Fabulous NobleFabulous Noble | Fabulous Noble http://fabulousnoble.com Graphic Vanity Wed, 22 May 2013 10:54:17 +0000 en-US hourly 1 http://wordpress.org/?v=3.4.2 A brief history of portraiture http://fabulousnoble.com/a-brief-history-of-portraiture/ http://fabulousnoble.com/a-brief-history-of-portraiture/#comments Thu, 16 May 2013 11:10:59 +0000 admin http://dev.ponto.ws/noble/?p=33 Portraits have been around since the beginning of time as a means to describe not only physical features but more importantly power and status. Testaments of portraiture as a genre can be seen as early as Ancient Egyptian wall paintings of gods and pharaohs. Ancient Greeks also had fascination with portraiture, mostly in its sculpted form, representing both gods and lay people (who through art were elevated to the status of a deity). Romans followed a similar tradition borrowing motifs from Ancient Egypt and Greece and developing a flair for portrait busts of key power personalities. Ancient Greek and Romans were also the ones who started the tradition of depicting figure-heads on coins. During the Middles ages portraiture declined and was strictly confined to donor portraits. The Renaissance saw the re-invention of portraiture in its modern sense and is a pivotal moment in the history of the genre. Predominately portraying royals, nobles, and religious figures, Renaissance portraits concentrated on the status and personality of the sitter through the depiction of objects of characterisation (such as a globe for a well-travelled sitter). Italian painters dominated at the time while the Baroque and Rococo periods saw the predominance of Flemish and Spanish [...]

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]]> Portraits have been around since the beginning of time as a means to describe not only physical features but more importantly power and status. Testaments of portraiture as a genre can be seen as early as Ancient Egyptian wall paintings of gods and pharaohs. Ancient Greeks also had fascination with portraiture, mostly in its sculpted form, representing both gods and lay people (who through art were elevated to the status of a deity). Romans followed a similar tradition borrowing motifs from Ancient Egypt and Greece and developing a flair for portrait busts of key power personalities. Ancient Greek and Romans were also the ones who started the tradition of depicting figure-heads on coins. During the Middles ages portraiture declined and was strictly confined to donor portraits.

The Renaissance saw the re-invention of portraiture in its modern sense and is a pivotal moment in the history of the genre. Predominately portraying royals, nobles, and religious figures, Renaissance portraits concentrated on the status and personality of the sitter through the depiction of objects of characterisation (such as a globe for a well-travelled sitter). Italian painters dominated at the time while the Baroque and Rococo periods saw the predominance of Flemish and Spanish artists. In Britain the early to mid 18th century saw the rise of artists such as Sir Joshua Reynolds with historical portraiture, while later on in the 1800s Pre-Raphaelites became the dominant force. The 19th and early 20th century are characterised by a multiplicity of art movements from the pre- realism, to impressionism, to cubism. Portraits during these times opened up to include the bourgeoisie and many times to include the immediate circle of artists, as well as nameless models. In the mid 20th century pop art developed a fascination for celebrity portraits, with Andy Warhol as its master, which has continued to the present day. From the ‘60s onwards photography takes over portraiture by the storm, due to its immediacy, developing many different trends.

The 21st century is yet to be defined by a style of portraiture, but at Fabulous Noble we believe that contemporary portraits will be defined by new media; much in the same way that the art world is developing. We believe that the potential for utmost creativity and excellence resides in illustration and design, which is neither a saturated field nor one that’s been defined and perfected by old masters. Illustrators and graphic artists have gained momentum in the past decade and represent the pulse of both the art world and the media world. Fabulous Noble serves as a platform to make their art more accessible to the public.

Eleni Markopoulioti

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]]> http://fabulousnoble.com/a-brief-history-of-portraiture/feed/ 0 Portrait of Sunil Pawar http://fabulousnoble.com/portrait-of-sunil-pawar/ http://fabulousnoble.com/portrait-of-sunil-pawar/#comments Wed, 15 May 2013 14:59:27 +0000 fabulousnoble http://fabulousnoble.com/?p=2061 Music, fashion, and visual clashes are two major sources of inspiration for contemporary artist Sunil Pawar. He mixes spray paint and acrylics to create bold and brash imagery that engages the viewer into a discussion about meaning and aesthetics. What was the first ad or artwork that inspired you? Eduardo Paolozzi’s amazing installation at Tottenham Court Road underground station. Can you outline your creative background? The highlight was winning first place at a class watercolour competition at Junior School in 1986. It was a painting of a milk float. Where do you find your inspiration? What captures your attention in everyday life, graphics or art? I tend to get inspired by the fashion/architecture and design world. What is the process you go through to build your imagery? For actual physical paintings I always start on paper, sketching ideas, notes etc. then that all goes into the computer where I can play about with placement, experiment with colours etc, I then sketch the results onto the canvas and start painting..it’s a bit of a long winded process but it works… For digital pieces I paint, sketch, scan and compose in Photoshop. How do you describe your style? Futuristic, but with a [...]

