Sarah Coleman Makes Our Guilty Pleasures Innocent
There’s no such thing as a guilty pleasure. Nothing that gives you pleasure should make you feel guilty, but if you are trying to stay on track with some New Year’s resolutions, sweet snacks aren’t always the easiest route towards your new goals. In that spirit, Skinny Cow teamed up with Sarah J Coleman (aka Inkymole) to help us rethink how we indulge. Skinny Cow is best known for their line of sweet treats that are easy on the waistline, but their collaboration with Sarah was about reminding us that there are options beyond the ones that are counter to our hopes for ourselves.
Each pleasure is a very personal experience, and the work that Sarah did dives into that reality. Every piece of typography had to fit into the composition and feel unique and personal. In order to get the right feel for it, Sarah explored different energies and forms to strike the right tone. “I created at least four versions of each phrase, as there were several possible looks that would fit,” Sarah says. “It was important to me that they were literally 'done quickly', with no digital interference, to emphasize the freshness and honesty. In other words, they couldn't look like they were created by a lettering artist with years of practice, rather we should be able to imagine that the ladies in the ads had written them themselves!” That light hand makes the pieces speak more directly to the viewer, adding a level of honesty and integrity that cannot be faked.
Taking care of ourselves is always the right choice, and something that we want focus on and make it fun. That impulse was on display with her personal project she worked on this past Fall with her collaborator Ed Gardland. “Tinselsnakes” is a holiday themed story that is told through three different points of view, presented as a picture book, a traditional short story, and a stylized radio show pressed into vinyl. “I was experimenting with a risky style that's never been put before an audience, to share a very personal interpretation of a new story, and collaborating with hand-chosen creatives from non-illustration fields while risking a lot on a project no-one might like!” Everyone ended up liking it, with an overwhelmingly positive response to this non-traditional storytelling.
Happy Holidays: 2015 in Review
As we come together with loved ones and friends to close the year, we’d like to take this time to reflect on some of our favorite moments from the last year. Included here is a list of some of our favorite stories we’ve had the pleasure to share with our community and friends. This year our artists helped usher in the next generation of Star Wars stars, discovered what bacteria lurk in NYC’s subways, sent hundreds of mean postcards to adoring fans, and put their own stamp on the 2016 Presidential campaign.
Our artists have done amazing things, so let’s take some time to remember some of the best stories from 2015 before turning our focus to the New Year.
We hope you have Wonderful Holidays, and a Happy New Year.
Weeks before Star Wars: The Force Awakens hit theaters, Marco Grob photographed the cast of the highly anticipated movie for Time Magazine. Not only did he get to photograph the human stars, he also got to spend time with the famous R2-D2 and meet the newest favorite: BB-8.
Riding the New York City subway can be a precarious situation, not because of the unpredictable riders but because of what lurks on the handrails. Craig Ward wanted to see what exactly he has holding onto every day and the answers were both beautiful and revolting.
Sawdust and Nike Reach New Heights
One project with international powerhouse Nike is celebration enough, but when Sawdust teamed up with the athletic juggernaut for three bespoke typefaces it was an honor. Not only were they creating these solutions for Nike, but they'd be paired with LeBron James, Kobe Bryant, and Kevin Durant, three of the most powerful names in basketball. What they created turly elevated the game.
This year Joey L joined Annie Leibovitz, Erwin Olaf, and David LaChapelle as a photographer for Lavazza's annual calendar. With the theme “From Father to Son,” Joey L examined how the tradition of sustainable farming is passed on from generation to generation, and how food gets to our tables from around the world.
People's Sexiest Man Alive is always a hotly watched and eagerly awaited issue, and frequently their most popular. When Marc Hom got the call to photograph their non-traditional choice this year, David Beckham, it was an honor and a thrill. And on the day of the shoot, Beckham didn't disappoint.
For more than a decade Stephen Wilkes has been pursuing his ongoing personal project of condensing an entire day into a single photograph. This year, Stephen showed off some of his favorite shots at the Bryce Wolkowitz Gallery, a great way to look back on all the work he's done, and look forward to what's still to come.
Over the course of months with locations stretching from The Costume Institute to the Louvre's vault, and even the private archive of Yves Saint Laurent, Platon captured the epic vastness of the Met's latest blockbuster. "China: Through the Looking Glass" examines how China's history has impacted the rest of the world through design influence, and Platon was able to photograph every step along the way.
