<p><strong>Cut your hours.</strong><br />At first glance, many creative professionals are horrified at this idea. It appears counter intuitive to cut your hours in order to get more done, but this is a proven successful method. It is easy to feel overwhelmed when you overload yourself with work, and you will find yourself dragging. This can lead to poorer work quality. By keeping your hours short, however, you can be more efficient and focus on the task at hand, rather than how much more you have to do.<br /><br /><strong>Give your designs time to settle.</strong><br />This will give your brain a break after hours of working on a project, and let you look at it with new clarity. You should always take a break before editing and making final adjustments. Many designers put together design portfolios and then put them aside for a few days before making them official. <br /><br /><strong>Be aware of your energy levels.</strong><br />When you have a lot of energy, put it into designing. When you know you have low energy, don't waste time trying to force yourself. Many people are more productive in the morning, while others find the most energy in the evening.<br /><br /><strong>Be open to inspiration!</strong><br />Inspiration can dome from anywhere, including other designer's portfolios online, a poster, a picture, or a person. Be ready to take advantage when inspiration strikes.</p> <p><strong>Listen to music.</strong> <br />This can be a great tool to use, when used properly.  Don't listen to music that will distract you, instead find something that keeps you focused.  Many creative professionals claim that fast paced music keeps them working at maximum productivity.</p> <p> </p>

<p><strong>FF: Would you introduce yourself to our readers and tell us how got involved with 3D/Illustration and character design?</strong></p> <p>Alessandro: My name is Alessandro Baldasseroni and I'm currently working as lead character artist at<strong>  <a href="http://www.blur.com/">Blur Studios</a>  </strong>in Los Angeles. I started to do 3D more than 10 years ago, but my professional involvement with characters coincided with my work at <strong>Blur</strong> in 2007. Before that I was 3D modeling for a small game developer in Milan, mainly working on environments and occasionally some vehicles and props. <br /> <br /> At that time I was spending a lot of my spare time working on personal projects, mainly 3D illustrations and some of them were based off high poly characters. Most of them were well received on the 3D forums and by the online communities. This allowed me to be contacted by a few companies, to do some freelance for <strong>Flagship Studios</strong>, <strong><a href="/blog/feeds/latest/www.massiveblack.com/">Massive Black</a></strong> and later on <strong><a href="http://www.blur.com/">Blur</a></strong>. In 2006, <strong><a href="http://www.blur.com/">Blur</a></strong> offered me a full time position as a character artist, they did all the paperwork and a few months later I relocated from Milan to Venice beach.</p> <p><strong><img alt="" src="http://www.eklettica.com/pictures/illustrations_album/dd1600_rol.jpg" width="617" /><br /> <br /> FF: For those who are following in similar paths, walk us through your favorite tools and your give us some insight into your artistic process.</strong></p> <p>Alessandro: My favorite tools are basically the ones I use every day in my work pipeline, <strong>3D Studio Max</strong> for poly modeling, <strong>Zbrush</strong> for high res sculpting and <strong>Photoshop</strong> for my textures. Concepts come in various forms, sometimes from the client in the form of a 3D (low-res,) a hi-res game models, other times (the one I prefer) as a 2D painting or drawing. <br /> <br /> My goal is to make it look better, while preserving the main spirit of the character. In my experience the best way to achieve this, assuming we are working on a good concept, is to literally try to trace the silhouette in 3D and to lock down the main proportions... then work on details: Make a render, bring it in <strong>Photoshop</strong>, and compare it. So as you can imagine design is limited, but being an extremely accurate interpreter is crucial.</p> <p> <br /> <strong>FF: What project(s) have you *really* enjoyed working on?</strong></p> <p>Alessandro: There are so many honestly but I remember I was really into the <strong>Halo Wars</strong> cinematic by <strong> Blur</strong>. I had the chance to work with such an iconic character (Halo Masterchief) and it turned out really nice. Also working on the cinematics for Star Wars: The Old Republic was pretty [fun and] challenging. I worked on Darth Malgus, the main villain. <br /> <br /> Another project I enjoyed working on was <strong>Franky</strong>, the little sidekick partner of <strong>The Goon</strong>, for the movie pitch that <strong>Blur</strong> developed and presented at <strong>Comicon</strong> in San Diego. That one was really challenging because the character had never been transposed in 3D before. I think we did a pretty good job maintaining the look and spirit of the original comic by <strong>David Powell</strong>.</p> <p><strong>FF: Do you have a favorite studio (to work with)?</strong></p> <p>Alessandro: Blur. I am partial I guess, but all in all it's a great company to work for :)</p> <p><strong>FF: How about a memorable development story?</strong></p> <p>Alessandro: I remember one specific episode which happened when I was working for <strong><a href="/blog/feeds/latest/www.massiveblack.com/">Massive Black</a></strong> as a freelancer from Italy. I did a 3D character, fully modeled and textured for a marketing illustration and delivered it in T -pose . Some people at <strong><a href="/blog/feeds/latest/www.massiveblack.com/">Massive Black</a></strong> were in charge of posing it, lighting it and composing the final illustration. I took the chance to work on it by myself, just for fun, even if it was not requested. Surprisingly when I decided to show my final illustration to them, just out of curiosity, for feedback, they fell *so* in love with what I did that they decided to hire me on the spot.</p> <p><strong><img alt="" src="http://www.eklettica.com/pictures/vehicles/ducati.jpg" width="617" /><br /> <br /> FF: Given the choice, would you prefer to create characters or vehicles?</strong></p> <p>Alessandro: I'd say characters for the simple fact that I still consider it very challenging. The range of possibilities and improvement when it comes to the realism of 3D characters is still huge compared to vehicles. I still struggle a lot doing characters. That said I wouldn't mind a chance to "chill out" on some vehicles design from time to time :)</p> <p><strong>FF: What are the challenges?