Intervista a Henrietta Harris

inspiration-interview-henrietta-harris-polo

Lei è neozelandese e si chiama Henrietta Harris. È un’illustratrice, laureata in Belle Arti. Fate un giro sul suo sito e date un’occhiata ai suoi surreali acquarelli prima di leggere le risposte alle domande che le abbiamo fatto.

Ciao Henrietta. Dicci di te, chi sei, cosa ti piace, cosa fai e qualunque altra cosa tu voglia dirci per presentarti.
Vivo ad Auckland, in Nuova Zelanda, e disegno e dipingo tutto il giorno tutti i giorni.

Ho letto sul tuo sito web: “Henrietta ha sviluppato lo stile senza tempo che può essere ottenuto solo avendo occasionalmente intinto un pennello nel caffè di qualcuno, accidentalmente”. Puoi dirci qualcosa di più riguardo il tuo stile?
Mi piace pensare che non seguo le tendenze, è difficile dirlo non potendo osservare il mio lavoro da una prospettiva esterna ma semplicemente esploro il ritratto e la figura umana costantemente attraverso il disegno e la pittura ad acquarello.

Che strumenti usi nel tuo lavoro? Siamo nell’era digitale ma la tua arte ha un aspetto tradizionale, e credo che questa sia una tua qualità.
Matita e acquarello, ecco tutto.

La domanda più classica per un artista: dove trovi l’ispirazione?
In così tanti posti che ho smesso di ricordarmeli.

Perché hai scelto di dipingere i volti nel modo in cui hai fatto per esempio in Crazy, Polo o Flee? E in M Theory abbiamo addirittura due versioni dello stesso ritratto. Cosa volevi comunicare?
Una sensazione di discongiungimento, uno stato di sogno, uno strappo nel tempo.

Perché e come sei diventata un’illustratrice? Ami disegnare principalmente per te, perché senti il bisogno di esprimerti, o per il tuo pubblico, perché vuoi raccontare allo spettatore una storia con ogni nuova opera? Forse entrambi?
Be’, all’inizio era solo per me, l’avrei fatto tutti i giorni indipendentemente dall’avere un pubblico o meno, ma internet ha aperto così tante porte per portare il mio lavoro là fuori, così mi sono ritrovata ad aver voglia di condividere le cose non appena erano finite. Sono un’artista perché non saprei cosa altro potrei fare, è praticamente tutto ciò a cui penso.

Che consiglio daresti ad un giovane artista che vorrebbe migliorare le sue abilità e iniziare a lavorare come illustratore?
Si tratta solo di mettersi al lavoro. Non guardare agli altri artisti e illustratori troppo da vicino, scopri le cose da solo, trova ciò che ti influenza cercando più lontano. I tuoi primi lavori non saranno come li vorresti, i miei certamente non lo erano, ma lentamente prenderanno vita. Continua a disegnare!

Giugno 2014

Interview to Henrietta Harris

inspiration-interview-henrietta-harris-polo

Henrietta Harris is an illustrator from New Zealand who loves surreal portraits. Have a look at her website.

Hi Henrietta. Tell us about you, who you are, what you like, what you do and everything you want to say to introduce yourself.
I live in Auckland, New Zealand and draw and paint all day every day.

I read on your website: “Henrietta has developed the timeless style that can only be achieved by having occasionally dipped one’s paintbrush accidentally in one’s coffee”. Can you tell us more about your style?
I like to think I don’t follow trends, it’s hard to tell not looking at my work from an outside perspective but I’m just constantly exploring portraiture and figure through drawing and watercolour painting.

What tools do you use to work? We are in the digital era but your art looks traditional. And I think this is your quality.
Pencil watercolour paint, that’s about it.

The most classic question for an artist: where do you find your inspiration?
So many places I stop remembering.

Why did you choose to paint faces the way you did for example in Crazy, Polo or Flee? And in M Theory we have even two version of the same portrait. What did you want to communicate?
A feeling of disjointed-ness, a dreamlike state, a glitch in time.

