27.1.12
20.1.12
Buttercups & a new fringe
After 3 weeks of hard work, I took (and still take) my day off. I went to the market this morning and bought this fabulous bouquet of buttercups. Then, I got a new haircut! I tried to let my fringe grow for one year, this morning i decided, byebye long fringe! Feel so much better! Thanks hairdresser! Have a nice weekend!
PS: Hubby called. He was at the hairdresser, too. Same time. Different place. Pure coincidence. Aren't we a great couple?
PS: Hubby called. He was at the hairdresser, too. Same time. Different place. Pure coincidence. Aren't we a great couple?
18.1.12
Combination of photography and drawing
My Illustrations I mentioned here, came out pretty nice. I really like the combination of photography and drawing.
17.1.12
Illustrations for the Fashion Store
These are the Illustrations I drew for Jelmoli, the Big Fashion Store in Zurich. The Illustrations will appear in the Jelmoli Magazine in Spring plus will be shown in the big display windows! Hurrey!
9.1.12
6.1.12
ROARRR!
This is one of the masks I am drawing for the Fashion Store. Wish you all a nice weekend!
Happy Heilige 3 Könige!
Happy Heilige 3 Könige!
4.1.12
Bonjour 2012
Hello 2012!
I indeed didn't move during the last 2 weeks, not because of celebrating holidays but because I was deadly sick. I am exaggerating of course, but it felt deadly, so I celebrated Christmas in bed with camomile tea. The good thing about this is, I saw all the movies on DVD, I always wanted to, but never had the time for. Then 31st of December came along, and lovely husband became sick. So another evening with us and camomile. Now: hello 2012! Hopefully starts better than 11 ended!
We have many projects in the pipeline for this year and I will tell you soon about that! Just a little hint: Moving*! We are excited!! At the moment I am working on 2 Jobs for a great Fashion Store in Zurich and again for Coop Magazine Switzerland. Show you more soon.
(*No, it's not Paris. The illustration is the background for the Fashion Store Illustration, but it took me 2 days to draw a proper Eifel Tower. Sometimes it's driving me crazy, that a tiny part takes such an incredible long time to get it right).
I indeed didn't move during the last 2 weeks, not because of celebrating holidays but because I was deadly sick. I am exaggerating of course, but it felt deadly, so I celebrated Christmas in bed with camomile tea. The good thing about this is, I saw all the movies on DVD, I always wanted to, but never had the time for. Then 31st of December came along, and lovely husband became sick. So another evening with us and camomile. Now: hello 2012! Hopefully starts better than 11 ended!
We have many projects in the pipeline for this year and I will tell you soon about that! Just a little hint: Moving*! We are excited!! At the moment I am working on 2 Jobs for a great Fashion Store in Zurich and again for Coop Magazine Switzerland. Show you more soon.
(*No, it's not Paris. The illustration is the background for the Fashion Store Illustration, but it took me 2 days to draw a proper Eifel Tower. Sometimes it's driving me crazy, that a tiny part takes such an incredible long time to get it right).
20.12.11
Merry Christmas | Frohe Weihnachten | Joyeux Noël | Feliz Natal
The last 2 months were very stressfull and luckily successfull, and I definetly need holidays (where I will not move except of grabbing Christmas Cookies!)
My studio is closed from 23rd of December 2011 until 2nd of January 2012.
I wish you all a very merry Christmas | Frohe Weihnachten | Joyeux Noël | Feliz Natal!
Have a brilliant and relaxing time! All the best for 2012!
Thanks for visiting my Blog for the whole year, I hope you will continue in 2012!
And you can order my Postcard at Petite Poste here: Click on »Write« to send it by Email, click on »Order« to order 5 analogue Postcards.
My studio is closed from 23rd of December 2011 until 2nd of January 2012.
I wish you all a very merry Christmas | Frohe Weihnachten | Joyeux Noël | Feliz Natal!
Have a brilliant and relaxing time! All the best for 2012!
Thanks for visiting my Blog for the whole year, I hope you will continue in 2012!
