Panóptico de Actualidad Gráfica y Visual
“Every factor is different. With large walls, there is an excitement and energy that creates an outlet for a completely different experience. My process involves creating a digital sketch of a piece that is ready to paint on a wall. During this process, all the obstacles — space, etc. — are considered straight into the design.”...
“The use of paper for a preparatory sketch is often necessary for more complex pieces as it offers more flexibility for last-minute changes and is less time-consuming, but I find working on a mural directly offers more spontaneity. The artwork being guided by the motion of our whole body instead of just the wrist gives more flow and the larger...
“I know I’m not the best or fastest painter, so this means not going overboard with detail, having the design follow the brickwork, and things like that so I can get it done, and do it well in the allotted time. I have also found that with mural work, I’m trying to be more okay with it being looser and...
“When you create anything to be shown on the wall, you can’t use halftones. Colours should be bright and contrasting. If not, most of the work will fade away on the façade because of shadows, darkness, etc.”...
“I love painting walls. I can produce better work there than on paper. For colour I stick to my wizard colour palette, which consists of purple, blue and black outlines and maybe a tiny hint of green to show my Irish roots.”...
“The inner dialogue between the work and ourselves is one of the more challenging parts of our process. Working in public spaces has a unique set of things to consider: site-specificity, neighbourhood, context and surroundings are important conceptual triggers. It can be difficult, but it is also a very exciting process. One of our biggest challenges to date was the...
Illustrators are moving away from using paper and/or the computer as a platform and simply enlarging their works as much as possible — utilising both the interior and exterior walls of buildings, shopping malls, offices, parks… almost anywhere can become their canvas....
“Working on a larger scale comes with plenty of curveballs. Painting on paper or a canvas is far more controllable–it’s a surface that has been primed and prepared for optimal execution. Painting something like a mural poses many challenges, many of which are simply out of one’s control. The surface can be irregular in texture, or it may not be...
2021 Creative Expo Taiwan takes place in three locations across Taipei, featuring exhibitions of culture, design and licensing. This year’s Chief Curator is Lin Kun Ying and the thematic concept is SUPERMICROS, which Lin describes as «converging the power of beliefs»....
“You can already see big trends such as using VR or scan data for games and concept art. Although these resources have given a lot of artists a big boost in making detailed illustrations, I think it takes away the creativity. I do think VR is going to be very interesting in the future. It has been in development for...
What would be the next big thing for Game Art Design? “One is simplification of game visuals. As we get closer to hyper-realism, the need for more abstract, stylized or simplified visuals will continue to rise. Second will be VR-based tools to design and create art game assets, such as painting and sculpting directly in a 3D space using a...
“We love to learn how to use new tools and technology. Doing something in VR using virtual brushes seems like a cool idea. Mixing 3D tools (Zbrush/Blender/Marmoset/Poser) with classic 2D tools is something any artist should try to add to their arsenal.”...
