OCAD U's illustrator Doug Panton in Creative Quarterly 54, New York

Darkside
Thursday, November 15, 2018 - 5:00pm

http://www.dougpanton.com/noodles/

 

-------------------
1. Title: Darkside - Winner, (Fine Art Professional) (featured)
2. Title: Emergence Runner-Up, (Fine Art Professional)
-------------------

 

Congratulations to Anson Liaw, Instructor OCAD U Graphic Design Program

Anson Liaw book illustration
Anson Liaw book illustration
book illustrations by Anson Liaw
Thursday, May 17, 2018 - 7:00am

2018 "Drawn Volume.2 | Leaders In Contemporary Illustration” book series by Crooks Publishing in Melbourne, Australia.

Crooks Creative's/Capsules' Books Drawn Volume.2 is an inspirational exploration into the work, lives and creative practices from established industry practitioners to some of the hottest emerging talents from today's illustration and design scene from around the globe.

 

Links:

https://capsulesbook.com

https://capsulesbook.com/drawnvolume2/

Adrian Forrow Solo Exhibition

Saturday, May 5, 2018 - 6:00pm to 11:00pm

Come join Adrian Forrow, Instructor at OCAD U, at his solo exhibiton. Bring a friend, everyone welcome!

Venue & Address: 
Free Space, 300-68 Claremont Street, Toronto, ON M5J 2M5
A. Forrow solo exhibition

Gillian Iles: Towards eternal glory

Red Head Gallery exhibit for Gillian Iles
Thursday, March 29, 2018 - 12:00pm to Saturday, April 21, 2018 - 5:00pm

The work represents a dichotomy of the idea of what power is.  Some images are direct and unavoidable, demanding the viewer to engage, react and navigate within their presence.

Other imagery is tucked away, at first not obviously visible, appearing or literally being inaccessible. Imagery sits on acute angles to the walls, the scale is small, and some are positioned out of reach.  The imagery requires the viewer to seek it out, to physically work or be uncomfortable in order to view it.

Although fueled by geo-political events, the work references the individual sublime experience, tapping into primal sensations and providing visceral opportunities for the viewer. 3-D objects.

 

Opening Reception is Thursday march 29th 6:00 to 8:30 pm

Venue & Address: 
Red Head Gallery, 401 Richmond Street West, Ground Floor, Suite 115
Website: 
www.redheadgallery.org
Digital Screen: 

Canada Post honours five talented Canadian Illustrators

A group shot of people standing in front of five banners representing stamps
Thursday, April 5, 2018 - 3:30pm

Over 150 guests filled the Great Hall on Thursday April 5 for the unveiling of a series of stamps honouring great Canadian illustrators. Among the five honourees were four members of the OCAD U community, past and present: the late Will Davies (alumnus) and James Hill (faculty member) were honoured, alongside Anita Kunz (2017 Alumni of Influnce winner) and current faculty member Blair Drawson. Montreal's Gerard DuBois is the fifth illustrator in the series.  

 

 

 

 

Poster: 
 A man and woman dancing formally
An illustration of a tiny monkey on a cat's back
Image of a clown/pantomime crouching
A portrait of a woman
Illustration of the side of a man's head, with a comb over it

A Sketchbook Overview

Backyard Sketch by Sam Bertram
Classic Florals by Sam Bertram
Lazy Unicorn by Sam Bertram

So what do you include in your sketchbook if you aren't drawing from the infinite lists found online? Everything is the short answer. As an illustrator your interests need to expand past visual art, artists and designers. You need to be a collector of information and things. This means you must be interested in everything from politics to the environment, to pop culture, and even historical facts. Becoming a curator of information, will help you in creating those sketches. Be sure to be observing the world around you. Go to your local coffee shop, train station, or mall and draw. Draw the elderly man drinking a coffee, the tourists waiting for their 3 o'clock train, or the children running through the mall food court. All of these things show that you are observing and taking in the information surrounding you. It is this information which will allow you to convey the solutions to the problems proposed to you from potential clients. 