And you can order my Postcard at Petite Poste here: Click on »Write« to send it by Email, click on »Order« to order 5 analogue Postcards.
15.12.11
new and last job for 2011 : homme - The Globus Magazine
I drew this illustration for homme - The Globus Magazine this week for the Column of Linus Reichlin. It's about the calling wife, who wishes not to solve but only to talk about her problems at work.
(Reminds me of myself :)
(Reminds me of myself :)
7.12.11
6.12.11
For Dog Lovers: The Morran book project
Camilla Engman started a Book Project, to which I contributed with an illustration. All profit will go to WSPA - World Society for the Protection of Animals - Sweden (WSPA international). The price for the book is US $34.95 for the softcover ($4 is going to WSPA and the rest is the price that Blurb takes for printing the book). Here's the link to the book! Enjoy!
Christmas Card for the B&B »Um Meia Três«
Just finished this Illustration for the Bed&Breakfast »Um Meia Três« in Rio de Janeiro - a Christmas Card.
I gained the B&B as my client when I lived in Brazil in 2009. The B&B is highly recommendable!
I gained the B&B as my client when I lived in Brazil in 2009. The B&B is highly recommendable!
5.12.11
Interview for Frizzi Frizzi
I did an interview for Frizzi Frizzi, an Italian Webzine, with Bruno Colajanni. I feel very honoured!
Here my answers in English. Italian Version here.
1. First question: I know you lately had an exhibition in Zurich. Could you tell me more about the event and the meaning of the its name "Schwarz und Weisheiten"?
I was invited at a place in the neighbourhood (a developping area in Zurich, called Kreis 3), where they have a platform for artists. It's a café-gallery-bar-club-cinema-creative space. The Title came from Black and White Drawings (Schwarz und Weiss in German) from which I started, with the combination of Proverbs and pieces of Wisdom (Weisheiten in German). In the process, the Illustrations became more and more colourful, so I had Black & White Drawings and coloured Illustrations at my Show. The Event was quite successfull, people liked it and after the opening I already had sold one third of my work. I try to contribute at an exhibition once a year, because it's a good way to develop new things, you start trying out different techniques and themes, which you never have the chance or time for when you work for clients.
2. First time we met it was on a sunny day in Berlin, but you live in Zurich now. Could you tell me something about your work experiences in both cities?
Berlin has got more creative and motivating triggers, they are more obvious and easy to get. The city is full of great artists, creative people and events. Then the city itself is quite complex which can be very inspiring. Zurich is much calmer but has a great creative but smaller scene. I found out focussing on this smaller part can be often even more helpful. Sometimes I had the impression I got too distracted in Berlin. A huge problem in Zurich is, that there is no space, or let's say no affordable space. So you get used to work and live in very small rooms, which is such a shame because there is only little range of spreading your work, materials, tables, sit with many people in one room and discuss. I really envy my friends in Berlin, when I visit their huge flats or studios. Comparing Germany and Switzerland, I can say Germany is a much bigger market for illustrators. More Magazines, Newspapers and Agencies. And more illustrators! Often people think you get paid for your work as an Illustrator much higher in Switzerland as in Germany. So far I can say, this is completely wrong - unfortunately.
3. I think that the peculiarity of your art is the mix of clean, simple stroke (maybe because you studied Visual Communication) and an explosion of exotic elements. I know you spent time in Rio de Janeiro, do you think your style has changed since that?
As an Artist in Residence, I stayed in 2009 for 6 Months in Rio de Janeiro, where I drew the Copacabana Series. This work was inspired by the country's natural beauty and influenced by colours and society of Brazil. There is so much colour in everyday brazilian life! Plants, trees, birds - they are all over in Rio de Janeiro! People are dressed very colourful, every magazine is fully decorated with elements and colours. When I'm looking now at my work I drew in Brazil, I recognize I didn't leave a lot of white space. Then I started to focus on the social dilemma in Rio de Janeiro. I took a darker look at its social and political reality. Rio de Janeiro got really under my skin. The illustrations of the Copacabana Series include on every piece a hint of the huge gap between the rich and the poor. The result was that whilst visually delight at first sight, the work shows a series of more complex concerns. Now I am using colour more specific, not all over the place.
