Category: colectivo futurists

hell’o monsters are colectivo futurists!

we turn our attention of the colectivo futurist series to our first illustration collective feature. based in Brussels, the Hell’O Monsters are a three-piece group formed by graphic artists Jérôme Meynen, François Dieltiens and Antoine Detaille. the three have been working together for the past ten years and have amassed a stunning collection of drawings featuring curious creatures and monsters that are inspired by the astute words of argentine writer Borges in The Book Of Imaginary Beings and “the creative wonder of childhood”. for the most part their creations can feel a bit naive from a distance, but taking a closer look there’s a lot of symbolism and serious subjects to be found in their ultimately sophisticated drawings. check out some of our favorite pieces and read a short interview about their past, present, and future below.

HELL’O MONSTERS (illustration collective, Brussels)

website | facebook

* how did the three of you come together to form Hell’o Monsters?

Ten years ago we all met for the first time in front of a wall for a painting, we became friends by affinity of ideas and a strange sense of humor. We then started to work more together with really good osmosis. Three years later we decided to create a more coherent structure for our work and hell’o monsters was born. Initially our style was very similar and it became more inseparable to the point where people couldn’t recognize who was doing what. In this way we created a type of unique form for our idea, three people united as one.

* what is your work process like? do you come up with a concept and then start drawing together? or do you separate tasks to achieve the final piece?

We don’t always follow the same process, but usually one of us comes up with a general concept for a drawing or a whole series. Afterwards, everyone brings their own personal ideas and tries to confront and create dialogs with the others. Usually our drawings are composed by a lot of little things (and creatures) which together create one big theme. We don’t necessarily tend to separate tasks, instead each one of us does whatever is necessary in order to complete a piece.

* so far you have put your assortment of monsters on posters, books, shirts, and walls. which of these mediums is your favorite? which new surface would you like to explore in the future?

For sure drawing on paper in black and white with Indian ink is our favorite medium, it’s like the base for all the other things we do. At the moment, we are a little bit scared about colors because we have used them too much in the past, now we try to use it more carefully with a lot of attention to detail; but we love to explore a lot of different techniques and mediums, such as collages, painting on wood, etc. We are really interested in doing more three-dimensional things like sculptures and installations without necessarily ignoring the drawing side. Instead we are trying to find the best way to associate the two naturally.

* if you could soundtrack your work, what would you choose?

* what is your favorite thing about living in Brussels?

Brussels is a quiet city to live in, but with lots of cultural things to do. It is very stimulating to do our work here. We also enjoy our friends of course.

* which projects are you currently working on? what do you expect to be working on in the future?

Currently we are busy preparing two exhibitions, which will be opening soon. The first one opened this past weekend at the MOHS exhibit in Copenhagen. This is naturally consuming a lot of our time because we’ve been preparing a lot of new artworks: paintings to be exact. In the short future we want to realize a series of different sculptures; while looking further ahead, we expect to continue to work together in the same way or even better because so far our method has worked well.

No Comments by el colectivo futuro on October 31, 2011

filed in colectivo futurists

tagged brussels, colectivo futurist, hell'o monsters, illustration

bryce wilner is a colectivo futurist!

we’ve been recently captivated by the illustration work of chicago based Bryce Wilner, hence why he’s our next colectivo futurist featured artist. Bryce’s work can be found at the crossroads between stunning illustration and smart graphic design, in fact it’s the way he mixes both that makes his works so enticing. combining the influences of his upbringing in the 80s/90s and modern day digital culture, Bryce is able to bring simple concepts to life with the use of stunning colors and rough edges to convey a sense of constant movement. read our interview with Bryce below and as usual we hope you enjoy his work as much as we do!

BRYCE WILNER (illustrator / graphic designer, Chicago)

website | behance | twitter: @BryceWilner

* when did you first start illustrating? how do you feel your work has evolved during the years?