Mr. Bingo's ongoing series "Hate Mail" pits the artist against those who pay for the pleasure of being berated by him through the post. Enough fans have gotten their kicks this way that he turned them all into a book that catalyzed an enormously successful Kickstarter. Books are available for purchase now!
Living a life in the limelight isn't always easy, so when We Are The Rhoads teamed up with Taylor Swift for their latest Keds campaign, they immediately found common ground. By creating a safe space the mega celebrity was able to focus on the moments with Sarah and Chris, resulting in images that are effortlessly Taylor.
Style is communication and a stylist has the power to shape how their subject communicates to the world. For Uzo Aduba's cover of As If Magazine, Stacey Jones dove into feminine luxury, offering the Emmy Award winning actress the opportunity to step away from the orange jumpsuits that her fans so often see her in.
Paris is a hotbed of fashion and style, making it a dream destination for many and attracting artists from all over the world. Tom Corbett is no different. On his latest assignment for Somerset he really sank his teeth into the city, taking advantage of every block and street corner, capturing the beauty of the city and the ease of its powerful energy.
It's hard to describe Donald Trump's political rise, so sometimes the best option is to not even try. When The New York Times Magazine tasked Stanley Chow and Jamie Chung with an image that spoke to the story they got right to work on something that felt honest but was also a lot of fun.
When Marcus Bleasdale began his work as a photojournalist it was to make a difference, but an artist can never be sure if their hopes are going to come to fruition. Marcus' has. His work with Human Rights Watch has lead to changes in law, and even helped end a war. Their joint gallery show, "Impact," proved it.
Chipotle has seen better days, but before their troubles they made a very solid decision when they asked Harriet Russell, Sarah J. Coleman, Adam Hayes, and Dave Homer to create illustrations for their bags and cups. Each illustrator was paired up with a writer whose pieces were to serve as the inspiration, and the results are as delicious as you can imagine.
Ken Fulk is a master at interior design, and Douglas Friedman is a master at photographing interiors. When the two came together in a show-stopping shoot of Elle Decor, Fulk's vision leapt off the page thanks to Douglas' unique ability to translate space into flawless photographic composition.
Bernie Sanders represents one of the most interesting political stories this season, and like any political character his whole persona is hard to distill into a single image (even a photograph!). Ryan McAmis took his time, and dug deeply into his bag of tricks, creating a portrait for the cover of National Journal that is as honest a representation as we've ever seen.
It's not every day that passion projects turn directly into corporate campaigns, but when UPS saw Brian Doben's "At Work" series they knew they needed it for themselves. Brian extended the project, meeting with read UPS customers that happened to run their own small businesses, to see what it's really like to work with a company that caters to their needs.
Cinemagraphs are becoming more and more popular, but Chloe Aftel was there since day one. In fact, she's sort of become a go-to photographer to create these captive moments that she finds particular expressive because of their ability to inject more emotion and more story.
Sometimes the best way to talk about serious issues is with a good laugh, so when Todd Selby linked up with Evolve on a series of gun safety PSA they imagined what other things kids get into. Whether it's playing with condoms like balloons, or tampons like Wolverine's claws: the kids will get into anything and, most of the time, it can be hilarious.
Few artists are as closely watched as Banksy whose work is discussed and devoured the world over, so when James Joyce got the call to be included in Banksy's latest installation it was a no-brainer. James' contributions ended up including the cover of Dismaland's catalogue, a piece that has now been distributed the world over and marked as a coveted accomplishment for any creative CV.
We cannot pretend we know what the future will hold, but if we had to bet we'd bet on Roof Studios' vision. They were tasked with glimpsing ahead for a spot with Toshiba that envisions how our relationship with technology will continue to deepen and grow, and shows us what that will look like.
Ice Skating GIF by Nomoco.
Sarah Coleman and Diet Coke Make Love Tangible
The truth of the matter is, when we make a decision with our dollars, when we buy something for our pleasure, it forges a relationship between us and that product. For some of us, it’s incredibly personal and the relationship that’s built helps create identities for ourselves, and shapes the way we interact with the world. Devotees of Diet Coke frequently feel that way, and the soda brand paired up with illustrator Sarah Coleman to help their fans express their feelings. Through an online initiative called Retweets of Love, they culled a series of fan made tweets that were turned into typographic works of art by Sarah and eventually used on tangible products that fans could use to show off their love. “[The tweets] were chosen for their humour, relevance and reverence,” explains Sarah. “And each has a nice visual side to it that was easy to interpret.” Once Sarah got the text she was able to interpret them visually, creating art out of words.
