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Tries to begin every day by drawing some of his ideas into a sketchbook. Then he works on various commissioned illustrations and on his book project at his studio.

Uses a mixture of pencils, sketchbooks, brushes, and paint,

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Whether it's his stellar drumming in the band SLAAP, or the creative inventiveness of his illustrations, Laurent Moreau gets our heartbeat racing. This France-based drummer is also a prolific illustrator. Moreau draws and draws and draws and draws, and we couldn't be more grateful! With a mixture of pencils, sketchbooks, brushes, and paint, Moreau fills his Tumblr with the endless etchings of a curious mind. His initial inspiration was his older brother, he says, " He was my first favorite artist! I was very impressed, and it made me want to draw."

We wish Moreau were our little brother!

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Whether it's his stellar drumming in the band SLAAP, or the creative inventiveness of his illustrations, Laurent Moreau gets our heart beat racing. This France-based drummer is also a prolific illustrator. Moreau draws and draws and draws and draws, and we couldn't be more grateful! With

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Moreau utilizes gouache paint in order to create richly colored landscapes,

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He loves being an artist - the sketchbook, the black pencil - a favoured means, the colour red, the freedom and pleasure it brings when things are going well but he is still very aware of the autonomous nature of the occupation and he comments on how the doubts that creep in "can be terrific!”. Nevertheless, in times of strife, he suggests to just keep working hard and to have a good glass of wine!

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22 Pep Carrio Sketchbooks ideas | sketchbook journaling, sketch book, artist books

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22 Pep Carrio Sketchbooks ideas | sketchbook journaling, sketch book, artist books

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Sep 26, 2020 - Explore Cathie Linton's board "Pep Carrio Sketchbooks" on Pinterest. See more ideas about sketchbook journaling, sketch book, artist books.

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His personal works address human social progression and the driving relation between the powerful and the powerless.

Has timelapse animations of how he produces the drawings.

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FXX reached out to Bryce Wymer studios to design and animate 20+ custom idents/opening titles for seasons 1 and 2 of its new show Cake. Here's a behind the scenes look at a few of the time-lapses.

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Oliver Jeffers' Latest Book is a Twist on the Classic Ghost Story - Oliver Jeffers

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Creative Review , article by Rebecca Fulleylove Read the full story.
Combining his characteristic humour with a little darkness, Jeffers' latest picture book tells the tale of a little girl who lives in a haunted house but has never seen a ghost
Having sold over 14 million copies of his books worldwide, illustrator and author Oliver Jeffers has become celebrated for his imaginative takes on the humble children's picture book. For his latest adventure, Jeffers has released his most creative title yet with the spookily well-timed, There's a Ghost in this House.

For this project, Jeffers takes on the traditional ghost story in his recognisable style with hand-rendered text and sprightly characters. The book tells the story of a little girl who lives in a haunted house who is convinced ghosts exist. Unfortunately she's never seen one before and doesn't know what they look like. Readers are invited to travel around the spooky house to find the ghosts hidden within the book, which appear on translucent pages that overlay Jeffers' mixed media illustrations.

"The creative process for this one was extremely different from anything I've ever done, which seems to be a habit I get myself into with every new book," Jeffers says. "For this one it's the combination of two different ideas, the first a sort of poetic game of hide and seek, coupled with a game that I've played for a long time by drawing ghosts into empty rooms, which is just something I would do for my own entertainment."

Combining his characteristic humour with a little darkness, Jeffers' latest picture book tells the tale of a little girl who lives in a haunted house but has never seen a ghost
All images: There's a Ghost in this House, Oliver Jeffers. Published by HarperCollins
Having sold over 14 million copies of his books worldwide, illustrator and author Oliver Jeffers has become celebrated for his imaginative takes on the humble children's picture book. For his latest adventure, Jeffers has released his most creative title yet with the spookily well-timed, There's a Ghost in this House.

For this project, Jeffers takes on the traditional ghost story in his recognisable style with hand-rendered text and sprightly characters. The book tells the story of a little girl who lives in a haunted house who is convinced ghosts exist. Unfortunately she's never seen one before and doesn't know what they look like. Readers are invited to travel around the spooky house to find the ghosts hidden within the book, which appear on translucent pages that overlay Jeffers' mixed media illustrations.