</strong></p> <p>Alessandro: I guess they both require a high level of realism nowadays. Vehicles, hard surface modeling require a great deal of precision... it can be very tedious. Modeling characters requires more flawless executions and a whole multitude of variables come into play that can detract from realism: animation, skin shaders, deformations (rigging), facial animation, to name a few. If the goal is to achieve Photorealism, any flaw in any of these areas pushes back the model into an "uncanny valley." Bringing characters to life requires an extra level of effort to infuse "personality" into them.</p> <p><strong>FF: Can you share with us your inspiration(s) to become an artist and whose work you follow?</strong></p> <p>Alessandro: I was inspired to start 3D as many of my generation by the amazing visual effects of cult movies from the 70s and 80s, like Tron, Aliens, & Terminator. Keep in mind that CGI and visual effects in these movies were not to today's standards. Now that I'm doing CG for a living I'm way more interested and motivated to look back at traditional works and 2D artwork. <br /> <br /> I love illustration and paintings and whenever I have the chance I buy books like Spectrum, illustration anthologies and artwork compilations of my all time favorite artists: Frazetta, Catehrine Jeffrey Jones, Rojo, Vallejo, Ashely woods, Justine Sweet to name a few. Also the master painter and sculptors from the past are a great source of inspiration.</p> <p><strong>FF: What upcoming projects can we look forward to seeing your work in?</strong></p> <p>Alessandro: I cant really mention the project I'm working on at Blur because they are under NDA but I'm working for sure on a few pieces of personal illustrations. Check out my <a href="/alessandobaldasseroni/">PAD</a> once it's up.</p> <p><strong>FF: What advice would you bestow on would-be 3D illustrators and character designers?</strong></p> <p>Alessandro: Work a lot of hours on your personal pieces; stay passionate; don't be afraid to compare yourself to the best out there; if you love what you do don't let anyone push you back; there are no masters by birth out there, just people at different stages of a common path. Listen to critiques but don't be influenced too much by that. Talent (believe me or not) can be cultivated, if supported by great motivation and will.</p> <p><strong>Visit Alessandro's PAD:<a href="/alessandrobaldasseroni"> /alessandrobaldasseroni/</a></strong></p> <p> </p>

<p>Many people are confused when asked to differentiate between graphic designers and web developers, but there are significant differences between these types of creative professionals. Sure, they both deal with digital manipulation, and will likely both have online portfolios on display, but the professions require various skills and education.<br /><br />One primary difference is that of the target. Graphic designers are considered artists, and looking at a few design portfolios will likely exemplify this characterization. Manipulating images, pixels, and vectors requires an artistic eye, and the most successful are those that can be imaginative with colors and type.<br /><br />Web developers, on the other hand, work primarily with codes. They are more mathematically minded, and focus on functionality and accessibility as opposed to visual stimulation alone. While the online portfolio of a web developer may appear quite artistic, the images displayed are usually made by a graphic designer. The web developers work can be seen in the layout of a page, and the special features that make that page unique.<br /><br />Unfortunately, graphic designers and web developers tend to butt heads when working on a project together. The differences in their work can cause conflict for a number of reasons. One common issue is the graphic designers tend to finish their work faster than developers, leaving impatience and boredom for the quicker party.<br /><br />Also, each party will likely have opinions about what the other should be doing. The two fields are similar in many ways, even as they are incredibly different. This fact causes graphic designers to try and be involved in the development process, and vice versa, as each type of work can greatly affect the other.<br /><br />Despite the differences between these creative professionals, when they work together they can produce magnificent final products.</p> <p>Art by: <a href="/andrezzavantini/">Andrezza Vantini</a></p>

<p>Our friends at <a href="http://ff.fildry.com/chinadesignhub">China Design Hub</a> (CDH) have been covering original design and art from China for a few months now and have shared with us a couple of inspiring new artists. The blog, that features art from China, Taiwan and Hong Kong, has been showcasing different creative industries from industrial and architecture to interior and fashion. Their goal is simply to shake off the negative light and biased view toward Chinese Design. Here are 3 talented artists that caught our attention.</p> <p><strong><a href="http://ff.fildry.com/sallyzou">Sally Zou</a></strong><br /> Sally is a Shanghainese born in 1986 and started picking up art, design and advertising after displaying a big interest in the art field since a child. After working at the advertising agency McCann-Erickson, she joined W+K Shanghai as an intern in 2006 to participate in numerous design projects and visual productions. Sally officially became Wieden+Kennedy Shanghai’s graphic designer and digital artist in 2007, and went on to work on visual works for Nike, Converse and Umbro. One of the projects she worked on, “W+K BOOK III”, won a merit at One Show 2009. Sally is also a member of the design collective- MMRB and has been working on several art collaborations, and increasing her presence in the design industry as well by emerging 3rd place in the Cut & Paste competition held in Shanghai. Recently, she was the only Chinese female individual to be selected by Yen magazine, Australia’s no.1 independent magazine for women as one of the top 100 female artists in 2009. <strong><br />Visit Sally at China Design Hub: <a href="http://ff.fildry.com/sallyzou">http://ff.fildry.com/sallyzou</a></strong></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/01.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/high1.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/airmax_lebron_vii_a01.jpg" width="617" /></p> <p><strong>Feng Haoyu</strong><br /> The original design lasts for a reason. People looks at the same object over time and gives it different meanings. A polka dot pattern has its origin, the same applies to any design, product and object. This is a project to find the origin of design, product and object,to discover their meaning in different time period. and to find new interpretations of original design and object. <strong><br />Visit Feng at China Design Hub: <a href="http://ff.fildry.com/HGy8H9">http://ff.fildry.com/HGy8H9 </a></strong></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/origin_1.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/origin_7.