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]]> Music, fashion, and visual clashes are two major sources of inspiration for contemporary artist Sunil Pawar. He mixes spray paint and acrylics to create bold and brash imagery that engages the viewer into a discussion about meaning and aesthetics.

What was the first ad or artwork that inspired you?

Eduardo Paolozzi’s amazing installation at Tottenham Court Road underground station.

Can you outline your creative background?

The highlight was winning first place at a class watercolour competition at Junior School in 1986. It was a painting of a milk float.

Where do you find your inspiration? What captures your attention in everyday life, graphics or art?

I tend to get inspired by the fashion/architecture and design world.

What is the process you go through to build your imagery?

For actual physical paintings I always start on paper, sketching ideas, notes etc. then that all goes into the computer where I can play about with placement, experiment with colours etc, I then sketch the results onto the canvas and start painting..it’s a bit of a long winded process but it works…

For digital pieces I paint, sketch, scan and compose in Photoshop.

How do you describe your style?

Futuristic, but with a traditional approach to composition.

What tools do you use? Digital? Hand?

Emulsions, protractors, set squares, T-squares, ink pens, markers, acrylics, gold leaf, copper leaf, spraypaint, brushes, rollers, canvas, incendiary devices, sander, iron, mitre saw, photoshop, vodka, dyeline prints, drill, swiss army knife, tracing paper, scanner, printers, grid paper, knives, masking tape, varnishes, cardboard and a kettle (for my tea)

How do you define good graphic art?

An image clever enough to communicate a message to the viewer in seconds, but visually interesting enough to be appreciated long after…

What does your studio look like?

I try and keep everything as organised as possible.

It is also imperative that it is stocked with a full biscuit barrel at all times.

Whose portrait would you most like to do?

Anyone who wears a strong story on their face.

What project are you most proud of?

My work with Junya Watanabe / Comme Des Garcons, it’s a good feeling to work with someone whose creative vision you respect.

What is the last exhibition you went to?

The Bauhaus show at The Barbican.

If you could own any artwork in the world, which one would it be?

The Hermits. Egon Scheile

What would you be if not an artist?

respectable

What are three adjectives that best describe you?

awake awake awake

What are you currently working on?

A commissioned life size portrait of a famous baseball player.

Any plans for the future?

Getting some sleep

See Sunil’s works here

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]]> http://fabulousnoble.com/portrait-of-sunil-pawar/feed/ 0 Portrait of ROBERT NIPPOLDT http://fabulousnoble.com/portrait-of-robert-nippoldt/ http://fabulousnoble.com/portrait-of-robert-nippoldt/#comments Fri, 12 Apr 2013 10:53:47 +0000 fabulousnoble http://fabulousnoble.com/?p=2907 How did you become an Illustrator?  Since I was a kid I was drawing all the time, mostly scenarios and portraits – hidden caricatures of the teachers on school tables – on travels, in supermarkets, cafés, simply anywhere, and even as a court sketch artist for newspapers. Then I went to Münster, Germany, to study graphics and illustration at the University of Applied Sciences. My degree project was a book called “Gangster. The Bosses of Chicago”. It luckily found its way to a publisher, so I focused on illustrations for books. What was the first ad or artwork that inspired you? The drawings of my older and more talented sister Astrid. I remember the day when she let me draw the smoke of her car-picture. I was three years old and really proud to do it. Can you outline your creative background? Before I focused on illustration I went trough different fields of design at university. Photography, sculpture, animation, web design, typography, product design. I always loved to work in a team, so together with my sister Astrid and my fiancée Christine we founded “Studio Nippoldt” in 2011. Astrid is mainly a video artist and Christine more specialized on children‘s books. The [...]

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]]> How did you become an Illustrator? 

Since I was a kid I was drawing all the time, mostly scenarios and portraits – hidden caricatures of the teachers on school tables – on travels, in supermarkets, cafés, simply anywhere, and even as a court sketch artist for newspapers. Then I went to Münster, Germany, to study graphics and illustration at the University of Applied Sciences. My degree project was a book called “Gangster. The Bosses of Chicago”. It luckily found its way to a publisher, so I focused on illustrations for books.

What was the first ad or artwork that inspired you?