A lot of Sarah’s work is about bringing art into typography, creating imagery and manipulating lines to provide an emotional visual language for the expression of the words. It’s something that Sarah does almost as a second language and sees it as a completely natural process. When asked how she’s able to bring such emotion into the visual rendering of the words, she replies: “I don’t think it’s possible NOT to!,” Continuing, Sarah says: “I love words and always have, from infanthood where it was all about the stories, to writing stories and reading like a girl possessed in my teens - there is a direct line from my brain to my hands and the words emerge shaped by the humour or tragedy or sentimentality that’s in them intact. The trick is to make sure that’s not lost in the process of feedback and art direction.”
Each of these pieces is being applied to physical objects like stretched canvases, an iPhone case, a tee-shirt, and more (including a Diet Coke can). In the contemporary world that’s dominated by digital art, it’s not everyday that an artist gets to see their work take physical shape, especially with the backing of an international brand like Diet Coke. This is obviously a thrill. “Seeing my work become actual objects for people to use and interact with - especially the can - who DOESN’T know the iconic shape of a Coke can, and appreciate the little gleaming canvas it can be?,” muses Sarah. Her work is the artistic manifestation of the customer’s affinity, brought to physical world through her partnership with Diet Coke. They’re making love into a tangible thing, this time for an effervescent drink, and opening the door for even more.
Four B&A Artists Illuminate Your Lunchtime Chipotle Burrito
“Must a cup, or bag, suffer an existence that is limited to just one humble purpose, defined merely by its simple function?” is the question that Chipotle poses itself for their Cultivating Thought series of portable packaging. The chain restaurant taps authors and writers to surrender ideas for Chipotle’s customers to read and engage with when they’re sitting eating their burritos and tacos. Each writer’s piece is offered to a visual artist to bring it to life and this season Bernstein & Andriulli has four artists who were brought on to illustrate these big ideas. Harriet Russell imagined Mary Roach’s “Two-Minute Revelation,” Sarah J. Coleman (aka inkymole) brought Laura Hillenbrand’s “Two-Minute Ode to Chocolate” to life, Adam Hayes illustrated Jonathan Franzen’s “Two-Minute Driving Lesson,” and Dave Homer illuminated Sue Monk Kidd’s “Two minutes or Two Questions.”
The idea of the project really resonated with Harriet Russell, who sees a certain poetry in using these items that we usually don’t think twice about as a starting point for a deeper discussion. “The idea of using a bag or a cup as a canvas for visualising a story is a great one, and turns something that is usually a throwaway item into something really special and thought provoking,” says Harriet. Dave Homer felt a similar excitement for the project, not least of which because it was with Chipotle. “To be asked to participate in this Chipotle project was really exciting,” says Dave. “Such a beautifully simple idea of combining a short piece of great writing, with an illustrated interpretation was really interesting to me.” The illustrations help engage the reader on different levels from the text, ultimately creating an immersive experience on the side of a cup.
With so many different artists come many different processes. We’ve included the artwork from each artist in varying formats dependent upon their process. Adam Hayes’ process included reading Jonathan Franzen’s piece over and over. “I drew up lots of quick ideas with a pencil over the text whilst reading and re-reading it; many of those first visuals ended up in the final artwork,” says Adam. Each artist has their own way of working, but each of their methods brought them to a completed product Chipotle bag or cup.
For an artist, it’s not only a thrill to engage these products from this new direction, but also to be involved with a company as big as Chipotle who is making an active push to change the way we see fast food. “I LOVE Chipotle,” extolls Adam Hayes. “It’s my go-to lunch spot whenever I’m in New York or in London. (If only they’d open a branch here in Abergavenny, Wales.) It feels good to have my illustrations as part of a food company that’s doing things properly.” For Sarah Coleman, the choice of Laura Hillenbrand’s Ode to Chocolate was particularly personal. “Having been vegan for 18 years and having spent most of my adult life striving to make ethically appropriate buying choices - which has sometimes, historically, made life tricky and more expensive - the whole piece of prose was spookily appropriate for me.”
Few things in this world are as personal as food, and few relationships are as important as with what one decides to put into their body and nourish themselves. But any artist will tell you, their relationship with expression is equal to that – or in some cases, even more intense. Chipotle’s Cultivating Thought series brings that to life and thanks to these artists you can take a bite. Bon appetit.