4. What about your studies by UdK in Berlin? How was that experience?
UdK Berlin was a good place to try out a lot of things. I started with Photography and Filmmaking, then Screen Printing and even Metal Work, changed then to Typographie and Graphic Design. I didn't try out Illustration, because the different creative fields were separated in classes, and every class was tought by a Professor with a more or less rigid style (I think this has changed a lot). I didn't like the style very much of the illustration class, so I specialized in Graphic Design. I had the impression, I could use a bit of everything which I was interested in and mix it all up in Graphic Design. I'm glad I did so, so I could develop my personal illustration style.
5. Could you describe the process of your work? Which kind of drawing tools do you like best?
I draw with a pencil, and sometimes with ink. I make a lot of drawings until I think, that's the impression I want the figure to have. I really want my ladies to have personality, I don't want to draw a hanger and put clothes on it. Then I start with colouring on a different paper with watercolours, coloured pencils and tempera. Later I scan all the sheets and artwork on them in Photoshop.
6. Have you never said "no" to a offer job?
Until now I haven't. But I definetly would turn down a racist inquiry or something against human dignity.
7. I like your »maps« project very much. If you could draw a map of some cities in Italy which ones you would choose?
Maps are good fun to draw! I like the straight lines which I use for the streets, then I draw buildings and add lovely things, the reader likes to explore, like a market, food, public transport, animals, parcs. I would love to draw Bologna, i really liked the culinary tradition, the buildings with alleys and the cobblestone streets. So drawing special reastaurants, markets and buildings with alleys would be great. Same to Napoli, I remember eating my whole 5 day-trip the best food ever! And cities close to the sea are alwasy nice to draw, so I can add the sea, seagulls, ships. That would be a big Plus for Palermo, Venice or Rimini. Italy is a great country to draw Maps of, because of many historic buildings, places and the importance of food, which is nice to focus on.
8. You work mostly as fashion illustrator: what about your favorite-ever stylists?
I could explore the older Alexander McQueen Shows for hours (RIP). And Vivienne Westwood, too. I wouldn't be brave enough to wear their clothes but these stylists are with their visionary ideas totally refreshing and mind-blowing.
9. Some time ago I saw on your blog a pic of your atelier and I thought it was a really nice place. What helps you to be more methodical and less messy? What do you need to focus on your work?
I need an empty table to get started. Means I have to clean up my mess in the evening, which can take some while... I have a white table where I draw on, and a table with all my computer related things. I like to find all my material at the place where it belongs to. Maybe these are my german roots. I am very organized and need structure. I have boxes and folders, where I put my stuff. And then I have the famous swiss Errex Shelves, in which I put these boxes and folders. I find it very helpful to start in a tidy place in the morning and make a mess until the end of the day and end in the evening with cleaning it all up. So every morning is a complete new start with a white table and white paper, black tea and a pencil.
10. Could you tell me some anecdote of your childhood that you think is connected to your work?
My father was a painter (a craftsman) and he often asked me to assist, when he started to mix about 100 litres of colour for builings he would later paint on. A few drops of a wrong colour could mess up his entire barrel and you really had to decide by your guts, if adding yellow, red or brown would change the colour to the right direction. Then I think I have a natural handling of using brushes, because my brother and me spent half of our childhood in my father's workshop, painting with the left-overs on wooden boards or else.
11. Do you think that be an illustrator in Switzerland is more simple than in other countries? How do you get on with the bureaucracy of being an artist there? I know, for example, that in Germany, you can have the »Künstlersozialversicherung« and you can also have some advantages of being an artist, even if it is quite tricky to go through all this informations. How do you manage the »boring side« of your work?
