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Timo Kuilder combines clean-cut linework with limited colours in his editorial work

Netherlands-based illustrator Timo Kuilder applies his style to both his personal work and commercial commissions meaning there’s a consistency across his whole portfolio, which is full of pared-back characters, simple colour palettes and tight linework. “My work can be described as graphic, bold, reduced. I do quite clean vector work, but like to roughen it up by adding some halftone textures and playing around with brushes,” explains Timo. “This helps to make it more organise and I like it when these little accidents happen. I don’t work with a particular colour palette, but tend to use a small amount of colours.”

Timo has an impressive client list with commissions from Monocle, Adobe, Facebook, Twitter, WeTransfer and Bloomberg. It was the illustrator’s minimalist spots for psychology magazine Quest that caught our eye for their clarity. The images cover various topics including the positive effects of writing down your feelings, why people feel better when they see others doing worse and a very specific article on “why women like to drink white wine”.

Despite the stripped-back nature of Timo’s characters and lack of facial expressions, there’s still an energy within his illustrations. “I think they appear active because of their exaggerated actions and oversized accessories,” he says. The illustrator has recently updated his process, preferring to create preliminary sketches on an iPad Pro as opposed to sketching with pencils. “Sketching works well for just getting the idea across. After a rough sketch, I mainly hangout in Illustrator,” Timo says. “I have a background in type design, so I’m a bit nerdy about my vector handles. Most of the time I end up in Photoshop by adding some final touches, textures and stuff.” Timo’s work is communicative and reduces stories and ideas to their bare minimum, offering a refreshing take on complex subjects.

Hedonismo for REMIX Magazine

A collaborative editorial for REMIX Magazine.

Curve

Winner of ‘Best Short’ awards at both Fantastic Fest and Sitges in 2016, Tim Egan’s 10-min Horror Curve is a dark, minimalist, and truly unsettling film. Simple in premise, but immeasurable in impact, prepare yourself for what is set to be one of the most tense and unforgettable shorts you’ll witness in 2017.

Reminiscent of one of my favourite long-shorts (if an almost 50-minute film can really be classified as a short?), Shinya Tsukamoto Haze, Curve is at its most powerful when putting you inside the headspace of its doomed protagonist. An uncompromising, physical watch, Egan’s film sends shivers down your spine as you imagine your own fingernails desperately clawing to that unforgiving concrete, in hope of getting any kind of traction. It’s really hard not to watch Curve without setting your mind racing about what you’d attempt in that situation – however horrifying and hopeless it might be!

Taking just 8 hours to write, from first concept to shooting script, Curve was inspired by two key moments in the director’s life – the first being hit by a car and the second a conversation with a depressed friend.

“I still remember the feeling of wet tarmac under my fingers” Egan recalls when describing his lucky escape after being knocked into the centre lane of busy traffic, where he gripped the asphalt preparing to be struck by a second car in a matter of seconds. Whilst this first experience was an undeniable physical one for the writer/director, the second influencing experience was a much more mental one.

“She said the earth opened up beneath her and the rest of her day was simply about holding on by sheer force of tension”

Describing a conversation he had with a friend struggling with grief, where she explained that “the only good moments of her day being the seconds after she woke up”, Egan obviously had some more symbolic intentions coursing under the surface of his thoughts when writing Curve. “Her mind was clear and at peace for a few seconds before she remembered her pain”, he recalls. “Then grief rushed in, a feeling not unlike vertigo. She said the earth opened up beneath her and the rest of her day was simply about holding on by sheer force of tension”.

Despite knowing this particular influence on Egan’s script, Curve feels like a film better left unscrutinised. Yes we could talk about all the metaphors (or is it allegory?) in the scenario of a bloody woman clinging to the precipice of life. But Egan’s is a short best enjoyed without all this bullshit. A film best enjoyed in the moment, a film best enjoyed for its raw, uncompromising approach – however uncomfortable that may be.

Samara Scott depicts night-time detritus for Art on the Underground’s Night Tube series

Artist Samara Scott has created the first artwork in a new Art on the Underground commission series for the Night Tube pocket map. The artist – known for her pools of water filled with the detritus of modern culture – has created a photographic collage of night-time-inspired items in cross-section, suspended in way that makes them seem otherworldly.

The items include cut electrical cables, batteries, an open lipstick, a felt tip pen, a bike light, a screw, a USB and a squeezed lemon, which were captured on a domestic scanner. True to Samara’s raw approach, the sweeping purple background was apparently created by shining a light on to an Ikea bag, while the dust on the scanner surface was left to add depth and movement to the image. Much like her existing work, it uses everyday products that surround our lives, depicted as simultaneously grotesque and beautiful.

The map will be released tomorrow (Thursday 15 December) with a special edition print also available. It coincides with the launch of the 24-hour Piccadilly line.

Kiera Blakey, head curator for Art on the Underground, says the new series is “a brilliant opportunity to support early career London-based artists, providing them with the opportunity to make work for our vast audience across the city. Samara made this work specifically for the pocket map format, thinking carefully about scale, function and distribution. That’s why the piece works so well in this medium”.

designeverywhere:Gerrit Rietveld Academie Graduation Show 2016

designeverywhere:

Gerrit Rietveld Academie Graduation Show 2016

Artist Spotlight: Samantha Wall

islands3

Carl Burton is an artist and animator based out of New York City. We featured his award-winning animated short “Shelter” a while back and now he’s just released a new game called “ISLANDS”!

Described as a “surreal trip through the mundane”, familiar scenes become strange as you work to unlock hidden ecosystems within 10 different environments. Perhaps more art than game, it’s definitely a unique experience! Check out more images below.

We also have 4 promo codes to download the app for free! Just leave a comment with your current favourite iPhone game and we’ll pick 4 commenters on Friday!

Oakland United at Fox Theatre

The fire last week in Oakland has been a huge shock to the artist community here in the Bay Area with ripples far beyond. Sadly, as is often the case, it took a tragedy of this magnitude to start a dialogue about the issues and conditions that precipitated it.

I first discovered electronic music in the ‘90s through the Bay Area warehouse party scene. Later I moved back to Sacramento where I started making music myself and playing my first shows at underground parties. I owe a lot to the community and history of this area and it’s disheartening to know that fewer and fewer artists have the opportunity to benefit from this richly diverse community.

This Wednesday I’ll be participating in the Oakland United event at the Fox Theater. 100% of the proceeds will go directly to Gray Area Foundation For The Arts Oakland Fire Relief Fund. Christopher Willits, whose Overlap Studio is based in Oakland, and I will be collaborating on a short DJ set and a lot of other local artists will be playing as well.

I’ve created this poster to promote the event and as a tribute to the victims of the fire. We will be selling prints at the show and online afterwards, proceeds of which will go to the Fire Relief Fund.

I hope you can support in whatever way you are able; more information about the event and the relief fund can be found at Oakland United.

To donate directly please visit Grey Area.

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Terekke: I Want to Know What Love Is

Terekke reworks Mariah Carey’s cover of I Want to Know What Love Is

“It feels sad to lose people, even if you might not have known them all personally, it’s still a very heavy feeling. DIY spaces have been so absolutely central to my life creatively, communally and spiritually that it hurts to the core to see friends lose their friends. It’s more than i can put into words.”
to those in Oakland, Rest In Power.

– Terekke

Donate to the Oakland Ghost Ship fire victims.

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See, that’s what the app is perfect for.

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