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Campaign Spotlight: Rafael López
Blending magical realism and cultural references to bring children’s books to life.
Born in México City to architect parents, Rafael López grew up surrounded by art and the vibrant culture of an ancient city. His parents encouraged his innate curiosity and artistic explorations, and after graduation from high school he moved to California to attend Art Center College of Design in Pasadena.
He has taken his early childhood experiences, and the dichos (folk proverbs or sayings) and myths he was exposed to as a child, and used them as the inspiration for his vibrant, emotion-laden illustrations for a variety of projects including children’s books, editorials, and a series of posters for the San Diego Blues Festival.
Many years ago I was fortunate to travel to México with Rafael to research and conduct interviews for an article on contemporary Mexican graphic design for Communication Arts magazine. We flew to México City and stayed with his Auntie Lucho, driving around the world’s most populous city in the car he drove while attending Art Center many years before. In addition to his drawing and painting skills, the man can navigate the most hellish traffic with a cool that brings to mind Steve McQueen in Bullet. Visiting the Frida Kahlo Museum in Coyoacán and the National Museum of Art gave me an inside glimpse into his artistic influences.
We also visited Oaxaca, explored Mayan ruins, and enjoyed tasting at a boutique tequileria, exploring the roots of the icons, palette and influences of modern México. Seeing a country I deeply love and have traveled widely, with a Mexican who seemed related to half the people I encountered, added immeasurably to the authenticity of my story, and it forged a deep friendship.
López ’s illustrations for Pat Mora’s Book Fiesta! garnered the 2010 Pura Belpré Illustrator Award given by the American Library Association to honor work that best portrays, affirms, and celebrates the Latino cultural experience in children's books. He considers it “the gift of a lifetime” and was especially proud that his mother Pillo flew from Mexico to Washington, DC for the award ceremony. His children's books have also won two Americas Awards and he received the 2012 Pura Belpré Honor for The Cazuela that the Farm Maiden Stirred, written by Samantha Vargas (featured here). His 2008 poster Voz Unida was selected by the Obama/Biden campaign as an official poster at Artists for Obama.
The 2011 stamps he created for the United States Postal Service celebrated Latin Music Legends Celia Cruz, Carlos Gardel, Carmen Miranda, Tito Puente, and Selena. His Merengue stamp was featured on the cover of the commemorative stamp yearbook in 2006 and at a special exhibition at the Smithsonian called Trendsetters. A 2007 stamp celebrated Mendez vs. Westminster, an important legal case in equality in education. López ’s international client list includes Amnesty International, Apple, Harper Collins, IBM, Intel, Los Angeles Times, the Grammy Awards, and the World Wildlife Fund. In 2009 he was invited to create three paintings for Oprah Winfrey's girls’ school in South Africa.
Closer to home, his work on the Urban Art Trail Project transformed San Diego's blighted East Village with colorful murals, sculptures and art installations and serves as a model of urban renewal that has been implemented in cities around the nation.
Rafael divides his time between his studios in the colonial town of San Miguel de Allende, México and a loft in downtown San Diego where he works and lives with his wife Candice López , a graphic designer and educator at San Diego City College and their ten-year-old son Santiago.
To see more of Rafael’s work, visit www.rafaelLópez .com or
http://rafaelLópez books.blogspot.com/
Q: What motivated you to begin drawing? Were you one of those children who could always be found sketching?
A: My first memories are of drawing, and being the son of two architects my parents encouraged me. My uncle Jose Luis labored at a paper mill and my parents convinced him to give us giant rolls of discarded brown paper. We would move the furniture as I rolled the paper out from one end of the room to the other. Inspired by the art of Guadalupe Posada I recall drawing a parade of skeletons complete with trumpet players and flame-throwers. Eventually I ran out of paper so I began to draw on the walls. Her five sisters scolded my mother for her lack of discipline, but she secretly whispered in my ear to “keep going.” After reading National Geographic I decided to turn my bedroom into Tutankhamen’s tomb. I enlisted my mother to help me choose the true colors of the pharaoh’s frescoes. Our poor Mexican molcajete once destined to make only salsas was given the new task of grinding stones, egg whites and vegetables to recreate the royal colors of the Egyptian dynasty.
