Google – Martha Graham from Ryan J Woodward on Vimeo.

via: ZURB – Google’s Largest Doodle Yet.

Luke Feldman, the creator of SKAFFS, is an Australian artist who creates for a multitude of platforms. Inspired by childhood experiences and a vivid imagination, his illustrations and animations are distinctive with defined lines, elaborate detail, and intensely vibrant colours. SKAFFS is a collection of work made up of art, animation, games, books, giant vinyl adhesives, skate decks and collector toys.

Luke’s vast technical experience and skills developed working in numerous mediums. He studied Visual Arts and Multimedia in Australia and has worked in the gaming, education and animation industry. While the scope of his work is extensive, it is bound together through his unique and dynamic style; a style that has led to a number of awards, exhibitions and collaborations with high profile artists including Theodore Geisel and Maurice Sendak and companies such as Disney, Coca-Cola, Facebook.

What exactly is ‘SKAFFS’? I noticed you use it as a handle but also for your entire collection --

SKAFFS is a word that came to me early one morning. It is a play on the word “scaffolding” as it represents the foundation for this fantastical world. SKAFFS is a world made up of wonderfully weird creatures and environments. A collection of vibrantly coloured artwork, giant vinyl adhesives, collector toys, skate decks and other fun paraphernalia.

After a quick browse through your work you seem to have dabbled in many forms of art and design — Is there a specific reason for this? Do you have a favourite style or medium?
My work is based on symmetry, flow and vibrancy. I enjoy the challenge of adapting my style to different mediums. And having had the chance to work in such a variety has definitely opened up opportunities to me. I am constantly sketching down ideas from my head at all hours of the day. Ink and graphite are probably the most common media that I work in as everything I do starts off as a sketch whether the final piece is original art, digital art or animation.

Working to different formats is important to help keep up with the changing industry. Being self-employed and having opportunities to work on large projects, I think it is extremely important for me to understand all aspects of a project. It helps when I work in art director or creative consultant roles as I can give the best insight and guidance to my clients.

What has been your most interesting/exciting (or perhaps famous) commission/work?
I would consider all my projects as “exciting”. I enjoy the challenges that come with each project and enjoy seeing a piece go from sketch to finished form. Some of the major companies I have been fortunate to work with include Apple, Microsoft, Facebook, Coca-Cola and Disney. A few highlights include designing the 2008 MAC World Conference booth in San Francisco. I had the opportunity to design a jungle theme using my characters and environments and to see them in a 1-storey high booth. And I worked with Coca-Cola in Australia to develop their advertising campaign which was designed for billboards, buses and magazines.

My short film ‘Who Saved the Moon’ was featured as a finalist at the International Independent Film Festival at the Comic-Con convention in San Diego. I was asked to be a special guest to speak about my animated film. It was a great opportunity to speak to the audience about the project from concept to finished piece. Check it out here: http://www.skaffs.com/animation05.html

www.youtube.com/watch?v=753D-sdHu3Q

I am also a huge fan of the work of Theodore Geisel’s Dr Seuss. Last year I was asked to exhibit with the work of Dr Seuss in Los Angeles and this was a huge honor for me.

Last year I held a solo exhibition ‘Perpetual Kagemi’ in Melbourne. It was so great to have such a huge turn out and positive response to my work. Collaborating with Coothwork to film the show was also a great experience for me; Coothwork did all the filming and editing, I did the music, and character animation and special effects.

www.youtube.com/watch?v=tCIxpYWdluk

What does the typical day of ‘Skaffs’ involve ?

There really isn’t a “typical” day in the world of SKAFFS. It tends to be very chaotic. I start early and I finish late; I don’t ever stop thinking even when I go to sleep. I’m always working on something whether it is tight time frames for commissions, working on artwork for exhibitions, finishing up SKAFFS related projects or collaborating with companies to produce product lines. I do a lot of speaking engagements and live paintings so I am very fortunate to travel a lot. I’m also currently working on my own animation series. Having to oversee the production has been both challenging and exciting.

What will be new for SKAFFS in 2009?

