Wanna know how some of the most talented artists from around the world are getting things done? We asked them to tell something about the process they’re going through while making their artwork.
Designer Ana Benaroya (New York Times, The New Yorker, National Geographic)
It depends if it’s either for personal work or for commercial work but it’s pretty similar. Usually I’ll have something in mind, something just comes to me and that image kind of evolves. But if it’s something for commercial I usually come up with a bunch of different ideas usually in sketch form and work back and forth with the art director to come up with the best solution that makes both of us happy. But it’s very instinctual and I try not to agonize over it.
Designer Billie Jean (Nike, Yoko Ono, BBC)
Every now and then I have to work with somebody else’s idea, especially when undertaking an advertising job. However, I never had to work with somebody else’s drawings. It was quite tricky having to choose and create a design from the various drawings on offer. I love the Picasso quote “It took me four years to paint like Raphael, but a lifetime to paint like a child”. I think that the kids’ drawings are perfect as they are and really don’t need any embellishment from me. However, the brief was to customise them and so I hope that I’ve done them justice!
Designer Cecilia Carlstedt (Victoria’s Secret, Paul Smith, Victoria Beckham)
One of my favourite subjects to draw is portraiture, so when I was given a range of photographs of the children, the pictures immediately inspired me to draw them and incorporate a portrait in the design. After painting the faces in ink I scanned them and started the intuitive process of making the design together with the lovely drawings of the children. I usually mix technique and styles in my own work so combining my work with theirs felt totally natural.
Designer David Despau (Time Magazine, Burton, Porsche)
First I choose photo references, then I draw with blue and black ballpoint and finally I finished the illustration in the computer adding color, ink, lines etc…
Designer Kate Gibb (The Chemical Brothers, Nike, Stüssy)
In its origin silkscreen is a print method of mass/repetitive production. The obvious plus side to this characteristic is one can make multiples of your work, with ease. But for me this sort of regimented, carbon copy technique holds less interest. By applying different pressures to your squeegee for example, you create a different impression for each print/layer applied. My passion for silkscreen lies in the very fact that your outcome can be varied every time you apply a colour, thus producing unique pieces of work. Often in the same vein but still individual. I really don’t want everything to look the same. My attitude to the silkscreen process is continually inquisitive, experimental. I have no set procedures and it’s often a case of ‘just try it, see what happens..´
Designer KT Smail (Converse, Macy’s, Seventeen)
It kind of depends on the job but say I’d had to do with an illustration of a girl I would lots of drawings of my friend’s faces or from photos of girls in magazines. Lots of the drawings will be bad and hopefully some are good and then I turn those drawings into finished artworks. I also like to pin up inspiration pictures and photos all around my desk for whatever is inspiring me for that project and really surrounded by the atmosphere and ideas and that really helps me to create artwork and lots and lots of flowers because that’s what I like to draw the best.
Designer Dan Page (New York Times, Forbes, Time Magazine)
My process is idea driven, communicating with visuals, so there is a lot of time where I think and sketch before I start to draw and execute the final. It’s challenging since I’m on a deadline and a good idea is very stubborn. Racing the clock is part of the job.
Designer Marguerite Sauvage (Louis Vuitton, Yves Saint Laurent, Vogue)
As a first step I use my hand and my brain. A 3mm 2b pencil. Paper. Then I scan my drawings and send it to my computer. I draw sometime directly on my 21UX Wacom Cintiq. The softwares I use are Manga Studio and Photoshop. And a printer.
Designer Frida Wannerberger (Harper’s Bazaar, Somerset House, Tetra Pak)
My work is usually character based, so most of the times there is a face in there.. I wanted this girl in particular to be quite androgynous and be forward looking (hence the sailor reference) and happy.