In school I struggled with math but drawing came easy and I attended a unique school where my teachers showed great support.
Q: Who or what were your influences?
A: Early influences curiously were buildings, their vibrant color and texture. Architects like Luis Barragan and painters like Manuel Felguérez and Francisco Toledo. The fresh and fearless representation of indigenous art is perhaps my greatest inspiration. I’m reminded to look at the world in a different, more personal way and not represent it literally or realistically. I’m fascinated by textural, naïve painters like Rufino Tamayo, Paul Klee, and Ben Shahn.
Q: How did you develop your style?
A: It’s an instinctual, evolutionary process of responding to visual cues. You can appreciate style but you can’t go looking for it as true style comes from the inside out. Living, observing, traveling, listening and feeling the world allows you to collect the visual DNA that becomes your fingerprint. Through the years I’ve watched my work morph as my tastes and curiosity changed and I think this is how you can stay fresh.
Q: How did you evolve your color palette?
A: In México we have an expression—no dar color, literally the inability to give off color or emotion. I live part time in the 17th century Mexican colonial town of San Miguel de Allende. There is no chromo phobia in my native country. Colors cannot be timid as they are in a timeless struggle to survive against the constant barrage of the sun. Houses are painted year after year to preserve the intensity we Mexicans value and as these multiple layers peel away fascinating color combinations and textures emerge. I walk the streets cataloguing the colors in my mind or with a camera. The textural history and stories of well-worn doors and peeling paint find their way into my work. Because I paint on pieces of wood there are also tactile emotions associated with cutting and sanding then letting the grain speak to me.
Q: What is your process for a children’s book?
A: I believe in telling the story in the same way a director visualizes a movie. What would be the most interesting angle or close-up and how can I build the action. After reading the story I look for a direction with style and representation of the characters that will magnify the story.
As an avid reader I’ve explored books by diverse artists and I am most attracted to those who demonstrate a personal vision when telling the story. I’m uninspired by what adults in the industry think is cute for children. I’ve been lucky to travel internationally to speak, paint murals, and connect with kids. They are far more sophisticated in their diverse taste than we give them credit for. My own son and his fantastic drawings constantly remind me that cute is not the only option.
Once I develop the story in pencil I create a small book with the sketches to serve as reference and carefully revise it many times to maintain continuity. Once the final drawings are approved I begin to paint. I paint on wood boards and use Mexican acrylic paint I purchase in a little tiendita in San Miguel. The whole process from beginning to end can take up to one year or more, so I need to juggle my books with other projects on the table.
Q: What was it like working on the 2011 Latino Music Legends stamp series?
A: Scary at first. After receiving the call from the art director, I panicked because I am not known for creating portraits. I created a grassroots poster with a portrait of President Obama in an effort to secure the Latino vote and it went on to become one of the official posters for the 2008 campaign. Fortunately it resonated for art director Ethel Kessler who wanted a similar direction with the Latin Music Legend stamps. What made it so intimidating was the challenge of creating not one portrait but five! This made it five times more likely to fail when judged by millions of passionate fans of five legends. As you can imagine I couldn't sleep the first months but as the project evolved the art director and I were determined to avoid a traditional painted portrait. Our goal was to capture them in the act of performing to authentically represent their distinctive personalities. It was a risk because painting someone with his or her mouth open isn't always flattering. The response from the public has been overwhelmingly positive and somehow we successfully pulled it off.
Q: Can you describe your studio environment?
A: I have two studios. My studio in downtown San Diego is in a 1929 industrial loft that used to be a car garage. When my wife and I purchased it we spent the next 11 years creating our vision of a multi-use living-studio environment. I collect mid-century furniture that fits the space perfectly. The studio area is eclectic and filled with original art including incredible works from artist friends who have been kind enough to trade originals with me. I surround myself with my favorite books from architecture to interior design, indigenous art, and children's titles. To get the brain cells going I’m constantly playing eclectic music but I freely admit that Latin jazz is my favorite. I collect found objects like old hardware, rocks and shells, and like to build robots out of them. I also cherish pieces of folk art that remind me to stay away from realism and literal interpretations.
My studio in México is in the basement of our home. I call it the cave but the rest of the family calls it the laundry room.
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Luba Lukova, Delta Blues, limited edition silk-screened print, size 27 x 39 inches, 2012.