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/origin_6.jpg" width="617" /></p> <p><strong><a href="http://ff.fildry.com/nodyoung">Nod Young</a></strong><br /> Nod Young is a visual artist specializing in digital design and visual arts, whose unique style and extraordinary insight have been well recognized. In his works, Nod mixes Chinese cultures with various elements, avant garde and traditional, always trying to break down the boundaries. As an artist, his works have been widely exhibited around the globe, from the UK to Spain, Finland to Singapore, the US to South Africa. Nod hopes to bring changes to life, through art and creativity that are able to influence the world and enrich people’s sensations. Nod has also gained commercial success and worked with many international clients, including NIKE, Adidas, Coca Cola, McDonald’s, Nokia, Microsoft, Mercedes, Li Ning, FIAT, Green Peace. He is also actively involved in a lot of art-related projects as an independent designer, and is planning to publish a portfolio book together with Tsinghua University Press at the summer of 2012. <strong><br />Visit Nod at China Design Hub: <a href="http://ff.fildry.com/nodyoung">http://ff.fildry.com/nodyoung</a></strong></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/aNew-Wave-_01_600.jpg" width="617" /></p> <p><img alt="" height="617" src="http://chinadesignhub.com/wp-content/uploads/2012/03/01_Run_by_Nod.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/Nod-Young-@-Nike-2_600.jpg" width="617" /></p> <p><strong> </strong></p>

<p><strong>The Benefits of Online Portfolios</strong></p> <p>There are many advantages to developing an online portfolio, including convenience, diversity, and affordability.  When presenting a portfolio, it is important to be as efficient as possible in order to both keep prospective employers interested, as well as to give yourself the best opportunity to succeed.</p> <p>Many creative professionals prefer online portfolios because of how convenient they are to create.  Instead of endless time spent printing and organizing a hand held portfolio, you could spend all of your time designing it into something truly unique before the simple process of uploading your work onto the internet.</p> <p>Updating your portfolio online is also much more convenient with this method.  If you want to slightly change a project, you can do so simply by re-uploading it as opposed to worrying about reprinting.  It is much easier to deal with problems that arise when working with digital files as opposed to hard copies.</p> <p>Printing and reprinting costs can add up quickly, not to mention the costs associated with additional portfolio supplies.  This fact makes online portfolios much more affordable and cost effective than their physical counterparts.</p> <p>Another convenience of an online portfolio is that you can easily include works from different professional fields.  Perhaps your portfolio combines painting, photography, and graphic design, all of which would be very hard to display in a single portfolio.  Online portfolios allow more diversity because there is not only more space available, but because everything can be presented on screen in a clean and organized fashion. This allows you to upload everything you want, while viewers sort out what they want to see.</p> <p>Creating a portfolio on the web can also impress viewers with your digital skills.  Creating and maintaining a web portfolio presents many opportunities to show off HTML, Flash, or Java expertise, as well as proving your ability to work using an online platform.  Many online portfolios even include an extensive resume and history of education, making it easy for employers to get all the information they need in a single convenient location!</p> <p style="text-align: center;"><a href="/CptDooDlez"><img alt="CptDooDlez" src="/cache/pad_portfolio_thumbs/1331193843.04_detail_image.jpg" width="635" /></a><br /> From <a href="/CptDooDlez">Kevin Andersson</a> Filter Foundry PAD (online portfolio) <br /> <br /></p> <p><strong>Creative Supply and Demand</strong></p> <p>While being an artist or a creative professional may have been considered a risky move at one point, the growing need for design and creative services has been apparent over the last few years.  Visual professionals, good ones at least, used to be few and far between, but recent trends suggest that the rules of supply and demand are taking their toll on the industry.</p> <p>Creative professionals are graduating in bigger and bigger classes as the years go by, creating a huge pool of qualified potentials making a grab for available jobs.  Design portfolios are being [e]mailed to advertising and marketing firms on a daily basis as people hope to turn their creative dreams into reality.</p> <p>The creative supply is there, but the problem is that as universities produce more designers, there is less demand for design services.  The job market is getting increasingly more competitive, and many employers and hiring managers have noticed a shift in the quality of design portfolios.</p> <p>There has been a noticeable increase in mimic designers, who lack creative depth but are very good at manipulating existing popular designs.  Trade schools are even providing creative programs now, meaning that the level of experience, education, and passion that used to characterize art students is slowly being dissolved.</p> <p>Upon viewing portfolios it is difficult for companies to accurately assess the talents of the applicant.  Because they are being swamped with online portfolios, as well as physical copies, it is getting harder to find real value when sifting through it all. Similarly, the value of a designer to the hiring company is getting confused as companies struggle to use their designers to their full advantage.  Many people inaccurately think that design services consist of a logo and a pretty poster, but that is far from being true especially as the industry continues to expand.</p> <p>The future of design professionals, especially those graduating in the near future, is cloudy.  The relationship between designer and hiring company is facing a lot of changes as supply and demand continue to take their toll.<br /> <br /> <a href="/Casiana"><img alt="Casiana" src="/cache/pad_portfolio_thumbs/1320570181.68_detail_image.jpg" width="635" /></a><br /> From <a href="/Casiana">Petrovan Casiana</a> Filter Foundry PAD (online portfolio)</p> <p><strong>Common Mistakes When Putting Together a Design Portfolio</strong></p> <p>Many creative professionals don't give themselves the opportunity to shine because they make too many mistakes when putting together their portfolios.  This article will discuss a few key tips to remember in order to create successful and effective design portfolios.</p> <blockquote> <p><strong>First</strong>, don't use outdated materials.  Unless it is a really high-profile project, it's better to show your recent work.  A good rule of thumb is to use assignments created within the last three years unless you have something older that is incredibly relevant to a project you’re after.</p> <p><strong>Second</strong>, an online portfolio is a great thing to have, but many employers will want something they can hold in their hands.  