Here’s a cover art I made for The Writer magazine. It shows a guy climbing up a mountain of letters.
Monday, July 2nd, 2012
Here’s a cover art I made for The Writer magazine. It shows a guy climbing up a mountain of letters.
Sunday, June 24th, 2012
This set of illustrations was published in today’s Welt am Sonntag newspaper in an article entitled “Kein Problem mit Datenstress” (”Don’t Get Stressed Out from Digital Data”). The double spread was on “digital stress,” and accompanied an interview with German Secretary of Family Affairs, Kristina Schröder.
The images show how differently people are handling large amounts of data c0ming in from the Internet, cell phones, and the media. I employed mixed-media for the art.
Saturday, June 23rd, 2012
This is my summer cover for Süddeutsche Zeitung’s three-monthly SZ-Vinothek wine supplement that got printed both in a tabloid newspaper format, and on a glossy wine brochure. I created the cover art and an interior illustration on Greek wine for this edition. >MORE
Sunday, June 17th, 2012
These pieces were created for today’s Welt am Sonntag double-spread special on a variety of political agendas ranging from finance and taxes to family, education, energy, and foreign affairs.
Wednesday, June 13th, 2012
This image of Ganesha appeared on the cover of a publication on a topic focussing on India.
Ganesha is a popular figure in Indian art. I have incorporated some of Ganesha’s most common iconographic elements. He has the head of an elephant, a big belly, and four arms, and he holds an axe and a noose. (Oh, and for reasons that elude me, he always keeps a mouse close by.)
Monday, June 4th, 2012
I made this bunch for a three-page Welt am Sonntag feature on mobility and traffic. I went for a whimsical touch that resorts to using more areas of color than outlines.
It was huge fun turning around stuff like bikers, car drivers, subway trains, trucks, policemen, pedestrians walking their dogs, and a hedgehog on a surfboard.
Tuesday, May 29th, 2012
This is my latest book jacket cover design for Random House - a guide on fixing the sugar fix. In Martina Fontana’s Voll auf Zucker! – Wie Sie die Sucht nach Süßem überwinden (Sugar Junkie: How to Beat the Urge), the author discusses measures to counteract the urge to consume sugar, and advocates a healthier lifestyle. Fixing the sugar fix, she argues, is a matter of mind, not body.
My cover illustration shows a giant lollipop that looks very much like a signalling disk. I have also created a few cartoon-style interior illustrations for the book that show a “sugar devil” in a variety of suggestive settings.
Friday, May 25th, 2012
A special audio book edition of Liebe – ein unordentliches Gefühl (Love: An Unruly Emotion) has recently been released by Random House.
The printed edition was a major bestseller in Germany. Richard David Precht, Germany’s bestselling nonfiction author (Wer bin ich, und wenn ja, wie viele? – Who am I: And if So, How Many?), elaborates on the topic of love from a multitude of backgrounds in history, biology, neuroscience, and philosophy.
My cover design employs a similar style which I created for Who am I?, employing bold type and a whimsical illustration.
Sunday, May 6th, 2012
This illustration got published today in Welt am Sonntag, a newspaper from Germany. It also appeared in a slightly modified version in Welt Kompakt, a tabloid digest by the same name.
It was on support and custody issues, and assembles a number of icons involving failed love, breaking up, lonely children, moving out, and paying dues.
Monday, April 30th, 2012
Full moons are real sleep killers for me. Here’s a devilish illustration on that topic I made for a psychology publication.
“Moon!” you cry suddenly,
-Ted Hughes, Full Moon and Little Frieda
Tuesday, April 24th, 2012
Occasionally, clients ask me why I am not working in only one illustration style, as opposed to my small handful? To be sure, such inquiries come from US art directors exclusively, some of whom like to work with artists with only one signature style. We need to know what we get, is a common thing I hear.
An unequivocal advocate for artistic expression, I have put together a few thoughts on this topic.
A leopard cannot change its spots, and hence all the art I create has “that Oliver look” to it. However, I do not define myself through collage or whimsical line work.
Instead, I am about concepts first and stylistic form second.
A US art director friend labelled me a “problem solver,” and I think he nailed it right there. I am the guy who thinks about a suitable visual for a given topic. This isn‘t about styles. It isn’t about my unique way of drawing noses crooked, pointed, or round. This is, first and foremost, about attempting to conjure up (hopefully) exciting concepts.
While I am happy to follow detailed briefings for my work, in most cases it is left up to me which technique I come up with – line work or mixed Âmedia. Often, some styles work better for specific topics than others.
To me, being an artist is all about experimenting and trying to find ways to express myself, and to communicate with an audience.
I couldn’t picture myself doing nothing but, say, collages for the next 20 years to come – I would be getting bored of doing one and the same thing throughout.
I hope I will be tackling projects in my future life that I can’t even envisage just now.
Practically all artists that have inspired – fine artists and illustrators alike – have worked in more than one technique in their lifetime. I would be hard-pressed to have to limit my artistic expression; it would feel like having to confine myself to speaking one language only, to give up playing the piano on the side, or to stick to drawing cats and dogs, for that matter.
I have always been an artist, but I have also been professionally engaged in a great many other fields of interest. I have a master’s degree in science for starters, and have worked in anything from engineering to programming to bonobos to phonetics to writing to editing to publishing to designing to multimedia to music and whatnot. This is where I am coming from, and I suppose it shows in my work.