Sarah Coleman's Organic Style is Perfect for Kiehl's
When Sarah Coleman sat down to draw the latest image for Kiehl’s Artfully Made series, she did it essentially with a timer. With a camera over her right shoulder, and her inks in hand, she started to work. It was the one and only shot she took at the image celebrating Kiehl’s Calendula line. So much of Kiehl’s brand identity is using responsibly sourced, organic ingredients. Sarah felt it was only appropriate to mirror the same effort in her own work. “That’s why I just reached for the colored inks and did the whole thing in one shot on one piece of paper, it was a reflection of the product itself,” she says. “I didn’t want anything about this piece to be digital at all.” Although Sarah does use digital processes to clean up part of her work sometimes, that’s not a defining element of her work.
It would be accurate to describe Sarah’s work as “organic,” “natural,” “elemental.” But she uses a completely different word: “idiosyncratic. Because a lot of the time things aren’t symmetrical, and everything’s hand drawn,” she explains. “There’s always movement in my work.” Anything else and it wouldn’t be authentically Sarah. That’s what gives her work its identity. “In the past I have tried to be very slick, rigid, quite controlled, quite polished,” she says. “And I’m really not that good at polish. I’m really not that good at things looking slick.”
For Sarah, like for anyone, it’s better to lean into what comes naturally. That’s what gives the best results. “I think over time I’ve just relaxed into the idea that this is how the work emerges,” she explains. “And then you kind of settle into your own skin.” That’s how she approached the Calendula for Kiehl’s. She painted right over the original sketch she drew, meaning she had just that one shot. No matter what happened between starting the ink and finishing, it was going to be the final product. Of course, it could have gone another way. She could have spilled her ink, destroying the image. Then what would have happened? “The camera would have caught it. I would get another sheet of paper and start again.”
But she wouldn’t have had it any other way. That’s how the image drips Sarah and her artistic point of view. She says, “Anything else would feel like trying on someone else’s costume.”
Los Angeles Times Festival of Books Launches With Sarah Coleman's Wordplay
The Los Angeles Times Festival of Books approached Sarah Coleman to help organizers promote the April 12 and 13 event with a set of word-driven illustrations.
"The L.A. Times team had seen something of mine they really liked – a highly colorful, hand-inked piece – because of its energy and movement," Coleman said. "I asked for a list of terms to compile (stressing that you can never have too many) and I went right ahead and penciled out the roughs at a large size. The first piece, 'Hail the Written Word,' was approved pretty much right away, with a fine tune here and there where book meets heading."
Coleman noted that "Inspire Your Fire" took a bit longer "as the headline needed three versions before it felt right – and the burst of words actually went though four incarnations." She added, "Spontaneity can be so difficult to manufacture," with a wink.
Her studio assistant, Graham Robson, assisted with the Festival After Dark microphone. "It was good to have a team of two on this to get the deliverables to target! We swapped tips on digital ink (him) and using Illustrator (me)," Coleman remarked. "It was a pretty sweet job to work on."
Sarah Coleman and ZzzQuil Prepare for Drift Off
Vicks enlisted Sarah Coleman to create a Facebook campaign for its new sleep-aid product, ZzzQuil. "It was up to me to decide on and experiment with type styles, but the art directors did have a clear vision of how the finished pieces would look," explained Coleman. "They had particular ideas about how the words would flow and be encapsulated (or otherwise). The chalk look was in there from the beginning, and the copy was set from the start."
Using a hand-soaked purple ink background, Coleman put together a series of iterations: "It's always the things that look the simplest that take the longest, and I think I've only had an exception to that rule once in my whole career!" The first ad she tackled, for example, "was about switching off your electronic devices before trying to sleep, so I went to straight to 8-bit type, Atari screens, phone screens, pixels, old computer fonts, calculator digits, and so on, to create a visual version of the sort of hectic buzz that can be in your head if you stay connected right up until you close your eyes – which is like me, every night. Frankly, I thought this was an excellent response! But the client didn't agree. It happens! So we calmed it right down."
The ZzzQuil series marked Coleman's first social networking-only advertisements. "The same amount of work goes into an online ad as a billboard, from my perspective," she noted. "Some camps treat it as important and high-value as a campaign that involves all the media buying and 'real estate' of print and billboards."