In order to meet the demands of all types, it is best to provide the option of both types of design portfolios.  Also, bring a sample that you can leave behind when you go on your interview to give the company something to remember you by.</p> <p><strong>Another common mistake</strong> is not tailoring the portfolio to the needs of the client. Customize your portfolio online and in print in order to engage the hiring manager and show that you have done your research. Also remember that when you build an online portfolio you will not want to turn off viewers with long loading times.  Design portfolios should be impressive, but not require so much space that no one sticks around to view them.</p> <p><strong>The most important thing</strong> to remember is to keep your portfolio organized.  No one wants to look at a sloppy book, or a sloppy web page.  Printed copies should look fresh, and if your portfolio contains bulky items be sure to carry them separately.  Don't let a few items compromise your whole portfolio.</p> </blockquote> <p>Keep these things in mind and it will be a breeze to create effective design portfolios.  The competition in this industry is getting fiercer as every graduation day passes, so it is often necessary to go the extra mile to help yourself stand out in the crowd. </p> <p style="text-align: center;"><a href="/pads/"><img alt="Pads" border="1" height="316" src="http://filterfoundry-media.s3.amazonaws.com/blog_images/Article01_FF_Screencap_Pads.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="635" /></a> <a href="/pads/">Filter Foundry Featured PADs </a></p> <p><strong>Building a <a href="/pads/">Free Portfolio</a></strong></p> <p>In the current economy, many people are struggling to find work.  It can be even more difficult when applying for a job requires putting together an expensive portfolio, as is the case for many creative professionals.  Lucky for them (and you!), however, there are many ways to go about building a <a href="/pads/">free portfolio</a>.</p> <p>The best way to create a <a href="/pads/">free portfolio</a> is by exploring all of the various ways to make a portfolio online.  Unlike a printing shop, the internet’s options are available for free.  Not only that, but an online portfolio is incredibly convenient because it can be viewed by anyone at any time. There are a number of online methods that will allow you to build a <a href="/pads/">free portfolio</a>.  The first is by going through a host site.  Many web service providers allow others to create sites within their server for free, and many even specialize in building an online portfolio.</p> <p>These sites also provide easy upload services, which will allow you to organize your work neatly.  They also provide basic layout and color spread options, while also offering you the opportunity to customize the layout to your liking.  Those with expertise in HTML or Java applications may prefer to use their own design, especially if they want to market these services.</p> <p>There are many benefits to creating a <a href="/pads/">free portfolio</a> this way because it will introduce you to a whole network of creative professionals.  Many of these sites allow users to interact with each other, offering feedback or advice on how to enhance your portfolio online. In addition, some even offer job listings so that you can put your <a href="/pads/">free portfolio</a> to immediate use!  There can be many benefits to investing money into a portfolio, but there are many effective strategies you can take advantage of when this isn't an option.</p>

<p><strong>FF: Victor, tell us a little bit about your photography and your art.</strong><br /> <br /> Victor: I’m a 36 year old Photo Artist, from Barcelona. My college education was in the School of Architecture, as that was supposed to be my profession.<br /> However, and due to the fact that since early years of my life there was always a computer at home, in particular, because of the job of my father and, in combination with that fact that most of the times, in my childhood, I enjoyed playing alone, using my imagination, I started to get in touch with several kinds of rudimentary CAD packages, which for me, where the best extension of my hand-made drawings and sketches.<br /> With time, I developed some skills in Computer Graphics but just for my own fun. In the university years, I found out that I had already developed some valuable skills for architects to communicate their projects so I began to accept commissioned works from my school teachers, who with time, became my permanent customers.<br /> Being considered and recognized professionally was definitely a good thing, but not good enough as a very important part of me was totally misused in my commissioned projects, which was my imagination. That is why I decided to quit 15 years experience of freelance works, as well as a long and stable list of customers and move to a totally unexpected and uncertain future within the world of art.</p> <p><img alt="" height="495" src="http://victorenrich.com/wp-content/uploads/037_027MANUELA_01_BOXMETA.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="495" /></p> <p> </p> <p><strong>FF: How did you get started with photo-realistic fantasy architecture?</strong><br /> <br /> Victor: Moving into art is not such an easy step, you need something to say, an inspiring source and...at least one technique or way of expression. I somehow, found out that I had the 3 of them...so, in a way, my 15 years in freelancing, in the end served me to dominate a tool, with which do whatever I would like to.<br /> So the step from commissioned to creative works was not difficult in terms of know-how... It was more difficult in terms of accepting a new economical situation, or overcoming the fear of bad critics or even worse, total anonymity.<br /> At first, between project and project, some time was dedicated to art, those were tough times as, after long days in front of the computer for a customer’s deadline, I only had energy to leave the office and take some rest...but I stayed.<br /> Then, with time, I started to dedicate more and more time to creative works until the day I decided to not accept any more commissioned works.<br /> The whole transformation has taken place in about 5 years.</p> <p><strong>FF: Would you walk us through a typical project from location scouting to final render?<br /> </strong><br /> Victor: Any project starts with a living experience. A conversation, a commercial, a trip, a dinner with friends, a moment of solitude...anything is welcome.<br /> I must admit that there’s a little journalist in me, so I tend to introduce myself into situations that normal people would reject</p> <ul> To give you an example:<br /> I spent the last 2 years of my life in Tel Aviv, Israel...surrounded by Jews. I community that, the more I know them, the more I love them<br /> For several circumstances I was forced to leave the country, I got deported, went to jail and in jail I met incredible interesting people who I interview for over 5 days. I met false prophets living in caves, Colombian refugees escaping death from the Narco, Nigerian priests performing out loud Afro-Christian ceremonies in our 8 sq meter cell 4 times a day...and so on.