Don’t forget, as an illustrator you are essentially a problem solver, an image maker and a designer. Your goal is to help your prospective client navigate their current problem, while producing a clear solution, using the imagery you create as the key communication tool. Whether this is through traditional mediums, such as oil paintings, or digital mediums using Photoshop or Illustrator your imagery must start with a rough piece. This is one of the reasons a sketchbook is so important. You're work will evolve and change as you weed out the less relevant concepts for your final illustrations. This is where your sketchbook will be used as a form of process or idea book. Whether it be rough sketches, composition drawings, or colour roughs, your sketchbook is where all of these ideas should start to take form. Showing this process in your sketchbook, gives those viewing it a look into your creative process, which is what universities such as OCAD U are looking for.

Finally, remember to use your sketchbook to explore and have fun. Although your expected to be using your sketchbook for rough work and concepts, you should also be using your sketchbook as an outlet to explore new mediums, express silly ideas, and draw what you are interested in. A sketchbook can be an expression of yourself, where all ideas, good or bad begin. Don’t be afraid to use a strange new color palette on a silly doodle of a unicorn riding a dragon. Or to make a tape drawing out of the new colored tape you found in the crafts isle of the art store. Make sure you enjoy the time you spend in your sketchbook. Schools, like OCAD University are looking to the sketchbook to see your thought process, and your experimentation. They want to see someone who is constantly observing and consistently creating.

Use your sketchbook as a tool to create, to observe, to retain information, and to experiment with new techniques, tools, and to express yourself and your works. Using some of these will create an excellent example of your work and yourself as a creator.

Author: 
Samantha Bertram
Template: 
Standard Template

Women Making a Mark

image from j. hewgill
Monday, January 22, 2018 - 9:00am to Friday, February 9, 2018 - 5:00pm

“Illustration: Women Making A Mark” is an invitational exhibition of 15 contemporary, award-winning female illustrators, that examines the practice of traditional and digital illustration across various genres, including editorial, publishing, advertising and merchandising. The exhibition runs through February 9.

 

http://events.uindy.edu/event/illustration-women-who-draw/

Venue & Address: 
Christel DeHaan Fine Arts Center Gallery
Website: 
http://jodyhewgill.com/
Email: 
jhewgill@faculty.ocadu.ca

WaterWorks by Terry Shoffner

Gallery Photo
Thursday, January 18, 2018 - 12:00pm to Friday, March 16, 2018 - 5:00pm

Terry Shoffner has an exhibition of his watercolour titled “WaterWorks” currently showing at Gallery 221 in Little Rock, Arkansas through February. He will be attending a reception at the gallery on February 23 to sign prints. This is his 3rd solo show in 2 years.

Venue & Address: 
Gallery 221 in Little Rock, Arkansas

How an illustration led to a book deal – catching up with the Fan Brothers

Image of Eric and Terry Fan
Image of cover of The Antlered Ship
Image of The Antlered Ship
Image of the Night Gardener cover
Image from The Night Gardener
The Whale shower curtain by Terry Fan available on Society6
Big Chew art print by Eric Fan available on Society6
Image of Ocean Meets Sky cover

We caught up with two very successful illustrators and authors (and #OCADU alum), brothers Eric and Terry Fan. The brothers’ newest book, The Antlered Ship, is available now and getting great reviews.

 

Congratulations on the success of your latest book, The Antlered Ship, that you illustrated! What do you love about writing and illustrating children’s books?

Eric: Thank you! Speaking personally, I enjoy the opportunity to create an imaginary world and the challenge of sustaining a narrative over forty pages or so, which is the average length of a picture book. Before we started working in the picture book field I was doing t-shirt design, and stand-alone illustrations and so it was nice to tackle something more expansive. Picture books also had a big impact on both of us growing up, so part of the magic of creating a book is the hope that your book could have a similar impact on a young reader, and maybe even fuel and shape their imagination in the same way that we were impacted. 

