FilmDoo’s Film Poster Creativity Competition, which closed earlier this year in August, named Marie Bergeron as their winner! The contest, which was hosted on Behance, ran for a few months and the winner received a paid opportunity to create artwork/ a poster for an upcoming film set to release by the end of this year.
Marie worked closely with Gareth Evens (director – Raid, Raid 2) and the Third Window team this summer on sketches for the poster for the special edition release of Takashi Kitano’s 1997 HABA-BI (Fireworks). Knowing that her audience would be a lot more of a niche fan base compared to what she was used to, Marie focused on the fan’s constructive criticism that she received and carefully monitored after the release of her early sketches and applied it to her work.
Since the movie is a special release of the 1997 original, Marie “focused on one design with various modifications to color, placements, titles, etc.” She aimed to keep the vintage theme and added beige variations to the sketches and the final poster. FilmDoo and Third Window are extremely pleased with Marie’s process and final work that they are happy to announce that they have asked Marie to help design all of the artwork for future Kitano releases.
Clemson University has recently launched their Adobe Studio inside the Cooper Library – an open-access space dedicated to providing students with tools to fuel their creative work. The studio is equipped with a soundproof audio production studio, a video production studio, collaborative workstations, high-res scanners and a Behance wall (1 of 3 in the country!) which features high definition screens that stream images from local and online projects. The Behance wall is driven by the criteria that the students are searching, whether it be a “street photography” or “typefaces,” and then displays them across the nine screens.
The “Creativity Bar” spans from the entrance and to the full length of the studio and is equipped with comfortable chairs and areas where students are able to refine their ideas and work collaboratively with others. Students and faculty are encouraged to work on projects together, learn from each others work and hopefully create a curriculum with more creative edge. Clemson University was the first school in the country to grant full access of the Adobe Creative Cloud to all students and staff last year, so the opening of the studio is definitely an exciting addition to the campus!
The studio is run by highly trained UPic Adobe Interns who are ready to answer any questions that visitors might have about the software or equipment. All the members have expertise in different fields that are naturally driven by creativity.
With so many incredible events happening all around the world, it would be a disservice to call out only a few, so check out these searches for the most up-to-date Portfolio Review Week posts.
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This week has been filled with incredible events. From Los Angeles to Cape Town, creatives from all over the world have come together to showcase work and get feedback. #BehanceReviews
As the last day of Portfolio Review Week approaches, we wanted to thank all of the hosts and participants at the events this year. We hope you got great feedback, gave great feedback and had a blast. Be sure to continue following along with the fun #BehanceReviews
Portfolio Review Week # 7 is here and we have seen some amazing snapshots from events around the world so far. Attend an event near you (it’s not too late!) https://www.behance.net/reviews and be sure to share your favorite moments on Instagram & Twitter with #BehanceReviews.
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.
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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.
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Each month, our curators select one ProSite to feature as “ProSite of the Month”. Our February selection goes to Lorena. G, an art director, designer, and illustrator from Barcolona, Spain. Her philosophy: use digital tools to create “eye candy” graphics with a handmade feel.
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Portfolio Review Week continues! Follow #behancereviews for photos, tweets, and videos from around the world as creative meetups continue all weekend!
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