2009 is going to be another busy but awesome year! I will be doing a lot of artist signings and live paintings to launch the limited edition book “Chaff n’ Skaffs: Mai and the Lost Moskivvy”. In 2008 I completed a music band CD slick and there is talk of appearing live at one of their music events (unfortunately I cannot disclose any further information at this time). I have numerous exhibitions in San Francisco and Los Angeles. And most importantly, I continue to develop my SKAFFS product line through collaborations with other progressive companies. In the next couple of months I will be launching a new line of giant vinyl adhesive artwork, some iphone apps and hopefully an animation by the end of the year!

What are your other interests beside art and design?

I tend to do a lot of traveling. With the long hours that I generally work (mostly in front of a computer) I try to balance it with some Taekwondo and when I have some spare time I also like to do skateboarding or blading.

Any advice to up and coming artists and designers?

My advice to aspiring designers would be to establish a style, practice, and stick with it. Experimenting with different mediums will help you to define who you are as an artist. And get involved in the local community and start exhibiting to get your work seen.

SKAFFS latest limited edition book “Chaff n Skaffs: Mai and the Lost Mozkivvy”

Mai is a young girl who never ventured too far from her home. When a lost mosquito interrupts Mai’s sleep, her friend Chaff suggests they escort Moskivvy back home to a faraway land. So begins a courageous girl’s voyage into a fantastic world that will kindle readers’ imaginations. Encountering whimsical creatures along the way, this trio must travel over land, sea, and sky.

Desktop Magazine describe Chaff n’ Skaffs: Mai and the lost Moskivvy as “the perfect conduit for Feldman’s imagination combining his waif like lasses and charming characters with the beautiful, yet unpredictable realm that is the unique Australian environment.” Discover a world of visual delight that Flavorpill described as a “childlike wonder and crisp exaggerated colors” and a new brand of heroine!

“Feldman’s artwork blends the classic stylings of 1950s Disney with a modern design sensibility to create something both cutting edge and timeless.”

-Andrew Farago, Cartoon Art Museum, Gallery Manager

“Luke Feldman’s instantly recognizable ‘Skaffs’ creations comprise a heady mix of bright colors and razor sharp style mixed with an underlying, almost tangible naivety that make his illustrations easily identifiable in a world where originality is not as easy to find as you might think..”

-Jo Spurling, author and editor of Desktop magazine

“As you follow the adventures of these three intrepid voyageurs, you can’t help but fall in love with the dazzling hues, exotic animals and intriguing storyline that splash the pages of this book.”

- Rossella Frigerio, editor, Chic Today

What was the inspiration, style, highs and lows of working on this project etc.
I have been illustrating for children’s books for a few years now, working for various international publishing houses. It was always a passion of mine to get my very own book published. The Chaff n Skaffs series had been in the workings now for a few years. The characters, designs and storyline had been sketched out prior to meeting with San Francisco based publishers, Immedium . What I have enjoyed about working with Immedium is that they allowed me to have complete creative control. This meant I could use many Australian elements and lingo in the book and create each page as a finished piece of artwork for all to enjoy.

My use and choice of colour is extremely important and therefore there was a lot of communication between the printers and myself. Variations in print can occur between all print companies so I have become accustomed to being on top of the problems that can occur.

Publishing a book is definitely a long term project. You must be passionate about the concept to work on it for long periods of time. Find a good publisher, one that is supportive and in control of the printing and distribution.

When/where can we get a copy of your new book?

The book is available online at www.skaffs.com/chaff and worldwide at Borders, Barnes and Noble, Target, Amazon and many independent stores such as Villain Store and Robio in Melbourne, VIC. It ships in April 2009.

$15.95 USA, Children’s Picture Book ISBN: 1-59702-013-3 (ISBN 13: 978-159702-013-8) 10 x 9 3/4, 36 pages

www.skaffs.com

Skaffs on Facebook

Skaffs Myspace

This is ‘Muto’ –  a wall painted animation by Blu more simply put the best stop-start animation I’ve ever seen. The Blu team take you on journey through suburban Bueons Aires through the medium of street art — in this evolving tale — You really just have to watch it!

MUTO a wall-painted animation by BLU from blu on Vimeo.

The new short film by Blu
an ambiguous animation painted on public walls.
Made in Buenos Aires and in Baden (fantoche)
blublu.org/
blublu.org/sito/video/muto.htm

music by Andrea Martignoni
produced by Mercurio Film
assistant: Sibe

video shown at TED2009

I first saw Bonnie’s work on display at this year’s Design Market in Melbourne -

Bonnie is a creative entrepreneur and has already founded her own design brand and name, ‘this is‘ at only 22 and 1 year out of uni!

