Último momento: Te presentamos el Appleuro

(Ícono creado por El Norbi)
Ayer, la máxima creación de Steve Jobs, la empresa Apple alcanzó la capitalización de mercado más alta de la historia. Pero el hecho de llegar a los 400 mil millones de dólares es sólo una parte del crecimiento ininterrumpido de la empresa más grande del sector tecnológico.
Porque, por ejemplo, el valor de sus acciones en la bolsa, unos u$s 427,75 por cada una, sólo ha sido superada a nivel mundial por Exxon Mobil, con una capitalización de 420 mil millones de dólares.
Sin hablar de como superó con gran amplitud a su competidor inmediato, Microsoft, que tiene un valor de 235 mil millones.
Pero lo que llamó la atención a todos los diarios del mundo fue el resultado de una comparación de la valuación de Apple con las entidades bancarias del mundo, y en particular europeas. Porque hoy Apple supera a los 32 principales bancos de Europa (u$s 340.000 millones). Todos pusieron el logo de la manzanita, varios pusieron la imagen de Jobs, pero a nadie se le ocurrió utilizar una imagen como ícono para contar periodísticamente esto último. Por eso, te presentamos el nuevo signo monetario de la Comunidad Europea, el Appleuro.

Exclusivo: Hablamos con el inglés Stephen Wildish

Las redes sociales lo han convertido en la nueva estrella del firmamento web. Es que el diseñador inglés Stephen Wildish tuvo la idea de hacer unos alfabetos donde cada letra coincidía con el nombre de una película de cine moderno. Así uno puede encontrar los alfabetos armados con filmes de los 60, 70, 80 y 90. Este poder de síntesis de convertir una película en una única imagen nos llevó a entrevistarlo, en forma exclusiva para Visualmente, para sumarlo a nuestra sección Minimalismo. Él dedica sus fines de semana para trabajar en este tipo de ideas, los llamados “Proyectos de viernes”.

1. How he came to an alphabet based on movies?
It was after I had made an alphabet based on christmas items, I had a yearning to draw Marty Mcfly from Back to the Future....
2. I worked to achieve such a synthesis? Which illustration was the most complicated?
Honey I shrunk the kids, I'm still not happy with it, looks dreadful!
3. What was the criterion for selecting the characters?
I choose the ones that come across in the simplest way possible. In as fewer shapes and colours as I can

4. How long it took to do this work?
I normally work over the week for about 3-4 hours on each one, that includes finding all my source images!
5. What is the picture that you like best? Why?
Weird Science, I love that film and it's a very good shot to work with ;)
6. Why did you choose the decades of the 60, 80 and 90?
I started with the 80s, the 90s followed on naturally, I chose the 60's though because of the amount of brilliant films there was to chose fro
7. You will make an alphabet of 70 movies?
I have made the 70s alphabet, have a look on here: http://www.stephenwildish.co.uk/friday.html and I am working on the 00s this evening!

Exclusivo: Lo último del francés Ty Lettau

1. How this project is born pop / geek culture illustration?
Well, it started as something different, actually. I did the Animals set first. The original goal was to see how few geometric parts I could use to make an animal face... with the intent of then seeing how few parts I could replace to make a different animal face. I started with a Cat & Dog as my baseline. Then, it became about finding the essence of each animal... that thing that made them unique. So once I had a Cat, I could add stripes to make a Tiger, or spots to make a Leopard. A Horse and a Zebra are the same except for the pattern. And so on.

So, once I had the basic building blocks it was easy. I did Star Wars next as a way to challenge my visual system to something beyond animals, and it worked really well. So once that set was done, I just went crazy drawing any pop culture thing that I could think of.


