Category: illustration

oscar bolton green is a colectivo futurist!

London based Oscar Bolton Green is the subject for this edition of the colectivo futurist feature. using a very simple and graphic approach led by icons and faceless characters, Oscar has done a variety of work for a host of clients including Rolling Stone, GE Energy, Edizioni Corraini, and Fetrinelli to name a few. While sporting a portfolio mainly focused on made-for-print illustrations, Oscar also delves into the realm of animation and sound design, which is something he insists he’d like to explore more of in the future. for the time being enjoy our interview with Oscar below, alongside some of our favorite pieces from his work.

OSCAR BOLTON GREEN (Illustrator, London)

website | blog

* how did you get started with illustration? when did you realize you wanted to become an illustrator full time?

From an early age I have spent most of my time drawing. When I was a child my bedroom walls were covered in drawings I had done. Then when I was a teenager graffiti became a huge part of my life. Then at art college I was introduced to illustration and graphic design.

* where do you normally get your inspiration from?

Inspiration comes from all kinds of things but ultimately it’s all about observation.

* your illustrations often feature sort of warped, caricatured characters. for lack of a better word, they are almost “elmer fuddian”. what can you tell us about them and why they feature so often on your pieces?

The simplicity of my characters stem from the graphic way I work. They have a quietness, which gives them a versatility but also gives them a humorous potential. As a child I read a lot of Asterix so I think thats where the big noses come from.

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

I think the sound effects in my ‘Alphabet Animation’ – a project I did at college – really captures the mood of my drawings. It’s a mixture of edited voice and audio samples, which I recorded with a friend of mine. It’s a process I really enjoyed doing, so I’ve been thinking about doing another version at some point.

* what is your favorite thing about living in London?

For me the best thing about London is the beautiful parks – perfect for football, relaxation and watching funny dogs.

* what are you currently working on? are there any projects in particular you would like to get your hands on in the future?

At the moment I’m working on some big drawings, alongside commercial projects. I regularly do album of the month for Rolling Stone. Another children’s book for Corraini is in the pipeline also. But yeah, of course there are lots of things I dream about doing – like a public mural, animated visuals for a live music event, designs for products, a London Underground poster.

1 Comment by miguel on April 29, 2012

filed in illustration

tagged animation, icons, illustration, kraftwerk, london, oscar bolton green, radiohead, rolling stone, tinariwen

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.

No Comments by miguel on August 28, 2011

filed in colectivo futurists, illustration

tagged colectivo futurist, illustration, madrid, posters, ricardo cavolo, tattoos

jonathan bréchignac = an exercise in dedication!

we’ve been recently impressed with this awesome project by Paris based, graphic designer Jonathan Bréchignac. in short, Jonathan set out to create a hand-drawn replica of a Muslim prayer carpet with the use of very simple tools. mainly applying a black BIC pencil, he has created wonderful geometric patterns that form a stunning overall design. this project is a clear example of dedication and passion for ones trade. read more details about it below; all words written by copywriter Johan Jeanson. follow the original source at projekt

Made to fit the size of an actual Muslim prayer carpet, this piece is drawn only with black Bic pencils. Painstakingly detailed, it explores different ways and patterns to create a unique whole with only a simple tool. The inspiration comes from different types of art (French roman, traditional Japanese, native American and Mexican) and also military camouflage and animal patterns. Together they create a mix of civilizations and religions bringing forth a new meaning to them.

Working on it for more than 15 months, Jonathan Bréchignac describes it as a fight with himself, inch by inch. Long periods of thinking and planning followed by trials to find the perfect patterns before even starting on it.

”I never really knew what I wanted from the beginning. Finding inspiration and learning through trials was key to the project”, Jonathan describes the process.

The work has all been made on Jonathan’s free time and it’s finally nearing completion.

”Even if it’s a drawing, it must still be thought of as a praying carpet. The plan is to keep it between two pieces of plexiglass to place on the ground.”

Despite working on it for hundreds of hours Jonathan has still only been able to use up one pen and is now working on emptying a second one.

”The old masters of art could spend up to a decade, or even a lifetime, to finish their work. I wanted to create something as long lasting, something that would take time.” Jonathan says after looking over his near finished work. ”To me, art is about the road to perfection, to take something from your mind and really work it out, with your hands. As soon as I finish this piece, I will start on the next. My plan is to create a series of it… For however long it’ll take.”