Everyone remembers their first time…using Photoshop. Some of us remember life before layers (it was a dark, dark time) and while others might not even know what Creative Suite was. No matter when you clicked on your first brush tool, Photoshop has had an impact on the creative world beyond anyone’s wildest imagination. To celebrate Photoshop’s 25th Anniversary, Adobe and Behance have been on the lookout for twenty five of tomorrow’s creative superstars who have worked Photoshop’s magic into their process.
Since February, Behance members under twenty five that have uploaded and tagged their work “PS25under25″ have been dazzling us with their sweet ‘shopping skills. We’re excited to showcase the first three featured artists: Fredy Santiago, Tom Anders Watkins, and Shaivalini Kumar. Each has been created an original piece of art to celebrate the 25th anniversary and over the course of the next year, each of the will stage a two week takeover of the new Photoshop Instagram channel, sharing their story and their art with the world.
For more on these artists, check out the Adobe Inspire Blog Post here.
Do you remember the names of all your best friends growing up? Kevin Coppel, Austin McDonald, oh, and don’t forget Spider-Man! Dennis Salvatier‘s Lil BFFs 3 takes us back to the good ol’ days when we would hang out with our friends every Saturday morning. His work shows that just because we grew up, doesn’t mean we can’t still be pals.
How did you first get interested in graphic design and then later do it professionally? I’ve been drawing since I could remember. In first grade we watched Pete’s Dragon and we were asked to draw a scene from the film. Not only did I draw my favorite scene, but I drew my second and third and fourth because I was asked by my classmates to draw there’s for them. I always knew I wanted to be creative but it wasn’t until getting into art school that I saw the potential of design in my life. I was supposed to be an animator, but back in 1999, the industry was shifting and the competition was becoming even more fierce. I decided if I wanted to work I had to fall back on my design skills (which were terrible at the time) but I worked at it and honed it and learned to teach clients about design as opposed to just designing for them. That’s what set me apart.
Many of your projects feature cartoon and comic book characters. Do you seek out clients that will allow for you to make works featuring these characters, or are you really lucky? I believe strongly in personal projects. They keep you creative and sharp. It’s through my personal projects that I’ve secured more paid work and a better clientele. People can see that you’re having fun by looking at your work and it get’s people excited to have that same energy on their projects. But in the last 3 years, I decided to take on only projects I’m excited about. In my early years, I got paid a lot of money to work on projects I didn’t believe in — there’s more to life than getting paid. Read more →
Middle Earth, Gotham City, and wherever it is The Wild Things are. What connects these seemingly distinct worlds is the art of illustrator Nico Delort. We got a chance to find out what makes him tick, and he how comes to visualize these worlds in his own unique way, as highlighted in his Best of 2014.
Your illustrations have an impressively large range, from the films of Werner Herzog to Charlie Brown, and yet you’re able to make them all visually work together when placed side by side. How do you go about choosing your subject matter and adding your unique visual style to it? As far as choosing projects go, I usually always pick things that resonate with me on either an emotional level or an aesthetic level – also projects that I know I can put my personal touch on, like if someone asked me to do, say, an Adventure Time piece (as much as I love the show), I’d have a super hard time doing something because it’s so far from my own aesthetic and I’d have to change what makes it unique to fit my ‘vision’ and I don’t want to do that.
Can you describe your creative process when making an illustration? For client work I always start out with a few thumbnails – once we find something we agree on, I move on to Photoshop to make a first draft of the selected thumbnail. All the preliminary work for my pieces is done digitally, as I love the flexibility the medium allows. I only move to the final ink artwork once my digital comp is 100% tight. I print out the lineart, transfer it on clayboard with carbon paper and then ink and scratch away.
Behance’s first-ever art & design book, featuring content exclusively from the Behance Community, is now out! We’re thrilled to present 288 pages of work that demonstrates how classic approaches to art and design are being subverted, blurred, and reinvented by you, today’s creatives.
We dive in 18 themes, each showcasing work that riff on the idea of “super-modified” creative work. From unexpected uses of humble materials like felt, to how branding is moving far beyond the unchanging logo, to how handmade lettering is making a comeback – it’s clear that exciting things are happening in today’s creative landscape.
We’re gifting copies of Super-Modified: The Behance Book of Creative Work to some of you, our creative community – without you, this book would quite literally not exist.
Want to enter for a chance to win? Tell us what you think today’s most exciting creative trend is.
We’re so excited to announce that host signups for Portfolio Review Week #7, May 11-18, 2015, are officially open! Last November, we had nearly 300 reviews across the globe and the events blew us away! (check them out on our Flickr page)
Starting off as a retoucher, Henrik Adamseneventually quit his day job to become a professional fashion photographer. We were lucky enough to get to know Henrik, the incredible artist behind the project, Silverblack WOOL Campaign AW15. Find out why it wouldn’t be a bad idea to follow in Henrik’s footsteps, if you’re an aspiring artist.
Could you talk a little bit about how you started off as a photo retoucher and your development into a photographer? What was that progression like? It was actually a very long transition from being a retoucher in the mid 90s… Then moving to London and working there for a while as a retoucher, then AD-assistant / artworker, moving on into graphics design/ArtDirection, and somewhere in there I started shooting just for fun. That then turned into something serious – so I kinda had to give up my day job. I just started getting too many jobs, that I either had to take days off to do, or to take care of them in the evening. In then end, it was the best decision I ever made – I highly recommend it!
This week, Photoshop celebrated a huge milestone with it’s 25th Anniversary. We’re super proud to be part of the Adobe family and play a part in the incredible legacy Photoshop has already created. Below are some of our favorite Behance Projects, videos, and articles about the big day.
First, a great video with tons of work created with Photoshop:
Visual artist, Henrique de França, uses pencil and charcoal in Stolen Childhood | drawing series to reveal elements of his own childhood, as well as themes of Catholicism in Latin America. Henrique was kind enough to share with us his process and inspiration for the drawings. There were many drawings that he chose to not include in this project, and it’s safe to say that all of us here on Behance can’t wait to see them!
What was your inspiration for this project? Is any of the subject matter in the illustrations autobiographical or inspired by personal observations? This project is a collection of drawings I made throughout the last five years within the theme of memory. The subject, for me, automatically brings childhood to the center of the series, and although not biographical, I like creating images that resemble my own childhood and things I experienced when younger. The series also discusses themes such as catholic upbringing in Latin America, which I like to portray as a contemporary artist.
When you set out to make these drawings, did you know how many you wanted in the series, and what they would each ultimately look like, or did it develop as you went along? No, I cannot be sure of how many drawings I will have at the end of the series when I start it. I go with the flow and the need to explore the theme.