Terry: I feel the same way, and it's funny because many of our stories evolved from those stand-alone illustrations. Every illustration is a form of storytelling, in a sense, and sometimes when you're working on a stand-alone illustration you can't help but think of the broader narrative scope around it. The fun part about a picture book is unpacking that, and expanding and building upon the implied narrative of that one image. 

The Antlered Ship

Eric and Terry Fan

 

What do you think makes a good children’s picture book?

Eric: The simplest answer I can think of is a book where the art and story fit together in such a way that both are elevated and seem absolutely inseparable from one another, but I don't know if there is a strict set of criteria that applies to all good picture books, since books fulfill different needs.

There are good picture books that are purely educational, and some that are designed to make you laugh or fire your imagination. I guess if there is one commonality, it would be strong storytelling and an original point of view; or a story with heart that tells the reader something about what it is to be human. When I think about picture books that have impacted me personally, it's a fairly eclectic mix, but I think the one persistent feeling that unites all of them is one of discovery; of a door opening.

When I was little, the first book to really do that for me was Where the Wild Things Are. I didn't so much read it as experience it; an imaginative transference of ego into another character, and another world. Then there are picture books that speak to me as an artist because they are so aesthetically sublime, as well as being compelling stories - books like This is Not My Hat, Du Iz Tak, The Gold Leaf, and The Snowy Day. 

Terry: I agree. A good picture book to me is one that is transporting. Being imaginatively transported by a book is one of the most rewarding things about reading in general, whether it's a novel or a picture book. I do find myself drawn to stories that have interesting layers and depth to them - books like Virginia Wolf, Grandpa's Island, or Shaun Tan's The Arrival. I think about a wordless picture book like Sidewalk Flowers, how simple it is, yet how elegantly it conveys its message of appreciation and being present in a world full of distractions; how effortlessly it delivers its moments of poignancy and beauty without a single line of text.

Childhood is actually a time of powerful emotions, mystery, and wonder, and I think the best books tap into that in some way. Even a classic board book like Goodnight Moon carries some of that power and mystery. It's such a simple book, but also poetic and affecting in a way that's hard to articulate. 

 

How did you get started in writing and illustrating books?

Eric: We both had a rather circuitous path into the picture book field. After OCAD U Terry and I both ended up working in jobs that were not art-related for many years, while still doing art in our free time. We also spent many years attempting to write screenplays with our other brother Devin. We had a literary agent in Hollywood, but never managed to get a script optioned, although there were a couple of tantalizing near-misses.

One day I was reading an article in the newspaper about a new t-shirt website called Threadless, which was one of the first crowdsourced websites. It was open to anyone who wanted to submit a design, and the designs were voted on by the community. There were a lot of talented artists submitting designs, and the competition was formidable. I think only one out of every thousand designs submitted was ever printed and sold on the site, and the designer received a $2,000 prize. We both started submitting designs, and we both ended up getting printed there quite a few times. It was the first time I had ever been paid for a piece of artwork, and it was a thrill to be chosen from so many designs. The nature of the voting process - which could be ruthless - also helped me hone my design skills, and understand what it was about my own art that resonated with people, and conversely what ideas fell flat. It was a great way to "find your rudders" as an artist, and of course there was the wonderful validation of seeing your design printed. (Eric’s Society6 page)

Big Chew art print by Eric Fan available on Society6

The Whale shower curtain by Terry Fan available on Society6

 

Terry: At some point Threadless partnered with a new website called Society6, and they encouraged people to upload art there as well. Society6 is a print-on-demand website that allows anyone to set-up a shop, like Etsy, except that Society6 handles all the logistics, printing, and order fulfillment. The revenue stream from Society6 eventually allowed me to quit my full-time job, and focus completely on art for the first time. It's also where our agent, Kirsten Hall, first noticed our artwork and approached us about representation. She also asked if we had any book ideas that she could present to publishers. Going back to what I said earlier about inspiration, Eric and I had collaborated on a stand-alone illustration called The Night Gardener, which started out as a t-shirt design, and we always felt there was a story around that image that was waiting to be told. That was the image and story concept we presented to Simon & Schuster, and it eventually became our first picture book. The book we're currently working on, Ocean Meets Sky, was also inspired by a stand-alone illustration.