My first memories of “illustrating” are ones wherein I’m at age four or five and copying X-Men cards (I still remember my two favorite illustrators from those days: Boris Vallejo and Julie Bell). I’ve been drawing pretty regularly throughout my entire life, but I never really considered myself an illustrator until I started attending design school at the University of South Carolina. It took me a little while to distinguish between graphic design and illustration, and, while the two can certainly complement one another, I think it’s important to note that they exist as very separate entities.
During the last three or four years, my work has gradually moved from paper to screen. I still keep sketchbooks and draw by hand all the time, but I have much greater interest in what can be done on a computer screen. I have great respect for images that are unabashedly digital.

* your work has a very distinct approach to bright colors and the use of light, where do you normally draw your influence from?

I think a fondness for bright colors can be traced back to the clothes I wore, the cartoons I watched, and the tapes I heard throughout my youth in the late 80s and early 90s. I felt a strong connection to the radio R&B and pop of the era, and the images that accompanied those sounds were often rendered in these really wonderful pinks, greens, and turquoises.
Like everyone else, I now spend my days meandering through the blogosphere and return with ideas of varying quality. I don’t quite have a fixed source from which I regularly pull inspiration, but the guys at But Does It Float have done a great deal to refine my digital tastes in the past couple of years. Clicking through that blog, I’m met with the same feeling I get when I walk through the stacks at the public library. That said, I consider libraries (the content they carry as well as their general concept) to be a huge presence in my life.

* cubism elements are ever-present in your works, how do you achieve a balance between the influence of cubism from the past and your own personal signature?

I get loads of comments likening my work to cubism and Italian futurism, but it’s not an association I initially set out to trigger. Figures in my drawings have their features cut into planes and defined ridges, which was initially a product of my interest in modulating the human body. I can see the similarities and I understand why that connection gets made, but I hope the impression is not one that is totally derivative.

* if you could soundtrack your work, what would you choose?

My brother works for this amazing, Chicago-based electronic music journal called Little White Earbuds. He keeps me up to my ears in techno, house, and bass music. I like to think my tastes are relatively broad, but I am really interested in what a lot of those people are doing right now. More and more often, my aesthetic tastes are leaning toward the ethereal and the sensual. I hear a lot of that when I hear dance music.

I’m not one to rattle off lists of artists whose works I’ve absorbed in hopes of validating myself, but I will say that I’ll work for John Roberts, Floatings Points, and Gas for absolutely free.

* what is your favorite thing about living in Chicago?

Chicago has a rich design and art history in which its citizens take a lot of pride. The design community is enthusiastic, supportive, and ambitious. I’ve only lived here for about a year, and I’ve had some really kind people reach out to me. I take comfort in the fact that I already recognize a good amount of the faces I see when I’m out at cultural events. I feel like I still have a great deal to gain from the area.

* which projects are you currently working on? what can we expect from yourself in the future?

In the future, I’d like to take on more editorial illustration jobs. Most of my images are self-initiated. I’m interested in seeing what others might brief me to do.
I’m doing a couple of record sleeves for some friends, but those projects aren’t very far along at the moment. I’ve about reached the halfway point with a new book that I’m writing and illustrating. It’s currently untitled; I should have it finished by this winter. Books are always really engaging because by the time I’ve finished them I feel like the idea with which I began has completely changed. I don’t know for sure where this one’s going, but you might place it in the neighborhood of science-fiction.

3 Comments by el colectivo futuro on September 30, 2011

filed in colectivo futurists

tagged bryce wilner, chicago, colectivo futurist, graphic design, illustration

ricardo cavolo is a colectivo futurist!

our colectivo futurist features are back with the fantastic illustrations of Ricardo Cavolo. born in salamanca, but now residing in madrid, ricardo is a one-of-a-kind character who interprets life through his illustrations. his pieces ooze of metaphorical symbols that perfectly complement his colorful, yet somewhat freaky characters. not satisfied with capturing his thoughts on pieces of paper, ricardo is always looking for new surfaces and textures with which to explore; whether it’s textiles, wood, or even skin, his illustrations instantly bring these surfaces to life. but ricardo is not limited to living in a fantasy world filled with quirky characters, oh no! he’s constantly hard at work taking up commissions and preparing for real-life exhibitions. in fact, he’s currently putting the finishing touches to his all-new showing at the Belaza Gallery in bilbao, which is set to open on september 1st (event infos here). we truly hope you enjoy our interview with ricardo below…

RICARDO CAVOLO (illustrator, Madrid via Salamanca)

blog | portfolio | twitter: @RicardoCavolo

* who is ricardo cavolo? at which point in your life did you decide you wanted to become an illustrator?