The drawings of my older and more talented sister Astrid. I remember the day when she let me draw the smoke of her car-picture. I was three years old and really proud to do it.

Can you outline your creative background?

Before I focused on illustration I went trough different fields of design at university. Photography, sculpture, animation, web design, typography, product design. I always loved to work in a team, so together with my sister Astrid and my fiancée Christine we founded “Studio Nippoldt” in 2011. Astrid is mainly a video artist and Christine more specialized on children‘s books. The teamwork is very inspiring.

Where do you find your inspiration? What captures your attention in everyday life, graphics or art?

I am a very social person, so the most inspiring thing to me is to experience life together with other people.

Besides that of course all evident types of “cultural products” such as books, catalogues, exhibitions, photos, posters and movies are part of a pool of inspiration. I never watch TV by the way, and if I do, it’s only for live sports events…

What is the process you go through to build your imagery?

Whenever I draw a portrait, I try to figure out the character of the person. Before I start sketching and finally drawing the portrait I read about the person, look at photos and study all available footage material. And I always discuss the results with my two partners.

How do you describe your style?

Graphically, straight, reduced, rich in contrast and in the retro-style of the early/mid  20th century.

What tools do you use? Digital? Hand?

It is a combination of both. First skribbles are done with pencil, than the portrait with ink. The corrections, colour and finalization with a digital Pen Tablet.

How do you define good graphic art?

I love interesting perspectives, a precise setting of light and shadow and an interaction between illustration and typography.

What does your studio look like?

It looks a bit like the office of J.R. Ewing.

What do you think about the fast moving pace of the world of illustration?

That doesn’t effect me very much. I am simply not very interested in hit-and-run illustrations. I am concentrating rather on my own creative research. My inspirations come mostly from historical and vintage imagery.

Whose portrait would you most like to do? 

Usain Bolt, Barack Obama and the footballteam of Borussia Dortmund

What artist would you like to collaborate with (from the past or present)?

David Hockney, Henri de Tolouse-Lautrec, Aubrey Beardsley

What project are you most proud of? 

My three books about America of the 20s and 30s: “Gangster”, “Jazz” and “Hollywood”. It took me six years to create them, and in the formation phase I often cursed the projects. But at the end I was so happy to hold them in my hands and so lucky to win a number of awards with them.

Which blogs and magazines do you read?

ZEIT (culture, politics), Novum (graphics) and Kicker (football)

What is the last exhibition you went to?

Fischli & Weiss in Berlin.

If you could own any artwork in the world, which one would it be? 

The Diamond Skull of Damien Hirst

What would you be if not an artist?

Kids animator, musician, diving teacher, actor

What are three adjectives that best describe you?

positive, ambitious, good sleeper

What are you currently working on?

A book about “Berlin in the 20s” for TASCHEN.

Any plans for the future?

Get married and keep happy

 

Have a look at Robert’s works here

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]]> http://fabulousnoble.com/portrait-of-robert-nippoldt/feed/ 0 Illustration: then to now http://fabulousnoble.com/a-brief-overview-of-the-history-of-illustration/ http://fabulousnoble.com/a-brief-overview-of-the-history-of-illustration/#comments Mon, 01 Apr 2013 10:23:34 +0000 admin http://fabulousnoble.com/?p=411 Have you ever wondered what was the first type of illustration? It actually goes all the way back to cave paintings where men and women used the cave walls to illustrate their daily activities. Book illustration came after the invention of the printing press but the Japanese and Chinese cultures had already used woodcuts to accompany hand written books. Delicate illustrations can also be found in western religious manuscripts. The 17th and 18th centuries are a seminal time in the history of illustration as etchings, engravings, and lithographs allowed for a speedier process and the ability to reach a wider audience. Britain nurtured the talent of many world-renowned illustrators like William Hogarth, who concentrated on socio-satirical themes; William Blake, who is best known for his religious engravings; and George Cruickshank, who created the illustrations for Charles Dickens’ books. The late 1800s and early 1900s are considered the golden age of illustration with numerous works appearing in books and magazines, both in Europe and America. In Europe a multiplicity of styles developed drawing influences from the art of the time, as well as the arts and crafts movement, and art deco. Walter Crane was at the forefront of the golden age [...]

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]]> Have you ever wondered what was the first type of illustration? It actually goes all the way back to cave paintings where men and women used the cave walls to illustrate their daily activities. Book illustration came after the invention of the printing press but the Japanese and Chinese cultures had already used woodcuts to accompany hand written books. Delicate illustrations can also be found in western religious manuscripts.