Check out some of Bonnie’s amazing products and designs and help support this aspiring young designer (all of Bonnie’s products are available to buy) along with an accompanying interview with the designer herself!

Tell us a little about yourself, where are you from and where are you living now?
Born in Hong Kong in 1986. I moved to Australia for education in 2001. During my Bachelor of Design (Industrial Design) in 2006 I spent a year aboard at Hochschule Techknic fur Wirtscharft in Dresden, Germany where I further develop my passion and found my purpose for design. In 2007 I graduated as an industrial designer from Royal Melbourne Institute of Technology (RMIT) University. On the same year in 2007, I established the brand, ‘This is‘ after designing a homeware product, This is a Trivet. A product that is about re-purposing waste. I first showcased ‘This is a Trivet’ at the Melbourne Design market during the Melbourne Design Festival in 2007. After the success I have also exhibited at the Salone Satellite, Milan International Furniture Fair in 2008. Sine then I’ve continued to further my practices to in design and continued develop ‘This is’ in Melbourne.

What people (designers or otherwise), places or things inspire you, and how?
I am a fan of Japanese animation. Currently I’m watching Naruto Shippuden and Bleach. Both animations have been showing for more then 200 episode. The story
doesn’t actually change much. It’s often repeating or playing around with similar tactics in different. I like watching them because they are basically talking about
different situation in life through these ninja or death god characters. They all seems to have these immense energy that keeps them going. Their characteristic and
attitude inspire to keep doing what I am passion of.

What are you working on at the moment?
After the two launches for This is Accessories Collection at the Melbourne Design Market and Young Blood Designers Market in Sydney. I’ve been invited to participate
in some other design markets and trade fair next year. So now I’m preparing for these events next year before I start working on some new projects I have in mind.

So what exactly is ‘This is’?
This is™, is about staying true to what it is. This is™, is design company that is about conveying a straight forward idea of the product. The brand name forms a part of
each of the product names giving them a unique and honest identity. This is™, hopes to use the brand and concept to provoke people to pay attention to the value and
meaning of what they buy.

Tells us about your ‘This is a trivet’ for example, what is it? What’s the inspiration behind it?
“This is a Trivet” is designed to hold hot plates and pots to protect your table top. It is based on a project that is about re-thinking, re-using and re-purposing excess
materials into something new. “This is a Trivet” has been transformed from the excess solid surface material such as Corian from bench tops and sink rims. The
concept of “This is a Trivet” was naturally inspired by the flexibility of the unique material. It is a simple free flowing form with functionality incorporated in it. It is heat
resistant to 240 ~ 260 degree Celsius. Two trivets can be interlock together increase the size for larger plate.

What are your other interests beside design?
Traveling, cooking, food tasting, music and international movies.

What’s the best and worst parts of being a full time, working designer?
The best part of being a self employ designer is that I am working on my dream everyday. I enjoy the process of developing myself and my works everyday.
The worst and the best part of being a self employ designer is that you need have a clear vision of your goal/ dream. You need a certain level of passion and
commitment to keep motivating yourself everyday and not give up your dream.

Any advice to up and coming designers?
The more you understand yourself, it’s more likely that you will live in your dream.

Very Profound Bonnie! Like it.

www.thisis.com.au

http://www.ponoko.com/showroom/ThisisOnlineShop

As well as the cover art for widespread publication ‘change the world 9 to 5′

We have been kindly given a taste of Rod’s retro styled isometric work along with a bit of background and some great advice for up and coming artists.
Rod stresses the importance of knowing your rights as a working artist, along with the need to just get out there and show your stuff to the world.

So without further ado, the much appreciated and insightful interview with Mr Rod Hunt!

DT: Tell us a little about yourself, where are you from and where are you living now?
RH: I’m a London based Illustrator/designer who has built a reputation for retro tinged Illustrations & detailed character filled landscapes with UK & international clients in publishing, design, advertising & new media, for everything from book covers to advertising campaigns, & even the odd large scale installation too!