Heather Watts, Tree of Life, acrylic on wood panel, 18 x 24 inches, 2011.
Exhibiton poster.
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What's Hanging
Exhibitions of note nationwide.
Luba Lukova: Graphic Guts
La MaMa La Galleria
6 East 1st Street
New York, NY
Through March 4
www.lamama.org
Internationally-renown artist Luba Lukova has long been associated with La MaMa Theatre in New York City. (La MaMa was founded in 1961 by Ellen Stewart, over the years it has been the “seed bed of new work by artists of all nations and cultures.”) Lukova’s bold uncompromising illustrations have graced many La MaMa posters over the years. Her distinctive metaphor-rich work is immediately recognizable and presents difficult subjects in an uncompromising fashion. Her work is included in the permanent collections of MoMA New York; The Library of Congress, Bibliotheque Nationale de France, Paris; and the World Bank. Graphic Guts presents a new collection of Lukova’s social commentary and theater-inspired art.
Down the Rabbit Hole: The Whimsical World of Pop Surrealism
The Art Gallery of Calgary
117 – 8 Avenue S.W.
Calgary, Alberta Canada T2P 1B4
Through April 7, 2012
www.artgallerycalgary.org
The AGC presents its Winter 2012 exhibition, Down The Rabbit Hole. This contemporary group show features artists Pilar Mehlis and Landon-Jon Ference and probes the world of Pop Surrealism. The exhibition explores a wide array of themes including fairytales, fantasy, and urban mythology. The exhibition, curated by Anne Ewen and Julianne Larson, is sure to spark curiosity and inspire a sense of wonder in viewers of all ages.
Exhibiton poster.
Laluzapalooza, The Greatest Group Show On Earth!
Opening reception: Friday, March 2nd, 8–11 p.m.
4633 Hollywood Boulevard
Los Angeles, CA
March 2 through April 1
www.laluzdejesus.com
La Luz De Jesus Gallery presents their annual juried group exhibition, Laluzapalooza. This gigantic, no-theme show features works from some of the freshest artists working today. Over 9,000 submissions from commercial illustrators, graphic designers, tattooists, scenics, students, animators and working gallery artists were sorted-through, and narrowed down to 120 artists. There are some familiar names from their ever-growing roster of feature artists, but they claim an overwhelming percentage of the work comes from a brand new batch of undiscovered, emerging talent. La Luz’s annual group show began life in October 1986 as the Día de los Muertos show which was entirely focused on the folk art, sculptures and imagery of México's Day of the Dead celebration. By 1995, gallery owner and curator Billy Shire felt the show had run its course and presented other themed group exhibitions. In 1998 Shire decided to present a non-themed show dedicated to illustrative and narrative artwork. As many local artists work in commercial graphic art fields such as illustration, cartooning, animation, etc., the show was named Uncommercial Art by Commercial Artists. In 2004, Shire changed the show title to the more encompassing and less-cumbersome Everything But the Kitschen Synch.
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Good Books
A brief review of notable titles and inspiring monographs.
The 53rd edition of the Society of Illustrators Annual
Published by The Society of Illustrators, 602 pages, softcover, $45.00.
*Members, Educators, Students and Featured Artists: Please email shop@societyillustrators.org for special pricing.
Representing the very best of illustration created throughout 2011, this volume features award-winning artists such as Steve Brodner, Marc Burckhardt, Tomer Hanuka, Kadir Nelson, Tim O'Brien, Yuko Shimizu and many more! These volumes have been collected and treasured for decades by those who love, and use illustration. They are not only an invaluable source for art buyers, but also keep professional artists abreast of current trends and serve as inspirational teaching tools for art students and those entering the field.
Setting the Scene, The Art and Evolution of Animation Layout
By Fraser MacLean, foreword by Pete Docter,
Published by Chronicle Books, 270 pages, hardcover, $60.00.
www.chroniclebooks.com
The art of animation layout takes center stage in this full-color volume. Animation fans and students get a behind-the-scenes peek at the history of layout, the process by which artists plot scenes and stitch together the many elements of animated works. With in-depth text by veteran animator Fraser MacLean, Setting the Scene features previously unpublished art from major studios’ archives—including Warner Bros., Pixar, Walt Disney, and more—as well as interviews with some of the biggest names in animation and a foreword by Academy Award–winning director Pete Docter, longtime Pixar filmmaker and the Academy Award–winning director of Up and Monsters, Inc. From the genre’s earliest pioneers to the digital world of contemporary cinema, Setting the Scene provides an enchanting journey into the history of animation.