 

How do you like working together as brothers? You both went to OCAD U…you’re both illustrators…and you collaborate on books. What’s the secret to your partnership?

Eric: Our very first collaboration was a book we did when we were kids, before we could read or write. It was called Many Years Ago, and was about dinosaurs, naturally. So it's something we've been doing for a long time. I think whether it was screenwriting, or illustration, we always recognized that different people coming together on a project could strengthen it, because each person is bringing something a little different to the project. It can be challenging, but in a very real sense every book is a collaboration, even when a single artist is involved; you're still collaborating with the editor and art director and writer. 

Terry: It's kind of like being in a band, as opposed to being a solo musician. As I mentioned earlier, we’ve collaborated on art many times before, and submitted several collaborations on Threadless, so I think over time we developed a good vocabulary as far as working together. The sum of our individual styles is a third style, that is something unique to each one of us and in some ways greater than the sum of its parts. On the technical side, Photoshop has made things much easier as far as combining different elements that we've worked on individually. 

 

What’s your best advice for young artists and designers just starting out?

Eric: Don't wait as long as we did before believing in yourself. The most important step to being successful is tearing down the barriers that you've put up for yourself. That's step number one before even attempting to confront the barriers that the world at large puts up.

On a more practical note, the best advice I could give is to get your work seen by as many people as possible. The landscape for artists is so different now than it was when we were at OCAD U. It’s possible to have your work seen by a much larger audience, a global audience, and there are so many avenues to get your work online - whether it’s social media like Instagram, Twitter, and Facebook, or whether its online marketplaces like Society6. It can be a little daunting at times, but it’s definitely worth the investment.

Terry: I'd agree with all that, and add that when you're younger you have something that is invaluable, and that is the luxury of time. Looking back, I wish I hadn't been so careless with that resource, because it becomes more scarce as you get older. Take the time to draw every day, and create as much as possible. It takes time to discover your voice, and locate not only what is meaningful to you as an artist, but also what it is about your art that resonates with other people. 

The Night Gardener

 

Template: 
Inline Image Template
Admissions Segment: 

Illustrators! IFOA Conversation between Seth and Adrian Tomine

Sunday, October 22, 2017 - 11:00am

Fiona Smyth is a Toronto based painter, educator, illustrator, and cartoonist. Her feminist artwork has exhibited internationally. Fiona collaborated with writer and sex educator Cory Silverberg on the award winning kids’ series What Makes A Baby in 2013, and Sex Is A Funny Word in 2015, published by Seven Stories Press. A collection of her comics spanning 30 years titled "Somnambulance" published by Koyama Press will be released in spring 2018. fionasmyth-blogspot.ca

 

Seth is a Canadian cartoonist who has been producing comic art for over twenty years. His books include It’s a Good Life, If You Don’t Weaken; Wimbledon Green; George Sprott, and his ongoing series, Palookaville. Apart from comics, he is the illustrator for Lemony Snicket’s All the Wrong Questions series. He is the designer for several classic comics reprint series, notably collections of work by Charles Schulz, John Stanley, and Doug Wright. Seth has exhibited throughout the world in a variety of group and solo shows, including a touring show of his model city of Dominion. From his home in Guelph, Ontario, he does illustrations for numerous magazines, including The New Yorker.

 

Adrian Tomine was born in 1974 in Sacramento, California. He began self-publishing his comic book series Optic Nerve. His comics have been anthologized in publications such as McSweeney’s, Best American Comics, and Best American Nonrequired Reading, and his graphic novel Shortcomings was a New York Times Notable Book of the year. Since 1999, Tomine has been a regular contributor to the New Yorker. He lives in Brooklyn with his wife and daughters.

Venue & Address: 
Studio Theatre, Harbourfront Centre 235 Queens Quay West M5J 2G8
Cost: 
$18/$15 for IFOA Supporters, Free for students and youth