Month: November 2019
Check out Flora Waycott’s lovely illustrated recipe for hot apple cider, and more Thanksgiving treats
Wishing you a happy holiday full of food and thanks and cider! Enjoy these illustrations by our artists.
Contact us to assign or license–we’re happy to help!
Available for licensing as of this writing
Available for licensing as of this writing
Branding for Starbucks
Available for licensing as of this writing
Greeting Card for Lagom Design UK
Available for licensing as of this writing
Print for Bruce McGaw Graphics
Available for licensing as of this writing
Greeting card for Compendium
Fresh from my Home Decor course: our artists’ gorgeous pitches now available for licensing!
I’m delighted to reveal TEN brand-new collections by my artists based on my latest trend board where peacocks featured prominently. The art was created for my recent home décor course for Make Art That Sells. It’s fascinating to see the varied interpretations of the same board by these gifted artists.
Feel free to contact us to license any of these collections (available as of this writing), or to commission new work for your next fabulous project.
Also look out for our my newest e-courses over at my sister site Make Art That Sells, coming soon! Details at the end of this newsletter.
Contact us to assign or license–we’re happy to help!
Mondo Exotica pitch
Animation by Natasha Dewitz
Le Château Pitch
Velvet and Victoriana Pitch
Tropical Elegance Pitch
Victorian Jungle Pitch
Tropical Delight pitch
Tropical Parakeet icons
Tropical Parakeet pitch
Mock up
The Fierce and Fragile pitch
The Luxe Living pitch
Get ready for a great discount! Make Art That Sells is now in its sixth year, and we’re adding two brand brand-new classes to our 2020 roster. These courses won’t officially open for registration until sometime next year – but we’re opening up access early from November 26th to December 2nd ONLY for our 2019 Giant Cyber Sale! Don’t miss out on what students from 104 countries have already experienced! We’ll be offering 25% off every single one of our individual courses, plus up to 50% off our amazing bundles, so don’t miss it!
Meet Clairice Gifford and see why she’s asked to illustrate so many book covers. Studio sneak peek.
Today, we’re delighted to present a number of stellar pieces by our artist Clairice Gifford, a master of illustrated typography and a brilliant colorist.
Understandably, she is often commissioned to create sensational solutions for magazine spreads, book covers, greeting cards, fabric collections, and even cookie packaging.
Clairice’s clients include Clarkson Potter, Editions Auzou, Papyrus, Real Simple Magazine, Workman Publishing, The Boston Globe Magazine, and plenty more.
Contact us to assign or license–we’re happy to help!
Animation by Natasha Dewitz
“I especially love vintage lettering and designs, traveling and textiles. Besides art, I enjoy good food, books, interesting podcasts and traveling when I get the chance.”
Clairice’s workspace. Why are we not surprised that it’s neat as a pin? And that floor!
Books
Cover of “The Little Women Cookbook” for Quarto
Buy it here
Cover of Flow’s “A Book That Takes Its Time”
Buy it here
Cover of “A Year of Reading Aloud” for Hodder & Stoughton
Buy it here
Cover of “The Happiness Project” for Clarkson Potter
Buy it here
Magazines
Three images above for Flow Magazine
Map illustration for Entertainment Weekly
Cards
Cards illustrated by Clairice Gifford for Pinhole Press
Available for license as of writing
Products
Cookie Packaging for Fika
Calendar for Amber Lotus
Buy it here
Bohemian Garden collection for Cloud9 Fabrics
Buy them here
Below: Personal Pieces available for licensing as of this writing
Hand-painted Holiday Ornaments
Vintage Tins
Party Set
Mod Mystic Home Decor Pitch
See a sneak peek of Asa Gilland’s book cover due out Spring 2020
As an art agent, there are a few things about my job that I love: presenting you with the latest art by our brilliant artists, and photographing their commissioned projects that arrive here almost daily. Hope you enjoy the show. Don’t hesitate to contact us to assign or license–we’re happy to help!
Various products illustrated by Hsinping Pan for teNeues
Buy them here.
Animation by Natasha Dewitz
Check out this charming cover sneak peek of The Perfect Shelter, illustrated by Åsa Gilland for Little Tiger Press. Due out Spring 2020.
Fun products illustrated by Helen Dardik for Psikhouvanjou
Buy them here.
Gift bags illustrated by Carolyn Gavin for Red Cap Cards
Buy them here.