It appears that illustration is the only creative profession in the US that is demanding its peers to be restraining their creativity. This isn’t so for any other creative profession I can think of. Think fine artists. Think designers. Think composers, filmmakers, actors, writers, editors, scientists…
I am amazed at the readiness of many of my cohorts from the United States to be restricting themselves in their artistic endeavors, which, in my experience, is unheard of in Europe.
When asked, some will shrug their shoulders and go, “yeah, like, whatever, that’s the way it is,” while others, keeping a stiff upper lip, are making every effort to make this sound like a terrific idea at first, before conceding that they don’t understand it either, and that they wish it wasn’t so.
I have seen US artist friends bring into play their “artistic integrity” that bans them from exploring new alleys, because they are known for one specific style, and wouldn’t want to spoil their “brand.”
My gut feeling is that this is backing the wrong horse. In my world, artistic integrity is about growing and maturing. Staying true to yourself, for me, means to keep adjusting your art to your current state of mind, as opposed to sticking to what you (or somebody else) thought was cool twenty years ago.
I believe the very least thing that you should expect from your profession, apart from personal gratification, is to have it pay your bills. In my case, offering multifaceted work allows me to supply for more than only a small handful of clients.
It seems hard to believe, but I have met seasoned US illustrators who are barely able to afford rent, which makes this a pivotal issue that I don’t think many art directors are aware of. Mind you, I am not talking about newbies, but about household names who have built themselves a reputation over time.
So why is that? My guess is that, while their single-style work may be easily recognizable from afar, it also stays so consistently and reliably unchanging throughout the decades that AD’s, careful not to inundate their publication, tend to be reluctant to hire that artist for many pieces a year, which, unsurprisingly, translates into overall modest income.
And things seem to be getting worse still. Young US graduates told me their teachers urge them to develop their own style before hitting the market.
Now, seriously, develop your “own style” at twenty-something? A style that you’re supposed to stick with for 50 years to come? Holy moly, that wouldn’t work for me.
No prizes for guessing – like everybody else, I started out with one style only, with quite of bit of success at the time. A few years down the road, however, I realized that this wasn’t everything that I wanted from my life as an artist, both intellectually and financially; and while I did have my set of clients that I used to work for on a regular basis, I knew that I needed to expand into new markets if I wanted to feel in sync with my art, and make a more-than-decent living in the long run.
This is when I went to stay in Rome for a bit, back in 1993, taking the time to experiment with two more illustration styles and a comic strip, all of which would keep me going in the years to come. And it has been like this ever since: I have been widening my possibilities, and seen techniques and styles and topics and focuses coming and going. It’s not that I do it all, but these days I do work in a modest variety of signature styles.
As I continue to (hopefully) mature, work that I used to do twenty years ago, I no longer do. Of course not! Such is life, and my art is only a reflection of that.
Give me Révilot any time. Or how about Wolly Fehrice? Sulliver W. Ice? Vice E. Licorice?
Been there, done that. I know of a number of illustrators who do this sort of thing, and neither one seems terribly happy about it. And why should they? Frankly, I don’t see the point of disguising myself from the public eye, and not be open as to who I am (and what my real name is, however white-bread it may be).
The publisher isn’t hiding, nor is the editor, the writer, or the art director. The ad salesman isn’t pretending to be somebody else either. So why should I be? It doesn’t make a lot of sense, I find (in a world that isn’t all black and white).
There is no way I can be dissuaded from pursuing my multi-style path. However, I do understand some of the concerns that an art director may have when they are unsure if they will end up receiving what they are looking for.
With me, you’ll get what you ask for – no surprises. If you want whimsical line work or collage, then that’s what you’ll get. Unless you want to be surprised ;-)
Choose any piece from the thousands of samples on my web site, and I’ll give you just that style, no bells and whistles.
However, if you’re not sure about styles or techniques, or care more about concepts, I will be happy to come up with a variety of suggestions. In the end, of course, it will always be up to you to decide which route you prefer.
Tuesday, April 17th, 2012
Here’s a lively mixed-media piece on intersexuality that employs the gender symbols for male, female, and transgender.
Tuesday, April 10th, 2012
This is an illustration I made on the recent Trayvon Martin shooting incident. It shows a crossingÂ road sign plastered with gun shot holes. The sign depicts the silhouette of a black boy wearing a hoodie.
Saturday, March 31st, 2012
I’ve been chosen as this year’s artist for Süddeutsche Zeitung’s three-monthly SZ-Vinothek wine supplement. I created the cover art and an interior illustration for the spring edition shown above that was published today. >MORE
Tuesday, March 20th, 2012
A new book on genetics that I have created the jacket design forÂ has been published today by Herbig Verlag.
Entitled GENius, this book provides a cunning overview of the field of genetics, from pea plants to drosophila fruit flies to the famous Dolly sheep, and up to man, and the decoding of his genome.
Written by Ernst Peter Fischer, a professor for science history who has authored a variety of books already, GENius gives an account of the fast and furious success story of modern genetics, and sheds insight into the masterminds behind the science.
I have created the jacket cover illustration displaying a number of brightly colored sheep. >MORE