Animated Personality: Aglaia Mortcheva
When did you first think about art as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?
I always loved drawing, but remember deciding to become an artist at age seven. I had just started school andhated it. Mostly hated getting up so early! I was under the impression that artists don’t have to wake up early or go to school.I was sorely mistaken! My family always supported me. My parents are artists and very bohemian. They hardly noticed what I was doing, but were supportive to a fault. Still are.
What kind of kid were you? What were your influences?
I was very independent kid and quite wild. I grew up in Sofia, Bulgaria. It was a communist country back then, very closed off and repressed. But as kids none of it affected us too much.My parents made sure to shield us from a lot. My biggest influence was my dad’s amazing library of art books and literature. Nothing was off limits, there were no age restrictions and no censorship. Also, my grandmother Daphna’s crazy stories, very picturesque and saucy. She would embellish them daily, depending on her mood.
Your style is very unique. Did you work on developing a style or is that what naturally came out of you?
It came naturally, but I lost it along the way, especially during my years in art school. I went to art school in Bulgaria. It was very rigid – Socialist Realism all the way, as you can imagine. My weird creatures and playful color pallet were not appreciated.
It took me awhile to get the confidence to bring my natural style back. Illustrating children’s books and working in animation as a character designer helped a to free me and get back to what I love.
You work in a few different areas like children’s books,
animation, magazine illustration, etc. How did that happen?
Mostly it all happens by accident and also very naturally…
I am a very curious person and I can’t say no to work. I say yes to all kinds of projects. Often I will take any little job that comes my way, at least half of the time it leads me somewhere interesting and brings more opportunities, and more contacts with great people.
I just think of artistic challenges as adventures. Some people jump off cliffs and swim with sharks, I face a blank canvas and it thrills me.
How has the advent of the computer affected your work? Do you work traditionally and digitally?
I work both ways. I love the new technology. More fun tools to play with and it keeps me learning new stuff. Also, I have become a bit of a clean freak and minimalist in my old age, so when I work
digitally I like how clean my studio is! Also it keeps my toddlers from eating the paints and drinking the solvents…which is very useful!
For More of this interview go to https://issuu.com/lonfellow/docs/ij.best_of_2018_v2
I came across Caroline’s work while trolling the internet and I’m fascinated by this style. I’ve done scratchboard art in the past and it is not an easy medium to work in. However Carolinehas mastered it.
Caroline Church is a scraperboard artist, and the perfect illustrator to approach if you’re after something with a vintage engraved look to it. Based in Twickenham, she grew up in Uganda, where she had pet chameleons and was encouraged to make greetings cards by her mother.
First, Caroline got a BA in Illustration at the Chelsea School of Art. She then learned wood engraving as a guest student at Royal Academy Schools.
Scraperboard is card with a layer of white clay covered in black ink. Caroline marks out an initial drawing using transfer paper and then scrapes away the white layer with a craft knife into the black, creating the look of an engraving.
She has used computer software in the past but finds it frustrating and unnatural. The authentic look requires the tr
ue, physical medium, though sometimes she’ll add a colour wash in Photoshop to come up with something a bit different. When complete, her work is scanned and sent to the client digitally. Amendments can be made either by going back to the scraperboard, or using Photoshop.
Caroline’s style is reminiscent of 19th century engraving, so it tends to lend itself well to projects that aim to convey traditional and time-honoured values. Not surprisingly, her main influences include the engravers Thomas Bewick and Gustav Dore.
I had the pleasure of talking to Shelley Zentner yesterday, a fine artist whose work is clearly steeped into the classic form as embodied by DaVinci, Michelangelo, Raphael and others.
Shelley and other artists living in Northern California’s winter paradise, Lake Tahoe, CA have banded together to show their resistance artistically to the current government’s policies as personified by Donald Trump. The Illustrators Journal’s Gregg Masters was at a recent meeting of the creative group and was inspired and encouraged by this tiny faction of brilliant people who are taking on the powers that be they only way they know how to do it. Through their ART.
Both Gregg and I are looking forward to working with Shelley and the group and look for our up coming coverage of Shelley and the Tahoe Activists Artist Group in the Winter Edition of the Illustrators Journal
12:01 – 20 April, 2017 by Patrick Lynch
The words of David Adjaye are so on point in design that it’s appropriate to include this video and article on our site. Whether you’re an illustrator, painter, sculptor or architect his words ring true.
TIME Magazine has named architect David Adjaye to their annual list of 100 Most Influential People, recognizing the world figures who have had the most impact on society in the past year in five categories: Pioneers, Titans, Artists, Leaders, and Icons. Unlike Bjarke Ingels and Wang Shu – who were selected under the Artist category in 2016 and 2013, respectively – Adjaye was nominated in the Icons category alongside champions including media personality RuPaul, subversive photographer Cindy Sherman, and US Congressman John Lewis, the civil rights leader who was the original advocate for a National African American Museum in Washington, which was eventually designed by Adjaye and inaugurated last September.
In the citation for the award, Thelma Golden, director and chief curator of the Studio Museum in Harlem (and currently working with the architect on an expansion project for the museum), describes Adjaye as “one of the great architectural visionaries of our time,” and lauds his work as “deeply rooted in both the present moment and the complex context of history.”
As we go through our “archive spring cleaning we wanted to highlight some of our more interesting interviews. The PodCast will be a regular feature on our site moving forward with interviews and views that will entertain and enlighten.
As I move forward doing more “realistic” illustration I am fascinated and I relate to perhaps one of our greatest contemporary artists, Ted Lewin. Here in this interview Ted talks about his a children’s book about Gleason’s Gym in New York. The paintings are superb. His mastery of watercolor makes the imagery vibrant and alive. More of Ted’s work can be found here http://www.tedlewin.com
A while back I started adding photography to the mix of this blog and it has gotten a lot of positive response. That led me to creating LPIK a magazine portfolio for me and some friends. Soon I added interviews and it became a pub on it’s own. This first issue of LPIK features three photographers who I admire greatly. Two, Justin Rosenberg and Tony Donaldson are friends who I’ve work with extensively. They are both enormously creative and have taught me a lot about how to shoot, when to shoot and what to do after you shoot. Each are unique in their own way but both are similar in the love they have for shooting. The third photographer interviewed in this issue is James Vaughan who is simply a marvelous talent who combines art and photography in a way that is unique and highly conceptual. When I saw his work, I contacted him immediately and asked him if I could interview him. He kindly agreed. This issue contains Part One of that interview. The rest will be in the summer issue coming out in a few months.
I hope you enjoy this issue and please comment and suggest ideas or if you want to be covered please let me know. I am always interested in meeting like-minded creatives!