Some of my many clients include Barclays, BBC, Computer Arts Magazine, Dorling Kindersley, The Economist, FHM, Maxim, The Observer, Orange & Vodafone

Originally I was from rural town of Bridport, in the country of Dorset, UK. For the last 12 years I’ve lived in Greenwich, London.

I’m also currently Deputy Chairman of UK The Association of Illustrators. The AOI was established in 1973 to advance and protect illustrator’s rights and encourage professional standards

http://www.theaoi.com

DT: When did you realise you wanted to work as an artist full time?

RH: I was always a prolific drawer as a kid, but didn’t consider art as a career until I was 17. Originally I was planning on pursuing Biochemistry & horticulture, & was studying towards that. I thought studying art was just for fun. But the realisation grew on me that I wasn’t really enjoying it [bio/horticulture] any more & as I spent all my time drawing, art college beckoned.

After a one year foundation course at Bournemouth & Poole College of Art & Design, I studied Illustration at Anglia Polytechnic University (now Anglia Ruskin University), Cambridge.

I became a full time illustrator in 1996 when I decided to move to London to be closer to potential clients. These were the days before the internet was prevalent, so the only way to show clients work was to post out sample postcards or take your
portfolio to them! Before that I spent the 2 years in Nottingham working on my portfolio & learning about the industry. My work today is very different to how it used to be then, as I used to paint my work in acrylics.

DT: What people places or things inspire you?

RH:I draw much of my inspiration from humour, retro graphics & contemporary culture. Comics were my big love as a kid, especially 2000AD/Judge Dredd, & that fired my imagination & inspired me to draw.

Things that inspire me, in no particular order:
Edward Hopper
comics
2000AD/Judge Dredd
pulp fiction covers
sci-fi
Terry Gilliam
Tim Burton
robot toys
retro 50′s/60′s/70′s advertising & graphics
architecture
animation
film
Mad magazine

DT: What are your most used ‘tools of the trade’?

RH:All my work is produced digitally, but before I go near the computer I start doodling ideas and compositions in an A5 sketchbook with a pencil or biro. These are very quick and throwaway. Once I worked out the rough idea and composition & gathered any visual reference I might need, I work on a larger finished pencil drawing, which I then use as a guide for drawing the final artwork with a graphics tablet in Adobe Illustrator.

DT: What are you working on at the moment?

RH:I’m currently working on the visitors site map for one of the UK’s main theme parks, & also illustrating a whole book for a major BBC TV show.

DT: Could you explain the inspiration between ‘dreams and nightmares’?

RH:The piece Dreams & Nightmares was an illustrated Shin Tanaka paper sculpture the InkThis exhibition of the same name. I wanted to have the piece being like a mixed up dream, with threats hiding in the shadows. Like a child in their bedroom at night in the dark with only their teddy bear to protect them.

DT: What has been your favourite commission to date?

RH:My favourite commissions have been the cover for the best selling environmental book Change The World 9 to 5 by We Are What We Do & the interactive environmental display for the Lightbox Museum & Gallery in Woking, UK. The Lightbox display was particularly challenging due to it’s complexity & scale.

DT: What’s the best and worst parts of being a full time, working designer?

RH:The best parts are getting that unexpected enquiry to work on a great commission. Being freelance means that you don’t usually know what’s coming week to week, so the next project enquiry could be a big surprise! Also I like being in charge of my own destiny & career.

The worst parts are when the phone doesn’t ring for a few weeks, & also the increasing amount of unreasonable contracts & copyright grabs from some clients that I have to deal with.

DT: Any advice to up and coming artists/designers?

RH: Get out there and get your work seen by as many people as possible. You should never be afraid to show people your work. You maybe the best designer/illustrator in the world, but if no one sees your work, you won’t get commissioned

I’d recommend joining the UK Association of Illustrators (AOI). http://www.theaoi.com (or a similar organization elsewhere). They’re constantly campaigning to protect all illustrator’s rights, and if you need advice on pricing commissions, contracts, promotion, etc, it really pays to get help from the experts.

Maintain control over your Copyright in your Illustrations. There are very few occasions that clients need to own the Copyright in your work. Your body of work is your livelihood, and you should be entitled to the financial benefits of your talent and hard work.

A huge thanks to Rod for showing us some of his work and also for the words of wisdom!

www.rodhunt.com/