<br /> </ul> <p>Now I live in Munich, Germany, the former cradle of the Nazi movement and I’m sharing flat with a religious Muslim husband born in the Gaza strip...I bet most of my Jewish friends would refuse me for that...or maybe not.<br /> So, without a living experience, at least for me, Art is not possible.<br /> The rest is just a kind of routine process of computers, photography, city walks etc...</p> <p> </p> <p><strong><img alt="" src="http://victorenrich.com/wp-content/uploads/036_026DUCKS_01_BOXMETA.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="495" /><br /> <br /> FF: What software have you used and what's the advantages it bring to the table?</strong><br /> <br /> Victor: I must admit that, with my age, I’m a bit old fashioned in terms of software choices. I use mainly <a href="/mudbox/">Autodesk</a> software, because I feel comfortable with them, I know all the bugs and I can perform fast. These packages are AUTOCAD and 3DSTUDIO MAX with VRAY. <br /> As a 3D visualizer, I must say that VRAY changed my life because the Chaos Group technology implemented a big leap into Global Illumination.<br /> I also use Rhinoceros when it’s time to dig deeper into weird shapes as we all know that AUTOCAD has its limitations as a 2D-born package.</p> <p><strong>FF: When do you know a certain site is “prime” for 3D building?</strong><br /> <br /> Victor: Generally I shoot tons of pictures with my camera, in order to have a vast range of choice. Some pictures don’t [turn out] as good as I want, or the central subject is not clear enough for me. Sometimes, instead, it’s totally clear for me that I want to shoot a building so I start to investigate ways to get a nice shot, specially from unusual points of view. I contact people, [make] some phone calls, or if necessary I sneek into [buildings and construction sites], so there’s a bit of adrenaline in it...which I love.<br /> So, in the end, it’s a combination of facts that make a picture be finally selected to the next stage...it’s like a casting somehow.<br /> This selection is very important as the following 3D tasks applied on it will take at least one month...I can’t permit myself to throw away a month work  (it has already happened to me ...)</p> <p><strong><img alt="" src="http://victorenrich.com/wp-content/uploads/032_022TUNA_01_BOXMETA.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="495" /><br /> <br /> FF: Do you work with other architects?</strong><br /> <br /> Victor: Not anymore, at least in commissioned projects. I work with them in terms of conversational meetings, discussions or any other subject related to architecture which can be valuable for me to get inspiration.</p> <p><strong>FF: What projects do you have coming up in the near future?</strong><br /> <br /> Victor: Now I’m working on a project that will involve the Munich cathedral. I can’t [disclose] more about it as it will be published exclusively for an important magazine in London.<br /> After this, we'll see...I have several projects that are on the waiting list, some of them based again on Tel Aviv.</p> <p><strong>FF: Who are your influences?</strong><br /> <br /> Victor: Everything influences me. From an old homeless man playing, under a porch, extremely beautiful classical music with his rotten violin but right after peeing in “his” corner behind to an Indian guy I met recently who travels the world by bike spreading his message.<br /> So I must say it’s people. No architecture influences me as is comparable more restricted than what I do for obvious reasons.</p> <p><strong>FF: How does creating art compare to teaching?</strong><br /> <br /> Victor: Teaching first of all is a social act. Doing my pictures is an individual act. In order to keep my insanity under control, both acts must be there. I love teaching, probably more than doing art.</p> <p><strong>FF: Can you give our readers some tips or advice?</strong><br /> <br /> Victor: Well...it’s hard to give advice as I don’t have any big message to say.<br /> I would only try to invite everybody to investigate in his or her own fears and try to overcome them, reaching unexpected limits of self knowledge without forgetting that any single direction we take in life, left or right, has a price to pay...so the first question one should ask himself should be: Am I ready to pay that price?</p> <p><br /> Another thing I would say is: consume less, bring more. Feed the universe.<br /> That idea, thought or dream that you consider silly or stupid is instead the most valuable good you can share with all of us.</p> <p><strong>Victor's Filter Foundry PAD: <a href="/victorenrich/">/victorenrich/</a></strong></p>

<p>A vanguard of the art movement know as <a href="http://www.britannica.com/EBchecked/topic/762693/Photo-realism">Photorealism</a> and proprietor of the <a href="http://www.meiselgallery.com">Louis K. Meisel Gallery</a> in SoHo, Louis K. Meisel has made art his life. His 1996 book <a href="http://www.meiselgallery.com/LKMG/publications/">The Great American Pin-up</a> came across our desk and we contacted Mr. Meisel to get his insight on his specialty.</p> <p><strong>FF: How would you describe your gallery’s mission and vision?</strong></p> <p>My focus after inventing the word PHOTOREALISM in 1969 and assembling a number of artists under that genre has been to represent, present , promote and collect the finest post modern, art history making realist painters and sculptors in the world. I believe I have done that.</p> <p style="text-align: center;"><a href="/robertneffson"><img alt="" border="0" src="http://www.meiselgallery.com/lkmg/imagesDB/neffson_NotreDame.jpg" width="635" /></a><br /> <strong><a href="/robertneffson">Robert Neffson</a></strong><br /> "<em>Notre Dame De Paris</em>", oil on linen, 52 x 74"</p> <p><strong>FF: Would you give us your expert definition of Photorealism and its subsets?</strong></p> <p>The Photorealists use the camera, film, digital devices and  now computers to gather and assemble the images they will use make paintings. The imagery and composition is POST POP….NOT academic. They have the greatest technical ability ever seen in art. That of  course is frowned upon as politically incorrect because very few have the skills and DISCIPLINE to do it and are therefore excluded from "sharing the wealth" . The word "quality"  which DOES apply to the Photorealists is racist and  sexist according to Michael Brenson:</p> <p style="padding-left: 60px;">      At the opening of "The Magicians of the Earth," the gigantic exhibition of contemporary art in Paris last summer, I mentioned to another American art critic that I found the selection of Western artists troublesome. I also said that some of the non-Western artists were not very good.