This Little Artist illustrated by Daniel Roode for Simon & Schuster.
Buy it here.
Various products illustrated by Katie Vernon for Roger la Borde, Running Press, and Quarto.
A Songbird Dreams of Singing fully illustrated by Jennifer M Potter for Running Press.
Buy it here
From Kirkus Review: In Potter’s suitably dreamy, subdued illustrations, floating sea otters hold paws, ocelot cubs nestle in a cozy hollow, a “flamboyance” of flamingos stand one-legged in shallow water, and even an upside-down jellyfish (“It isn’t easy to explain / How she’s so smart / without a brain”) looks drowsy. At once eye-closing and eye-opening.
Stationery set illustrated by Rebecca Jones for Papyrus
But it here
Reusable tote bags illustrated by Sarah Walsh for Blue Q
Buy them here and here.
Editorial illustration by Trina Dalziel for Breathe Magazine UK.
Want to know what our artists think makes a great art director?
I recently asked our artists what they think makes a great art director. What kinds of things help artists thrive and do their best work? Read on to see their responses!
Contact us to assign or license–we’re happy to help!
Fully illustrated biography of Anne Frank (Penguin Random House)
Buy it here
Lilla: Anke, can you tell us what makes a great art director?
Anke: I like it if I get inspiration from the AD but then have the freedom to create and can feel free to reach out if I need to–like having a frame for a project but freedom within it. If an AD wants changes I like it if they say something like, “this looks great already but could you change this or this?”
I think it’s important that the Art Director is available when you’re in the middle of a project so that you don’t have to wait too long for the answer, so you can keep working right away.
Lilla: Can you give us an example of a comment by an art director that was especially meaningful to you?
Anke: For the Anne Frank book I mostly worked with the designer Janene Spencer. After we finished the project, she wrote an email to me. One thing she wrote, was that I’m an amazing person to work with. It made me so happy and proud to read this. The AD Alice Todd has been so nice too. Always so kind in her words and thanking me so much for my work. I loved it as it was a lot work and it gives you a really good feeling during the project if everyone is being so kind and thankful. I’m the same the other way round as I like this vibe so much and it makes all our days just so much nicer.
Sarah Papworth
Part of a series of illustrations for an article on the 2019 fitness and nutrition forecast for The Washington Post. These were done with a mixture of pencil lines and watercolor.
Lilla: Sarah, what things are most important to you when working with an art director? What makes an art director great in your book?
Sarah Papworth: Friendliness is probably number one. And good organisation for a project, especially if it’s a long project. For me, these two things really help with making a job enjoyable and less stressful.
Lilla: What do you enjoy most about working with art directors? How do you find it beneficial?
Sarah: It’s fun working with different art directors, as I learn so much from their vast knowledge and experience in their field. And it’s wonderful working towards an idea/vision together. I always feel grateful for their help in getting a piece to look it’s best. Sometimes you can’t see the changes that are needed in your own work, so a fresh pair of eyes is amazing. It’s definitely a team effort.
It was great working with Victoria Fogg at the Washington Post on the Local Living pull-out cover (above). Victoria had seen my portfolio and knew which direction she wanted to go with, and that she wanted to feature the little people in the illustration. My style is quite flexible, and I use a lot of different mediums, so having the art direction and a brief to work to means I can be focused, but also play around within those borders.
One of the many illustrations by Sarah Papworth for the fully-illustrated text
I Know A Woman by Kate Hodges (Quarto Group)
Buy it here
Above: This was a much longer project, 84 illustrations in total, with a tight deadline. Working with Melissa Hookway at Quarto on my first book was a brilliant experience for me. I learnt to work quicker, and how to keep up the pace and enthusiasm working through a long project.
Melissa was super-organised. She created a spread sheet to track our progress, and gave me briefs for each portrait, which meant I could really focus on drawing and getting the illustrations to look as good as possible in a short amount of time.
Cover of the Weekend/Going Out Guide for The Washington Post
Lilla: Jennifer, what makes a great art director?
Jennifer: I love it when an art director takes the time to provide critical feedback and challenges me to do my best work. We’re a team with a shared goal of making an amazing product. It’s great when we can collaborate on something we’re both really proud of!
Katie Vernon for Anthropologie
Lilla: Katie, what did you like about working with your art director at Anthropologie?
Katie: I love when an AD has a unique vision for turning my illustration into a beautiful product.
