Society of Illustrators

The trip to the Society of Illustrators was exciting to me, I got to see what illustrations from professionals looked like in person rather than on the internet. I learned a lot more by looking at the work in person, like how if someone wanted to fix a portion of their illustration they had to cut out pieces of the paper it was drawn upon. This makes sense as they would not want to redraw the entire illustration. Nowadays we might use computers for some or all of the work so correcting parts is taken for granted. I also noticed that they used pretty large pieces of paper to draw, another thing people don’t think about today since we can blow an image up digitally; this means they had to draw a lot more and in some ways this is harder.

The illustration that instantly caught my attention was by Orson B. Lowell. It is titled “Birthdays For Everybody, Young And Old. No Mortal Complete WIthout Them.” Orson was a social critic with his illustrations. He liked showing people in awkward situations not in a mean way. In the image we see a man handing out paper with numbers on them which are ages. The young girls are happily taking them while the adult women are running away. This is Orson’s style where he makes commentary on what he sees around him through his illustration. I like the lighthearted message that younger people look forward to birthdays while older people try and fight ageing. I also like how he uses many simple lines to convey shading. The lines on the old man look simple enough yet they give the impression of him wearing some kind of rag like shirt. The use of different lines on the women make it seem like there is a lot of variation in their types of dress. I personally have a hard time inking in such a way but now I want to learn to do it better.

Field Trip to The Society of Illustrators

This piece interested me cause it reminded me of Alice in Wonderland, but with less wonder and more elegance. I think that the use of black, red, white and the shade of grey brings out the silhouette of the woman.┬áThe illustrators used Gouache, and some digital media. This is one installment in a four part series in which the illustrators created four high hairstyles with Queen cards symbols: hearts, diamonds, clubs, spades. The illustrators┬áwere inspired by Women’s Hairstyles of the 18th Century. This was considered as a Personal project for them.

IÔÇÖve learned that the illustrators are known as┬áBalbusso Twins are internationally recognized award winning italian illustrators team. They have┬áa unique signature ANNA+ELENA=BALBUSSO TWINS. Their work┬áhas been published by major international publishers and companies through out the world on various media types such as book jackets, magazines, newspapers. They have illustrated over 40 books and have received more than 60 international Awards. I saw this piece at the Society of Illustrators in New York where they have been members┬ásince 2009. they have also been recognized by Society of Illustrators of Los Angeles and have been members since 2015.

I have also learned they have a three step process when making illustrations after they gather information. theses steps differ on what medium they are doing the art for conceptual illustration or book projects. My opinion on this piece is that when I looked at it my eye wasn’t captivated in one spot but it was a whole piece. I thought the art flowed instead of having one singular object stand out.

 

 

 

Society of Illustrators Blog Post

Deepti Sunder
Herbert the Hungry Monster Fortune Teller

This piece was on the second floor of the Society of Illustrators. The second floor held an exhibition titled┬áMoCCA Arts Festival Awards of Excellence.┬áSunder is a modern illustrator who came to America from India to pursue art. Right now she’s studying at FIT for an MFA in Illustration. Her style is very bright, colorful, and cartoony. However, if you stumble on her Behance there are some really well done illustrations that were even made for children’s books. In an interview about the book: Bonkers the interviewer asked Sunder about how her process works. She says that she tends to (like Professor Woolley has been saying all along) that she starts off not too rigid. Depending on the client, she creates rough sketches then sends them to her editors, sees what she needs to tweak up, then sends the complete sketches and SHAZAM! Bam, bam, thank you ma’am there goes her completed projects.

What drew me to this piece, Herbert the Hungry Monster Fortune Teller is how its an actual fortune teller. I also like the illustration and how it really captures Herbert. Based on the illustration you can tell that Herbert is a Hungry Monster Fortune Teller. I just thought it was very creative and I love how she took this concept to more than just drawing a hungry monster on a flat sheet of paper. She mentioned in the interview that she does most of her work traditionally and with dry media but she said she would love to tamper with digital work and she has gotten interested in watercolor, so I would love to see how her process was when she created this piece. Granted, this interview was in 2014 so she probably already tampered with it. Then again she might have already graduated. She could have been able to do this digitally. Though the textures in the image feel more traditional. Unless the robots known as Photoshop made a really cool texture brush or something. Anyways, Herbert the Hungry Monster Fortune Teller is sitting pretty on the second floor in the Society of Illustrators so if you didn’t already check it out there or on her Behance. It’s really cool!