Posts Tagged ‘Behind The Project’

Behind the Project: Bizarre Beauty for Refinery29

In this series we will look deeper into a work that was especially admired in our community: Bizarre Beauty for Refinery29, created by Leta Sobierajski. The five photo Instagram series is a colorful exploration of the relationship between a person’s sense of beauty and inanimate objects. Sobierajski‘s multidisciplinary design work has captured the attention of the Behance community (as well as clients like Google and IBM) with its brightly bizarre compositions. The Brooklyn-based designer and art director took time to share some of her insights into the creative process with the Behance team. 

What was your inspiration for this project?

Bizarre Beauty was inspired by daily beauty routines and surface-level obsessions. The series contained objects representative of independent, odd, and beautiful situations which highlight what makes a person feel beautiful through the use of inanimate objects. The notion of surrealism plays a part in this project too, and creates situations that trigger imaginative situations with personification. I’m also heavily influenced by Josef Albers’s Theories on Color Studies; creating experiences through the sensory relationships of color is what helped me tie everything together in this project with a reoccurring palette of saccharine colors.

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Behind the Project: AniWall

In this series we will look deeper into a work that was especially admired in our community: AniWall, created by Bram Vanhaeren. Bram, a 24 year-old artist with a strong passion for portraits – and risk – was kind enough to share with us his process and inspiration for this recent project as well as his own strategy to make his creations successful!

Can you describe your process in creating this project?
Most people would be surprised if I told them it only takes me about two hours to complete a portrait! I believe the energy in my work comes from the fact that I don’t – or can’t – overthink about it. It is created within a very short period of time with a lot of energy and emotions. I love to embrace my small errors during this creation! I am all about – “Wow I love this song, this artist moves me! Let’s put this into a portrait”. I then draw for one hour, add colors, animation, music … Breathe and before I am able to judge the project I publish it on the web! I release it and watch the reactions. As you can see I embrace the chance to fail. I love it; I try to bring it as pure and honest as I can.

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Behind the Project: Lil BFFs 3 (Cartoon Edition)

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.

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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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Behind the Project: Best of 2014

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.

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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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Behind the Project: Silverblack WOOL Campaign AW15

Starting off as a retoucher, Henrik Adamsen eventually 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!

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Behind the Project: Stolen Childhood | drawing series

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.

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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.

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Behind the Project: Digital Vomit Pt 1

In this series, we’ll look deeper into some of the projects on Behance.net that are especially admired in our community. Alberto Seveso‘s passion for graphic arts started in the early 1990s, through his fascination with the graphics of skate decks and the album covers for metal bands. His project on Behance, Digital Vomit Pt 1, demonstrates the influence of these inspirations and how he has transformed them to create his own art.

What was your inspiration for this project?
The inspiration is something that surrounds us all; you can’t see it, but she can see us. Sometimes it appears and you have to be quick to grab it.

I’m surrounded by painters. I love painters. When I see beautiful projects on Behance done by a great painters, I want to be a painter! But I’m not a painter; I’m not good at drawing with pencils or brushes. I always admired people who can draw and paint for real.

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Behind the Project: Michael Roulier

In this series, we’ll look deeper into some of the projects on Behance.net that are especially admired in our community. Michael Roulier is a photographer specializing in food and cosmetic visuals, having published more than 30 books in collaboration with three star Michelin culinary chefs. His project on Behance, Michael Roulier, contains photographs featured to help create a book for Anne Sophie Pic, a three star Michelin chef herself.

What was your inspiration for this project?
I was commissioned by Hachette, a French Publishing company to create a “sumptuous” book about Anne Sophie Pic, a French 3 star Michelin chef, a woman in a man’s world; an exception. Hachette knew very well that I would have to be left completely free on the creative part to accept a three weeks time project.

I had already worked with Anne Sophie, so we knew each other quite well. At this level, being a chef, means above all being an artist. This project was supposed to be her published food “manifesto.” The text was written by Stéphane Davet, a journalist specialized in rock & roll, but equally passionate about food.

The 48 images we had to do, like a true photography book, would appear naked, unadorned, and apart from the text.

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Behind the Project: Cinema

In this series, we look deeper into some of the projects on Behance.net that are especially admired in our community. Franck Bohbot is a photographer and visual artist, mainly focusing his artistic research on public spaces and urban landscapes. Each one of Franck’s series features certain photographic intentions — through their enigmatic atmosphere, documentary-style approach, and timeless feel. We were fortunate enough to delve deeper into one of his projects on Behance, Cinema.

What was your inspiration for this project?
For The Cinema Series, my principal inspiration was to honor the Art of Cinema by showing the atmosphere of movie theaters specifically in the state of California. Entering a Cinema instead of watching movies on your smartphone or computer gives a real emotion to the public. I think because of the new media, we are losing step by step, the pleasure to going to your local Cinema.

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Behind the Project: Cloud City

In this series, we’ll look deeper into some of the projects on Behance.net that are especially admired in our community. Together, Julie Wilkinson and Joyanne Horscroft are The Makerie Studio, a creative collaboration producing unique three dimensional paper sculptures for both commercial and artistic purposes. They are inspired by forgotten worlds, rare prints, and the beauty of details, allowing them to create unique pieces. Cloud City is their most recent project uploaded to Behance.

What was your inspiration for this project?
The inspiration for Cloud City came from an obsession with Moroccan arches and architecture, something we’d been eyeing up for over two years and really wanted to use for one of our pieces. We’d started drawing up a few intricate designs based on real buildings, but that had us stumped for a while because the buildings were already so beautiful. It was hard to know what to do next, and how to make them our own in some way. But when we distilled what it was that we loved about them – the pattern making, the colours, the structure – we thought it would be lovely to take these very rational details into a dreamier, illogical realm. And that’s how we ended up with floating egg palaces connected by ladders in the sky…

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