The 17th and 18th centuries are a seminal time in the history of illustration as etchings, engravings, and lithographs allowed for a speedier process and the ability to reach a wider audience. Britain nurtured the talent of many world-renowned illustrators like William Hogarth, who concentrated on socio-satirical themes; William Blake, who is best known for his religious engravings; and George Cruickshank, who created the illustrations for Charles Dickens’ books.

The late 1800s and early 1900s are considered the golden age of illustration with numerous works appearing in books and magazines, both in Europe and America. In Europe a multiplicity of styles developed drawing influences from the art of the time, as well as the arts and crafts movement, and art deco. Walter Crane was at the forefront of the golden age with rather traditional romantic illustrations influenced by the pre-Raphaelites. British illustrators became very popular for their children’s books illustrations.  Almost every child must have read the Peter Rabbit tale and seen the beautiful watercolours by Beatrix Potter. The mysterious stories by the Grimm brothers were also heavily illustrated with dark images by the hand of Arthur Rackman. The American illustration scene was taken over by Brandywine School illustrators who studied under Howard Pyle and created works of romantic or adventure themes.

During the troubling times of the two world wars the work of illustrators was centred on propaganda posters and flyers. In the 1950s the Push Pin Studios were founded by Seymour Chwast, Milton Glaser, Reynold Ruffins, and Edward Sorel. The collective is one of the most popular graphic design and illustration studios in the world that has influenced a variety of artists and has also contributed to the field with its bi-monthly publication, Push Pin Graphic, which run from 1955 to 1981. The studio exists till today under the direction of Seymour Chwast.

From the 1970s onwards the growing development of photography made illustration take a back stage role and lose its place in the market. Photography became the dominant medium used in the media world and it also took over the art scene. The late 20th century was a very bad period for illustration, however, the constant evolution of computers and the introduction of software like Photoshop, InDesign, and Illustrator have allowed for the re-invention of illustration. The capabilities of such software, the increasingly digital nature of the media world, as well as the globalised nature of today’s market has allowed illustrators and graphic artists to take the reign again. The past decade has seen the refocus on the digital graphic arts and the continued expansion of the field. Graphic artists are not only gaining momentum in the media world but also in the art field with artists such as Julian Opie carving out the field for many others, and dedicated fairs, like Pick Me Up filling up the art calendar.

Fabulous Noble Team

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]]> http://fabulousnoble.com/a-brief-overview-of-the-history-of-illustration/feed/ 0 Portrait of Tara Hardy http://fabulousnoble.com/portrait-of-tara-hardy/ http://fabulousnoble.com/portrait-of-tara-hardy/#comments Fri, 15 Mar 2013 05:53:38 +0000 admin http://dev.ponto.ws/noble/?p=1 Tara Hardy’s works are nostalgic digital collages composed of vintage images and old materials that she has collected through the years. Her collages are not just illustrations but stories that seduce the viewer into daydreaming. Her pure and romantic style has made her a strong voice in the world of illustration. How did you become an Illustrator? I went for an interview for a graphic design position for a magazine; instead I was hired to do an illustration. It was the first work ever published of mine. That same illustration was nominated for best spot illustration for the National Magazine Awards Foundation for Canada. I thought it was a sign. What was the first ad or artwork that inspired you? I always loved the Absolute Vodka ads. They were memorable, always changing and beautifully done. Can you outline your creative background? It really was a natural evolution. I have been creating with collage since I was a child. I studied Fine Arts, Illustration and Design as well as Graphic Design. Collage was the way to combine everything without giving anything up. Where do you find your inspiration? What captures your attention in everyday life, graphics or art? I love music [...]

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]]> Tara Hardy’s works are nostalgic digital collages composed of vintage images and old materials that she has collected through the years. Her collages are not just illustrations but stories that seduce the viewer into daydreaming. Her pure and romantic style has made her a strong voice in the world of illustration.

How did you become an Illustrator?

I went for an interview for a graphic design position for a magazine; instead I was hired to do an illustration. It was the first work ever published of mine. That same illustration was nominated for best spot illustration for the National Magazine Awards Foundation for Canada. I thought it was a sign.

What was the first ad or artwork that inspired you?

I always loved the Absolute Vodka ads. They were memorable, always changing and beautifully done.

Can you outline your creative background?

It really was a natural evolution. I have been creating with collage since I was a child. I studied Fine Arts, Illustration and Design as well as Graphic Design. Collage was the way to combine everything without giving anything up.

Where do you find your inspiration? What captures your attention in everyday life, graphics or art?

I love music and nature. I think birds are interesting. My dogs inspire me. Travel is a great way to open up the senses. Also, reading is a big passion. Having purpose in life and collecting old imagery.