<br /><br />      "Ah, the quality issue," she said, with a wary smile that told me in no uncertain terms that this was an approach to the show she wanted no part of. Ah, the quality issue! Unlikely as it may seem, this common, everyday word has become a lightning rod for a stormy debate in the art world. Swirling around it are arguments over the virtues of form versus content, Western values versus non-Western values, men versus women. Although the debate might seem a parochial one, confined to art and academic circles, it is affecting not only the art of today but also the thinking of an entire generation.<br /><br />      There may be no more divisive word in the art world just now. Perhaps no word inspires more devotion among its supporters and more anger among its detractors. Perhaps no word exposes more deeply the present conflicts about art, standards, multiculturalism and American culture in general.</p> <ul> </ul> <p style="text-align: center;"><a href="/tomblackwell"><img alt="" border="0" src="http://www.meiselgallery.com/lkmg/imagesDB/blackwell09.jpg" width="635" /></a><br /> <strong><a href="/tomblackwell">Tom Blackwell</a></strong><br /> "<em>Ralph Lauren</em>" , oil on paper and board, 10.25 x 13.25</p> <p><strong>FF: Tell about your current exhibitions.</strong></p> <p>The galleries in SoHo and 57th Street continue to show the finest post modern realist painting and sculpture in the world. Up and coming, <a href="/tomblackwell">Tom Blackwell</a>, <a href="/robertneffson">Robert Neffson</a>, <a href="/raphaellaspence">Raphaella Spence</a>, <a href="/bertrandmeniel">Bertrand Meniel</a>, and POP artist <a href="/melramos">Mel Ramos</a>.</p> <p><strong>FF: Do you have any words of wisdom for our artists and painters?</strong></p> <p>Learn to draw, and study 3000 years of art history. Don't worry about or bother with the past 2 decades or so.</p> <p><strong>FF: What do you look for when you view a new artist?</strong></p> <p>Innovation in PAINTING and Sculpture in the area of realism. Skills and DISCIPLINE and an indication of the hard work it takes to be a REAL ARTIST, not one who sells piss and elephant shit.</p> <p style="text-align: center;"><img alt="" src="http://www.meiselgallery.com/lkmg/imagesDB/flack28_1.jpg" width="635" /><br /> <strong>Audrey Flack</strong><br /> "<em>Shiva Blue</em>" , 1973, oil over acrylic on canvas, 35 x 50"</p> <p><strong>FF: Why would an artist approach your gallery?</strong></p> <p>Because they are a fine realist artist and know we are the best gallery in the world in the genre.</p> <p><strong>FF: What artists would you recommend as inspirational?</strong></p> <p>That must come from within!</p> <p><strong>FF: What are your thoughts about current art movements?</strong></p> <p>Look to the best of the past for something of visual interest as far as painting and sculpture are concerned.</p> <p><strong>FF: How has the internet (digital art) affected gallery visits?</strong></p> <p>Digital art is just that. Digital….on the cloud. No gallery visits are needed. <br /> OR yes, some do wish to have scans sent from which they want to buy art. I am old fashioned. My collectors have to and want to stand in front of the art they are considering. In my gallery art is acquired by those who LIKE what they see, want to take it home and display it in their homes and enjoy LOOKING AT IT. Not common in today's so called art world.</p> <p>sources: <a href="http://www.nytimes.com/1990/07/22/arts/art-view-is-quality-an-idea-whose-time-has-gone.html?pagewanted=all"><br /> http://www.nytimes.com/1990/07/22/arts/art-view-is-quality-an-idea-whose-time-has-gone.html?pagewanted=all</a></p> <p><a href="http://www.britannica.com/EBchecked/topic/762693/Photo-realism">http://www.britannica.com/EBchecked/topic/762693/Photo-realism</a></p> <p><a href="http://www.meiselgallery.com">http://www.meiselgallery.com</a></p> <p> </p>

<p><a href="http://www.filterfoundry.com">Filter Foundry</a> had the pleasure of being the official social partner for <a href="http://beautyisembarrassing.com/">Beauty Is Embarrassing</a>, the Neil Berkeley documentary of emmy award winning artist <a href="/waynewhite/">Wayne White</a>. Premiering at the SXSW Festival this year, this documentary has drawn accolades from the film, music and interactive communities. Take a read at what Joshua Brunsting had to say about the film and then go out and watch it. ~MAC<br /> <br /> How does one become a multi-time Emmy award winning artist from such humble beginnings as being born in the mountains of Tennessee? Well, just ask beloved cartoonist/set designer/sculptor/voice actor/painter Wayne White, or just watch the new documentary looking into the life of this artist, entitled <strong><em>Beauty Is Embarrassing</em></strong>.</p> <p> </p> <p>Directed by Neil Berkeley, the film looks into the rather eventful life of this artist, who became a cartoonist in New York, only to become a founding creator of <em>Pee-Wee’s Playhouse</em>, and now the painter of some of the most well received sarcastic word paintings around.  White has lived one of the most interesting lives an artist can live, and while his work may not be considered the highest form of visual art, often getting scoffs from “pretentious” art critics, it has garnered White a large amount of fame, and also pumped some humor back into the stuffy world of art.</p> <p>And <em>Beauty</em> has pumped some life back into the world of documentary filmmaking.</p> <p>Structurally, the film is a standard biography.  Looking into every aspect of White’s life, the film thrives when our lead is on screen, giving us his story, from his mouth.  White is a massively charismatic figure, who has lived an equally interesting life.  From cartoonist to <em>Playhouse</em> creator, this man has worn a million different hats, living what very much can be defined as a modern life.  Given today’s economic landscape, White has lived the life of what many people of this generation will ultimately live.  Going from job to job, hoping to make some sort of splash somewhere, and White is the perfect example that this is not just some sort of pipedream, but with the right focus, something palpable.</p> <p>The interviews here are also quite entertaining.  Featuring bits with the likes of Mark Mothersbaugh, Matt Groening and Todd Oldham, the film proves that while White’s name may not be the best known, his influence and impact is felt around the world. Also featuring interviews with White’s family, friends, and loved ones, the film is a touching ode to a man who signifies a lost era of purely and viscerally creative people.</p> <p>Aesthetically, the film is perfectly paired with its subject matter.  <em>Beauty</em> features some really great cinematography, and has a kinetic sense of style that fits like a glove alongside its subject matter.  Using archival and home footage, the film gives us a great look into this artist’s life, and the world in which he both helped create, and subsequently lived in.  Sure, the film lacks a sense of pure importance, something that films like <em>The Interrupters</em> and other beloved documentaries have featured, but it is the film’s sense of joy and child-like wonder that make it not only a pertinent bit of filmmaking, but one that will have people absolutely hooked.