Why and how did you become an illustrator? Do you love to draw mainly for you, because you need to express yourself, or for your audience, because you want to tell your viewer a story with every new piece? Maybe both?
Well originally it was just for me, I’d be doing this every day regardless of having an audience or not, but the internet has opened up so many doors for getting my work out there so I find myself itching to share things as soon as they’re finished. I’m an artist because I don’t know what else I’d possibly do, it’s pretty much all I think about.

What kind of advice would you give to a young artist who want to improve his/her skills and want to begin to work as an illustrator?
It’s simply a matter of putting the work in. Don’t look at other artists and illustrators too closely, discover things for yourself, find influence further afield. Your early work won’t be what you want, mine certainly wasn’t, but it’ll slowly come to life. Just keep drawing!

June 2014

Lo spot Nike per il maratoneta più veloce di sempre

Si chiama Eliud Kipchoge, è keniota e crede che i limiti non esistano. Ma sopratutto è il maratoneta più veloce di sempre. E per celebrare il suo record mondiale, conquistato il mese scorso a Berlino con il tempo di 2 ore, 01 minuto e 39 secondi, la Nike gli ha dedicato uno spot, oltre all’intervista che trovate qui sotto, dalla quale emerge tutta la sua incredibile grinta.

Fonte

Intervista a Cris Wicks

inspiration-cris-wick-intervista

Cris Wicks è un poliedrico artista di Los Angeles, amante della sperimentazione e di innumerevoli tecniche illustrative diverse. Ecco il suo Behance e il suo Vimeo.

Ciao Cris, non sappiamo quasi nulla di te, dicci chi sei, cosa ti piace e qualunque cosa tu voglia farci sapere.
Onestamente non so davvero cosa dire su di me, per me è facile parlare di arte e di creazione ma non sono sicuro di cosa vorrei dire su me stesso.

Adoro i tuoi ritratti tipografici. Raccontaci come li hai creati.
Inizio i ritratti tipografici selezionando una foto da cui partire, poi con la foto in mente compilo le citazioni che mi piacerebbe usare nel ritratto. Se voglio usare uno sfondo fatto col collage cerco e raccolgo vecchi articoli di quotidiani e altri memorabilia cartacei riguardo quella persona. Poi è il momento di iniziare il ritratto. Prima stendo lo sfondo incollando un sacco di memorabilia di carta sulla tela, poi usando pitture acriliche e vernici spray chiazzo e dipingo la carta dei colori desiderati. Per iniziare il volto mi piace dipingere una solida silhouette sopra lo sfondo e poi disegnarci grosso modo i caratteri con la matita. Una volta che i caratteri sono disegnati inizio a dipingere le lettere usando la foto come guida per dare una forma. Lavoro dalle ombre alle luci fino a che il volto emerge completamente. Da qui uso una spatola e gratto gli acrilici per formare i vestiti o i capelli. Alla fine quando il ritratto è fatto verso una finitura di spessa resina epossidica sopra l’intera tela per dare all’opera un aspetto racchiuso, solido, vitreo.

Pittura, collage, spray, stencil, matita e penna su carta, incisione su linoleum, serigrafia e un pizzico di arte digitale: usi un sacco di tecniche differenti. Quale preferisci?
Mi piacciono tutti i mezzi! Non ho nessuna grossa preferenza o uno che mi diverte più degli altri. Mi diverto a sperimentare e imparare nuove tecniche e mi annoierei se ne usassi solo una per troppo tempo. Quindi provo sempre qualcosa di nuovo e combino e mescolo costantemente vari metodi solo per vedere il risultato. La mia mente è alla costante ricerca di nuove tecniche e materiali con cui creare.

Hai dipinto Jimi Hendrix, Bob Marley, Tupac Shakur, John Lennon. Quindi ti piace la musica?
Amo la musica, penso che tutti la amino. Ho trovato molta ispirazione per la vita e l’arte nella musica. Attraverso la musica le parole e i pensieri di una persona guadagnano la loro stessa esistenza, spesso trascendono anche la morte della forma fisica della persona e vivono echeggiando attraverso le future generazioni. La musica è un’incredibile comunicatrice.