What is the process you go through to build your imagery?

I have a large inventory of old material. The nicer the photos are to me, the more inspired I feel. I try to keep the pieces as natural as possible and I will build their stories in PhotoShop.

What are you currently working on?

I just finished a piece for a University here in Canada.

How do you describe your style?

Collage, using many different materials and textures.

What tools do you use? Digital? Hand?

Paint, collage, drawing, photos…

What do you think about the fast moving pace of the world of illustration?

It creates opportunity. And with more opportunity; more artists, there is more competition. I work quickly, so it suits me well.

Whose portrait would you most like to do?

Someone I admire. There are some great people out there doing amazing things. There are people fighting for justice for humanity, other living beings and the environment. Chris Hedges (a journalist and writer) and Shiv Chopra (a scientist and whistleblower) are some examples. Also, Paul Watson, the founder of the Sea Shepherd Conversation Society.

What artist would you like to collaborate with (from the past or present)?

Frida Kahlo. I find her fascinating and rebellious.

What project are you most proud of?

Honens. The image was resold for a restaurant in New York City. It will be opening in the fall, not too far from Times Square.

Which blogs and magazines do you read?

There are many. I am very passionate about politics and current events. I also believe there is a lot of propaganda. Using the net as a tool gives us the ability to do plenty of research to find the truth about anything. I also enjoy Psychology Today magazine. Psychology is also very interesting.

What is the last exhibition you went to?

It was in Scotland. David Mach. He is a collage artist. It was incredible.

If you could own any artwork in the world, which one would it be?

A Picasso. I would sell it and contribute in ways that could make a difference.

Any plans for the future?

I wish to see more of the world.

 

Have a look at Tara’s works here

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]]> http://fabulousnoble.com/portrait-of-tara-hardy/feed/ 0 Portrait of Danilo Agutoli http://fabulousnoble.com/portrait-of-danilo-agutoli/ http://fabulousnoble.com/portrait-of-danilo-agutoli/#comments Thu, 21 Feb 2013 11:23:25 +0000 fabulousnoble http://fabulousnoble.com/?p=2828 “I have been drawing all my life, and than seven years ago I started to put my stuff on line, and it just happened, magazines and clients started to contact me and… MAGIC, I was an Illustrator!” What was the first ad or artwork that inspired you? From my early school years I always loved the painting work of the super classic Michelangelo, and I still do. That was my first big hit. Can you outline your creative background? I didn’t do any art school, just loved to draw. So every time I saw something that I liked, I tried to develop my personal way to do that thing. Where do you find your inspiration? What captures your attention in everyday life, graphics or art? Everything. When I see the world around me, I actually think in terms of ‘drawability’, how can I draw that tree, and how nice would be to re-interpret in a certain style the bicycle of that guy. What is the process you go through to build your imagery? Pointillism, or stippling if you like, is pretty an accurate technique. I usually trace with a pencil the main contours in order to respect proportions, and than [...]

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]]> “I have been drawing all my life, and than seven years ago I started to put my stuff on line, and it just happened, magazines and clients started to contact me and… MAGIC, I was an Illustrator!”

What was the first ad or artwork that inspired you?

From my early school years I always loved the painting work of the super classic Michelangelo, and I still do. That was my first big hit.

Can you outline your creative background?

I didn’t do any art school, just loved to draw. So every time I saw something that I liked, I tried to develop my personal way to do that thing.

Where do you find your inspiration? What captures your attention in everyday life, graphics or art?

Everything. When I see the world around me, I actually think in terms of ‘drawability’, how can I draw that tree, and how nice would be to re-interpret in a certain style the bicycle of that guy.

What is the process you go through to build your imagery?

Pointillism, or stippling if you like, is pretty an accurate technique. I usually trace with a pencil the main contours in order to respect proportions, and than start stippling with an ink pen. When I draw portraits I always start with the eyes, and with the eyes done I already can tell if I am respecting the resemblance.

How do you describe your style?

As I said, is usually called stippling, or pointillism, very old drawing style. Personally I like to add something to this style, I like to give more contrast light/shadow to the portrait, and a thick outline also, to give a stronger impact to the figure.

What tools do you use? Digital? Hand?

I draw by hand only. Pencil and ink pen most of all. And a lot of patience

How do you define good graphic art?

In my opinion it can’t be defined, good graphic art is good graphic art. For me, for someone else it might be crap. But I don’t care. I still like what I like.

What does your studio look like?

I just moved to Stockholm, so my studio is quite empty and blank: for now I have a big desk in OSB wood, that I love, a cheap table-lamp from IKEA, a laptop and a scanner, and lots of pencil, pens, paper. Ah yes, and coffee cups a bit everywhere.