"The creative process for this one was extremely different from anything I've ever done, which seems to be a habit I get myself into with every new book," Jeffers says. "For this one it's the combination of two different ideas, the first a sort of poetic game of hide and seek, coupled with a game that I've played for a long time by drawing ghosts into empty rooms, which is just something I would do for my own entertainment."

Jeffers' ghosts appear in stereotypical white-sheet form, and for the different rooms of the house he has used found imagery such as photographs of old houses and images from architectural research books and catalogues. "I've always worked in collage so whenever I'm at a car boot sale, a yard sale or an estate sale - living in New York it's incredible what people throw away - I would collect them, thinking 'that will come in handy one day'," he says. "They looked like the empty scenes for something and that's the backdrop for the tour of this house."

There are over 45 books credited in the bibliography, but referencing aside, one of the biggest challenges for Jeffers was making the ghosts 'appear' rather than be present on the page the whole time. The illustrator decided to use tracing paper as it is relatively cheap and easily obtainable, compared to his alternative of mylar, a plastic film that ended up being a lot more expensive when publishing on this scale.

"The tracing paper translucency wasn't as good though and it changed the way some of the rooms looked, so there was a degree of Photoshop editing that needed to be done," Jeffers explains. "These sheets also started to wrinkle pretty badly when you glued them, so we had to fold them into the books.

"So I had to fit the narrative structure of the story around where these tracing sheet papers would be, which is why there's some spreads with no tracing sheets, and there's some spreads with two, and that really was the greatest challenge," he reflects.

On the positive side, what the illustrator enjoyed most was seeing it all click into place and come alive. "It was great realising this fun narrative mixed with the collage material and the tracing paper could work. It was a joyous moment," says Jeffers. "I know the most fun part though is seeing how people feel about the book and hopefully they like it. I am already bracing myself for the reality that only a very small percentage of people will get the ending which it seems is much more subtle than I even realised."

To coincide with the book's launch, publisher HarperCollins has also created a short promo film featuring Jeffers wandering around a creepy old house. The witty tone of the film reflects the hint of darkness undercut by humour that's reflected in the new book, and much of Jeffers' work overall.

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Oliver Jeffers' Latest Book is a Twist on the Classic Ghost Story - Oliver Jeffers

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Creative Review , article by Rebecca Fulleylove Read the full story. Combining his characteristic humour with a little darkness, Jeffers' latest picture book tells the tale of a little girl who lives in a haunted house but has never seen a ghost Having sold over 14 million copies of his

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The making of Oliver Jeffers’ best-selling picture books

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The making of Oliver Jeffers’ best-selling picture books

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The best-selling author and artist reveals how his latest collection came to be.

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ultraMARIN – Graphic Design & Illustration

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ultraMARIN – Graphic Design & Illustration

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Marina Grechanik’s online portfolio; a painter from Raanana.

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ADEBANJI ALADE' SKETCHBOOK-JUST SKETCH AND FILL IT UP!

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ADEBANJI ALADE' SKETCHBOOK-JUST SKETCH AND FILL IT UP!

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HAROLD RILEY SKETCHBOOK PRIZE-Won by ADEBANJI ALADE

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HAROLD RILEY SKETCHBOOK PRIZE-Won by ADEBANJI ALADE

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ADDICTIVE SKETCHING DAY 7 with Adebanji Alade.

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ADDICTIVE SKETCHING DAY 7 with Adebanji Alade.

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ADEBANJI ALADE'S SKETCH INSPIRATION HOT SHOT 11-SKETCH WHAT YOU SEE

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ADEBANJI ALADE'S SKETCH INSPIRATION HOT SHOT 11-SKETCH WHAT YOU SEE

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Art and Sketching Tutorials with Adebanji Alade The Addictive Sketcher on Hochanda

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Art and Sketching Tutorials with Adebanji Alade The Addictive Sketcher on Hochanda

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VISUAL DIARIES
Some pages in my diary are a real mess but occasionally a door seems to open and something steps through, an idea or observation that sums up my day or a starting point for future work.  I take my diary to places I both do and don't want to go.  It helps me get through meetings I'd rather not attend and keeps me company when I visit the dentist.  I take it on the train, to coffee shops and museums.  It's also a favourite place to draw and paint while sitting in front of the TV.  I enjoy the methodical approach to diary keeping; being able to turn the page to start again opens up the potential for new thinking.

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TRAIN TICKETS   'Day Return to Brighton' is a diary project on used train tickets from my daily commute from London to Brighton. When I started the series many years ago I set a few ground rules to help me remember what was important in the work. I limited the drawing materials to pencil, pen (black and blue ink only) and Tipp-Ex (white correction fluid), which keeps the project portable. I never throw tickets away: if I make a mistake I keep working on it until I'm left with something I like or can use, which might mean ending up with a virtually black ticket if things go badly wrong.  For the most part I try to work with the mistakes, remembering that I'm allowed some less than wonderful tickets over the long haul. Also, every ticket used in the series must be mine, and only those used for my commute to Brighton.  This reinforces my initial objective, which was to try to find a positive way to acknowledge the time and money invested in commuting.  Each ticket represents one day of my working life.
Find more at: http://www.dayreturntobrighton.co.uk

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About Today - Illustration by Lizzy Stewart

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Lynda Barry, Graphic Novelist, Cartoonist, and Educator | 2019 MacArthur Fellow

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Wikipedia

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Lynda Barry, Graphic Novelist, Cartoonist, and Educator | 2019 MacArthur Fellow

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Cartoonist Lynda Barry teaches us how to silence our inner critic and draw like a child

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Cartoonist Lynda Barry teaches us how to silence our inner critic and draw like a child

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11 Nicky Nargesian ideas | moleskine sketchbook, sketch book, moleskine

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11 Nicky Nargesian ideas | moleskine sketchbook, sketch book, moleskine

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Jul 20, 2020 - Explore Gemma Fowler's board "Nicky Nargesian" on Pinterest. See more ideas about moleskine sketchbook, sketch book, moleskine.

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Uses a lot of tonal wash work

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Graphic Fiction - Exercise 3.1: Starting A Story

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The brief was simple for this exercise: every time I watched a film or TV show, I had to sketch the opening scene.

For this exercise, I purchased a pack of A6 index cards from the supermarket and kept them with a marker in the living room so I could quickly grab one each time we watched something on the TV.

What I soon found was that this was not as easy or as intuitive as I had hoped. After quite a few days this exercise was not progressing and I was becoming frustrated. So I decided to do this as a discrete and dedicated session. With the advent of video-on-demand, getting access to TV shows and movies alike is really easy, so I randomly browsed different catalogues, choosing a TV show or film and got ready to quickly sketch the first scene.

It took a few sessions, but eventually, I had accumulated 20 thumbnail sketches. Laying them out on my desk, I selected the five that I liked the most. I then went about answering the questions set in the exercise:

Where is this place, and what does it suggest about what we are about to watch?

This appears to be an office or a meeting room, it looks like we are about to watch a discussion.

When are we? In the past, the present, or the future?

This seems like the present based on the suit the woman is wearing.

Is this scene set during the day or the night?

It's unclear if this is day or night - they are indoors under artificial light

What is the weather like?

Again, unclear.

What are they telling you about the nature or content of the programme?

It tells me it's about people, so likely focuses on relationships between the characters.

Are they establishing a mood or a certain sensibility?

The camera shot looking through a window or glass door suggests a documentary or fly-on-the-wall.

Where is this place, and what does it suggest about what we are about to watch?

This is in some woods, or perhaps a forest path. The pathway sets an expectation that we should be concerned with something or someone using it. The obscured corner creates a sense of anticipation

When are we? In the past, the present, or the future?

The plants all appear to be relatively evolved trees and shrubs as well as grasses and ferns. This shows us that it's not pre-historic, but apart from that, it could be any recent time period.

Is this scene set during the day or the night?

The scene is set during the day, given the light coming from above

What is the weather like?

The weather is temperate. Given the cover of the canopy, it's hard to tell if the light present is direct sunlight or obscured by clouds.

What are they telling you about the nature or content of the programme?

Not a lot at present, it establishes the current setting, rather than the programme as a whole. The composition and tension seem to be intentionally used to introduce something, or someone - which will likely tell us more about the content.

Are they establishing a mood or a certain sensibility?

The photography and composition are designed to make us curious and tense, and direct our intention to the path.

Where is this place, and what does it suggest about what we are about to watch?

The scene is obviously underwater. It could be a lake or other large body of water until we see the tube attached to the floating figure, which immediately suggests this is a man-made tank.

When are we? In the past, the present, or the future?

The technological tube suggests that we are in some kind of futuristic setting.

Is this scene set during the day or the night?

The light above the water is bright, so it's unclear whether it's day or night. Also, the suggestion that this may be a man-made environment suggests that this may be indoors, which also means we can't discern the time of day.

What is the weather like?

As before, the artificial nature of the setting doesn't allow us to work out the weather.

What are they telling you about the nature or content of the programme?

The contrast suggests drama and tension. The naked body and tubing tell us there are elements of science fiction to this story.

Are they establishing a mood or a certain sensibility?

Yes, I believe they are letting us know that this story has a serious and dramatic mood. They also hit us immediately with a storytelling device that we are not used to. This not only increases tension but asks us to take interest in this piece of technology specifically. It's likely a crucial plot-telling device.

Where is this place, and what does it suggest about what we are about to watch?

This place seems like a desert. The massive city we move towards sets it as the location we're going to be interested in.

When are we? In the past, the present, or the future?

A city that stretches from one edge of the horizon to the other any beyond is not something we are familiar with. This suggests that this is somewhere in the future. The tower blocks themselves seem familiar in their silhouette. This suggests that it might not be very far into the future. Also, the contrast of desert and city suggests a dystopian future; the city and its obviously massive wall being a refuge of sorts.

Is this scene set during the day or the night?

The setting sun in the distance suggests late in the day.

What is the weather like?

The weather seems hot, arid, and unforgiving.

What are they telling you about the nature or content of the programme?

The dramatic quick approach suggests drama and action.

Are they establishing a mood or a certain sensibility?

The camera angle close to the floor places the city into a place of power and dominance. Almost oppressively.

Where is this place, and what does it suggest about what we are about to watch?

There are visible landmarks like the bridges over the winding Thames and the Shard that place this explicitly in London. The gently opening clouds are not depicted in a strictly realistic way. This suggests a piece of fiction with a whimsical or light-hearted element

When are we? In the past, the present, or the future?

Based on what we see of London, it suggests to us that this is present-day.

Is this scene set during the day or the night?

It's clearly set in the daytime

What is the weather like?

The fact that we descend through clouds suggested a typically overcast day. The clouds are white and whispy, so it also suggests that it's quite dry despite the cloud cover.

What are they telling you about the nature or content of the programme?

The way the clouds part, zooming in suggests an almost point-of-view opening. That we are looking from the eyes of something (someone) who might descend from above the clouds.

Are they establishing a mood or a certain sensibility?

I think they are trying to set the tone that this story takes place in our real world, but perhaps from a perspective that you might not normally consider.

Finally, I chose my favourite image which I would apparently be using in future exercises. I chose the one below as I felt that it gave me lots of options to go in different directions in future exercises.

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Graphic Fiction - Exercise 3.1: Starting A Story

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The brief was simple for this exercise: every time I watched a film or TV show, I had to sketch the opening scene. For this exercise, I purchased a pack of A6 index cards from the supermarket and kept them with a marker in the living room so I could quickly grab one each time we watched something on the TV.

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Graphic Fiction - Exercise 5.4: Shoot a Photo Story

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Graphic Fiction - Exercise 5.4: Shoot a Photo Story

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I had a little bit of experience going into this exercise, as I had to use photos as a backup for Exercise 3.3. For this exercise, however, I had to turn the photos themselves into a proper comic, which could include words as well as pictures.

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Convocation - Lynda Barry - Crossing the Fox River - Jan. 24, 2013

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Convocation - Lynda Barry - Crossing the Fox River - Jan. 24, 2013

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Writing the Unthinkable with Lynda Barry

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Michael Green's Graphic Medicine Channel

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Writing the Unthinkable with Lynda Barry