Tag: colectivo futurist

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

maria corte is a colectivo futurist!

we are absolutely ecstatic about our next colectivo futurist spotlight with the wonderful, barcelona-based, illustrator Maria Corte. her works, though centered around beautiful illustrations, cover a host of mediums, including editorial pieces, magazine & book covers, posters, and even animations. in her pieces one can feel a certain reference to classic cubism, which nonetheless is given her own personal touch to create unique and recognizable style. she also keeps a couple of awesome illustrated blogs in which she provides us with her own cocktail and food recipes. you can find links to her site and blogs, as well as our interview with Maria below…

MARIA CORTE (illustrator, Barcelona)

website | cocktail blog | food blog

* tell us a bit about yourself. since when have you been working as an illustrator? how did you first begin?

I probably couldn’t exactly say when I first started to draw, but I can say that one of my first memories as a child involves having a pencil on hand and a piece of paper in front of me while sitting on the living room’s floor and trying to draw what I could see through the window even with a balcony and some flower pots standing in the way.

From there on out I can’t recall any time period when I wasn’t fantasizing about drawing, until I decided it was time to take it seriously and I studied illustration at the Escola Massana de Barcelona. You could say my starting point was starting to collaborate with the city hall in certain projects. After that, more projects started coming up and my works started spreading around.

* your pieces hint at cubism and the abstract together with subtle colors. what would you say are your biggest influences when illustrating?

I have undoubtedly been influence by cubism! In fact I admire the works of Fernand Léger and some of his contemporaries. However, I cannot get over David Hockney’s work, particularly his photo collages based on the series of instants he took using the same motif. I also admire Tarsila do Amaral for example. Even if one may have references though, I believe one should not take them literally. As it’s often said, the cypress’ shadow is long and in some cases it becomes nostalgic, and one should learn to step back and focus on the surrounding world.

* your works cover a broad spectrum, ranging from illustrations for children to editorial pieces. what would you say is your favorite kind of project?

This might sound funny, but what I enjoy the most is drawing on my sketchbook during my yearly travels. Most likely because of the connection the sketches have with the place or what goes on around me in that particular moment. Regarding other projects, it depends more on the subject matter and the proposed format instead of who they are targeted at.

* if you could choose a soundtrack for your work, what would it be?

That sounds like a complicated task! What I can give you is some of the artists that I listen to the most while working and that at one point or other have become part of me, and I suppose part of my works as well. Out of more recent bands and artists, I love the calmness inspired by Bon Iver and Jeremy Jay. I also like the way The Whitest Boy Alive manages to keep me going while sitting in front of the paper many an afternoon. However, I never forget the two artists that, thanks to my older sister, influenced my childhood and still accompany me to this day: Leonard Cohen and Robert Smith with The Cure.

* what do you like the most about living in Barcelona?

As in every mediterranean city… it’s weather and gastronomy!! the small but daily pleasures are important too. Also, its architecture and urbanism, full of history and little hidden corners where one can indulge in pleasures.

* tell us about your future plans. what can we expect from you in the coming months? is there any particular format you’d like to explore?
I have a pending desire to start painting and I will try to get to it as soon as I can, but at the moment I enjoy what I’m doing, it’s just a matter of broadening my horizons. Being able to work and dedicate myself to what I enjoy the most is something I truly treasure, specially in current times.

No Comments by miguel on June 8, 2011

filed in arte, colectivo futurists

tagged barcelona, colectivo futurist, cubism, illustration, maria corte

richie stewart is a colectivo futurist!

this month’s colectivo futurist feature highlights the outstanding graphic design works of boston resident, Richie Stewart. also known as commoner inc., richie is a master when it comes to creating simple, straightforward, yet compelling designs that perfectly transmit his client’s ideals. a lover of skateboarding and punk rock in equal measures, richie is currently busy working on a pair of freelance projects, but hopes to become part of a graphic design agency in the future. if it were up to us, we would hire him on the spot!

read our interview with the man himself and check out some of our favorite projects below…

RICHARD ARTHUR STEWART aka COMMONER INC. (graphic designer, Boston)

website | behance | dribble

* tell us a bit about yourself. how did you get involved with graphic design?

First off, my parents are so rad…they just 100% encouraged everything that I wanted to be a part of when I was growing up. Skateboarding instead of little league, art classes instead of sunday school and so on. I came home with knuckle tattoos when I was 18 and they were stoked on it. I mean, come on!…what parents would be okay with that? They are the absolute best people I know.

I grew up with my mom being an artist and calligrapher, so creative activities were always encouraged in my house. I was just copying drawings and letters from her sketchbooks all the time, never being able to do them justice in any way whatsoever.

Getting involved in skateboarding and punk rock at an early age was a gateway into art and design. Everything about it resonated with me on such a deep level. Being in those communities was a massive eye opener for a kid growing up in suburbia… like discovering this whole other world existed around me. All the board graphics, album art, stickers, posters, t-shirts, etc… I didn’t know what to call it at the time, but I knew I wanted to make things like that.

* your work has a very characteristic, early 20th century look & feel. how does your background and inspiration sources play into this?

It seems like lately a lot of conversations I have end up with me saying “Well, I was just born too late.” I really couldn’t tell you why that certain aesthetic sits so well with me and my comfort with it. Something about the fact that things were designed with such limited resources and everything being done by hand is very inspiring to me. The craft and talent you had to possess to be a designer back then was extraordinary.

There are so many amazing pioneers that paved the way for designers / illustrators today…and most of us would be absolutely nowhere without them. So I suppose it’s kind of hard not to have that influence your work in some way.

* from your standpoint, what would be the ideal relationship between client and designer?

The “only child” part of me wants to say when the client gives me complete creative control and let’s me do what I want. But in reality if there is an honest, open, organic form of communication that can occur between the designer and the client…that is the ideal situation.

When lengthy write-ups about direction and design decisions aren’t necessary. When the work can stand on it’s own and be able to speak for itself. At the risk of sounding slightly romantic / cliche, I feel that good design doesn’t need an absurd amount of explanation to resonate in a positive way with someone.

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

I think if Minor Threat & Johnny Cash got together for some beers that would be a pretty accurate soundtrack…minus the fact that Minor Threat is a straight edge band…but this is a hypothetical situation, right?

I feel that both of these artists have a way of making music in a very simple, “straight to the point” manner, but it also becomes more detailed the more times you listen and pick apart the layers. I am nowhere near the kind of aesthetic that they possess, but certainly aspire to be.

* what is your favorite thing about living in Boston?

If you can get past the “college town” aspect of it, there is absolutely a melting pot of culture and diversity. As cliche as it sounds, it really is a city of neighborhoods that all have their own charms. Boston is steeped in tradition and has a pretty fantastic history to it, which has a big influence on my work.

I definitely live in a very “blue collar” neighborhood, which is very comfortable to me since I was raised in a similar environment. Most of the shops and businesses on my block are primarily family / independently owned, which I really respect and appreciate. It feels good to support honest, hardworking people.

* what can you tell us about your future projects? which sort of clients would you like to see yourself working with?

I hope to be working in a proper design shop in the next few months…freelancing is great and all, but handling all the “business” aspects of it is a full time job in it’s own way.

But in the mean time I’ve got a couple projects coming up that I’m pretty excited about…a start-up microbrewery in Norway and a new retail coffee shop in Boston…which are both pretty much ideal clients for me due to large enjoyment of both of the aforementioned beverages.

FAST EDDIE’S BARBER SHOP. Identity