Well, Ricardo Cavolo is a young man who has drawn all his life and will continue doing so forever and ever, amen. So, I’ve done this since forever, actually I believe everyone is capable of drawing from the moment we are able to pick up a pencil with our hands. Later, it just so happens that we realize that we are horrible at doing anything else and we just keep on drawing.
From a professional standpoint, things have been a bit more difficult; illustrating is something I’ve done for both pleasure and necessity (human wise, not financially), so when I first tried to start charging for it, it became a problem. For the best part of the last two years, I have managed to feel sufficiently prepared to charge for my work and to show it to a larger audience. The fact that I can now combine my biggest passion with a way of making a living is one of the best choices I’ve made in life. Whereas some people think that if you professionalize your passion, the magic is gone, I believe that you simply need pay attention and good care of still having fun while you draw and it will show in the end results. At this point, I’m still enjoying my craft and I can also afford to buy enough tomatoes at the end of the month, so like I said: it’s been a great choice!

* your illustrations seem to be charged in equal measure with humor and endless symbolisms that hint at more serious subjects; what are you hiding behind each of your pieces?

It’s true that there’s a sort of duality in my illustrations… and it’s probably a reflection of my personal life; I tend to take things very seriously (for good and bad) and that usually gives me an added intensity that’s perhaps more than the necessary. That’s why I try to lighten the process with a dose of humor that makes things more bearable.

So I translate the same into my work, where I like to treat serious subjects that transcend, while constantly trying to provide details that subtract some of that seriousness from the pieces and allow us to understand that despite how dramatic something might be, there’s always a positive note to bring out of it and move on to the next step.

* your illustrations appear on a host of different surfaces, including books, clothing, and even skin! which of these is your favorite? which new surface would you like to explore in the future?

I really love this job, hence I’m always striving to explore new ways in which to develop myself. Each surface or technique has its own characteristics which you try to take advantage of to get the best results. It’s also a way not to get bored, if I switch forests each week, the road is always interesting… and I end up getting to know a good amount of forests!

If I had to choose one surface, I would probably stick to wood. I really like wood! When I’m working with it, the whole process becomes warmer and livelier, in fact just by resting my hand on wood to draw already brings good sensations forth. Also, the texture on wood is always very grateful, both to the eye and touch.

In terms of a surface to explore in the future. One comes to mind immediately: the walls of the city! I carry a big desire to sink my teeth into painting a mural on any given wall…

* if you could soundtrack your work, what would you choose?

Without a doubt I’d build my own. I’d choose from a host of different genres, but all hinting at a vintage sound from another time. Firstly, there would be tons of songs by the great Johnny Cash (my musical idol), joined by a range country and folk songs from the likes of The Carter Family, Flatt & Scruggs, The Tallest Man On Earth, or Neutral Milk Hotel; I would also add a big dose of vintage blues, from the 20s and 30s. Finally, I would close the deal with a touch of grit and power with some garage, bands like Black Lips, Jay Reatard, or Thee Oh Sees would do the trick.

* what is your favorite thing about living in Madrid?

Madrid is a big city; this makes it a very busy city with tons of creative endeavors available. Thee’s a good platform to develop and to showcase our craft, and this is a huge advantage. I’ve been aware from my early days as an illustrator that my trade is well suited in a place where there’s a steady cultural scene, where I can have a better chance at receiving commissioned work.

I must add that the internet is an unprecedented resource as well! Most of the requests I receive arrive through social networks and the different platforms where I’m able to showcase my work.

* what are you currently working on? which projects will you be dealing with in the future?

I’m still in the process of finishing some commissions I received. At the moment though, I’m entrenched in finishing up work for two exhibitions that will open soon. This is really taking up a lot of my time, because for both showings, I’m working on brand new pieces as well as trying to change my work process a bit to avoid being stale. Again, it’s a lot of work, but in turn it’s really exciting for me; I hope people can find my current output interesting.