I tuoi lavori sono per la maggior parte progetti personali o commissionati? Quale delle due cose preferisci e cosa fai quando non riesci a trovare l’ispirazione?
Passo più tempo a sperimentare con i miei progetti. Faccio pratica e provo nuove idee quotidianamente. Creo tonnellate di lavoro, la maggior parte del quale è abbozzato e sperimentale e finisce per essere ridipinto, messo via da qualche parte, o semplicemente scartato. Faccio anche un sacco di progetti commissionati ma c’è definitivamente più costrizione quando realizzi la visione di qualcun altro. Mi piace creare senza sapere quale sarà il risultato finale, mi diverte vedere un dipinto evolversi liberamente mentre vado avanti. Quando faccio un lavoro commissionato perdo molta di questa libertà e tutto deve essere più controllato e pensato.
Quando non riesco a trovare l’ispirazione leggo, ascolto musica, passeggio per la città, discuto con gli amici, qualunque cosa che nutra la mente. Cerco di esporre me stesso a un sacco di nuove idee e riesanimo le vecchie idee. Faccio girare la mente e faccio in modo che crei nuove connessioni e così spero che l’ispirazione arrivi.

Dicci qualcosa che non sappiamo riguardo la tua arte.
Quasi tutti i dipinti che vedete hanno probabilmente tra i 2 e i 10 altri dipinti sotto di essi. Mi piace il processo creativo dell’arte, il risultato finale non mi interessa molto. Così se sono le 3 del mattino e voglio dipingere qualcosa e in quel momento non ho tele bianche semplicemente tolgo un’opera dal muro e ci dipingo sopra.

Ti capita di sentirti insoddisfatto del lavoro finale? In quel caso cosa fai?
Penso sempre che posso fare meglio ma non mi sento scoraggiato o turbato se non ottengo il risultato che desideravo. Ho insegnato a me stesso come creare sul piano visivo quindi sono abituato a provare un’idea o una tecnica e scombinare tutto. Sfido me stesso a compiere quello che penso di non poter fare e solitamente inciampo lungo la strada. Prendo ogni opera come un’esperienza per imparare. Sono tutti solo esperimenti. Il tempo non è mai sprecato perché tutto mi insegna qualcosa e mi rende migliore. Solitamente scombino tutto quando scopro qualcosa di completamente nuovo. Spesso trovo nuove idee e ispirazione nei miei errori.

L’ultima domanda è quella che non ti hanno mai fatto che vorresti ti facessero. Qual è? E grazie per il tuo tempo.
Mi piacerebbe che qualcuno mi chiedesse di accompagnarlo in un viaggio sulla luna, andata e ritorno. So che probabilmente non è quello che intendevi ma è stata la prima cosa che mi è venuta in mente.

Febbraio 2014

Interview to Cris Wicks

inspiration-cris-wick-interview

Cris Wicks is a talented artist from Los Angeles. This is his Behance profile and this his Vimeo.

Hi Cris. We know almost nothing about you. So tell us who you are, what you like and everything you want us to know.
I honestly don’t really know what to say about myself, it’s easy for me to talk about art and creating but I’m not sure what I would like to say about myself.

I love your typography portraits. Tell us how you created them.
I begin the typography portraits by selecting a photo to work from, then with the photo in mind I compile the quotes I would like to use in the portrait. If I am going to use a collaged background I search for and gather old newspaper articles and other paper memorbillia about the person. Then it’s time to begin the portrait. First I lay down the background by gluing lots of paper memorbillia onto a canvas, then using acrylic paints and spray paints I stain and paint the paper to the desired colors. To begin the face I like to paint in a solid silhouette on top of the background and then roughly draw in the lettering in pencil. Once the lettering is drawn in I begin painting in the letters using the photo as a guide for shading. I work from shadows to highlights until the face fully emerges. From here I use a palette knife and scrape in acrylics to form any clothing or hair. Finally once the painting is done I pour a thick epoxy resin finish over the entire canvas to give the piece an encased, solid, and glassy feel.

