I really enjoyed illustrating this weekend’s New York Times Book Review of Ben Lerner’s second novel 10:04 with AD Joele Cuyler. Visually reinterpreting another’s creative work via the interpretation of a third reviewer is often a telephone game-like experience, but in the case of a story that itself cites coconstruction and shared experiences of art, the layered/perception sketches below came together quickly.
I’ve included something that I don’t always mention but is integral to most illustrations I work on: inspiration beacons. After I’ve worked out the content of the illustration in sketches, I reach for the shelves and folders of art books and JPGs and usually unconsciously pull a few that serve as these beacons. I place them next to the reference on a second monitor to play the role of corner-men, long lost teachers, or idea-maps to something I’m fixated on at the time. In this case, they happened to be a collage by Josep Renau, a book cover illustration by Mitchell Hooks, and a photo by John Cho.
Kerascoët’s covers for Beauté with scans of the original art for the 2nd and 3rd tomes and the cover design for the first.
I think Kerascoët’s use of green ink is very interesting as a way to define lines and spaces meant for color while maintaining information within the image that black ink would otherwise compromise. It’s a smart method with using green to define the sky against the cloud and especially with the amount of creatures drawn heavily with black, the green prevents her from losing the shapes and figures to black and also from committing the all too common aural line around figure that would completely destroy the eerie mood of the third cover or the delicate detail of the comb going through black hair in the second.
This book looks great. Please come to America. I don’t care if it’s translated or not.
This book is coming out from NBM this Fall. All three books in one oversized volume, coming out around the same time as a larger collection of Miss Don’t Touch Me. It’s called “Beauty.”
While many street artists are known for signature tags or characters, Italian artist 2501′s work is instantly recognizable for an iconic pattern — an organic, zebra-like evolution of stripes that morph into various geometric forms, whether across massive walls or canvases.