I wasn’t confused by having an infinite amount of colors, and had to make the best out of 3 or 4 colors. I started looking at older printing techniques found in turn of the century children’s books and cheap reproduction materials like propaganda leaflets and posters. My family has been a big influence as well. My Grandmother is an accomplished Chinese watercolorist and calligrapher and my Mom’s been working in graphic design since the early nineties. I have to also put this in...my wife Jenny has a crazy critical eye, with way better taste and is a major influence on what I put into my portfolio.
IK: As an illustrator, how do you keep the process new & exciting, from becoming stale?
JC: I try hard to keep pushing new ideas in my work. Of course there are often times I feel tired and stale and produce work that isn’t that challenging. Generally though, I try to keep building on things I’ve accomplished in my work. To me that’s what keeps my work consistent as well as it gives me room to grow. After a while a certain direction will feel boring to me and I’ll start pushing out to try something different. I have a certain amount of ADD, which might translate itself in my work.
IK: What do you enjoy most about your work?
JC: I really enjoy the fact that my process is so simple. Nothing’s faster than putting a pencil to paper.
IK: You recently relocated from the west coast to NYC, would you say that's affected your work in any way, for better or worse?
JC: I think the big move has helped my work a lot. I share a studio in an old pencil factory here in Brooklyn with a lot of other great illustrators. I think just being around such talent has made me realize the level of awesomeness I need to strive for and to maintain.
IK: Any advice for young illustrators just getting started in the field?
JC: Live, eat, breath, art. Invest in a proper computer monitor, a good pair of Jack Purcell’s and a small Boston Terrier.
IK: Any exciting new or upcoming projects you'd like to share?
JC: I’m working on a cover for Criterion Collection, a painting for the Ace Hotel and a secret project with Kim Bost. Hopefully these will be unveiled soon in the coming months.
IK: What is your artistic background?
JC: I studied fine art and animation at the University of Southern California for three years then I went to the Art Center in Pasadena for four more years to complete my degree.
IK: How long have you been working as an illustrator? How have you seen your career progress? Anything you'd consider a milestone?
JC: I’ve been working as an illustrator for four years this June. I think my career has been progressing ever since I got that first job for the New York Times Book Review. Sometimes things will progress in tiny increments and other times its much more dramatic. As far as milestones go...probably the Communication Arts cover and feature interview was one. That article gave me a certain amount of exposure that I’ve never really had before.
IK: How would you say you found your 'style?' How would you say it's evolved since you began?
JC: My style really came from a general frustration I had towards painting, while I was in school. I started drawing really early on and have always felt fairly comfortable towards it. Teachers at Art Center would constantly encourage me to make my work look more like my sketchbooks, which got me thinking of ways to produce finished looking artwork, using a more linear style. I took a printmaking class fairly late in my education, which really changed everything for me. Silkscreen and flat color provided a much needed contrast to my obsessive line work. I wasn’t confused by having an infinite amount of colors, and had to make the best out of 3 or 4 colors. I started looking at older printing techniques found in turn of the century children’s books and cheap reproduction materials like propaganda leaflets and posters. My family has been a big influence as well. My Grandmother is an accomplished Chinese watercolorist and calligrapher and my Mom’s been working in graphic design since the early nineties. I have to also put this in...my wife Jenny has a crazy critical eye, with way better taste and is a major influence on what I put into my portfolio.
IK: As an illustrator, how do you keep the process new & exciting, from becoming stale?
JC: I try hard to keep pushing new ideas in my work. Of course there are often times I feel tired and stale and produce work that isn’t that challenging. Generally though, I try to keep building on things I’ve accomplished in my work. To me that’s what keeps my work consistent as well as it gives me room to grow. After a while a certain direction will feel boring to me and I’ll start pushing out to try something different. I have a certain amount of ADD, which might translate itself in my work.
IK: What do you enjoy most about your work?
JC: I really enjoy the fact that my process is so simple. Nothing’s faster than putting a pencil to paper.
IK: You recently relocated from the west coast to NYC, would you say that's affected your work in any way, for better or worse?
JC: I think the big move has helped my work a lot. I share a studio in an old pencil factory here in Brooklyn with a lot of other great illustrators. I think just being around such talent has made me realize the level of awesomeness I need to strive for and to maintain.
IK: Any advice for young illustrators just getting started in the field?
JC: Live, eat, breath, art. Invest in a proper computer monitor, a good pair of Jack Purcell’s and a small Boston Terrier.
IK: Any exciting new or upcoming projects you'd like to share?
JC: I’m working on a cover for Criterion Collection, a painting for the Ace Hotel and a secret project with Kim Bost. Hopefully these will be unveiled soon in the coming months.
Marshall Arisman Documentary
At the Society of Illustrators next week. Might be a good excuse to get out of the house?
High School, 1985.
Her stuff just kills me. There's a nice preview of the new book on the Fantagraphics Site. I wish I hadn't spent so much money on the fam this Christmas . . . Daddy needs some new reads. . .
Wednesday, January 14, 2009
Some Recent Personal Work
Finally done! This painting has been sitting on my desk in various stages since August. Yeesh.
Monday, January 12, 2009
Young Mr. Lincoln
"Young Mr. Lincoln," The New Yorker, January 19, 2009Read "Daddy Long Legs" by Anthony Lane here.
Sunday, January 11, 2009
Banana Breeze
A fun Misaki Kawai/Justin Waldron book I snagged at Printed Matter this weekend. God I love books.
Friday, January 9, 2009
Thursday, January 8, 2009
Meatpaper!
I recently illustrated the article 'The Knife's Pull' by Jaime Omar Yassin for Meatpaper issue #6.
The issue also tackles whether bacon and chocolate should be eaten together or apart- certainly worth a peek!
S.Britt Interview for Lost At E Minor
I recently did an interview for Lost At E Minor with the all around amazing Stephan Britt! Woohoo! I loved this interview from start to finish and was a little disappointed that it was never posted in it's entirety on the LAEM. No worry though! I've taken the liberty of posting it up where you can now read it in full at your leisure. ENJOY!
You can also read the snippets posted on Lost At E Minor HERE and HERE.
Tuesday, January 6, 2009
"Visions of the Future"
This Saturday, Esther Pearl Watson's latest collection of UFO-themed paintings goes on display at Billy Shire Fine Arts. "Unlovable," her upcoming book published by Fantagraphics, will also be available in a limited number at the opening.
Visions of the Future
Paintings by Esther Pearl Watson
January 10, 2009 - February 7, 2009
Billy Shire Fine Arts
5790 Washington Blvd.
(near Fairfax Avenue and the 10)
Culver City, Ca 90232
323-297-0600
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