There’s a peculiar syndrome among artists that parallels the discussions of many a record store clerk, except amongst artists “have you heard” becomes “have you seen.” Depending on whose chin is wagging, you might come away with the names of a couple of Argentinian comic artists, a slew of nineteenth century naturalist painters, or someone’s favorite Japanese printmaker.
In no particular order, other than alphabetical, we present to you this weekly feature about artists who help power our pencils.
An American painter whose work is a dreamy mix of symbolism, cubism and realism. Sadly, he remains largely unknown, except as a painter’s painter, but he seems to have sparked the imagination of Gary Kelley.
A bit of a lost talent from recent illustration history, his beautiful gestural drawings are probably the most realistic cartoons you’ll ever see. He recruited eleven other well-known illustrators and founded “The Famous Artist School.” The courses are supremely useful and influential teaching tools for any artist young or old.
A British fashion illustrator, whose free textural mark-making belies the precision with which it’s made. Graceful, elegant, indulgent, impetuous, his lines sync perfectly with their subject matter.
Andrej Dugin + Olga Dugina
We discovered the work of this Russian duo within a bookstore that must have been assembled from it’s own inventory. Their surreal and intricate watercolor illustrations are a mix of oddness and opulence. Influenced by Northern Renaissance masters such as Bruegel and Bosch, they served as one of our first catalysts toward pursuing our dreams as illustrators.
One of the great figures from the Golden Age of Illustration. He started out studying law, but Dulac was more enchanted by illustrating monsters than defending them. This French illustrator was determined to not to leave a single fairytale unpainted. His delicate use of watercolor and good dose of whimsy and sadness speaks of his tutelage under Arthur Rackham.
Guy Hendrix Dyas
Production designers build the worlds that movies inhabit. It’s one of the many facets of filmmaking that remains obscured by the light of cinema projectors. Guy Dyas is one of the few designers whose name should be known. He’s constructed the realities of films like Elizabeth, Agora, and Inception.
C O L O P H O N
In the type header: Birra Stout, a free quirky “fat face” by Joshua Darden, Brooklyn-based type design prodigy; and Electra Cursive, drawn in 1940 by William Addison Dwiggins to accompany his own Electra (1935), an interesting and extremely readable staple typeface of American publishing.
We are Kurt Huggins and Zelda Devon. We live in a pocket-sized apartment in Brooklyn where we collect neat, weird things. Our home is abundant with books, old furniture, mismatching tea cups, and a cat named Cipher. We both illustrate stuff for money so we can continue to invent stories, buy shoelaces, watch puppet shows, and eat sandwiches.