2. I worked to achieve such a synthesis? Which illustration was the most complicated?
The synthesis comes from being really strict about certain details. For example, the eyes very seldom change... and when they do, it is absolutely necessary. There are some basic rules I have for head size, hair size, helmet size. There's some standard parts for things like ears, horns, beards, etc. I have a palette of about 20 colors which everything conforms to. Basically, the amount of variation that is achieved in these illustrations is only possible because of the rigidity of certain parts of the visual system. That really was the entire reason for doing this... to see how many variations I could make with a fairly limited set of parts.

As for which were the most complicated... there emerged a few things that made certain illustrations more difficult.


Some were challenging because the original character was already so stylized. Take Spongebob or Daffy Duck. There is only so much you can do to change a character when their shape and style is what identifies them. So I did the best I could at unifying by using my patterns, but with a bunch of new parts. Sometimes it was the proportion or ratio of the original character that caused the problem. Anyone with a tall head or hat was very difficult.

Others were challenging because there was so much detail. For example, Darth Maul has these really elaborate facial tattoos. So how do you simplify that down to basic shapes while still retaining the feel of them? It's actually really difficult to find that balance. But in the end, having too much detail is good, because you have a lot to choose to focus on.


Without a doubt the most challenging ones were when I had virtually no detail to work with. The more non-descript a character is, the harder it is to simplify them down to their essence. No question, the most difficult set overall was the U.S. Presidents. Here we have 43 characters, which save for Barack Obama, are all basically old caucasian guys. They aren't superheroes. They aren't creatures. They are just guys. So the only thing I had to work with was the hairstyle. This led me to a really wonderful little "coding" with this set. Their mouth gesture is code. A sad face meant that they were assassinated. A frown meant someone tried to assassinate them. A smirk meant that they were involved in controversy. You will then notice that these mouth gestures get used elsewhere. For example, Aerith from Final Fantasy was killed, so she has a frown. It became a really fun little detail that was born from a severe limitation.


3. What was the criterion for selecting the characters?
I chose sets based on things that I liked. In general, everything I illustrated was something that I personally enjoyed... be it a toy from my childhood or a current TV show. I think the one that was most fun for me was Masters of the Universe, which I did as my fourth set. I had every MotU toy as a kid... and I'm not exaggerating either, I had every one. But, in the end, I had done pretty much everything I could think of anyhow, so the order I chose them didn't much matter.


4. How long it took to do this work?
I did the Animals set in August and the last upload was in November. So, I guess no longer than 3 months to do them all. It got easier and faster as I went on. By the end I had pretty much every part already drawn, so it was just a question of remembering where I had drawn it. I doubt that anyone would ever guess it, but these are all drawn in Adobe Fireworks. Not to sound immodest, but I'd challenge you to find someone who is faster in Fireworks than I am :P So, it just became a really smooth process after a while.



5. What is the picture that you like best? Why?
I have many favorites, which I actually have kept track of over the course of making 1280 of these. But I'll try to respect the spirit of your question and pick just one. So If I had to name just one illustration as the best, I guess I'd go with Anakin Skywalker's Redemption. It's not the most complex one, but this illustration is loaded with subtext. The little mouthpiece element reminds you that this is Darth Vader. It's from an extremely powerful movie scene in which the events of three films culminate in the redemption of the villain. I don't know, I guess this one just tells a story or evokes a memory in the way many of the others do not. And something just makes me chuckle about seeing sad or evil characters looking all cute in these illustrations.

Último momento: Volvemos con el minimalismo del francés Ty Lettau

Y lo hicimos otra vez. Nos esta gustando esto del minimalismo dentro del diseño. Por eso, te lo estuvimos presentando a través de los más recientes referentes de esta especie de nueva vanguardia. Pero a diferencia de lo que hacen los blogs de diseño y los twitter virales, Visualmente habla con ellos. Mientras que otros hacen de todo un gran picadillo de imágenes a 70 dpi, sin importar nada de las personas que hay detrás, aquí conociste por qué al austriaco Albert Exergian le pareció conceptual un mantel para hablar de The Sopranos.

