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luís soares

Blog do escritor Luís Soares

A Little Film About… Malika Favre

A Little Film About... Malika Favre from Handsome Frank on Vimeo.

Malika Favre is an artist who needs little introduction. Her instantly recognisable style sees her create beautifully bold vector illustrations which simplify down her subjects their bear essentials. Her work has adorned billboards, magazines and book covers the world over and her recent collaborations with the New Yorker magazine have raised her profile yet further and seen a whole new audience discover her incredible work.

In this short film directed by Jérôme de Gerlache, we learn about her work process, influences and get a behind the scenes glimpse of her home studio in East London.

Bianca Bagnarelli

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Bianca Bagnarelli is an Italian cartoonist and illustrator.

She's the co-founder of Delebile, an indipendent label publishing comic by young italian and international authors.

Her first comic volume, Fish, published by Nobrow, won the gold medal for the short form at the Society of Illustrators of New York.

She works and has worked as an illustrator with The New YorkerThe New York TimesWired UKESPNNBC, McSweeney's, MoleskineSüddeutsche Zeitung Magazin and others...

Malika Favre’s “Coding 101”

From The New Yorker:

"I decided to look at the future so I could create a positive image,” Malika Favre says, about her cover for the Tech Issue. “When you read about women sharing their experiences in a field that is so dominated by males, it can get pretty depressing. For me, it’s obvious that the solution has to start from a young age, with education and the games kids play.”

Screen Time

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From The New Yorker:

Television was my primary relationship when I was a child. It was my third parent, but it was the only parent that meant anything to me, or that had anything to teach me,” Bruce Eric Kaplan said, about his inspiration for this week’s cover. Kaplan, who is a prolific cartoonist and a writer for television shows such as “Girls,” “Six Feet Under,” and “Seinfeld,” was greatly influenced by what he described as the “huge, enormous box in the living room.” “I loved television so much that I wanted to crawl into the TV and live there, which I ended up doing by becoming a television writer,” he said. “I’d rather be in a fictional living room than in a real one. I still feel that way when I’m drawing a cartoon. I’d rather be inside my cartoon, in a world that I can control, that looks right to me, than out there in real life.” Of course, the experience of watching television as a child that Kaplan recalls is now largely a remnant of the past. “Television has now gone beyond television,” Kaplan said, meaning that the medium has expanded beyond the traditional family gathering in a living room now that we are able to stream shows on any device with a screen. “It’s a much different world,” he lamented. “Everyone’s watching their own thing, at their own time, on their own little thing.”

Some Of My Best Friends Are Records

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From "The Shape of Ideas: An Illustrated Exploration of Creativity" by Grant Snider

 

What does an idea look like? And where do they come from? Grant Snider’s illustrations will motivate you to explore these questions, inspire you to come up with your own answers and, like all Gordian knots, prompt even more questions. Whether you are a professional artist or designer, a student pursuing a creative career, a person of faith, someone who likes walks on the beach, or a dreamer who sits on the front porch contemplating life, this collection of one- and two-page comics will provide insight into the joys and frustrations of creativity, inspiration, and process—no matter your age or creative background.

Liberty's Flameout

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From The New Yorker:

Under more ordinary circumstances, the cover of the issue for February 13 and 20, 2017—our Anniversary Issue, marking ninety-two years—would feature some version of Rea Irvin’s classic image of the monocled dandy Eustace Tilley. This year, as a response to the opening weeks of the Trump Administration, particularly the executive order on immigration, we feature John W. Tomac’s dark, unwelcoming image, “Liberty’s Flameout.” “It used to be that the Statue of Liberty, and her shining torch, was the vision that welcomed new immigrants. And, at the same time, it was the symbol of American values,” Tomac says. “Now it seems that we are turning off the light.”