Sarah Coleman Brings Her Magic to the Workshop at Macy's
Macy's approached Sarah Coleman to illustrate its advertisements for the Spring 2014 session of The Workshop at Macy's, a program that encourages and helps guide women and minority entrepreneurs in the retail and fashion industry.
"[We] had partnered with Sarah a few years earlier on a 4th of July fireworks poster [and] we've always loved her sense of typography – how it feels timeless yet current and trend-appropriate – and knew she could execute the direction for the campaign effortlessly," explained Michele Stormer, senior creative manager of integrated marketing & branding for the chain. "Her style easily appeals to a younger audience and we figured she was so spot-on for this campaign that she could execute it in her sleep ... I don't know if she would agree however!"
The team studied Carol Seitz's photographs and discussed goals for the completed images. "The end result was to have Sarah's art marry the photography – not overpower it, and not be secondary to it either," Stormer said. "The illustrations, in partner with the photography, would be the element that captures your attention then draws you in to further investigate the ad and learn more."
Coleman described her task as creating lively, narrative pieces that summarized the energy of both the Macy's Workshop team and the selected vendors – their products, craft, and determination. "Without using too many words, the illustrations, all drawn by hand on paper, had to tell the story of each entrepreneur," the artist noted.
"Sarah's work was the final piece that made everything come together," Stormer continued and mentioned the great feedback she's received now that the campaign is live: "It's a little odd when you see people at work hang some of the ads up at their desks as decoration – and these were not people I know or work with! Often that's the greatest sense of achievement because people usually try their hardest not to surround themselves with work-related memorabilia. The Multicultural Department at Macy's, which is responsible for The Workshop at Macy's, was extremely pleased with the outcome, to say the least, and thrilled to have a campaign that feels fresh and youthful."
Sarah Coleman Takes Over 15-Meter-Wide Wall for Briggs Hillier
Sarah Coleman recently completed a 15-meter-wide painting inside the studio of Briggs Hillier, an agency that creates retail environments for Nike, Adidas, River Island, and other big-name brands. "As the most prominent part of a creative space in which the entire BH team [has] to work, this had to be something inspirational, devoid of cheese or platitudes, timeless, and beautiful," explained Coleman by e-mail. "We asked the clients what they wanted. The answer was, 'We leave it totally up to you.' "
Beginning with the words of German industrial designer Dieter Rams ("Question everything generally thought to be obvious"), Coleman combined a pair of sketches. "I surrounded the Dieter quote with 'starbursts' [on] either side of some of the myriad things BH's clients sell … the whole assembly was punctuated at the bottom with a multitool of the type sold by Black's (another client), re-engineered to represent the many-skilled single weapon of mass creation that is BH," she described. "The most important thing for such a massive wall was to give it movement, and energy, and the shape of wall lent it an eye-like feel into which I put a 'pupil,' 'iris,' and white edges. At either corner, the buildings of BH's conquered cities were to glow white, alongside the word 'shopping' in their respective languages."
Coleman first drew each element on paper in ink at her studio, which she and her crew then spent two weeks' worth of 14-hour generator-powered days transferring to the breezeblock in the partially constructed building, a surface that called for multiple coats of paint. "In all, it was quite an awesome experience from beginning to exhausted end, along the way discovering new techniques, methods, and reserves of grit," Coleman added. "And we're all incredibly pleased with the result, especially the clients Adrian and Jenny, to whom we're very grateful for letting us have free creative rein over their huge wall."
Celebrating 200 Years of Austen Power
It's been 200 years since Jane Austen's Pride & Prejudice was published and her novels are still as relevant as ever. The themes of Austen's novels have proved enduring, inspiring dozens of films, zombie novels, and biographies. The Wall Street Journal's Arena Magazine wanted to pay homage to the author and asked Sarah J. Coleman to be a part of it.
Commissioned by Manny Velez at WSJ, "Austen Power" is a detailed illustration depicting the large body of work Austen has inspired. Sarah made sure to include zombies, Bollywood dancers, mugs, plates, and of course, lady Austen herself.>
Recent Illustrations by Sarah J. Coleman
For the second year, Sarah J. Coleman illustrates Kelloggs' Special K billboard campaign in the UK. The campaign continues the now famous "What will you gain when you lose" concept for Leo Burnett London. This time the brief was for a dark-haired woman, of a healthy size and shape, striding along in her red dress made of typography. Sarah drew the dress along with the woman's hair, eyes, and other body parts in loose and washy ink.