Acá también conociste las razones por las cuales al brasileño Pedro Vidotto, le resultó realmente complicado hacer el afiche de Inglorious Bastards.

Te presentamos al norteamericano Alex Bloom, quien nos mostrò los afiches de películas terríblemente minimalistas que hizo para el Alamo Drafthouse Cinema que se realizò en Roma, Italia.

Y más recientemente volvimos a cruzar el charco y hablamos con el italiano Federico Mancosu, quien nos confesó sus razones para preferir su afiche de Thriller, de Michael Jackson, que dirigió John Landis.

Este viernes te presentamos a Dark Vader y a Mario Bros, en su versiòn más minimalistas, segùn la visiòn del francés Ty Lettau, en un reportaje exclusivo para Visualmente.
Lettau es el autor de las versiones màs sintéticas y conceptuales de las portadas de los discos màs emblemáticos del rock Sgt. Pepper's Lonely Hearts Club Band o Dark Side Of The Moon o Nevermind de Nirvana. Y mientras esperás lo nuevo de Lettau, en Chillart podès acceder al reportaje exclusivo donde hablò sobre èstas portadas.

Exclusivo: El sueco Viktor Hertz nos presenta sus Pictogram Music Posters

En abril pasado, te presentamos, en primicia latina, al diseñador sueco Viktor Hertz quien se había metido con los íconos típicos que se usan en los baños para hacer sus afiches de cine. En aquel momento, nadie lo había entrevistado, pero todos los blogs habían copiado y pegado sus versiones de famosas películas. Hoy aumentamos la apuesta y antes de que sean un éxito en las redes, te presentamos los "Pictogram music posters", lo último de Hertz. Y, como no podía ser de otra manera, no sólo te los mostramos, sino que entrevistamos, por segunda vez, a su creador, en exclusiva para Visualmente.


1) How the idea for "Pictogram music posters"?
A long time ago, I had an idea of making posters out of songs, but not by using pictograms. I never made these posters, and then my mom actually told me I should make music posters, and I thought the most appropriate way to do them was using pictograms. Si querés ver más Pictogram Movie Poster, entra ya a Chillart, el blog de arte de Visualmente.

2) How you relate to your previous Pictogram Movie Poster?
It’s the exact same idea, but song titles instead of movies. That’s it. I wanted these to differ from the movie posters, though, so I just experimented with a different texture and background. I did keep the centered Helvetica font, continuing with the simple approach and aesthetics.

3) How did you get your version of Highway to hell?
It began with being reminded of the song, or maybe I was just looking at the symbol for the autobahn, I can’t really remember now, actually. But it seemed appropriate, so I played around with different versions of a trident, and finally came up with this draft. I thought the best symbol depicting hell was a trident, in this case.

4) Which of all the new posters was the most complicated?
It was actually ‘Highway to hell’, which I described in the previous question. It took quite a while to get it right, making the trident look good, and not get too far away from the original pictogram. It was also the most fun to make, and even one of the posters I am most happy with. So, it was worth the effort, I guess.


5) How long did it take to make the posters?
I’ve had them finished on my computer for quite a while, going back and polishing from time to time. Some of the posters are done very quickly, because the idea behind it didn’t need that much work to get it realized. But in general, they are all made quite quickly, they are not advanced, most of the time behind them are put on coming up with an idea for a poster that could be fun. So, it’s hard to tell exactly how much time each takes. Sometimes, I think about the ideas quite long before I put myself in front of the computer and make them, and sometimes I just stare at pictograms and play around with them, until something cool comes up in my head.

6) You make a pencil sketch and then do it in Illustrator to finish it in Photoshop?
No, I make my sketches directly in Illustrator, almost all the time. It happens that I use a sketchbook, but that’s just when I don’t have access to my laptop. I finish it in Illustrator, too, using texture layers on top of my design.