What do you think about the fast moving pace of the world of illustration?

I am amazed. I can’t believe that amount of new stuff I see everyday, and I would like to be able to master all of these new techniques. I will one day, if they ever find a way to become immortal.

Whose portrait would you most like to do?

All of them!

What artist would you like to collaborate with (from the past or present)?

I would pay with my own blood to collaborate in any of the Beatles LP covers, no matter who did them. Especially I am very jealous of what a genius was Klaus Voorman when he designed the REVOLVER album cover.

What project are you most proud of?

I love my Beatles Cover Project – I basically re-drew all the Beatles cover with my own style. I took me ages, but it looks cool on my living room wall!

Which blogs and magazines do you read?

I am a Tumblr addicted, which means I follow hundreds of blogs and online magazines about graphic and geek stuff.

What is the last exhibition you went to?

Secret Love – exhibition on the theme of taboo love in China – Stockholm, Östasiatiska Museet

If you could own any artwork in the world, which one would it be?

Any large format photo by photographer Marc Harrold, from his Beach Project, but they are quite expansive for me.

What would you be if not an artist?

Bored.

What are three adjectives that best describe you?

Stubborn – fascinated – precise.

What are you currently working on?

I started collaboration with a Spanish magazine, currently working on a portrait.

Any plans for the future?

I have a small silk-printing Lab back in Italy, and I would like to find people interested in something like this here in Sweden.

 

See Danilo’s profile here

 

 

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]]> http://fabulousnoble.com/portrait-of-danilo-agutoli/feed/ 0 Welcome to Fabulous Noble http://fabulousnoble.com/welcome-fabulous-noble/ http://fabulousnoble.com/welcome-fabulous-noble/#comments Mon, 28 Jan 2013 12:20:14 +0000 admin http://dev.ponto.ws/noble/?p=35 Fabulous Noble is a new creative company that offers you the unique service of commissioning bespoke portraits created by some of the world’s leading illustrators & graphic artists. If you would like to create a striking piece of portraiture then Fabulous Noble would love to work with you. We also hope that the Fabulous Noble editorials will give you an insight into the new developments of contemporary illustration and graphic design. Have a look at our gallery of artists and find out who seduces you! Become a Fabulous Noble, Pierre-Andre Illustration: Berto Martínez

The post Welcome to Fabulous Noble appeared first on Fabulous Noble.

]]> Fabulous Noble is a new creative company that offers you the unique service of commissioning bespoke portraits created by some of the world’s leading illustrators & graphic artists.

If you would like to create a striking piece of portraiture then Fabulous Noble would love to work with you.

We also hope that the Fabulous Noble editorials will give you an insight into the new developments of contemporary illustration and graphic design.

Have a look at our gallery of artists and find out who seduces you!

Become a Fabulous Noble,

Pierre-Andre

Illustration: Berto Martínez

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]]> http://fabulousnoble.com/welcome-fabulous-noble/feed/ 0 Portrait of Carne Griffiths http://fabulousnoble.com/in-conversation-with-carne-griffiths/ http://fabulousnoble.com/in-conversation-with-carne-griffiths/#comments Sat, 12 Jan 2013 15:03:37 +0000 fabulousnoble http://fabulousnoble.com/?p=2722 “For me being an artist is about bringing together all the things that make you unique as a person and applying them to your work – it demands honesty and quite often means flying in the face of trends.” Can you outline your creative background? I have always had an interest in drawing – from 4 years old I was fascinated by learning to draw dogs, tessellating triangle spaceships and trees.  I missed doing art at school and started again at 17, going on to do a foundation and then studying Illustration at Kent Institute of Art and Design in Maidstone now UCA. After graduating I moved to London and soon after started training as an embroidery designer for a company that produced beautiful hand crafted items. They had an incredible history – dating back to 1757, and I served an apprenticeship as a gold wire embroidery draftsman with learning from someone who had perfected his craft over a 50+ year career. In 2010 I made the leap into the world of fine art and illustration, I still do not like to separate the two. It’s been an incredible journey so far and it is fun to watch how the [...]

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]]> “For me being an artist is about bringing together all the things that make you unique as a person and applying them to your work – it demands honesty and quite often means flying in the face of trends.”

Can you outline your creative background?