The Life and Death of Fritz the Cat
By Robert Crumb
Published by Fantagraphics, 96 pages, hardcover, $19.99
www.fantagraphics.com.
Created by an adolescent R. Crumb in the late 1950s, Fritz the Cat rose to fame—along with his creator—during the underground comix revolution of the 1960s, and remains Crumb’s most well-known character and an internationally recognized icon of 1960s culture. Crumb is quoted as saying, “I can express something that is different from what I put into my work about humans... I can put more nonsense, more satire and fantasy into the animals...” And boy, did he! Tragicomedy, farce and satire all rolled into one, The Life and Death of Fritz the Cat chronicles the very best of Fritz's adventures from his early days as an idealistic college student to his ultimate fate as a jaded, burned-out superstar, including Crumb’s infamous send-off of the character in the wake of Ralph Bakshi’s animated feature film, an experience and project that completely dissatisfied Crumb. Finally collected in a single volume, these stories are a funny, insightful, authentic record of a tumultuous period in American life, told with humor and compassion by one of our best cartoonists.
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Good Surfing
A few hot breaks to check out while surfing the net.
3rdwardopencall.com — 3rd Ward Open Call is an international search for exciting, innovative, and compelling work in the categories of Art, Photography, Furniture Design & Graphic Design. Awarding over $15,000 in prizes including work residencies, a gallery show and cash grants. Deadline is February 29.
www.theillustrationconference.org — ICON 7 will be held in Providence, RI, June 13–16. As always, a fantastic roster of speakers has been lined up including Marshall Arisman, Bob Staake, Sam Weber, John Cuneo, Chris Silas Neal and Josh Cochran, among many others. Early bird registration is still available but going fast so log on now!
howdesignlive.com — The HOW design conference is a great place to forge relationships with potential clients, and to learn about design from the experts, including speakers Chip Kidd and Von Glitschka. This year, Boston is the site of this innovative event to be held June 22–25.
www.artknowledgenews.com — Their art news magazine is updated daily with new articles, and is published free to subscribers worldwide. Sponsored by the Art Appreciation Foundation, AKN brings to its readers unbiased art information and news about art, the art world, museums, artists, exhibitions, articles reprinted from renowned art publications, art resources, special features, photos, commentary, and a vast array of art images found nowhere else in one source.
www.mydesignshop.com — Brought to you by How + Print magazines, this shopping site boasts the “best prices anywhere on Pantone” products, as well as cool graphic design T-shirts, a “Deal of the Week”, webcasts and more.
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blog.directoryofillustration.com
Featuring over 180 blogs from artists and their representatives.
- - RSS Feed Updated Hourly - -
Read More... blog.directoryofillustration.com
blog.playillustration.com
Blogs from illustration artists in the Toy and Interactive Game markets
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Read More... blog.playillustration.com
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Industry Advice
Advice from an industry of one, but a determined one.
I’ve been spending a great deal of time lately sorting through boxes of papers from my days as managing editor at Communication Arts magazine. I’ve unearthed some amazing self-promotion projects in the process, which led me to think about what makes a memorable mailer. I always enjoy receiving multi-part promotions, where you grow to anticipate the next in a series of clever or compelling images that tell a larger story. I love it when the illustrator has included a personal note, or even hand-signed the mailer.
In the go-go 1990s, I received self-promotion projects ranging from a custom-designed box formed of a hubcap, to a cool wooden box full of plastic toys and gadgets from Seattle’s famous Archie McPhee’s (Thank you Modern Dog, I still have all the promo items you ever sent me!), to amazing posters and elaborate cards. In the 21st century, most of the promo pieces or PR vehicles seem to be found embedded in e-mails. While this is fine, and probably cost efficient, these e-mail blasts are not as effective since I get so many I’m not able to click through every one in a timely matter, and most often these “mailings” don’t have a specific focus.