7) Why did you choose this kind of aesthetic, almost infographic for these posters?
Because I like that style, myself. And I think my strength is to make simple stuff, focusing on an idea, rather than making a cool poster filled with all kinds of stuff. I will try to leave the pictograms some time, and develop other ideas, of course, but for now, I really can’t give up on them. I’m stuck with pictograms, at the moment. But I love it.

Exclusivo: Stéphane Massa-Bidal en Visualmente

Te habíamos contado que íbamos a entrevistar al francés Stéphane Massa-Bidal, creador del proyecto ”Retrofuturs”, mix entre el pasado, el presente y el futuro, con una poderosa pátina vintage. Lo que empezó siendo un simple juego en Flickr, después fue un boom en las redes sociales. Pero ningún medio latino lo había entrevistado hasta hoy. En exclusiva, Stéphane Massa-Bidal en Visualmente.
1. How would you define this project of yours that is gaining attention in both social networks called Retrofuturs?
Social networks are not an end in itself in my work. This is only part of my graphic work, and as I work in social networks, it helps me to understand these technologies and especially the digest.

In fact, I work more on the report "real life / digital life": how social networks integrate our lives or vice versa, what are our body parts in interaction with the media, how to conceptualize the songs of Elvis Presley and networks social or even how to represent Apple's products in relation to the body for example.

In this framework, I try to identify relationships when I find an interesting idea to dig. I listen and I read a lot about the uses of technology. Most of the ideas that I illustrate graphs are the result of collisions that come with attention to some points of discussion.

2. How an idea? First sketches on paper, then work with Photoshop?
My ideas are surely the most striking by far, because they take me like that. My brain works in secret, in hidden time some would say.

I only work on screen, I do not draw, I try instead to build the image with what she told me by testing several tracks.


(Si querés verYoutube, Twitter, MySpace y LinkedIn, entrá a Chillart)
3. How did the idea to do some book covers for Facebook, Twitter, Flickr and YouTube?
I was to get my daughter who was finishing his nap, when crossing the corridor, I thought: "What if social networks are book covers?". I had for some time wanted to work Penguin book covers. I mounted the pictures and documented the accompanying text, in two days, it was done.

4. How did you get the Vader Warhol?
Darth Vader with Marilyn Monroe as Andrew Warhol, a missing piece of the image processing for Warhol. In fact, I think I got the idea while thinking of Marilyn Monroe, Mao and Warhol. Darth Vader as well deserves its head in the style of Warhol, I think I made him happy ...

In fact, Darth Vader and Marilyn Monroe are icons that I enjoy working, I have therefore combined.


(Si querés ver más cambios tipográficos, entrá a Tipografícamente)
5. What is the project the Wor (l) d to have changed?
This series was born as a result of an old image I had done two years ago: Sex, Toys and Rock'n Roll. As I shall later question 9, I work more on textual aspects of late. The idea is to replace or change an item, it changes the paradigm in which it is and find its value (substitution principle to find a value in structural assembly) and given to understand that some aspects of society evolves.

6. What do you mean by this sentence: "The graphics are a tool to change your mind"?
When I started to make some pictures, I was often struck by images without meaning, a lot of effects, pretty things, but really, why?

Because of my training, I look for meaning, to build relationships, to try to understand what makes us better consumers to swallow. In this sense, I work sometimes some images (Monsanto, marketing, cancer, Apartam, climate change ...) I even made an album on my Flickr, it is to say!

In fact, that I denounce, everyone knows, I am even well below the reality ...

6. What are your influences aesthetic?
Futurism, the 50, 30, collage, pop, black humor (the French Hara-Kiri) and René Magritte.


7. Tell us how you work in this special series with Helvetica, showing landscapes and figures.
As I have said before, I like the work of René Magritte. Also, I tried to work as a principle of substitution: replacing an architectural feature in a landscape, like a passage. With this in mind have grown up the numbers, like the gates of Stargate.

8. What are your plans now?
I manipulate the images vintage least for now, I reserve for commisioned works.

I post pictures of a little less because I'm working on three large personal projects simultaneously, and they are quite different from those I made earlier.