I have always had an interest in drawing – from 4 years old I was fascinated by learning to draw dogs, tessellating triangle spaceships and trees.  I missed doing art at school and started again at 17, going on to do a foundation and then studying Illustration at Kent Institute of Art and Design in Maidstone now UCA. After graduating I moved to London and soon after started training as an embroidery designer for a company that produced beautiful hand crafted items. They had an incredible history – dating back to 1757, and I served an apprenticeship as a gold wire embroidery draftsman with learning from someone who had perfected his craft over a 50+ year career. In 2010 I made the leap into the world of fine art and illustration, I still do not like to separate the two. It’s been an incredible journey so far and it is fun to watch how the work has developed over a 3 year period.

What was the first artwork or ad that inspired you?

I was fascinated by Escher when I was younger – we had a piece of his in the back room when we lived up in Ormskirk. I remember being intrigued by the optical trickery and the execution of the work – for a long while my tastes were very technical – later I discovered the work of a number of outsider artists that changed my perception of creativity.

Where do you find your inspiration? What captures your attention in everyday life, graphics or art?

In daily life really, in people, in nature, in assessing how we live our lives and are affected by the society we have created.  When I left my full time job my aim was to return to simplicity – I don’t think I have moved to far towards this yet.  I have a love for the natural world, for embellishment, and for surface pattern – for me being an artist is about bringing together all the things that make you unique as a person and applying these to your work – it demands honesty and quite often means flying in the face of trends.

What is the process you go through to build your imagery?

I allow chance to play a major part – I begin with an image or idea that leaves scope for interpretation but I enjoy the flexibility of allowing the work to make it’s own path. I like to combine very fine details and patterns with loose and expressive marks – I find that one without the other just doesn’t work.  Expressive marks often need refinement and tight detail often lacks energy and feeling; by combining them I feel a balance in the work.

What tools do you use?

I work with tea, ink, and graphite on watercolour paper.  I find it interesting that people are more and more surprised by artists working with traditional tools.

How do you describe your style?

I think it’s an ethereal style that acknowledges both illustrative and fine art influences

How do you define good art?

Good art must stir emotion in the viewer and cause a reaction of some sort.

Whose portrait would you most like to do?

Definitely Stuart Goddard, or as he is better known Adam Ant.

What artist would you like to collaborate with (from the past or present)?

I would love to collaborate with Andre Masson or Paul Klee – incredible artists with a huge respect for line.

What project are you most proud of?

I enjoyed working with Rankin’s images for Hunger Magazine but an upcoming project looks as though it will be the biggest challenge for my work – it’s the most ambitious work to date and I hope to be able to share it later in the year.

Which blogs and magazines do you read?

I readHi Fructose, Colossal, and Fad – of course, then a range of fashion magazines, Art of England, and cycling mags.

What is the last exhibition you went to?

I saw the 100 Drawings exhibition at the Tate Liverpool over Christmas, great show with a variety of work exploring the notion of drawing in contemporary art.

If you could own any artwork in the world, which one would it be?

Any work by André Masson.

What would you be if not an artist?

I think I’d be a technical draftsman – sorry – I just can’t imagine not drawing..

What are three adjectives that best describe you?

Dedicated, enthusiastic, energetic.

What are you currently working on?

Just finished work for ‘Trailblazers’ exhibition at ‘Above Second’ gallery in Hong Kong, curated by Coates and Scarry and I am currently putting together a solo show and planning pieces for a book by an American Author, can’t say more but it’s going to be an exciting year.

Any plans for the future?

Showing in Milan in the Summer and hopefully in Los Angeles late in the year – then I think a break is in order!

 

 

See Carne’s profile here

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]]> http://fabulousnoble.com/in-conversation-with-carne-griffiths/feed/ 0 Berto Martínez for NIKE http://fabulousnoble.com/berto-martinez-illustrating-the-barcelona-football-team-for-nike/ http://fabulousnoble.com/berto-martinez-illustrating-the-barcelona-football-team-for-nike/#comments Thu, 10 Jan 2013 14:57:27 +0000 fabulousnoble http://fabulousnoble.com/?p=1937 Berto Martínez and Chidy Wayne created an illustration series of the Barcelona football team for Nike. Check out this video to learn a little more about their process and how they managed to express the emotional charge of the players.   See more of Berto Martínez’ works here     

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]]> Berto Martínez and Chidy Wayne created an illustration series of the Barcelona football team for Nike. Check out this video to learn a little more about their process and how they managed to express the emotional charge of the players.