</p> <p>Overall, the film is a purely must-see documentary.  <em>Beauty</em> does lack the politically or sociologically relevant subject matter of many modern documentaries, but what the film may lack in cultural importance it makes up for in both pure entertainment value and a level of relevance that is shockingly palpable.  One of the most engaging documentary features in a very, very long time, <em>Beauty </em>is not at all embarrassing.  On the contrary.  It’s nothing but pure entertainment.  Beautiful in every possible way.</p> <p>Links:<br /> <a href="http://beautyisembarrassing.com/">Official Movie Website</a>: http://beautyisembarrassing.com/<br /> <a href="http://criterioncast.com/2012/03/10/joshua-reviews-neil-berkeleys-beauty-is-embarrassing-sxsw-2012-review/">Joshua Brunsting's Film Review</a>: http://criterioncast.com/2012/03/10/joshua-reviews-neil-berkeleys-beauty-is-embarrassing-sxsw-2012-review/<br /> <a href="/waynewhite/">Wayne's PAD</a>: /waynewhite/ <br /> <br /></p>

<p><em><a href="/SoonTong/">Soon Tong</a> is one of the leading visual artists in the world. His craft: experimental photography that captures "sublime images of liquids frozen in a fleeting moment.” His Aquatic series caught the attention of our readers and we asked him for a few short answers to some of your more pressing questions.<br /> </em><em><a href="http://en.wikipedia.org/wiki/Liam_Sharp"><br /> </a></em><strong>FF: Would you tell us a little bit about your style of photography?</strong><br /> <br /> Soon: Experimental & innovative. I like to try new shooting methods on varied subjects.</p> <p><strong>FF: What are you currently working on?</strong></p> <p>Soon: Underwater Photography</p> <p><a href="http://sphotos.xx.fbcdn.net/hphotos-snc6/225941_131046286971273_131030140306221_212427_4510678_n.jpg"><img alt="" src="http://sphotos.xx.fbcdn.net/hphotos-snc6/225941_131046286971273_131030140306221_212427_4510678_n.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="550" /></a></p> <p><strong> FF: How did you get started in photography?</strong></p> <p>Soon: My 1st camera is a point & shoot compact camera that I used to shoot animals at the zoo almost every week. After secondary school , my dad encouraged me to take up a basic photography course, where I learned how to process film and print my own photos. That got me really hooked on photography.</p> <p><strong>FF: What are your favorite cameras (digital and film)?</strong><br /> <br /> Soon: My favorite film camera is the Nikon F90 which I still have . What I love about it is that I can use different film stock in it to give me very different effects. ( B/W, infrared red, colour slides, etc )</p> <p>Digital will have to be Phaseone system and the DSLR for hi speed motor drive actions</p> <p><strong>FF: What inspires your work?</strong><br /> <br /> Soon: Interesting images that I come across or interesting articles read. These inspire me to come up with my own concepts. Its really exciting when I get something different and interesting out of it.</p> <p><br /> <strong>FF: What inspired you to make liquid photography your signature and where did it start?</strong><br /> <br /> Soon: I was working on a series of liquid images and I was experimenting with the dynamics of impact on liquid. I was most fascinated with the interesting shapes that liquid form. It's a bit like film where you <br /> never really know what to expect until it's be processed , in this case after it's been shot.</p> <p><strong>FF: How important are touch-up programs like Photoshop in your final product? </strong></p> <p>Soon: Photoshop is essential to achieve a conceptual look that the client require. For example forming a word make up of liquid.<br /> <a href="http://sphotos.xx.fbcdn.net/hphotos-snc6/224686_131046320304603_131030140306221_212429_5261178_n.jpg"><img align="left" alt="" border="0" hspace="10" src="http://sphotos.xx.fbcdn.net/hphotos-snc6/224686_131046320304603_131030140306221_212429_5261178_n.jpg" vspace="10" width="300" /></a></p> <p><strong>FF: Who are your favorite photographers and why?</strong></p> <p>Soon: Steven Meisel and Paolo Roversi for their lighting techniques, and the connection they make with their subjects.</p> <p><strong>FF: What do you do when you are not behind the camera?</strong></p> <p>Soon: I'm always keen to learn something new. Recently I took up salsa dancing which thoroughly enjoy. Next on my list is horseback riding.</p> <p><strong>FF: Any tips you could share about macro photography?</strong></p> <p>Soon: A good sharp lens is key, especially when shooting close up (i.e. jewelry)</p> <p>Soon: Cheers!<br /> <br /> Links to Soon's work:<br /> <a href="/SoonTong/">Filter Foundry Pad</a>: /SoonTong/<br /> <a href="http://www.calibrepics.com/">Official Website</a>: http://www.calibrepics.com/<br /> <a href="https://www.facebook.com/pages/Soon-Tong/131030140306221">Facebook</a>: https://www.facebook.com/pages/Soon-Tong/131030140306221</p>

<p><em><a href="/LiamSharp">Liam Sharp</a> is a British artist, writer and publisher. He made his debut in the late 1980s drawing Judge Dredd for 2000ad.  He later moved to Marvel UK, where he drew the best-selling Marvel UK title ever, Death's Head II. Thereafter he began working mainly in the United States on books as diverse as the X-Men, the Hulk, Spider-Man, Venom, Man-Thing (for Marvel Comics), Superman, Batman, and The Possessed (for DC Comics and Wildstorm), Spawn: The Dark Ages (for Todd McFarlane and Image) and Red Sonja for Dynamite comics. </em></p> <p> </p> <p><strong>FF: How would you describe your artistic style? </strong></p> <p>Liam: I honestly have no idea! <br /> What I might be associated with - detailed, gritty realism, or over-blown testosterone-fuelled mayhem - isn't really indicative of who I am. My book <a href="http://www.magcloud.com/browse/issue/218125">'Dead Apes in the Snow</a>' (you can still download a free digital copy of it from <a href="http://www.magcloud.com/browse/issue/218125">here</a>) probably demonstrates that best! There's all sorts of stuff in there that hasn't been seen, and probably represents me better. I'm a sucker for the progressive work that came out of Europe and the underground comics in America in the 1970s, and the genius work done in the more mainstream companies in the eighties - artists like Moebius, Druillet, Corben, Liberatore, BWS, Wrightson, Sienkiewicz... the giants of the industry to me - that's what I aspire to. I'm a big old broth of all of those guys!