I work a lot more now on the text, and the series "The wor (l) d HAS changed" is the first effect.

In a way, I return to my first love is literature that the ratio of words of text and slogans in our society. With this in mind, I developed two major projects:

The first major project called "the medium is the message" I accept texts in different formats suited (shorts, boxers, t-shirts and aprons);

the second is more like UFO literary texts I work erotic writings under stress (like the "Exercises in Style" by Raymond Queneau). I plan and conduct a book written and illustrated with my own way.

Third and last major project: "Viva la geolocalización" (also known as "G project").

My biggest graphic design, which I worked for over six months, where I am designer and artistic director. I joined a very good friend and graphic designer to finalize look more shown for this project. I do not know yet what will be its final form but it will certainly be declined as a book, exhibition, posters and products.

Último momento: Este lunes, Pictogram Music Poster, lo nuevo del sueco Viktor Hertz

En abril, te presentamos, en primicia latina, al diseñador sueco Viktor Hertz quien se había metido con los íconos típicos que se usan en los baños para hacer sus afiches de cine. Por ejemplo, para hacer un afiche de la última película del norteamericano Quentin Tarantino, Hertz hizo algo bastante iconográfico.
Uno pudo ver al diseñador bonaerense Raúl Della Valle, coeditor de Chillart, contarnos una historia de amor con esos mismos íconos. Otro coeditor de Chillart, el diseñador español Federico Fuertes Guzmán también nos mostró cómo reconocer siete lugares en el mundo, usando el mismo recurso pictográfico.
Este lunes, en un reportaje exclusivo de Visualmente, el diseñador sueco Viktor Hertz nos hablará de su nueva obra Pictogram Music Poster, que no es otra cosa que traducir a la iconografía de muñequitos del baño temas clásicos del rock.
Si querés ir conociendo un poco el trabajo de Hertz, entrá ahora a Chillart, para ver el reportaje anterior y la presentación exclusiva de sus Pictogram Movie Poster.

Exclusivo: Este jueves, Stéphane Massa-Bidal, creador de Retrofuturs, en Visualmente

Un lujo absoluto. Te habíamos contado que íbamos a entrevistar al francés Stéphane Massa-Bidal, creador de un proyecto muy poderoso que venimos siguiendo desde hace tiempo. El llamado ”Retrofuturs” era un mix entre el pasado, el presente y el futuro, con una imperdible pátina vintage, que tanto nos gustan. Lo que empezó siendo un suceso en Flickr, después impactó muy fuerte en las redes sociales. Pero nadie se preocupó por saber quién era ese genio que se escondía detrás de una supuesta colección de libros, con una típica estética editorial de los sesenta, que pretendía explicar qué era Facebook, Youtube o Linkedin.
Nadie de latinoamérica lo entrevistó, hasta hoy. Este jueves, en un reportaje exclusivo de Visualmente, vas a conocer a Stéphane Massa-Bidal.

Exclusivo: Te presentamos al ilustrador norteamericano Alex Bloom

No muchos conocen El Alamo Drafthouse Cinema. Ni los sitios de diseño que levantan sus afiches de cine, sin informar de dónde son ni quiénes los hacen. El Alamo es una sala de cine, ubicada en Austin, Texas, que se especializa en proyectar películas clásicas. Uno de los programadores, el director Quentin Tarantino, siempre filtra alguna de sus películas fetiches clase B dentro de la programación. Si algo caracteriza a los afiches que se utilizan para publicitar las películas, agotados en la mayoría de los casos, es la libertad total que tienen los artistas para crearlos. Aunque la característica principal es lo vectorial, los carteles de El Alamo son muy personales. "Elegimos las películas para hacer los afiches sobre la base de popularidad, y buscamos a los artistas en función de su entusiasmo con la cinta", sostiene su mentor visual, el norteamericano Tim Doyle. Hoy te presentamos al ilustrador Alex Bloom, uno de los creadores de varios de estos afiches, logrando un nivel de conceptualización y minimalismo que nos gustó mucho. En exclusivo para Visualmente, su palabra y sus últimas creación para El Alamo.
1. How the idea for THE ROLLING ROADSHOW?
The Rolling Roadshow was a student project, based upon a real event organized by El Alamo Drafthouse Cinema in Austin, Texas. It is a traveling cinema tour that projects films in locations relevant to their content. I chose to create a campaign promoting a stop of the tour in Rome, Italy.