Hand painting, collage, spray painting, stencil, pencil and pen on paper, linocut printing, silkscreening and a little bit of digital art: you used a lot of different techniques. What do you prefer?
I like every medium! I don’t have any standing preference or one I enjoy more than others. I enjoy experimenting and learning new techniques and will get bored if I use any one for too long. So I am always trying something new and constantly combining and mixing methods just to see the result. My mind is in a constant search for new techniques and materials to create with.

You painted Jimi Hendrix, Bob Marley, Tupac Shakur, John Lennon. So you love music, don’t you?
I do love music, I think everyone does. I have found much inspiration for life and art in music. Through music a person’s words and thoughts take on their own existence, they often transcend even the death of the person’s physical form and live on echoing through future generations. Music is an incredible communicator.

Your works are mostly personal projects or commissions? What do you prefer and what do you do when you can’t find your inspiration?
I spend more time experimenting with my own projects. I practice and try out ideas daily. I create tons of work, most of it is just rough and experimental and will end up getting painted over, stashed away somewhere, or just thrown out. I do a lot of commissioned projects as well but there is definitely more constraint when creating someone else’s vision. I like to create not knowing what the end result will be, I enjoy watching a painting evolve freely as I go. When doing commissioned work I lose a lot of that freedom and it has to be more controlled and thought out.
When I can’t find inspiration I read, I listen to music, I walk around a city, I have conversations with friends, anything that feeds the mind. I try to expose myself to lots of new ideas and reexamine old ideas. I get the mind turning and making new connections and hopefully some inspiration arises.

Tell us something interesting we don’t know about your art.
Just about every painting you see probably has between 2 and 10 other paintings underneath it. I enjoy the process of creating art, the end result doesn’t interest me as much. So if it’s 3 in the morning and I want to paint something and I have no blank canvases at the moment I will just pull work off the wall and paint right over it.

Does it happen to you to be unsatisfied with the final work? What do you do then?
I always think I can be better but I don’t get discouraged or upset if I don’t get the result I desired. I taught myself how to create visually so I’m used to trying an idea or technique and messing it all up. I challenge myself to accomplish what I think I can’t do and I usually stumble along the way. I take every piece as a learning experience. It’s all just experiments. No time is ever wasted because it all teaches and makes me better. My mess ups are usually when I discover something completely new. I often find new ideas and inspiration in my mistakes.

The last question is one that no-one has asked you but that you would like to be asked. What is it? And thank you for your time.
I would love it if someone asked me to accompany them on a round trip to the moon and back. I know that’s probably not what you meant but it was the first thing that came to mind.

February 2014

Le torte geometriche di Dinara Kasko

Le torte di Dinara Kasko sono bellissime e fanno anche venire l’acquolina. Date uno sguardo alla gallery Instagram della pasticcera ucraina che ha inventato nuove golosissime forme. E se avete ancora fame ecco anche le mirror marble cakes di Olga Noskova (qui) e le incredibili creazioni di Cedric Grolet (qui).

Fonte

Interview to Daniel Lieske

Daniel Lieske is a german digital artist you should know. Take a look here.

Hi Daniel. Tell us something we can’t read in your biography, something that could have influenced your art: what you like, what music you listen, what books you read, and so on.
Well, I guess you could generally say that I’m enjoying artwork – paintings, music, movies, books – that have an impressionistic core. I love the films of Ridley Scott for his play with light and I listen to a lot of classic music, especially from Debussy, Ravel and Vaughan Williams. I read H.P. Lovecraft and among my favorite painters are Frank Frazetta, John Berkey and Alphonse Mucha. I think that all these artists have found a way to let the audience feel an impression of their world views. And these views are never precise, always shrouded by shadows or blinding light, sunken in a vail of smoke and haze and they always retain a quality of mystery. I’m striving for these qualities myself and it’s very hard to find the right balance.