 

See more of Berto Martínez’ works here 

 

 

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]]> http://fabulousnoble.com/berto-martinez-illustrating-the-barcelona-football-team-for-nike/feed/ 0 Illustration vs Photography http://fabulousnoble.com/illustration-vs-photography/ http://fabulousnoble.com/illustration-vs-photography/#comments Mon, 17 Dec 2012 10:33:24 +0000 fabulousnoble http://fabulousnoble.com/?p=2302 For a long time photography has been the king of the commercial and publishing world ruling over magazines and ad campaigns. But in the past few years illustration has been challenging this rule and we have finally seen its ascension to the throne. There are many reasons why photography has been at the forefront of the commercial word – note that it has also followed a very similar course in the artworld – but primarily it’s because photographs communicate with the viewer in a direct manner. Photographs are “easy” to understand in visual terms as they are composed of elements found around us and more importantly they allow viewers to envision themselves in the photograph. The digital nature of contemporary photography has also helped to further this phenomenon as it has strengthened even more its immediacy to the public and has minimized the physical turnaround – who remembers dark rooms any more? The overuse of photography for almost forty years has created the perfect backdrop for illustration to shine in its knightly armour. Editors and advertisers are looking for a new way to present their concepts and ideas in order to capture the attention of our over stimulated society; so [...]

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]]> For a long time photography has been the king of the commercial and publishing world ruling over magazines and ad campaigns. But in the past few years illustration has been challenging this rule and we have finally seen its ascension to the throne.

There are many reasons why photography has been at the forefront of the commercial word – note that it has also followed a very similar course in the artworld – but primarily it’s because photographs communicate with the viewer in a direct manner. Photographs are “easy” to understand in visual terms as they are composed of elements found around us and more importantly they allow viewers to envision themselves in the photograph. The digital nature of contemporary photography has also helped to further this phenomenon as it has strengthened even more its immediacy to the public and has minimized the physical turnaround – who remembers dark rooms any more?

The overuse of photography for almost forty years has created the perfect backdrop for illustration to shine in its knightly armour. Editors and advertisers are looking for a new way to present their concepts and ideas in order to capture the attention of our over stimulated society; so going for illustration, which has not been as overexposed as photography, seems like a sensible and appropriate choice. The democratic nature of photography and its use by everyone – yes you instagram fanatics – has also meant that photography has become less “exceptional” and has allowed amateurs with everyday cameras that produce professional photos to populate the field. This open-access is one of the strengths of photography but it has allowed for illustration to wiggle its way into the mainstream since only creatives are involved thus giving the field a more unique feeling. And ofcourse like any proper kingdom the money always makes the big difference. Due to the general economic turmoil campaign budgets are rather reduced. Photographers need a lot: sets, stylists, make-up artists, props, models (and flight tickets if they are going somewhere far!), not to mention the cost of retouchers. While illustrators need simple a lot of inspiration and a computer or some art tools and a paper if they are old-school.

But why has illustration really seen a flux lately? If you go through most magazines from fashion ones like Vogue & Tatler to ones about digital technology like Wired you will see that they are full! of illustrations; go on we dare you to check. For magazines covering global news, like Monocle, the primary reason for the use of illustrations lies with their ability to be infographic. These illustrations visually display  through graphics any kind of information like the future development in Thailand or the labour division in the creative industries.  Another reason lies with illustration’s ability to relate abstract concepts and ideas, as it is not is not bound by reality. Illustration is used because it is creatively never ending, it doesn’t have to be at all related to reality, and it can break the rules of representation. It can illustrate the look of a fashion powerhouse in 2078, the concept of philosophy, or a talking dog on the moon for that matter; see for example Siggi Eggertsson’s illustration of gay pride. Siggi has meshed people and landscape, much like a kaleidoscope, and through his use of colour and form he highlights the dynamism of the gay community voice, as well as literally showing an abstracted view of a parade.

More so, illustration lends itself for the creation of striking editorial portraiture as it allows artists to go beyond the physical characteristics of the individual to capture the essence of their subjects and interpret their energy and beauty; from the graphic vividness of David Despau to Berto Martínez’ soft brushstrokes and ethereal beauty.

Lately we have seen the rise of yet another artform, photo-illustration, in response to the crazy scenarios of editorials and ad campaigns. This is a natural step in the arts, combining the advantages of two forms to create a new one that might be even more competitive. Photo-illustration is still in the exploratory stage and doesn’t have a very prominent role in the media world yet. Have a look at the exciting new work coming up from the likes of artists like Justin M. Maller, creative director of The Depthcore collective, and his haunting representation of a female nude.

Whether its photography, illustration, or photo-illustration commercial artworks break artistic boundaries every day. Illustration has managed to revive itself in the last few years by using new technologies and is definitely in its heyday; we are not expecting illustration to overthrow photography in the commercial world but it will definitely be first knight.

 

© Berto Martínez, Siggi Eggertsson, Justin M. Maller

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