I started with the posters, and each one takes an object from the film that represents the overarching themes. I created slight variations on each object and built patterns that served as the system for the rest of the collateral.


2. For you, what styles are best accomplished? and why?
Though much of my work has Illustration, I don't think I feel that I gravitate towards any particular style. I like to experiment with different mediums, but I find that time constraints and a need for repetition and geometric shapes often drive me to vector.


3. You worked with a vector drawing program or pre-made sketches in pencil? Also gave a termination in Photoshop which makes it vintage. Why?
I always begin concepts with loose sketches, but I find that I can build out concepts more efficiently in Adobe Illustrator. For this project, I worked almost entirely in vector, start to finish. There isn't any kind of Photoshop treatment, except for basic contrast on the photos in the brochure.

In terms of the vintage feel, I was really just aiming to create a cinematic mood. I thought about the experience of going to the Drive-In or outdoor theater, which always happens at dusk and night. I tried to develop color palettes and vignetting that reflected that feeling and conveyed the emotional tones of the films.

4. For example, how was the creative process in the case of La Dolce Vita?
I watched each film before I ever began sketching. La Dolce Vita was actually the first film I watched. I borrowed it from the library and spent an evening at home, just taking notes on as much as I could, the concepts, characters, atmosphere, lighting, etc. It was a complicated film, because there are so many different intertwining themes and plotlines, but I had noted elements of consistency in imagery and tone.

I chose the Camera as the object because it appeared in so many scenes, but also because it could embody the ideas of celebrity, vanity, and detached observation of life, as well as some of the countless other themes that I felt Fellini was trying to express.

I began illustrating the cameras in vector, just trying to use simple shapes. I referenced the film often to see the different styles, and made variations based on my notes. I worked on all 3 posters simultaneously, developing the simple vector shapes for each, and then spent some time thinking through the colors for each film. I chose the deep blues for La Dolce Vita because the mood of the Film seemed to ask for it. All of the shots at night, the iconic Trevi Fountain scene, and the extended moods of isolation and depression.

I picked the typefaces as I developed the illustrations, though I feel they represent the Alamo Drafthouse Cinema and the city of Rome moreso than the particular films. I finished the posters by picking the headline size and fine tuning the spacing between each object, which was one of the most time consuming parts of the project.

5. How much time does it take you to design one poster?
It really all depends on the poster. Some take a few hours, others a few days or even weeks depending on how quickly ideas develop. For me, the most time-consuming step is always defining a good concept, once the ideas are clarified, the process just zips right along.

Exclusivo: Mañana, Alex Bloom nos cuenta cómo hizo un afiche minimalista para Gladiator

Y lo hicimos otra vez. Nos esta gustando esto del minimalismo dentro del diseño. Por eso, te lo estuvimos presentando a través de los más recientes referentes de esta especie de nueva vanguardia. Pero a diferencia de lo que hacen los blogs de diseño y los twitter virales, Visualmente habla con ellos. Mientras que otros hacen de todo un gran picadillo de imágenes a 70 dpi, sin importar nada de las personas que hay detrás, aquí conociste por qué al austriaco Albert Exergian le pareció conceptual un mantel para hablar de The Sopranos.

Acá también conociste las razones por las cuales al brasileño Pedro Vidotto, le resultó realmente complicado hacer el afiche de Inglorious Bastards.