</p> <p><strong>FF: What are your favorite hobbies and how do you like to spend your free time? </strong></p> <p>Liam: I generally try to find a way to bring the things that I love doing for fun into a <em>practical </em>place - mainly because that way I can justify doing it! I have a family, three kids, and I'm the co-founder [of <a href="http://www.movingbrands.com">Moving Brands</a>] (with CEO Ben Wolstenholme) and CCO of a new company in Berkeley, <a href="http://www.madefire.com">Madefire</a>, so my time is very limited and precious! It always is, though, when you're a freelancer, which I have been for 25 years. I used to write a lot for pleasure, but in the end it got very serious and resulted in a novel. I have another coming out early next year too, and a load of short stories published in various places - many online. Writing is a huge passion. I also make a lot of music - either singing in bands, playing my guitar (badly) or composing on Garageband or Logic. <a href="http://mamtor.amazingtunes.com/users/mamtor">Music</a>, I would say, is my biggest obsessive hobby - though it's been a good six months since I last did anything substantial.</p> <p><strong>FF: With such a successful career so far, what wisdom can you share with upcoming illustrators who would like to try and follow in your footsteps? </strong></p> <p>Liam: Tenacity! That, and keeping your mind and eyes wide open. Know your limitations, and realise that the more you learn the less you know. it never gets easier so be prepared for a long slog mostly doing work that other people want you to do. Also - and key - make time to find space for the things you love to do, and keep creating for it's own sake.</p> <p><strong>FF: Which comic book series did you have the most fun working on and why? </strong></p> <p>Laim: Different books for different reasons. Death's Head because of the people I met at that time - including my wife - and because I fell in love with the characters in the book. Manthing because J.M.DeMatteis was a JOY to work with and we pushed the envelope, creating something truly original I think. Event Horizon because it was a kind of rebirth, and put me the other side of the desk for a change - a valuable lesson! Gears of War because it's my most consistent work to date. Aliens: Fast Track to Heaven because I got to do everything on that one, the writing, pencils, inks and colours. And my current work for Madefire, Captain Stone is Missing... because I co-created it with my wife and I think it may well be the work of my career, combining all the things I've learnt along the way.</p> <p><strong>FF: Can you tell us a little bit about switching from illustrating to writing (challenges and rewards)? </strong></p> <p>Liam: I don't really think about it as switching because I always did it, it was always a part of my life and something I made time for. But there comes a point when you have to ask yourself how serious you are. I asked myself and found that I was<em> very</em> serious about it. In many ways I think I may be a better writer than I am an artist - certainly it represents 'me' rather better than my art - which tends to be a bit macho - though not through any design on my part. I just tended to get the jobs Simon Bisley passed on! That said, my novel <a href="http://www.amazon.co.uk/God-Killers-Machivarius-Point-Other/dp/0954999886/ref=sr_1_25?s=books&ie=UTF8&qid=1330371913&sr=1-25">God Killers</a> is pretty full of 'doom' as one reviewer put it! <br /> <br /> The next book is entirely different. Very personal, and nothing remotely like anything I've ever had published before. It's the bravest thing I've created I think - though it's also very odd. It's called Paradise Rex Press, inc. and China Miéville has written an amazing introduction to it. Very humbling as he's one of my all time favourite authors.<br /> <br /> Writing is far more freeing than art in that you can, if you wish, cover more ground. You can depict scenes in a matter of sentences that would take months to render in paint. You can be more abstract, and you invite more participation from the reader - they see it with their own mind's eye, and as we're all subjective that's likely an extremely varied set of perceptions. I love that aspect. And I love being able to confound expectations.<br /> <br /> I also love the chance elements, where a character seems to rise, unbidden, from some dark corner of your imagination - a newly liminal force, that sits at the centre of what your doing and usually makes it's purpose clear when you hit a snag in the plot and realise that if you hadn't created this unexpected, unplanned character you'd be completely stuffed!</p> <p><strong>FF: Do you have a routine or a system that helps your creative flow. How do you find inspiration and get yourself in the creative zone? </strong></p> <p>Liam: If I'm struggling with a page of art I find that composing something on my keyboard helps. I'll alternate, even down to fifteen minute bites, one to the other. When drawing gets that tough it's not a good place to be, but I find that if I keep going, no matter how difficult I'm finding it, then I get much further by the end of the day than I expected I would. I've even done some pages that turned out amongst my best, though I didn't enjoy a moment of the act of making them. The music-making creates a sense of satisfaction in an otherwise stultified and frustrating day, and that makes for a better mood in general! Sometimes I find writing has the same effect - though I'll usually take a couple or three hours out to do that. There are weeks, though, when all I really want to do is write, and often my biggest frustration is not being able to do that.</p> <p><strong>FF: Which medium do you prefer to work in Digital or Traditional and why? </strong></p> <p>Liam: I really don't have a favourite medium - they all produce such a variety of results! I do love the speed and freedom of digital art, but there's nothing like chasing oil paint around a canvas...</p> <p><strong>FF: What are your favorite software programs when working in Digital Format and what do you like about them? </strong></p> <p>Liam: I'm very much a Photoshop guy. It's just so deep and versatile. I could use it every day for the rest of my life and still never use all it's features. Everybody I know uses it differently. It's an amazing bit of software. </p> <p><strong>FF: What motivated you to pursue your career in Concept Art? </strong></p> <p>Liam: Again, it found me - as comics did. I thought I'd be an illustrator or book cover artist, not a comic artist. Nothing in my career has been planned, I've just pivoted my way through life, and changed direction when an opportunity presented itself. But just because nothing was planned doesn't mean I didn't pursue the things I love to do - such as my writing. And though I didn't expect to draw comics I very much loved them. Again, though, I thought the place I'd end up doing comics (once I'd started in 2000ad) was in Europe, and as it turned out it's mostly been America! I never saw that coming at all.</p> <p><strong>FF: Thanks. </strong></p> <p>Liam: You're very welcome.<br /> <br /> Some links to Liam's work:<br /> <a href="/LiamSharp">Filter Foundry Pad</a>: /LiamSharp<br /> <a href="http://www.liam-sharp.com/">Official Website</a>: http://www.liam-sharp.com/<br /> <a href="http://en.wikipedia.org/wiki/Liam_Sharp">Wiki Page</a>: http://en.wikipedia.org/wiki/Liam_Sharp</p>