What about your art education? Where have you studied? Do you think you can learn more from studying or practicing?
I’m not educated at all. I’ve learned everything by experimenting and by simply doing. I’m drawing since I’m a little boy and I constantly tried to get better at it. Drawing is the core of all visual art and from and if you can draw, you can do everything else. I’ve also always been fascinated by computers and the things you can do with them. I started with the very first graphic programs that emerged on computers like the Atari ST or the Commodore Amiga and I followed the development ever since. If you’re starting with computer graphics today you must be overwhelmed by all the possibilities. It helps a lot to have watched the evolution of all the techniques. On the other hand it might be helpful to not know where things came from. It prevents you from thinking in old fashioned categories.

There is something you didn’t do yet and you would like to do?
I’m currently doing what I want to do the most. But this is not to say that I wouldn’t enjoy to try other things, too. If I weren’t doing visual art I would probably compose music. That’s my second strongest interest.

In the second chapter of your Wormworld Saga the narrator says “I often contemplate the enigmatic qualities of art. I’ve been drawing my whole life, but I don’t think I’ve ever fully understood how it works.”. This is an autobiographical consideration? Do you think art is enigmatic, even for an artist?
Art is a twisted thing because my feeling is that the more you learn about it, the less you know. That’s what I try to express with the lines you quoted. I will never again be such a good artist as I have been as a kid because back then I created everything without any goals in mind. My drawings might not have looked good but they came to life for me easily. As an adult you can’t fight the urge to give meaning to everything. I’m a pedant and I’m very analytic. I try to understand the world through logic and this sometimes gives me a hard time when I’m working with colors and compositions. I have to admit to myself that my best work emerges when my conscience is muted down. I often come to a point where I see the result of a painting session and can’t explain to myself how it came together. That sometimes can drive me crazy.

Does it happen to you to have no inspiration? If does, what do you do?
It often happens that I have little inspiration to do the work that I’m SUPPOSED to do at that specific moment. In the past I’ve tried to push myself through these creative lows with very mediocre results. Over the years I’ve learned that inspiration fails me if I don’t know enough about my subject. For example, if I’m supposed to write a dialog between two characters and I don’t feel inspired to write it I turn towards the characters themselves and try to define them better. And then creativity is often coming back and I come up with all these details about the characters and that way I get them to know better. And normally, when I’ve got really close to the characters I can feel an urge to write the dialog that I wasn’t able to write before. Creative block often is a signal that something is standing in your way. Taking a step aside and finding another path is my strategy.

Do you read comics? What cartoonists do you like?
I don’t read a lot of comics. As a kid I read “Asterix” and as a teenager “Akira”. I also like to read “Hellboy” but only the books that Mignola illustrated himself. His visual language for me is the strongest part of his work and for me his writing doesn’t work quite as well with other artists. Apart from that I’m not reading a lot of comics.

Do you ever use traditional tools like paper, paint and brushes?
I occasionally draw with pencil on paper on conventions or to create originals for sale. But for my published work I prefer to work digitally as this gives me all possibilities and saves a lot of time.

Tell us how you create every new chapter of your graphic novel Wormworld. Do you write a script, or screenplay, first? I said “screenplay” because I think that your work has a cinematographic approach, am I wrong?
I normally don’t write the chapter in text form. I create a sort of storyboard in which I fill in the texts. Storytelling is a very visual thing for me and I just can’t separate the visuals from the text. I’m editing the texts inside the storyboard, often changing, adding or removing panels, and if everything works I begin to illustrate the different panels.

How many people are collaborating to create Wormworld Saga? How long is, for example, the creation of a single chapter?
I’m writing and illustrating the German edition of the story. Then there’s two people who help me with the English translation, two people who are working on the Spanish translation and the French translation is handled by a friend. It takes about 4 months to complete one chapter of the Wormworld Saga. As soon as it is published, there is also a growing group of fans from all over the world working on additional translations. And there’s a volunteer layout assistant who helps to layout all these translations.

The last question is one that no-one has asked you but that you would like to be asked. What is it? And thank you for your time.
That’s really tough. I guess I generally would love to talk more about the actual story of the Wormworld Saga. However, I realize that the story isn’t advanced far enough to justify deeper discussions about it. But that’s part of my motivation. I really want to finish my story so that people will be able to talk about it. I’m looking forward to that!

October 2013