Te presentamos al francés Ty Lettau, quien nos habló de sus versiones sintéticas de discos tan emblemáticos como Sgt. Pepper's Lonely Hearts Club Band o Dark Side Of The Moon o Nevermind de Nirvana.

Y más recientemente volvimos a cruzar el charco y hablamos con el italiano Federico Mancosu, quien nos confesó sus razones para preferir su afiche de Thriller, de Michael Jackson, que dirigió John Landis.

Y mañana vas a conocer los afiches de películas terríblemente minimalistas que el norteamericano Alex Bloom hizo para el Alamo Drafthouse Cinema que se hizo en Roma, Italia.

Exclusivo: Viktor Hertz nos presenta sus Pictogram Movie Poster

1. How the idea for Pictogram Movie Poster?
I’ve always loved film and film posters, and also pictograms. So, it was a natural evolution for me to combine these two interests and start a project, doing pictogram movie posters. It was also quite a relief and a great satisfaction, to have a platform and a fixed template to fill with my ideas. This way, I could concentrate on the images and the ideas for a clever pictogram, instead of making decisions about typography and colors and so on. I could be more productive this way, and also make them work as a whole, with no distractions or irregular themes. I think I will keep doing them for a while, and maybe make one hundred and then stop, or something. I really haven’t decided anything. As long as I get good ideas, I will keep doing them.



2. For you, what styles are best accomplished? and why?
If I got the question right, I really like to be as simple as possible, relying on a strong idea, with as few details and elements as possible. I like to be clever and most of the time minimalist, but that’s not for the sake of it, it’s just a natural choice, because I wouldn’t really know how to do things other ways. I leave the cool and visually stunning 3D stuff to people who are good at that and know how to execute those kinds of designs. I stick to simple 2D images, at least for now. It would be great though, to be able to learn how to do more advanced things, I have ideas today that I can’t execute, so I might leave the minimalist area someday.


3. You worked with a vector drawing program or pre-made sketches in pencil? Also gave a termination in Photoshop which makes it vintage. Why?
I work only in Illustrator, mostly with already existing pictograms or other free vector material. I seldom draw anything by hand by myself, mainly because I suck at it, but also because you don’t need to do that nowadays, there is so much free material out there, which you can transform and remake to something unique and personal.

Yeah, I usually add a grainy and rough texture on top of my posters. This is simply because I feel that they look too clean and soulless and digital, without a texture. Like they come straight from the software. I want them to feel like they’ve been hanging for a long time in a basement somewhere, like they’ve been used and have a history behind them.


4. For example, how was the creative process in the case of Thank you for smoke?
I was looking at the pictogram for ‘neurology’ on The Noun Project, for a long time (this is usually the common process for most of the pictogram movie posters). Then I just thought I could transform it into a cigarette with smoke coming out of it, and make the brain look like the smoke. So, the idea for the transformation came before I decided to make a poster for ‘Thank you for smoking’. It was after the image was done, that I figured I should use it for a pictogram movie poster, and then I thought this film was an appropriate choice. I have quite a few projects with illustrations that aren’t finished, just waiting to get those last details done and maybe get ideas for how and where to use them.


5. How much time does it take you to design one poster?
This really varies, it takes just minutes sometimes, and sometimes I can work on a poster for several days, without finishing them. The pictogram posters are made pretty fast though, they are very simple and don’t need that much work after I get the idea. I always feel that the idea is the most important thing, I seldom start working without having an idea, although I do sketch and try different things before I get on the right track. It usually takes more time to just sit and look at images and try to come up with an idea. The actual time to get the vectors sorted out and placing them at the right places is often not very hard, and doesn’t take very long. I really like being productive and publish works as soon as possible, I’m a bit impatient and want to get feedback on my stuff as fast as possible. It’s almost like drug for me, to bring my ideas to life and then get feedback and comments on it. It’s such a great motivation to read nice things about your work and that it’s appreciated, it really motivates me to keep working.