Illustrators like Martha Rich, Joseph Daniel Fiedler and Barbara Nessim (the latter two have been featured in “Campaign Spotlight”), send postcards with riveting images and information about upcoming shows or new work that has been published. These end up displayed on my refrigerator and they prompt me to visit the illustrator’s site to see more recent work or to check out their blog for detailed information on specific projects.
As the U.S. postal service approaches bankruptcy and contemplates removing Saturday service, a piece of actual “snail” mail—that’s not junk mail—now seems a rare and exciting occurrence. As more things become automated and de-personalized, that touch of a human hand takes on a new importance. I believe that self-promotion projects can go a long way toward the recognition that illustrators crave when art directors are assigning projects. I asked artist representatives Jennifer Vaughn and Piper Smith their opinions on great self-promo projects and also solicited their advice on formulating a promotion plan.
Jennifer Vaughn, Artist Agent (www.jenvaughnart.com), reps a diverse roster of award-winning artists including Cathie Bleck, Calef Brown, Charles Glaubitz, Joel Nakamura, Martha Rich, Santiago Uceda and Marco Wagner, responded:
Q: What is the best self-promotion project you’ve seen lately?
A: One of the best self-promotion projects I've seen recently is Lucie Rice's “All Mixed Up, A Book of Characters & Creatures”. It is a flipbook of sorts that features six different characters (and creatures!) illustrated by Lucie. Each one is split into three pieces, and as you flip through the book you can mix and match the various parts to create your own character. This promo was so clever and well thought out, and could appeal to a variety of markets. I get so many promos from illustrators, but this one really stood out from the crowd when I received it last summer. So much so, in fact, that I picked up the phone to personally tell Lucie how impressed I was by it. And then a few months later I proudly signed her on as a new member of my group!
Q: What advice would you give illustrators about producing self-promo projects?
A: One piece of advice I would give illustrators about producing self-promo projects is to keep in mind who your target audience is when choosing your subject matter. Make sure that you're sending imagery that is relevant to the recipient and the industry they work in. And if you are targeting a variety of clients in different markets, you might consider doing multiple promo pieces using different images specific to each of the various markets. Also, a personal touch never hurts. Whether it's some sort of handmade promo or just a short and sweet handwritten note, it's always nice for the recipient to see that you put some thought into it.
Lindgren & Smith Inc. Artists Representatives in New York City count Doug Fraser, Pol Turgeon, Michael Paraskevas, and Robert Rodriguez, among their large roster of multi-award-winning illustrators. When asked the same questions, Piper Smith responded:
Q: What is the best self-promotion project you’ve seen lately?
A: I talked to [my business partner] Pat [Lindgren] about this... We have not seen a great self-promo piece in a long time! Is it because everyone emails now as postage rates have skyrocketed? I do not mean to pat us on the head but we did a great self-promo about two years ago—50 oversized bookmarks, one for each state and on the back the artist's info with a ‘Bookmark Lindgren & Smith’. “It was very effective: We could send five out a time with one stamp, or to art buyers we could send a complete boxed set.
Q: What advice would you give illustrators about producing self-promo projects?
A: I would suggest to illustrators that they do very small, targeted promos—maybe 200–300 in size as they could bulk mail. Something beyond a postcard: I remember years ago Alexa Grace would send out a printed promo and she would take a pinking shears to it; creatives would see that fun cut edge and immediately recognize it as Alexa's work.
“Think out of the box,” Piper Smith concludes. I’d add that you should be true to yourself. Everyone has a unique story, perhaps even one that they consider mundane, but that others will find revealing and interesting. Think of the clutter of messages and images that each of us is bombarded with on a daily basis. How will your message, your art, stand out? How will it arrest some one’s eye and find its way onto the refrigerator or bulletin board? Tell your story. Who are you? Where are you from? What do you love? That’s what I want to see!
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Accolades
Columbian-born illustrator Catalina Estrada has produced a vibrant line of wallpaper and digital murals for Spanish company Coordonné, based on her colorful nature-based artwork. Catalina has lived in Barcelona, Spain since 1999, and has teamed with many different companies to bring her art to clothing, custom-painted cars, and shoes, among other products. Felicidades!
If you have received an award, published a book or have other exciting career news, please email annetelford@san.rr.com.
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