It's really hard becoming accepted as a selfemployed person by the swiss canton. You have to show in advance some future clients/income. The risk of being selfemployed is not seen as ideal. Then there are no amenities at all. You pay the same for everything as employed people do. On one hand the taxes in Switzerland are much lower than in Germany - on the other hand rents and the standard of living are extremely high in Switzerland - so maybe that equals these 2 countries. I am pretty bad with book keeping, so I send all my invoices and bills at the end of the year to my book-keeper.
12. What do you think you need now to stabilize your position after years of hard work? Do you believe in the importance of the agencies?
As Switzerland is a small market, I feel the need to get over the boarder. I already have some german clients and few in Brazil. But I would like to work more international, for different magazines, different needs, different cultures - therefore an agent would be excellent.
13. Could you do a list of magazines you would really like for?
Oh, there are a lot. New York Times, Kinki, Die Zeit, NEON, Das Magazin, Vogue, Print, ... Magazines which appreciate and show the personal style of an artist are cool to work with.
14. What about the books/movies/music/ travel that have inspired you lately?
I check out a lot of u-tube videos from Designer Collections. Sometimes I put them on my blog, like the Charlotte Taylor Spring Summer Collection 2012.
Then I get inspired by movies or series where interior design and the woman's role are visually emphasized, like in "Mad Men" or in "A Single Man" (Funny I mention women and both titles are with "Man").
Magazines of the 50s are great, I like the style of the Ladies!
Travelling is a good way to get away from my desk, open up to new things or just let the visual income stop and let my mind rest.
Music I need for getting in a kind of absorbed mood in which I can draw for hours and forget the world around me. Calexico, Feist or Goldfrapp always work for me.
Here my answers in English. Italian Version here.
1. First question: I know you lately had an exhibition in Zurich. Could you tell me more about the event and the meaning of the its name "Schwarz und Weisheiten"?
I was invited at a place in the neighbourhood (a developping area in Zurich, called Kreis 3), where they have a platform for artists. It's a café-gallery-bar-club-cinema-creative space. The Title came from Black and White Drawings (Schwarz und Weiss in German) from which I started, with the combination of Proverbs and pieces of Wisdom (Weisheiten in German). In the process, the Illustrations became more and more colourful, so I had Black & White Drawings and coloured Illustrations at my Show. The Event was quite successfull, people liked it and after the opening I already had sold one third of my work. I try to contribute at an exhibition once a year, because it's a good way to develop new things, you start trying out different techniques and themes, which you never have the chance or time for when you work for clients.
2. First time we met it was on a sunny day in Berlin, but you live in Zurich now. Could you tell me something about your work experiences in both cities?
Berlin has got more creative and motivating triggers, they are more obvious and easy to get. The city is full of great artists, creative people and events. Then the city itself is quite complex which can be very inspiring. Zurich is much calmer but has a great creative but smaller scene. I found out focussing on this smaller part can be often even more helpful. Sometimes I had the impression I got too distracted in Berlin. A huge problem in Zurich is, that there is no space, or let's say no affordable space. So you get used to work and live in very small rooms, which is such a shame because there is only little range of spreading your work, materials, tables, sit with many people in one room and discuss. I really envy my friends in Berlin, when I visit their huge flats or studios. Comparing Germany and Switzerland, I can say Germany is a much bigger market for illustrators. More Magazines, Newspapers and Agencies. And more illustrators! Often people think you get paid for your work as an Illustrator much higher in Switzerland as in Germany. So far I can say, this is completely wrong - unfortunately.
3. I think that the peculiarity of your art is the mix of clean, simple stroke (maybe because you studied Visual Communication) and an explosion of exotic elements. I know you spent time in Rio de Janeiro, do you think your style has changed since that?
As an Artist in Residence, I stayed in 2009 for 6 Months in Rio de Janeiro, where I drew the Copacabana Series. This work was inspired by the country's natural beauty and influenced by colours and society of Brazil. There is so much colour in everyday brazilian life! Plants, trees, birds - they are all over in Rio de Janeiro! People are dressed very colourful, every magazine is fully decorated with elements and colours. When I'm looking now at my work I drew in Brazil, I recognize I didn't leave a lot of white space. Then I started to focus on the social dilemma in Rio de Janeiro. I took a darker look at its social and political reality. Rio de Janeiro got really under my skin. The illustrations of the Copacabana Series include on every piece a hint of the huge gap between the rich and the poor. The result was that whilst visually delight at first sight, the work shows a series of more complex concerns. Now I am using colour more specific, not all over the place.
4. What about your studies by UdK in Berlin? How was that experience?
UdK Berlin was a good place to try out a lot of things. I started with Photography and Filmmaking, then Screen Printing and even Metal Work, changed then to Typographie and Graphic Design. I didn't try out Illustration, because the different creative fields were separated in classes, and every class was tought by a Professor with a more or less rigid style (I think this has changed a lot). I didn't like the style very much of the illustration class, so I specialized in Graphic Design. I had the impression, I could use a bit of everything which I was interested in and mix it all up in Graphic Design. I'm glad I did so, so I could develop my personal illustration style.
5. Could you describe the process of your work? Which kind of drawing tools do you like best?
I draw with a pencil, and sometimes with ink. I make a lot of drawings until I think, that's the impression I want the figure to have. I really want my ladies to have personality, I don't want to draw a hanger and put clothes on it. Then I start with colouring on a different paper with watercolours, coloured pencils and tempera. Later I scan all the sheets and artwork on them in Photoshop.
6. Have you never said "no" to a offer job?
Until now I haven't. But I definetly would turn down a racist inquiry or something against human dignity.
7. I like your »maps« project very much. If you could draw a map of some cities in Italy which ones you would choose?
Maps are good fun to draw! I like the straight lines which I use for the streets, then I draw buildings and add lovely things, the reader likes to explore, like a market, food, public transport, animals, parcs. I would love to draw Bologna, i really liked the culinary tradition, the buildings with alleys and the cobblestone streets. So drawing special reastaurants, markets and buildings with alleys would be great. Same to Napoli, I remember eating my whole 5 day-trip the best food ever! And cities close to the sea are alwasy nice to draw, so I can add the sea, seagulls, ships. That would be a big Plus for Palermo, Venice or Rimini. Italy is a great country to draw Maps of, because of many historic buildings, places and the importance of food, which is nice to focus on.
8. You work mostly as fashion illustrator: what about your favorite-ever stylists?
I could explore the older Alexander McQueen Shows for hours (RIP). And Vivienne Westwood, too. I wouldn't be brave enough to wear their clothes but these stylists are with their visionary ideas totally refreshing and mind-blowing.
9. Some time ago I saw on your blog a pic of your atelier and I thought it was a really nice place. What helps you to be more methodical and less messy? What do you need to focus on your work?
I need an empty table to get started. Means I have to clean up my mess in the evening, which can take some while... I have a white table where I draw on, and a table with all my computer related things. I like to find all my material at the place where it belongs to. Maybe these are my german roots. I am very organized and need structure. I have boxes and folders, where I put my stuff. And then I have the famous swiss Errex Shelves, in which I put these boxes and folders. I find it very helpful to start in a tidy place in the morning and make a mess until the end of the day and end in the evening with cleaning it all up. So every morning is a complete new start with a white table and white paper, black tea and a pencil.
10. Could you tell me some anecdote of your childhood that you think is connected to your work?
My father was a painter (a craftsman) and he often asked me to assist, when he started to mix about 100 litres of colour for builings he would later paint on. A few drops of a wrong colour could mess up his entire barrel and you really had to decide by your guts, if adding yellow, red or brown would change the colour to the right direction. Then I think I have a natural handling of using brushes, because my brother and me spent half of our childhood in my father's workshop, painting with the left-overs on wooden boards or else.
11. Do you think that be an illustrator in Switzerland is more simple than in other countries? How do you get on with the bureaucracy of being an artist there? I know, for example, that in Germany, you can have the »Künstlersozialversicherung« and you can also have some advantages of being an artist, even if it is quite tricky to go through all this informations. How do you manage the »boring side« of your work?
It's really hard becoming accepted as a selfemployed person by the swiss canton. You have to show in advance some future clients/income. The risk of being selfemployed is not seen as ideal. Then there are no amenities at all. You pay the same for everything as employed people do. On one hand the taxes in Switzerland are much lower than in Germany - on the other hand rents and the standard of living are extremely high in Switzerland - so maybe that equals these 2 countries. I am pretty bad with book keeping, so I send all my invoices and bills at the end of the year to my book-keeper.
12. What do you think you need now to stabilize your position after years of hard work? Do you believe in the importance of the agencies?
As Switzerland is a small market, I feel the need to get over the boarder. I already have some german clients and few in Brazil. But I would like to work more international, for different magazines, different needs, different cultures - therefore an agent would be excellent.
13. Could you do a list of magazines you would really like for?
Oh, there are a lot. New York Times, Kinki, Die Zeit, NEON, Das Magazin, Vogue, Print, ... Magazines which appreciate and show the personal style of an artist are cool to work with.
14. What about the books/movies/music/ travel that have inspired you lately?
I check out a lot of u-tube videos from Designer Collections. Sometimes I put them on my blog, like the Charlotte Taylor Spring Summer Collection 2012.
Then I get inspired by movies or series where interior design and the woman's role are visually emphasized, like in "Mad Men" or in "A Single Man" (Funny I mention women and both titles are with "Man").
Magazines of the 50s are great, I like the style of the Ladies!
Travelling is a good way to get away from my desk, open up to new things or just let the visual income stop and let my mind rest.
Music I need for getting in a kind of absorbed mood in which I can draw for hours and forget the world around me. Calexico, Feist or Goldfrapp always work for me.
1.12.11
just a quick snapshot of my latest work
As mentioned many many times, I drew the Christmas-Special for Bild am Sonntag, which will be released next Sunday 4th of December in Germany. In the end I delivered 48 tiny to huge illustrations, all about Christmas and Christmas Presents. All done in 9 days. The deadline was very short, which is a shame, I'm sure I could have done some illustrations more beautiful. Now I feel proud and empty and need to take the afternoon off. :)
Here some quick snapshots:
Here some quick snapshots:
30.11.11
Vevey
2 weeks ago, I was in Vevey. Marc had an assessment there so I attended him. I spent a beautiful day near the eccentric landscape of close mountains and the lake. More good news: Marc got the new Job! Congratutalions hubby, feeling very proud!
27.11.11
24.11.11
sneak preview 2
... still drawing like crazy! it's a special thrill ...
this is another preview of the 26 illustrations:
23.11.11
sneak preview
I am completely snowed under for a job for Axel Springer Verlag Berlin.
26 drawings in 9 days. Extraordinary great and extremely crazy! Show you more next week.
Here a quick snapshot:
26 drawings in 9 days. Extraordinary great and extremely crazy! Show you more next week.
Here a quick snapshot:
16.11.11
I finished my work for American Airlines
First: it's a sunny day today! This is worth to mention!
Second: I finished my work for American Airlines. My first work for them see here. It maybe will be exhibitioned at the Direktorenhaus Berlin. Let's wait and see...
Second: I finished my work for American Airlines. My first work for them see here. It maybe will be exhibitioned at the Direktorenhaus Berlin. Let's wait and see...
10.11.11
8.11.11
7.11.11
3.11.11
1.11.11
New Work for American Airlines
I am currently working on 3 Illustrations for American Airlines. The Project is coordinated by Direktorenhaus Berlin and Cultwork Geneva. This is the first one:
Vernissage
Thanks to everybody who celebrated the opening of my exhibition! It was a great party! Feel very, very happy!
(In case you missed it and would like to have a look: The opening times are daily from 2.30 - 6pm, GZ Heuried, Döltschiweg 130, 8055 Zürich. The exhibition lasts until 22nd of December.)
(In case you missed it and would like to have a look: The opening times are daily from 2.30 - 6pm, GZ Heuried, Döltschiweg 130, 8055 Zürich. The exhibition lasts until 22nd of December.)
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