Sarah was also asked by Rebecca Mason at British Vogue to illustrate an article on some of the golden rules of makeup. Quotes were taken from key makeup artists behind some of the biggest global brands like Dior, Nars, and Clinique and drawn using actual makeup. Going from an ultra-fine liner pen to chunky pink lip gloss was a bit of a challenge, but Sarah quickly conquered the learning curve.
Finally, Sarah worked with San Francisco agency Attik to produce a series of full-page ads for Scion highlighting their "Motivate" campaign that promotes entrepreneurship. Sarah industriously drew up three incredibly detailed and bouncy illustrations in the areas of design, fashion, and music. In addition, Sarah created a nice hand drawn logo for the campaign. Head over to the Scion "Motivate" website to see all of Sarah's illustrations in action.
Tis the Season with Starbucks
Artist Jeff Nishinaka, calligrapher Sarah J. Coleman and photographer Mark Lund collaborated on Starbucks' latest print campaign, "Rekindle the Spirit." Nishinaka created the decorative paper sculptures that provide fine detail to the ads including the snowscapes, snowflakes and red birds. Sarah J. Coleman hand-rendered the whimsical type for each of the seven ads. Nishinaka was on set meticulously crafting and placing these wintery backdrops for Mark Lund to photograph. The seven selected images will appear in print ads rolling out this month.
Playboy's First Illustrated Cover in 23 Years
A few weeks ago, illustrator Sarah J. Coleman got a curious email and her first instinct was to delete it. However, before she decided to send it to "TRASH," Sarah took a peek and lo and behold, it was an email from Playboy Magazine. The next thing she knew, Sarah was picking up the phone. "The best jobs are often the quickest - the ones that sneak up on you," Sarah says in her blog, Inkymole.
Art Director Mac Lewis had seen Sarah's covers for Sight & Sound Magazine and wanted something similar for Playboy. Sarah was given a list of feature articles and nine different shots of the model, any of which could end up being used for the cover. Since the image was still undecided, Sarah had to create type that would fit around any of the poses. Once the final shot was chosen, Sarah worked with Mac to fit the type as neatly as possible around the body shape and the result is a knockout. Playboy head honcho Hugh Hefner personally put his stamp of approval on the cover. In less than a month, Sarah's illustrations were on magazine shelves all across the US. This issue is the first illustrated Playboy cover in 23 years and part of the magazine's move to freshen its look. With this cover, Sarah J. Coleman kicks off a new creative era of Playboy that calls on the old school sophisticated sexuality the iconic magazine is so well known for.
Sarah J. Coleman for Special K
Sarah J. Coleman creates an inspirational bridal gown for Kellogg's new Special K. The new advertising campaign promotes the cereal brand's custom weight management plan for brides-to-be. It is part of Special K's larger campaign, named "What Will You Gain When You Lose?" that promotes weight loss through its products.
Coleman was given a list of words to incorporate into the design. They included "grace," "radiance," "happiness," and "shine," words that reflect a bride's mood and appearance on her wedding day. The mixture of the words and the floral and paisley designs on the dress give it the appearance of lace. The design took several rounds of development and changes with the end result being a combination of ink and digital drawing.
See more of Sarah J. Coleman's illustrations here.
Client: Kellogg's Special K
Agency: Leo Burnett
Art Buyer: Christine Oliver
Senior Producer: Alethya Luiselli
Illustration: Sarah J. Coleman >
Ilovedust and Sarah J.Coleman for HP
Ilovedust and Sarah J. Coleman create original illustrations for HP's new TouchPad campaign. The WebOs-based tablet makes multi-tasking easier for users and also allows them to download movies and tv shows, browse the web, and play games.
Ilovedust and Coleman were asked to make background icons from a choice of characters. Ilovedust chose the rocker and the teen characters. The icons demonstrate some of the TouchPad components like HP Synergy, Beats Audio and Adobe Flash. Using ink pen nib and ink, Coleman drew icons to represent the busy mom character and demonstrate how the tablet helps to manage a busy family schedule.
See more of Ilovedust's work here.
See more of Sarah J. Coleman's work here.
Creative Director: Diane Stember Richards
Talent: Ilovedust, Sarah J. Coleman>
Sarah J. Coleman Illustrates the Cover of Her NashvilleSarah J. Coleman illustrates a tattooed mom for the Mother's Day issue of Her Nashville magazine. The weekly woman's magazine covers a range of topics from fashion, weddings, and business to parenthood and humor. The Mother's Day issue includes several different takes on motherhood.
Coleman's illustration features a tattooed woman puckering her lips and winking flirtatiously over her shoulder. It was originally hand-drawn in pencil and then in black ink. The background is layered with textures from her collection of photographs. Coleman finished the illustration the day Elizabeth Taylor died and changed the woman's eye color to violet to honor the late iconic actress. The tattoo is in reference to a topic covered in the magazine, that mothers can still be sexy.
See more of Sarah J. Coleman's work here.
Publication: Her Nashville
Issue: May 5th
Art Director: Heather Pierce
Illustrator: Sarah J. Coleman
Jitesh Patel Designs The Tote Bag Book
The tote bag has become a ubiquitous icon of the green movement in recent years. As consumers attempt to reduce the use of plastic bags, the tote bag has seen a surge in popularity. Jitesh Patel was inspired by this rise in popularity to create The Tote Bag Book, a showcase of totes from illustrators and designers around the world.
Patel asked the artists to submit striking and inventive designs for tote bags. Designs included range from floral prints and typography to illustrations and characters. Artists such as Angus Hyland, Bosque Studio, Catalina Estrada, Central Illustration Agency (C.I.A.), and more submitted work as well as fellow B&A artists Sarah J. Coleman, Josh Cochran, Kai & Sunny, Jeremyville, and Tatiana Arocha. Each book comes packaged with an original tote bag.
The Tote Bag Book will be released in the UK on February 7th. It is available on Amazon for US readers to pre-order now.
Dare, Dream, and Do with Sarah J. Coleman and Target
In honor of Black History Month, Target recently launched its "Dare, Dream, Do" campaign. The print, web, broadcast, and interactive campaign tells the inspiring stories of Malaak Compton-Rock, Marc Morial, Marcus Samuelsson, and Steve Stoute. The banner ads and video interviews are a blend of 2d and 3d, Digital Kitchen seamlessly mixes live video with Sarah J. Coleman's intricate hand-drawn illustrations.
Says Sarah J. Coleman, "'Dare, Dream, Do' is an integrated multicultural branding exercise by Target, celebrating the company's diversity and aimed at sharing stories of success." Malaak Compton-Rock founded the Angel Rock Project, an organization that aids orphans and young children in South Africa. Steve Stoute is an entrepreneur and record executive. Marcus Samuelson is a chef and cookbook author. And last but not least, Marc Morial is the president of the National Urban League.
Coleman watched videos of the interview sessions to understand how each person moved, stood, and talked. Most especially, noticing what excited them and when they became the most animated. Using descriptions of their life stories and collections of words pulled out from their interviews and photo sessions, Coleman drew accompanying illustrations that provided a more detailed snapshot of each person.
Besides illustration, Coleman also created an entire hand-drawn alphabet for Target, creating unique typography for the campaign. The thorough digital typeface she created includes upper and lower case, a set of punctuation marks, and numerals. The most commonly used letters were given different versions to avoid what Coleman calls, "a dead giveaway when playing the 'is it a font or is it handwriting?' game."
For Coleman, each work started out on paper with black ink - be it fountain pen, dip pen, felt pen, or other. Coleman notes, "Since everything was being animated, a consistent line weight turned out to be crucial." After everything was drawn and scanned, the illustrations were then vectorized for the animators.
Stills from one of the banner ads
Coleman final remarks are, "This really felt like I was having the time of my life, doodling away over a big sheet of paper and getting to draw from a long list of different and sometimes challenging little objects - it was one of those jobs where you think to yourself 'this cannot be my job - I'm having too much fun!'"
Look for web banners and print ads across the Internet and the nation. More information and videos can be found on the Target website.
Campaign: Dare, Dream, Do
Agency: Little & Co., Minneapolis
Video and Animations: Digital Kitchen
Art Director: Katherine Lamm
Creative Director: Julie Zulkosky
Illustration: Sarah J. Coleman
One of the print advertisements>
Bernstein & Andriulli Wishes You A Warm and Wonderful Holiday!
2009 is coming to a close and we would like to thank all of our talent, clients, agents, and friends for a wonderful year. A blog was started (which became our homepage), new artists were signed on, and lots of cool projects were carried out. We leave you with this animated video and wish you happy holidays and a happy new year!
The blog will resume January 4th, 2009. Cheers!
Animation and direction by:
12 foot 6
Am I Collective
Sound, Music, and Voice: