Author Archive

Showcase of Web Design In Argentina Pt.2


  

Last week we brought you the first installment of an inspiring look at the state of the web design industry in the country of Argentina. This week we cap off the look with more insightful interviews, site showcases, recommendations and more. Let’s dive right in.

Excerpt from Part One

The design industry in Argentina consists of thousands of freelancers and agencies. Through commentary, interviews, links and a big showcase of websites, we’ll introduce you to some of the most talented designers and studios in the country. Your opinions and suggestions are welcome. Please share your thoughts in the comments section at the bottom.

Web Design and Creative Agencies

Argentina has a number of highly professional Web and creative studios. These studios have impressive portfolios, and clientele that includes prestigious brands such as Coca Cola, Western Union, Disney Corporation, Intel, Philips, PepsiCo, Chevrolet, Samsung, Nike, HSBC and Hewlett Packard.

Claudio Lucero of Naked, and Matias Dutto and Juan Pablo Sueiro of Social Snack, have kindly taken the time to answer my questions. Let’s meet them in the interview below.

Q: How did you get into the Web design world? Was it hard for you in the beginning?

Social Snack: Our team entered the Web world in two general roles: creative direction and executive production. Social Snack executes media and entertainment jobs using new social technologies. We use design throughout the whole process.

Each project involves different design disciplines, including interaction, aesthetics, art, photography, information architecture and content. Our methodology involves three design dynamics, called the 3i: interface, interaction and image. The last one integrates art direction.

Executive production is designed to synchronize all streams of work to make a project come to life. The creative direction creates a basis on which projects can become unique and memorable.

The digital world requires a lot of energy, curiosity and self-learning, both from the beginning and day by day. Understanding the industry helps, in order to better interpret customer needs and chart a vision of the future. We believe the key lies in energy and timing.

Naked: I come from the music world. I’ve been a musician for a big part of my life until a friend and I started a tiny software company, developing apps for small businesses in the old Visual Basic software. At that time, my knowledge of coding was pretty non-existent, but this friend taught me everything I needed to know to start programming. I soon grew bored with desktop apps and started to pay attention to HTML. It was 1995, and the Internet was nothing like what it is today. I used to spend whole nights learning HTML and Photoshop, designing little ugly experiments that I called websites.

Long story short, I became a bit better at that and was hired by a dot-com company in the late ’90s, spent a couple of years there until it went bankrupt (it wasn’t my fault, I swear), and then I decided to start a career as a freelancer. From then on, Web design has been all I’ve done for small, medium and big clients until we founded Naked with Andrea, my main partner.

Yes, it was hard at the beginning. I didn’t know anything about how to get clients, and marketing wasn’t as easy as it is today. There was no social media, no Google AdWords, and I didn’t have any money to invest in promoting my little business, so I used the Yellow Pages and started emailing a lot of shops trying to convince them to do a website with me. That didn’t work out very well, but in the end the people who I worked with in my prior job started sending me some contact info from their clients, and it all took off from there.

Naked

Naked On Showcase Of Web Design In Argentina

“Our company, Naked, is constantly investing time and other resources into finding the most talented creatives in our country. And because 100% of our clients are from the US and Europe, having a team with a lot of experience and that is willing and able to explore new ideas as they relate to interactive solutions is very important to us. We think this is what helps to align our brand with our mission: to help international studios succeed in their outsourcing needs through top-quality service and competitive prices.�

– Andrea Chiste, Project Manager

Q: How have you evolved professionally? Has Argentina’s environment influenced your work?

Social Snack: I would define it with two key words. One of them is “dynamic”: the practices in Web production change precipitously. Rules and trends change all the time. The other is “evolution”: for us, it’s all about being alert. That’s the game.

People spend a lot of time online, and this increases exigences and controls of the final product. Users recognize interfaces designed with intelligence, and enjoy the art of each website.

The final aspect of our job relates to the number of hours we dedicate to observing the trends and changes that new technologies bring. We evolve professionally as pilots do: flight hours determine our handicap. In this profession specifically, the key is to be self-taught. Results and learning depend on us.

Working in Buenos Aires is an enriching and positive experience. Our headquarters is in Palermo, the most international and cosmopolitan area of the country. Diverse people cross and converge each other, mostly Latinos and Europeans.

Instead of minimalism, we look for simplicity. We focus on seeking an identity that has its own features and that reflects all of these influences. The identity emerges from this mix of influences from all over the world, and from this neighborhood.

Naked: Not really. When I started out, I was crazy about all those big names in Web design, such as David Hillman Curtis, the guys from WDDG, one9ine and Enginethree. I loved their work and how strong their style was. But frankly, I couldn’t find anything like that here in Argentina and still can’t find it today. So no, I don’t think I was very inspired by the new media design community here.

My professional evolution had more to do with art direction, concept creation and content strategy than with graphic design. I’ve always focused on business goals in my designs, instead of trying to make the cutest thing ever. I like to keep the design as simple as possible. This is something our clients are happy with. They’re always telling us that it’s very hard to find designers who think this way, who think about business objectives first and then about the design.

Q: Can you tell us something you have learned that has helped you in running your business? Is Argentina an “easy� place to get established or to expand? Is your business focused on an South American audience, or are you open to a worldwide market?

Social Snack: We recognize that this job is always in “in progress” mode. At the same time, there is a deadline and a budget.

It’s important to understand that, unlike a magazine cover, online products never end and you can always improve them. They have to always be tested, corrected and analyzed.

But every deadline has a budget and limited timeframe. A motto that we have is, “The pizza has to arrive, but it has to be hot.” Being on time is really important. We take it seriously. What we’ve learned from all this is that you have to negotiate expectations with yourself and with the Social Snack team.

On the other hand, Argentina is not easy. It’s a country with many economic hardships and with a basic technological infrastructure. That is a positive, too: people here are very flexible. They can adapt to conditions and are very dynamic. Schedules are another advantage: we are aligned with other major capitals of the world.

In its beginning, Social Snack focused on Latin America, because naturally our relations and contacts were stronger in this region. But this year, we’ll start the process of expansion.

Naked: Here’s what we’ve learned, short and to the point:

1. Always write a proposal detailing how you plan to meet the client’s business goals (this is very important to the client), what you will do, how long it will take, how much it will cost. And if they approve it, make them sign it so that everything is well documented.

2. Always have a contract detailing everything about your working policies, from overtime rates to your intention to use this project as marketing material in your portfolio. If you haven’t defined these policies yet, do it now—believe me, you will need them later.

3. When hiring creative or technical people, try to work with them as freelancers first whenever possible. This will lower the risk in getting to know each other. And in spite of their impressive portfolio or coding skills, go with your gut when it comes to saying, “You’re hired.”

4. Relationships are good. Encourage social behavior. Engage in conversations with other agencies, designers, developers. You never know when you might need a partner or strategic partnership. When done right, it can greatly improve your small business. Argentina is definitely cheaper than other cities, way cheaper than New York or London. So getting established here is probably easier, although sometimes the government tries to make everything difficult for us.

Regarding our market, we just work with international clients, mainly from the US and Europe.

Social Snack

Social Snack On Showcase Of Web Design In  Argentina

Q: What’s the scene in Argentina like? Are Web designers and developers well paid, in your opinion?

Social Snack: We think that the best designers and developers get very good pay wherever they are. In the online production industry, locality is irrelevant to income. On the global scene, talent rules.

Argentina has incredible design studios that work for the whole world. The characteristics of Argentina’s design are appreciated worldwide, and that is reflected in the income of professionals here.

In Argentina we have very high costs, but that’s only one among many competitive variables, and not the most important one.

Naked: I think if we take into account the international rates for these kinds of jobs, then no, we’re not very well paid here in Argentina. The most convenient thing to do is to work for other international agencies or end clients. Though that can be a problem sometimes, especially if you’re not used to that level of responsibility or your English is not fluent enough.

Q: Is being a Web creative considered respectable work in Argentina?

Social Snack: Yes, of course. Although it’s necessary to educate people about the whole professional dimension of creative Web direction. Online production requires a lot of practices and new disciplines that do not rely on the work of one person only. Each website requires a team of specialists and coordination among them. Not every client gets that yet.

Naked: It is respected when people understand the level of Web business you are running. Loads of freelancers are charging less than $10 per hour, and I don’t think that’s very respectable. And don’t get me started on their work quality. This can only ruin our industry and the general opinion of the Argentinian Web scene.

Q: How would you describe the current situation for those who want to start a career in this field? Is job demand high?

Social Snack: As we mentioned before, job demand is very high. Argentina is very attractive because it has very competitive costs. Whoever chooses to work with professionals in our country discovers that we possess a great creativity and flexibility and that we are very friendly people.

It’s a very good field, with huge demand both internally and externally. Any designer who sets out to realize quality projects and takes care of every detail will surely have good income.

Naked: This is probably the best time ever for someone who is starting his or her interactive career here in Argentina. More and more international agencies out there are ready to outsource projects to us, and this is due to the high proficiency in development that they can find here. Also, the currency exchange rate is very convenient for clients who are paying in (US) Dollars and Euros, which makes it even better as a commercial opportunity.

Q: Do you see any remarkable differences between Argentina’s designs, and the ones in the US and Europe?

Social Snack: We hope to find them all the time! Anytime we collaborate on a project, we try to make these differences visible.

Argentina is a land of emerging trends. We consider two lines that exist in every design: one that standardizes certain practices and another that is more creative. Argentina has both, and it’s a very good place to discover creative work.

There’s an online production stream that creates trends during the year and they become standard. Buenos Aires is one of those places where trends grow all the time. You need to pay attention to those Argentinean designers.

Naked: Clearly, yes. As I mentioned before, it’s not easy to find the kind of top designers who you can see at, let’s say, Firstborn or Rokkan. The big stars are hard to find. Sometimes an unknown freelancer trying to make a living in some province far away from Buenos Aires, our capital, turns out to be a very talented designer or developer. That’s why we’re always striving to find these talents wherever they are.

Q: Where do you get inspiration from? Name a few of your favorite sources of inspiration.

Social Snack: We find inspiration everywhere. It’s true that we look at galleries and projects of studios that we like, but we also go further than the digital world. We seek metaphors for interfaces in disc covers, art galleries, modern architecture, everywhere! Our website Cultura Positiva has been mentioned in many showcases this year, and it was inspired by a photograph!

Naked: FWA, Communication Arts, a lot of blogs, portfolios of other agencies that we love and respect and, naturally, Smashing Magazine, including the Smashing Book. Actually, I find inspiration everywhere: movies, concepts I see in TV ads, music to define moods and styles. Typography alone is a huge source of inspiration, too: beautiful type releases all kinds of visual ideas.

Q: Are you following the work of any particular designer or developer in Argentina?

Social Snack: We love BBDO Argentina’s work, especially that of Fernando Barbella, who is creative director of the agency. We saw some memorable campaigns, such as Pecsipedia, among them.

Naked: I like the work of the guys from POGO; although they don’t do much interactive work, their offline portfolio is nice. Also, there’s a fantastic industrial designer, Fernán Etcheverry, whose work inspires me.

Q: Do you have any thoughts about design trends in Argentina? What has been your favorite design trend or style?

Social Snack: For 2010, a trend we are seeing is layouts as posters.

Naked: I love typography and writing strong messages using beautiful typography in Web design. And the use of big—and I mean huge—type, has been a trend for a while that I always find lovely. Academy is a great example of this, even though it’s not from Argentina particularly.

Also, I don’t know if it’s a trend, but the use of WordPress to build and maintain certain kinds of websites that are not blogs, such as one-page portfolios, is a great idea. Now designers can put their portfolio online in record time and keep it updated without much hassle.

Q: Are any techniques widely used by Argentinian Web designers?

Naked: I can’t identify one in particular, to be honest. You can find very different styles among Argentinean designers, as many as you would find anywhere else.

Q: Do most customers want English-language or Spanish-language websites?

Social Snack: They prefer to have both.

Naked: Because our clients are mainly from English-speaking countries, they choose English for practically all of their projects.

Q: Are there any issues unique to Argentinian website design?

Naked: I think we Argentinians are very creative people. I don’t know if it is because we have had so many crises throughout our history that we struggle to learn new ways to succeed or what, but clients everywhere are very impressed by our level of creativity. In Spain for instance, our clients keep telling us that we come up with interesting and inexpensive ideas for art direction. Being creative is easier if you have a huge budget to spend, but it’s not that easy when not so much money is on the table. I think we are good at that.

Q: Can you tell us something that you think Argentinian designers should improve on?

Social Snack: In our experience, one thing that needs to be improved is our use of methodologies. There are many great project directors, but it’s important that all of the disciplines come together in one methodology.

Naked: There is always room for professional improvement. Perhaps this country doesn’t have as many Web design celebrities as other countries (Joshua Davis, Zeh Fernando), and so I think the overall quality of Web design could be improved. We’re talking about trying to be among the best in the world, so that we can be in a better position to compete in the international market. But I’m sure we are on the right path.

Q: 2009 was an exciting year for Web 2.0. What’s your relationship to social networks?

Social Snack: Our slogan for the company is “All media is becoming Social & Snack.” Our job is entirely focused on the social contexts of branding.

Naked: We definitely think it’s a powerful tool. We try to keep learning about it everyday, and it has been great for our relationship with other professionals in our community. For instance, a dear friend and partner of ours, Gabriel Peart of Brazil, who is a very talented Flash developer, contacted us through Facebook, and this led to a wonderful working experience through project collaborations. And this happened when we were in need of such a Flash guru. Now he’s hosting the FDT workshop at Flash Camp Brazil. Amazing guy.

We are starting to use Twitter a lot, and we have found some skilled people through LinkedIn whom we ended up involving in our projects, in one way or another.

Q: Do you enjoy the work of any designers in particular? Name some of your favorite creatives in Argentina.

Naked: Actually, the designers who inspire me the most in Argentina don’t come from the Web design arena but from different disciplines such as illustration and photography. Here are some of them: Lisandro Schurjin, Santiago Guerrero, POGO, Florencia Mazza.

Q: Are any regular meetings or design-related events held in Argentina?

Social Snack: Buenos Aires is unique for having bars and cafes on every corner, with chairs and tables in the street. It’s a very chaotic city. Thankfully, in recent years, there have been a lot of activities. Just to name a few: Trimarchi, Design Meeting of Palermo’s University, Pechakucha, Barcamps, Sustainable Design Festival, TEDx Buenos Aires, Barcamp, Wordcamp.

Naked: Yes, plenty. Actually, in July 2010 there will be a big event here in Buenos Aires that includes 350+ workshops, conferences and courses hosted by highly experienced professionals, and people from all over Latin America are coming. Signing up is completely free for everybody. The even will consider all aspects of design, including the Web, industry, photography, movies and advertising.

Q: Can you share a few of your favorite website designs?

Naked: Sure. I’m a Flash guy, though, so some of my favorites pieces include (in no particular order): PUMA, Hello Monday, GE Smart Grid, Resn, Hiroshi Seo. I could go on and on.

Q: Would you like to share any upcoming projects that you have planned?

Social Snack: We are writing in a blog part of our methodology for the production of creative projects. Taking out time to share our vision is a big challenge, but doing it is very important.

Naked: At the moment, we are working on our own new website, but it’s too soon to share the comps. We are defining the main concept, trying to visualize what it’s like to be truly “Naked” with design; to be totally nude, innocent, without any disguise and thus completely honest and transparent. We are just beginning to explore these ideas. Next, we will shoot some photos with this in mind.

We’re definitely in love with our jobs.

Showcase of Web Design and Creative Agencies in Argentina

NUPA Design Studio

NUPA On Showcase Of Web Design In Argentina

4060

4060 On Showcase Of Web Design In Argentina

451 Group

451 On Showcase Of Web Design In Argentina

Iconosur

Iconosur On Showcase Of Web Design In Argentina

Genes Interactive

Genes On Showcase Of Web Design In Argentina

Zykasthenia

Zykasthenia On Showcase Of Web Design  In Argentina

Minga

Minga On Showcase Of Web Design In Argentina

Camboya Digital Media

Camboya On Showcase Of Web Design In Argentina

The designer and director of Camboya, a design and interactive publicity agency, gave me his opinion of the Web design scene in Argentina: “From my point of view I see a dichotomy. On one side is incredible, invaluable talent in developing technical and conceptual work. But on the other, slow economic growth in the country is seriously compromising this. Infinite fights for lower budgets, little willingness from the clients to develop ideas from the conceptual and technical stage make it hard for designers to deliver their talents, being constantly mired in the bureaucracy of budgets and daily briefings. So, I think we’re at the stage of constantly evangelizing new media, and those innovations, values and potential are leading us in a new direction, as is happening in other European countries and even Brazil, which has a high level of design and interactive experience.�

I Know Branding

I Know Branding On Showcase  Of Web Design In Argentina

Mod Studio

Mod Studio On Showcase Of Web Design  In Argentina

DFCL

DFCL On Showcase Of Web Design In Argentina

Hoffmann Estudio

Hoffmann Estudio On Showcase Of Web Design In Argentina

“Design must go beyond mere aesthetic factors and solve specific problems. It must be a tool that changes and improves everyday life. The success of our work is based on a rational and precise methodology that allows us to identify problems in the studio with our clients. By analyzing their needs and acutely observing the reality that surrounds them, we generate creative and practical solutions designed to suit them.�

– Hoffmann Estudio

Estudio Elephants

Estudio Elephants On  Showcase Of Web Design In Argentina

Blake

Blake On Showcase Of Web Design In Argentina

Brandigital

Brandigital On Showcase Of Web Design In  Argentina

Icnitas

Icnitas On Showcase Of Web Design In Argentina

Identidad

Identidad On Showcase Of Web Design In Argentina

I recommend you also visit the following:

  • Cayetano DG
  • WeikUp!“At WeikUp! we believe that a solid graphical approach is built from an optimal methodology that is capable of revealing the specific problems of the brand and project itself. Understanding and interpreting the client’s own ideas is key to developing fully original and functional results. Teamwork, interaction between different perspectives and a constant exchange with the client are key factors in a successful project.â€�
  • pyxis dzine
  • Micromundo“We believe that design in Argentina arises from multiple perspectives. We get our vision of trends from leading countries, and we get our perception of social and cultural reality from here. This condition gives our designs peculiar characteristics. We believe in honest work and in the responsibility of both accepting a project and performing it with professionalism.â€�
  • Blag Studio

Related Resources

Here are a handful of other websites that you should check into for a glimpse of the Argentinian web design scene. This section is the yang to the Blogs featured in part one.

A useful resource:

Design galleries:

Design portals and publications:

Typography resources:

Further Showcase Of Websites in Argentina

Here is the remaining selection of websites made by Argentinean designers or for an Argentinean audience that we will feature in this showcase. We have featured throughout the posts a range of personal websites, corporate websites, portfolios, blogs and various styles and platforms.

Aktùa

Aktùa On Showcase Of Web Design In  Argentina

Fernando Landi

Fernando Landi On Showcase Of Web Design In  Argentina

Twash

Twash On Showcase Of Web Design In  Argentina

Visual Box

Visual Box On Showcase Of Web Design In  Argentina

Waking Up

Waking Up On Showcase Of Web Design In  Argentina

Vaca Cora

Vaca Cora On Showcase Of Web Design In  Argentina

Captiva Next

Captiva Next On Showcase Of Web Design In  Argentina

Levi’s Argentina

Levi's Argentina On Showcase Of Web Design In  Argentina

Zoo Buenos Aires

Zoo Buenos Aires On Showcase Of Web Design In  Argentina

Kinder Velocidad

Kinder Velocidad On Showcase Of Web Design In  Argentina

El Juego Del Miedo V

El Juego Del Miedo V On Showcase Of Web Design In Argentina

Cappuccino La Virginia

Cappuccino La Virginia On Showcase Of Web Design In  Argentina

Fanta

Fanta On Showcase Of Web Design In  Argentina

7UP Lima Free

7UP Lima Free On Showcase Of Web Design In  Argentina

Rodriguez e Hijos

Rodriguez e Hijos On Showcase Of Web Design In  Argentina

H2Oh!

H2Oh! On Showcase Of Web Design In  Argentina

Rapsodia

Rapsodia On Showcase Of Web Design In  Argentina

Estudio Parysow

Estudio Parysow On Showcase Of Web Design In  Argentina

Fundaciòn Essen

Fundaciòn Essen On Showcase Of Web Design In  Argentina

W360°

W360° On Showcase Of Web Design In  Argentina

Gizmo

Gizmo On Showcase Of Web Design In  Argentina

Dosve

Dosve On Showcase Of Web Design In  Argentina

Shift 3D

Shift 3D On Showcase Of Web Design In  Argentina

More Places to Study Web Design in Argentina

Again, there is still no complete and well-conceived career path for aspiring Web designers, but Argentinians who want a career in design, animation or the arts still have some valid options. Here are a few more of them:

More Universities

Other institutions:

Argentinian Web Designers And Developers To Follow On Twitter

There’s no better way to follow the design scene in Argentina than by contacting designers easily and directly. Twitter is the most popular instant messaging tool, and some of Argentina’s talented designers can be found on it.

Another instant messaging project worthy of highlighting is Tablosign. Tablosign is a microblog that involves several designers and that publishes links, tools and useful tips. In essence, it combines several of the ways that people generate and deliver content on the Internet today: microblogs, Twitter, Delicious, blogs, thumblelogs. Accordingly, small entries are made that summarize an idea, piece of advice, opinion, or link; all design-related, of course. Among the Argentinian designers who participate in this project are Germàn Ferrari, Diego Mattei, Alejandro Cano and Horacio Bella.

(al)(rs)(rb)


Showcase of Web Design In Argentina Pt.1


  

Argentina is a melting pot of races and cultures, and its people have developed a complex identity. Tango, political passion and soccer are just some of the features of this South American country’s make-up.

Argentina is an important cultural center, with a plethora of museums and art galleries where the European influence on design, architecture and lifestyle is palpable. Since 1981, UNESCO has distinguished Argentina by including certain properties of natural and cultural significance on the World Heritage List.

And what about the design industry? I asked Claudio Lucero, Creative Director of Naked, for an insider’s take on Argentina’s design scene:

“Creative types and developers working on interactive projects in Argentina have accumulated loads of experience thanks to the dot-com bonanza in our country at the end of the ’90s. All of a sudden software developers and graphic designers who were used to offline assignments were hired by dot-com companies to produce new portal websites that probably made them millionaires.

“Thus, a huge number of developers were forced to learn HTML, JavaScript, ASP and PHP. And designers whose only experience was letterheads and posters, tried to figure out how a navigation scheme works.

“Finally, when the bubble burst and investors refused to offer new rounds of money, most of those dot-com companies disappeared but the know-how and experience remained. This is why Argentina has one of the highest levels of IT experience worldwide, and in 2005 UNESCO declared Buenos Aires its first ‘City of Design’ and ‘one of the most viable and productive design industries on the South American continent’, giving local interactive firms and freelance designers a big opportunity to transcend the local market.â€�

The design industry in Argentina consists of thousands of freelancers and agencies. Through commentary, interviews, links and a big showcase of websites, we’ll introduce you to some of the most talented designers and studios in the country. Your opinions and suggestions are welcome. Please share your thoughts in the comments section at the bottom.

Freelance Designers In Argentina

Freelancers are a growing force. The Argentinian design market is expanding quickly. I interviewed Gisele Jaquenod and Ricardo Teruel to get their thoughts on the domestic Web design scene.

Ricardo is the interactive and graphic lead designer at RTDG. During his professional career he has overseen several projects, ranging from institutional design to producing and publishing dynamic websites. Gisele has been featured in Lee Munroe, Smashing Magazine, Web Creme, Blog and Web, Blogger Buster, Weblog Tools Collection, Vandelay Design, CSS Drive, CSSelite, Best CSS Gallery and FantastiCSS. She has a strong artistic background, and her designs are an inspiration to the entire Web design community.

Q: Could you please describe the life of a freelancer, developer and designer in Argentina?

Gisele Jaquenod: I think it depends; mainly because, unless you live in a very commercial area—which I never did—getting clients to invest in design is the most complicated part of the process. However, I have always been grateful that whatever the economic situation is, I have always been able to live off of design. But it can be complicated at times, for sure. Design in general is still underestimated by most small companies, and the fact that you have to sometimes work hard just to make them understand its potential (and costs) really doesn’t work in favor of the designer.

Ricardo Teruel: I don’t think the life of a freelancer in Argentina differs much from that of any other worker. The difference is that the designer’s job is still not appreciated by the customer. Argentina’s design clients are not trained to appreciate the results of investing in design and building an identity. Working in the domestic market is not always easy because of the complications in charging rates and setting priorities for a project. Working abroad is almost always more desirable, either because of the favorable exchange rate or the culture among clients who are used to paying for such services.

Q: What made you decide to become a freelance Web designer?

Gisele Jaquenod: It was actually just the fact that freelancing is open to anyone to try it. I was already working part-time as a designer at the local university, and the type of project I was required to do was not really related to what I wanted to try, or do, in design. This made me try some personal projects on the side, like illustrating and actually building websites and blogs for some of my artist friends. And while doing that, I found what I liked working on the most, so I just thought, “Hey, this is worth trying.” And, well, that’s how it all sort of started.

Ricardo Teruel: The profession allows remote work and makes face-to-face relationships secondary (they’re important, but not critical). Operational costs are low and allow anyone to get started in the business—and be competitive—without taking major risks.

Beyond their function, there’s the professional issue. The world tends to over-exhaust agencies and suffocate designers. Plus, a very low percentage of media staff really know what they’re working with, so the equation always seems to fit: design + no extra pressure on client + flexible hours + chance to improve economic standing + independence = freelancing.

Gisele Jaquenod

Gisele Jaquedod On Showcase Of Web Design In Argentina

Q: What’s the condition of Argentina’s market, in your opinion?

Gisele Jaquenod: I think the design market in Argentina is growing, and new technologies keep opening up new areas for designers to enter. However, as I said before, all of this is concentrated in the biggest commercial areas of the country, so for a designer who is looking for a challenging and well-paying job (or should I say, decent-paying job), relocating to one of these areas is almost a requirement.

Ricardo Teruel: It’s a growing market that has yet to explode in infrastructure, which would lead to an increase in use of Web services. The country remains reluctant to commit to the online world, still deeming the printed page more secure and profitable than a 24/7 digital presence.

Gradually, we’re seeing more flirting with Web development, but it’s still a young market in terms of the quality of design and power of Web applications. This is not a critique of Argentinian designers (we have excellent designers and commentators on the subject). It’s a critique of Argentinian clients who do not ask for, or understand, high-quality design. And, as in all other work, excellence comes with a cost that few are willing to pay.

Q: How usable are Argentina’s websites, in your opinion? Do you give a high priority?

Gisele Jaquenod: I think usability is a minor consideration on many of Argentina’s websites. But it’s also a minor consideration in most design-related careers where designers learn their craft. Of course, there are exceptions: many design studios and independent designers stay up to date and challenge themselves in this area, providing great examples of Web design. But the truth is that most of the time budgets are limited, and that means that this aspect of design is not prioritized. Personally, I try to give it my best shot, but I am not an expert in any way!

Ricardo Teruel: Projects are becoming more focused and receiving greater functional planning. But usability is still a problem that remains to be solved. For the new generation of Web designers, usability is a pillar of design itself. Design is communication and because of this, designers must adjust to the needs of clients. Usability makes this dialogue easier and allows for that comfort and safety that is needed in order to not be on the defensive and to let the message get across. Obviously, there has been a large deficit in this area, but today both usability and design are becoming a focus for websites.

Q: Do designers still use tables for layouts?

Gisele Jaquenod: For sure, a large number of old websites in Argentina still use tables for layouts, but as far as I can tell new designers do not use them anymore.

Ricardo Teruel: Each tool has its specific use. The Argentinian designer, like every designer in the world, becomes informed and aims for the highest standards of quality. As for myself, I respect the common standards of most browsers when working on a website’s structure. There are certain circumstances in which tables can be useful, faster to create and more lightweight, without having to maintain such a strict separation of aesthetics and content. In such cases, I use tables.

Not everything has to be HTML and CSS. I remain a believer in the power, versatility and beauty that Flash offers as a platform for website development. It’s up to every developer to choose which tool is appropriate for the project.

Q: How do Argentinean designers handle typography?

Gisele Jaquenod: Well, I know that typography has always been a basic teaching and interest at Argentinian design schools, so a lot of well-educated designers of typography are out there. We also have some amazing font designers, such as Sudtipos, that do a lot to raise standards. And when it comes to usage, I can say that I have seen a lot of creativity, perhaps because a lack of resources forces designers to be creative with what they have.

Ricardo Teruel: The Argentinian designer is a great typographer and a design lover. Perhaps because Web design is still emerging in Argentina, the technical and aesthetic richness of local professionals is still unknown.

We have had great printers, publishers and artists whose skills have been passed on to all who have grown up studying them and following their work.

RTDG

Ricardo Teruel On Showcase Of Web Design In Argentina

Q: Which design-related Argentinean blogs and magazines do you read?

Gisele Jaquenod: To be honest, most of what I read online is from outside Argentina, except maybe Foro Alfa, and several blogs by illustrators who I follow (but not particularly design-related). As for print magazines, unfortunately my favorite, Tipográfica, is not published anymore.

Ricardo Teruel: More than anything I read blogs: they’re easy to save and share. In any case, you can’t miss Foro Alfa. And some more are Diego Mattei, ilovecolors, Designio Studio’s blog, Creative Closeup and elWebmaster.

Q: What is your main source of inspiration? What is your best method of overcoming a creativity block?

Gisele Jaquenod: For inspiration, I can’t say that I have a particular technique. In my Reader, I follow a lot of artists, illustrators, photographers, designers, interior decorators, home improvement websites, fashion blogs, and I make sure to get a daily dose of that. I have also always been a fan of collecting “beautiful objects,� and those things have a way of coming out in the work that I do.

Creativity blocks: when I get one of those, I just need to get out for a bit. Go for a ride, get a breath of fresh air, pick up a book, something that takes me away from the computer. I think the overworking that sometimes results from the insecurity of working freelance, and the ups and downs of the economy, cause these creativity blocks. But often it’s just from being plain tired, you know? Not really a creativity problem, but more a need-to-rest situation.

Ricardo Teruel: Working on two projects at the same time. Staying focused on two or more projects helps me to think differently and not stagnate. The projects don’t necessarily have to relate to design. It could be programming, layout, personal projects. The point is to force your brain to face a different situation than the one it is comfortable with.

When this fails, it’s always useful going for a walk, playing the guitar or cooking. What matters is doing the opposite of what your brain is used to.

Q: What are your expectations for your work and experience in the Web design field?

Gisele Jaquenod: Personally, I take each day as it comes. There are days when I wish I was not freelancing but in a steady job. Other days I want to get a bit closer to the roots of my interest, which are more art-related. I just try to get as much as I can from every job, even if the projects are very short (which they have been because I have been focusing on blog theme designs). Of course, I still want to learn the trillion things that I don’t know, so I feel there is still a lot left for me in the Web design field, for sure.

Ricardo Teruel: I have high expectations of the sector’s growth and the profession’s growth and the role of the designer in the market and in the culture of Argentina.

There is a growing demand for design. Even better, there is growing demand for knowledge and excellence. This is the way we’ll evolve.

It represents a great challenge, but at the same time it is an excellent opportunity to position local design to the world, not only because of the favorable cost (against the dollar or Euro) but for the high quality of design, creativity and development.

Q: What would you do to improve Argentina’s design community?

Gisele Jaquenod: For sure, invest in design education. As someone who has been teaching for a few years at the local, and public, university, I can tell you that a lack of resources is the biggest issue to solve. And not just at the lower stages of education. Investment in the development of post-degree courses for graduates, and of training courses that keep the designer up to date on current technologies, is seriously needed.

Ricardo Teruel: It’s improving, but the Argentinian designer is caring and shares his knowledge. I would start by bringing together all of the industry’s workers (designers, programmers, writers, photographers) so that they can share their experiences and projects. That would definitely enrich everyone. Something like that already exists, still in its infancy, called CamaraFree.

Showcase Of Freelance Designers In Argentina

The showcase below gives you a glimpse into some of the freelancers working in Argentina’s design industry. Some of them have been recognized or awarded by NewWebPick, Netdiver Mag, American Design Awards, DesignTAXI and DOPE Awards.

Emiliano Rodriguez

Emiliano Rodriguez On Showcase Of Web Design In Argentina

Colorium

Colorium On Showcase Of Web Design In  Argentina

Vic Perales Creative Factory

Vic Perales On  Showcase Of Web Design In Argentina

Bytal

Bytal On Showcase Of Web Design In Argentina

Matias Najle

Matias Najle On Showcase Of  Web Design In Argentina

Matias Najle’s website will soon be online. In the meantime, you can follow him on Twitter.

Also, check out niceslice and Damian Lubenfeld.

Blogging In Argentina

More than 260,000 Argentineans have their own blog. Argentinean bloggers can be characterized as technology lovers, and social and information consumers.

I spoke with Elio Rivero, the graphic designer, Web developer, illustrator and blogger behind ilovecolors, about Argentina’s blogosphere. ilovecolors has been featured on Smashing Magazine, Webdesigner Depot, InstantShift, Hongkiat and Vandelay Design.

Q: How did you get into blogging? And in your opinion, is blogging a good way to make money?

ilovecolors: I’ve always wanted to give something back to the design community. I’ve gotten a lot from websites such as Smashing Magazine and Tutorial9, and I’ve thought about sharing some of that knowledge with everyone.

If done properly, you can make really good money by blogging, but you must be a good writer or find the right people to write. A blog is just like a printed magazine except that it’s open to everyone. In addition, technical blogs have the luxury of being able to present live examples of jQuery, PHP, you name it, right next to the article, instead of sending the reader to look for them in a separate CD or DVD.

Q: Do design-related blogs have a big audience in Argentina? Do people tend to follow Argentinean bloggers or foreign ones?

ilovecolors: Nowadays, yes, a lot of people follow blogs from all over the world that deal with assorted themes. One friend will follow non solo Kawaii, another will follow Design*Sponge or DIY blogs. Designers mostly follow Smashing Magazine, Tutorial 9, Design Reviver, Go Media Zine.

Q: Name a few of your favourite blogs from Argentina.

ilovecolors: Although they are not related to Web development, I often check Jessica Hemingway, unblogged, Vitamina Ce.

ilovecolors

I Love Colors On Showcase Of Web Design In Argentina

Q: In which language do you currently blog? Explain to us the reason for your choice.

ilovecolors: I’m blogging in English, although it’s my second language. It was natural. I learned everything by reading English blogs and forums, so I didn’t thing much about it. I mean, I never thought about whether to write in Spanish or English. It just happened.

Q: Where does your blog traffic come from? Would you like to share with us a tip to drive traffic to our own blogs?

ilovecolors: Initially, a huge amount came from the dozens of websites that where so kind to feature my blog’s design. After the hype, most traffic came from people looking for jQuery tutorials on Google. Also, I’ve written about interface elements and about WordPress.

I think a good tip would be to try to write articles as generally as possible, so that they appeal to most people. Focused articles appeal to only a small niche. Write general articles, and don’t forget the golden formula for titles: “How to Influence People,” “Ten Steps to Success,” “Why This or That Will Fail.”

Q: How much time do you spend updating your blog? How often do you write?

ilovecolors: I try to write often, at least once a week. A big part of what I write arises from working on some tricky thing and finding that articles about it are scarce, if not non-existent.

JoyColors

I Love Colors On Showcase Of Web  Design In Argentina

Winning design by ilovecolors for the ColorLabsProject Contest.

Q: Because your writing concerns design topics, where does all that content come from? Are you practically experienced in Web design, or is it just a topic you enjoy writing about?

ilovecolors: I work mainly as a graphic designer and Web developer, and I’ve got a career in graphic design. Before that, I followed computer science, while preferring graphic design. I’m finishing my studies in graphic design, focusing on typography, in order to get a title.

Q: On the Argentinian scene, is visual design considered more important than standards-based Web design?

ilovecolors: In my humble opinion, design is like falling in love. No, not the chemistry, birds and butterflies. It’s the inner process that takes place in our heads, and it all starts through our eyes. In short, visual design will always be more important than standards. It’s the bait. Argentina is no exception.

Q: South America is a vibrant and colorful continent. When it comes to the Web design process, does the focus lie on visual design or typography or well-coded semantic CSS-based designs?

ilovecolors: The focus might have once been on well-coded design, because most people doing it were Web developers who did not have graphic designers to take care of the visual side. But in the last couple of years, many agencies have appeared on the Latin American scene who are bringing a visual freshness to the Web.

Q: What’s the powerplay between Flash-based and CSS-based designs like? How strong is Flash in Argentina, in your opinion?

ilovecolors: Flash was quite popular but it’s being replaced by CMS-powered websites, in which clients have control of the website and don’t have to depend on an agency or freelancer to update it. Maybe when CMS’s for Flash websites become more developed, it will come back to the center of the scene.

Argentinian Blogs

Blogs are one of the most useful tools to find out what’s happening in Web-related fields. Here is a list of some design-related blogs in Argentina that will certainly give you an overview of the scene.

  • Diego MatteiDesign blog with tutorials, tips, tricks, Photoshop resources and Internet trends.
  • XyberneticosResources, themes and WordPress tips and hacks.
  • KabytesWritten by Tamara Druetta and Pablo Javier Suárez.
  • WebnovaWritten by Leonardo Correa, this blog covers graphics- and Web design-related topics.
  • Visual BlogThe blog of Visualpoint’s studio.
  • Codigo GeekCodigo Geek On Showcase Of Web Design  In Argentina
  • Blonk!Written by Web and graphic designer and illustrator Raul Reimer.
  • Diego GiacconeThe blog of designer Diego Giaccone, director of SURe Brandesign.
  • Gran ImpetuGran Impetu On Showcase Of Web Design In  Argentina
  • BaddBadd is a blog written by Irene Fernández, covering topics such as graphic design, communications and Web design.
  • CSS BlogCSS Blog is focused squarely on CSS and is brought to you by Ignacio Ricci. It aims to be a great source where CSS beginners can find experiments, tips and tricks and tutorials.
  • Designio StudioA blog written by designer Daniel Migliorelli.
  • GancèGancè On Showcase Of Web Design In Argentina
  • ThüerDesigner Sebastián Thüer blogs about a wide range of topics, from IT to social media.
  • dzignWeb resources, design, Joomla and tutorials brought to you by Leandro D’Onofrio.
  • Retype’s WeblogAn “unblogâ€� by Ramiro Espinoza.
  • unbloggedA blog about nothing, but where you will find the latest about technology, Internet, design and style.
  • Trazo LàserThe blog of Homonym studio.
  • Alfonso CatrònAlfonso Catròn’s blog about culture, communications and design. He also works as a Web designer at Mood Studio.

Showcase Of Websites in Argentina

Here is a selection of websites made by Argentinean designers or for an Argentinean audience. You will find personal websites, corporate websites, portfolios, blogs and a wide range of styles and platforms.

Twisted

Twisted On Showcase Of Web Design In  Argentina

Visual Sum

Visual Sum On Showcase Of Web Design In  Argentina

Aserrin Aserran

Aserrin Aserran On Showcase Of Web Design In  Argentina

Yo Tambièn Tengo Unas Converse

Yo Tambièn Tengo Unas Converse On Showcase Of Web Design In  Argentina

Pablo Olivera

Pablo Olivera On Showcase Of Web Design In  Argentina

Molestown

Molestown On Showcase Of Web Design In  Argentina

Cheetos

Cheetos On Showcase Of Web Design In  Argentina

Prüne

Prüne On Showcase Of Web Design In  Argentina

Hellmann’s

Hellmann's On Showcase Of Web Design In  Argentina

DirectTV Plus

DirectTV Plus On Showcase Of Web Design In  Argentina

Lays Restò

Lays Restò On Showcase Of Web Design In  Argentina

Save the Turtles

Save The Turtles On Showcase Of Web Design In  Argentina

Colorin Simulador De Ambientes

Colorin Simulador De Ambientes On Showcase Of Web Design In  Argentina

Corre Lola

Corre Lola On Showcase Of Web Design In  Argentina

El Rock De Tu Vida

El Rock De Tu Vida On Showcase Of Web Design In  Argentina

ElecBa

ElecBa On Showcase Of Web Design In  Argentina

Hoy No Cocinas

Hoy No Cocinas On Showcase Of Web Design In  Argentina

Juan Vellavsky

Juan Vellavsky On Showcase Of Web Design In  Argentina

Philips Argentina Car Entertainment

Philips Argentina Car Entertainment On Showcase Of Web Design In  Argentina

Togo Hombres

Togo Hombres On Showcase Of Web Design In  Argentina

Playful

Playful On Showcase Of Web Design In  Argentina

Pattern

Pattern On Showcase Of Web Design In  Argentina

Gazz

Gazz On Showcase Of Web Design In  Argentina

Where to Study Design in Argentina

There is still no complete and well-conceived career path for aspiring Web designers, but Argentinians who want a career in design, animation or the arts still have some valid options. Here are just a few of them (more to come in part two).

Universities:

What’s Happening in Argentina?

A few design-related events take place in Argentina. Some infamous ones are:

Trimarchi

For eight years, Pablo and Seba have been shaping TMDG, a meeting about graphic design that, because of its audience, has been regarded as the best in Latin America. Its size has also been recognized by international media, having brought more than 5,000 designers together for the conference. Beyond the titles and praise, TMDG remains essentially a meeting place for students and professionals in design. The same spirit that launched TMDG in 2002 in front of 400 people, is present today with the massive audience.

Pecha Kucha

Created by KDA in Japan, PKN has emerged as an event for “showcasting and networking� among creatives. Twelve presenters talk about their ideas, projects and designs using 20 images and spending 20 seconds on each, adding up to 6 minutes and 40 seconds total, per presenter. The event then becomes a space to talk, listen to music and have a good time. PKN has taken place in over 200 cities worldwide, and three years ago it was organized in Buenos Aires.

BarCamp Buenos Aires

BarCamp is an international event consisting of small talks and lectures given by the participants themselves. BarCamp Buenos Aires is currently positioned as the Web 2.0 event of the year, bringing together entrepreneurs, developers, designers and investors.

TEDx Buenos Aires

TEDx is a local event, independently organized, to gather an audience for an experience similar to that of TED. The “x� in TEDx indicates that the event is being organized independently. TEDx Buenos Aires combines TED’s video talks and live speakers to trigger a deep conversation and connection among attendees. TED gives general guidelines for TEDx programs, but the programs are organized locally.

Creatividad & Ética

The Creativity & Ethics forum is designed as an open space in which to reflect on creativity, values and on participants and their context, in order to identify useful avenues for social development and for design in particular. In Argentina or abroad, in conferences, lectures, courses or indirectly through documents, it tries to give society a space to ensure the appreciation of sensitive issues related to the construction of a wide design horizon. The Creativity & Ethics forum is a hallmark of academic quality, consensus-building and constructive contributions to democratic design.

Feria Puro Diseño

Feria Puro Diseño was created to be a major platform to showcase Latin American design talent, a place where design is the protagonist: apparel, accessories, jewellery, equipment, objects, contemporary crafts, textile design, lighting, digital design, graphic design. The meeting brings together all industry participants in a lively setting.

Encuentro Latinoamericano de Diseño

Palermo’s University of Design and Communication organizes Design in Palermo, a Latin American meeting of design that was created in 2006 to be a space for training, networking and sharing experiences between professionals, academics, students and companies in the design field. The 2006, 2007 and 2008 editions were great successes, and 4,000 people from over 20 countries in Latin America and Europe participated in each of them. The 2009 edition had to be suspended because of the N1H1 outbreak in Argentina. However, its contents have been poured into the event’s website, putting it in virtual editing mode. The 2010 meeting awaits participants with renewed energy and various participatory spaces: over 300 conferences and workshops, talks by guests of honor, test laboratories.

Inspiration Fest

Inspiration Fest Buenos Aires is a new space for inspiration of professionals and students working in various creative industries: design, illustration, photography, gaming, multimedia and animation, avant-garde music and applied technology.

More To Come!

With so much information shared and wonderful sites to feature, this showcase of Argentinian web design is just getting underway. There is another installment coming next week with more to complete this glimpse into this creative and expansive scene.

(al)(rs)(rb)


Interview with Germán Covacevich

Advertisement in Interview with Germán Covacevich
 in Interview with Germán Covacevich  in Interview with Germán Covacevich  in Interview with Germán Covacevich

Germán Covacevich, also known as Cova, is a freelance illustrator and digital painter based in Rosario, Argentina with a portfolio that features a vast cross-section of disciplines and styles. And he also finds time to sing and play the guitar along with his band.

Cova And A Half By Artcova in Interview with Germán Covacevich

Germán Covacevich

I’ve asked him a few questions about his evolution as a digital artist and how he handles his work at the moment. I hope that knowing more about his experience will be useful for Noupe‘s readers.

1. Please, tell us how did you get into art?

I’ve drawn since I can remember, I’m self-taught and it was always a passion. I remember some drawings my father did, really good ones, and my mother used to give painting classes at home. I feel very lucky that we had a huge collection of art books, and I had always a pencil at hand. I started copying whatever my older brother did, then from comics, then from photographs.

Jimi Hendrix
Jimi Hendrix By Artcova in Interview with Germán Covacevich

“Graphite on textured canvas, made about ten years ago, I think… this is one of the only traditional works I still have… It’s been a long time without doing anything more than sketches…”

I used to sit for hours not only reading those comics, but just watching each frame on every page, paying attention to the lines, the shadows. That was my main way of studying, I guess, figuring out how those drawings were made. By the age of 12 I was already making portraits.
So it wasn’t a decision, nor had I been forced into it. I grew up with art all around me.

Tomá la papa
Toma La Papa By Artcova in Interview with Germán Covacevich

2. When did you start using digital media to express yourself?

About three years ago. The idea had been in my mind for a bit longer, but I wasn’t too enthusiastic about it. I was so amazed what some digital painters were doing that I thought I never would have the skill to do that kind of stuff. All of my life I worked with graphitte pencils or ball-pens, so I was too used to black and white and a certain level of detail in my works. But then I tried a tablet, that’s when I noticed that I could push myself so much more.

3. Do you think that a school education has some advantages / disadvantages versus being self-taught?

Personally, I don’t have experience in art school education, but I think the main advantage is the guidance you can get whenever you face a problem that could take a lot of time and sweat to solve on your own, or the access to methods and techniques that might be hard to get otherwise. On the other hand, being self-taught, gives you the chance to learn at your own time and focus on precisely what you want to do, but you need to be extremely critical of your work.

4. Please describe your design process. How do you start, what tools do you use? What is your work environment? Which applications do you use and why? What tools would you recommend to avoid at all cost?

When I’m creating a painting from scratch, it’s usually because an image came to my mind. I start building it up in my head, the colors, the elements, the composition, etc. and then I do some reference gathering before going into the canvas. From there the process is quite simple, I start with a sketch, not very detailed but trying to get all the features in their right place. I put a background colour to match the mood I’m aiming for, then I do a light and shadow coloring base. After that, all I do is blending and building up the detail on everything until I’m happy with the result.

At the moment I use a pc running on Windows XP, a 23” monitor and a Genius 7×12 tablet. I paint with an old version of Photoshop, from sketch to finish, with only two or three brushes. I use other brushes but for specific things only. I tried other software, like Painter, but I never got the hang of them. Photoshop is still my best option and the one I’m more comfortable with. I never use the filters included in Photoshop, and I avoid using the burn, smudge or sharpen tools. The only one I use sometimes is the dodge tool, in soft touches.

5. In your opinion, what is the biggest challenge of being an artist? Have you evolved since you started your career?

It could be said that the biggest challenge is to get noticed. Of course, the Internet gave the possibility to show your works all around the globe, but it’s easier also to get lost in the huge amount of works out there, so a greater challenge would be to stand out, and the only way is to push yourself to improve.

Grab E.T.
Grab-ET in Interview with Germán Covacevich

Sure, I notice a lot of changes since I started. I used to set myself daily tasks to get better in my works, practicing speed, colour, proportions, a lot of different subjects.
Evolution is all about challenging yourself, and not only a challenge, but lot of fun too.

6. For you, is it true that artists mostly learn by putting ideas into action and doing?

There’s a lot of action and doing. Observation, theory, practice, imitation, trial and error, criticize yourself, be criticized by others.. learning is a nonstop process so this should be done on a regular basis, and is the best ground to be able to put your ideas on a canvas. And there, when you take it out of your head onto a painting, is when you learn about yourself.

Germán y Hernán
German-y-Hernan in Interview with Germán Covacevich
A video of the painting process is avaliable here.

7. What is your biggest mistake or failure?

Neglecting the use of colour for a long, long time, or not having worked with many other different mediums, I think that was a mistake. But I don’t see it as a failure. I paint because I love to do it and now I’m making a career out of it, so it’s quite the opposite.

8. Do you agree with the following quote from Rainer Maria Rilke? Do you believe that patience plays an essential role when it comes to art?

“Being an artist means: not numbering and counting, but ripening like a tree, which doesn’t force its sap, and stands confidently in the storms of spring, not afraid that afterward summer may not come. It does come.”

Absolutely. Like I said, learning is hard work so patience is a must. When you’re blocked and nothing comes out, be patient and something will, eventually. The important thing is to love what you do and have fun while doing it. That way you don’t worry too much about things not happening soon enough.

9. Lessons Learned: what are the most important things you’ve learned in your career so far?

For a long time I saw the works of many artists, more skillful, more succesful, and all I thought was ‘I want to be as good or better than these guys.’ And it’s ok in a way, the ambition to be better, it pushes you to improve, in fact. But the important thing is you can’t compare your work to another artist’s in those terms. Everything you have experienced, your culture and your passions is where your art comes from and expresses what you are. So I’ve learned I don’t want to be a better artist, but rather to express myself better.

10. Do you have a marketing strategy to promote your work? What sites on the internet do you find the most useful for promoting your artwork?

I just try to make me and my work visible. On the internet, or whenever I get to make a professional contact in person. Get it out there and expect it to be seen. DeviantArt was the first choice, I also have a gallery on Behance.net. In YouTube I have several videos of my painting processes, and now I’m on Facebook too. Also I have a personal site with all that and also other stuff I do, like writing and music. All those places have their own advantages I think.

Finish line
Finish Line By Artcova in Interview with Germán Covacevich

11. Are you now involved in any particular project? Do you have projects for your professional future planned?

At the moment I’m working on some requests involving portraits and also covers for a magazine. Aside from that I’m finishing some artworks that will be included at a personal art exhibition soon.

12. Do you think that your work could be categorized into any style? Could you please define your style in a few words?

I guess my style could be called photorealistic, in a way. To me is kind of a ‘Makeitlookrealandfast’ style, where it has a photographic look but a loose feeling underneath.

Aldana
Aldana in Interview with Germán Covacevich
A video of the painting process is avaliable here.

Photorealistic works are far more detailed than what I do, in my opinion. Still, I’m on a learning curve, and I’m always trying new things, approaches, subjects, brushes, etc. So I don’t really know how my style will develop in the future.

Débora y Luis
Debora Y Luis By Artcova-d3bkupv in Interview with Germán Covacevich
A video of the painting process is avaliable here.

13. Is there any artist or colleague that inspires you and your work?

I’ve always been attracted to the more realistic styles, obviously, so I guess it reflects on my works. I love Leonardo’s drawings, Rembrandt´s lighting, Bouguereau, Mengs, and mostly Dalí.

Meglia
Meglia in Interview with Germán Covacevich
Carlos Meglia was a comic book artist and penciller born in Argentina. One of his best-known creations is the Cybersix series, done in partnership with Carlos Trillo.

But my first real influences were the argentinian comic artists like Breccia, Olivera, Mandrafina, Meglia, Fontanarrosa and many more. I also get much influence from music, literature and cinema. And though it’s been said many times, life is a factor. Anything that conveys any emotions, will show in my paintings.

14. How do you see the future of your profession in, say, 5-10 years?

Art is and always been there, the mediums or tools might change, but the profession will endure. As for me, I only hope I’ll still be able to enjoy doing this, and if I can make a living, all the better.

Showcase of Cova’s work

Digital works

Into the wild I
Into The Wild I By Artcova-d3eqoj2 in Interview with Germán Covacevich

Into the wild II
Into The Wild Ii By Artcova-d3etrl3 in Interview with Germán Covacevich

Lara
Lara By Artcova in Interview with Germán Covacevich

“Photoshop CS3, standard brushes, Genius 4500 digital tablet, one photo reference [...] the model here is my daughter Lara.”

Winter’s end
Winter S End By Artcova in Interview with Germán Covacevich

Spring conversation
Spring Converation By Artcova in Interview with Germán Covacevich

Angelito Negro
Angelito Negro in Interview with Germán Covacevich

Ludmila, a video of the painting process is avaliable here.
Ludmila in Interview with Germán Covacevich

Señora
Senora in Interview with Germán Covacevich

Camila, a video of the painting process is avaliable here.
Camila 15 By Artcova in Interview with Germán Covacevich

Stoned
Stoned in Interview with Germán Covacevich

“Realistic and creepy emoticons.”

It feels so good
It Feels So Good in Interview with Germán Covacevich

Maniobra Heimlich
Maniobra Heimlich By Artcova in Interview with Germán Covacevich

Terrifying
Terrifying By Artcova in Interview with Germán Covacevich

Jimi Hendrix, “Digital Series”
Jimi Hendrix Digital Series By Artcova in Interview with Germán Covacevich

Janis Joplin, “Digital Series”
Janis-Joplin1 in Interview with Germán Covacevich

Speedpaintings and Quick Practices

Gato
Gato in Interview with Germán Covacevich

Chica
Chica in Interview with Germán Covacevich

Miau
Miau in Interview with Germán Covacevich

On Cova’s Youtube channel there are some videos showing a few speedpainting practices in Photoshop, like this one.

Works Still in Progress

Monkehs in Interview with Germán Covacevich

Bird in Interview with Germán Covacevich

Further information

You can find more about Cova on:

(rb)


What Do We Really Mean By Art?

Smashing-magazine-advertisement in What Do We Really Mean By Art?Spacer in What Do We Really Mean By Art?
 in What Do We Really Mean By Art?  in What Do We Really Mean By Art?  in What Do We Really Mean By Art?

Mark Rothko, an American artist who described himself as an “abstract painter”, once said that he was not the kind of person interested in the relationship of form, color or similars. He didn’t define himself as an abstractionist, but rather as a person interested only in expressing basic human emotions such as doom, tragedy, ecstasy and so on. This was one person’s vision of art, but what do we mean by art today? Why is defining the concept so difficult?

This article is an exploration of the meaning of art and an attempt to understand the relationship between art and artists, with some useful insights via interviews with both traditional and digital artists.

[By the way, did you know we have a free bi-weekly Email Newsletter? Subscribe now and get fresh short tips and tricks!]

1. What Is Art? 

This question pops up often, and with many answers. Many argue that art cannot be defined. We could go about this in several ways. Art is often considered the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations and ways of expression, including music, literature, film, sculpture and paintings. The meaning of art is explored in a branch of philosophy known as aesthetics. At least, that’s what Wikipedia claims.

Art is generally understood as any activity or product done by people with a communicative or aesthetic purpose—something that expresses an idea, an emotion or, more generally, a world view.

It is a component of culture, reflecting economic and social substrates in its design. It transmits ideas and values inherent in every culture across space and time. Its role changes through time, acquiring more of an aesthetic component here and a socio-educational function there.

Scott-Marr in What Do We Really Mean By Art?
Scott Marr

Everything we’ve said so far has elements of truth but is mainly opinion. According to Wikipedia, “Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art.”

The definition of art is open, subjective, debatable. There is no agreement among historians and artists, which is why we’re left with so many definitions of art. The concept itself has changed over centuries.

The very notion of art continues today to stir controversy, being so open to multiple interpretations. It can be taken simply to mean any human activity, or any set of rules needed to develop an activity. This would generalize the concept beyond what is normally understood as the fine arts, now broadened to encompass academic areas. The word has many other colloquial uses, too.

In this article, we mean art as a form of human expression of a creative nature.

2. The Evolution Of The Concept Of Art

While the definition of art has changed over the years, the field of art history has developed to allow us to categorize changes in art over time and to better understand how art shapes and is shaped by the creative impulses of artists.

Having a solid grasp of art history, then, is important. I spoke with Alexander Daniloff and Jonathan Ball about the concept of art through history and about whether tracing a line through traditional and contemporary art is possible.

Alexander Daniloff is a Russian artist who lives and works in Italy. His focus is painting, although he has worked in several media. Lately, he has worked on children’s illustrations. He has participated in various events and illustration competitions and has illustrated three books. He has held numerous individual and group exhibitions in Italy, Russia, Holland, Spain, Finland and the US.

Jonathan Ball is the creative behind Poked Studio, an innovative company committed to developing creative visual solutions. That’s not all: among its services, Poked Studio offers illustration; Web, graphic and blog design; 3-D rendering and visualization; motion graphics; children’s book illustration; Flash websites; and games.

Question: Can we trace a line from traditional to contemporary art?

Alexander Daniloff: I don’t think we can say anything without falling into controversy, even me. I have a traditional view and prefer artwork that speaks for the artist or period. I can’t explain what contemporary art is, or at least what it’s meant to be. Yes, you can trace a line from traditional to contemporary art, but not a straight one. Perhaps it is a parabola that goes up and then down, or a spiral. We don’t know. All we can say is that the art market has developed, which affects the art itself. With what we call contemporary art, words and explanations are always worth more.

Visual arts have been transformed by articles and critical essays; meanwhile, the works themselves have become mute. In the theater, the curators and critics have taken up the front row. This is my view on the difference between contemporary and traditional art.

I personally prefer art measured in human dimensions: art that whispers and doesn’t shout, art that covers me and makes me fly and does not crush. But I must confess, some of these modern things attract me; for example, mural painting (graffiti) and abstract things.

Alexander-Daniloff in What Do We Really Mean By Art?
Trips to real and mythological ages and changes in theatrical costumes and decor are a part of Alexander Daniloff’s style. The style gives his paintings a special grace, showing both the festive and dramatic sides of life on stage. The style is also infused with a sweet irony that shakes up the painting. Precision, flexibility in design and subtle color harmony free up the artist’s movement between different artistic conventions, playing with light and shadow, line and color.

Jonathan Ball: Yes, most definitely [we can draw a line from traditional to contemporary art]. Many of the same techniques are used, just in slightly different ways and with different tools. The same principles apply, however you create art.

I see a line particularly running through the stylized form of Japanese art such as Hokusai and contemporary stylized graphic illustration.

Question: Compared to the evolution of traditional art, how would you describe the development of digital (or new media) art?

Jonathan Ball: Digital art has obviously developed much more quickly than the thousands of years of hand-crafted techniques. A whole generation has been brought up on “Photoshop” and other tools, whereas earlier generations used pen and pencil.

Still, I believe that digital art is still in its infancy. Despite what seems an enormous amount of progress in computer hardware, general computing and even the computing available to most design studios is just not fast enough to easily reproduce art on the scale and level of detail possible with traditional media. Go to any national gallery, and you will see works on an enormous scale. Try reproducing a 10-foot canvas with the resolution of a hand-painted work of art in a 3-D program, and you’ll find it can’t cope. In fact, most programs will struggle to render a detailed picture at, say, 300 DPI at just A4 size.

While a painting may appear to be just splotches and blobs, when you go up to it close, the patterns are beautiful by themselves, full of color, intensity, saturation and texture. Go close to digital art or a TV screen and you’ll see a mess of distortion and artifacts.

Once screen resolution is on par with printed media, and once computer technology allows us to easily create large, highly detailed work at speed, then digital will have caught up to traditional media.

Most digital art of the early-21st century is designed to be viewed on low-resolution devices. Much of this art will be obsolete when higher-resolution screens and devices are developed over the next century. And much that has been stored only on hard drives will be lost forever as drives fail and websites close or are redeveloped.

I find it a shame that so much great work is reproduced at such a limited resolution and scale and not stored in a way that keeps it safe for future generations.

Jonathan-Ball in What Do We Really Mean By Art?
Jonathan Ball

Question: Tell us about your favourite art movement.

Jonathan Ball: Difficult, because I like so many styles. But I find that if I’m in an art gallery, I love contemporary painting because it holds so many surprises and is less predicable than previous eras.

I love quirky contemporary illustration, particularly low-brow art forms and gothic-mythology mixtures.

3. Aesthetics In Digital Art

Moving into the mid-20th century, the conceptual transformations that arose from new approaches to art led to a crisis of aesthetics, as was manifested in new art media.

Alberto-Cerriteno in What Do We Really Mean By Art?
Alberto Cerriteño

While borrowing many of the conventions of traditional media, digital art can draw upon aesthetics from many other fields. But various criticisms have been made against it: for example, given the variety of tools at their disposal, how much effort do digital artists really have to put into their work?

I asked Jan Willem Wennekes, also known as Zeptonn, for his opinion on this. He is a freelancer who specializes in illustrative design and art direction, with a focus on eco-friendly and environmental projects.

Jan Willem Wennekes: The question seems a bit ambiguous. On the one hand, there seems to be a question about the effort required to create digital art. That is, some people may think that using digital media to create art is easier than using traditional media. On the other hand, there seems to be a question of whether digital art is an art form in itself (or maybe at all?).

With respect to the first question, I think that working with digital media (mostly the computer, mouse, Wacom, scanner, software, etc.) does not have to differ from creating art in other media. The computer and all the tools generated by the software are still what they are: tools! You have to master those tools just as you have to master any other tools. For example, if you do not understand how light works, you won’t be able to create artwork with correct lighting, and so on. If you don’t know how the pen tool works in Illustrator, then you won’t be able to create good artwork, just like a traditional artist who doesn’t know how to use a pencil. You still have to master color theory and all the other things that are essential to creating a good or stunning piece of art. In that sense, it doesn’t matter whether it is a painting or a print. Simply put, you have to master all the tools and theory, just as you had to master them before. And the better you master them, the better your artwork can be.

Jan-Willem-Wennekes in What Do We Really Mean By Art?
Jan Willem Wennekes

Jan Willem Wennekes: Now, one can wonder whether digital art is a distinct art form. This is a difficult question and not easy to answer. I think the difference here is that “digital art” is more of a group term than just one art form. There are many types of digital art: some look a lot like paintings, some look like photographs, some look like drawings, while others appear quite new and unique (e.g. computer generated artwork). So in a sense, digital art consists of both overlapping and new kinds of art. Photography was once viewed as a competitor to portrait painting, but in the end it became its own art form, with many directions and fields of interest. In effect, painting benefitted from the rise of photography, and each added to the other and renewed interest in art in general. Nowadays, we don’t view photography as a competitor to painting; we see them as different media, with different benefits and drawbacks. I think the same holds for newer digital art forms.

Jan-Willem-Wennekes-11 in What Do We Really Mean By Art?
Zeptonn’s work can be described as positive, eco-friendly, simple, wacky, colorful, fantastical and illustrative. It is distinguished by its hand-drawn elements, sweet patterns and curvy line work. And you might find a creature popping up here and there. For more, visit his website or follow him on Twitter.

4. Art As We Know It Today

The 20th century was a turning point in our conception of art, which is mainly why contemporary artists frequently reach for new concepts, break with tradition and reject classic notions of beauty. All these factors have given birth to abstract art. The artist no longer tries to reflect reality, but rather tries to give expression to their inner world and feelings.

The old definitions of art have become obsolete. Today, art is an evolving and global concept, open to new interpretation, too fluid to be pinned down.

Dan-May in What Do We Really Mean By Art?
Dan May

I interviewed Nate Williams and Travis Lampe to explore new elements of contemporary art and to answer the question, what new elements and principles are evident in today’s art.

Nate Williams, also known as Alexander Blue, is an artist, illustrator and designer from the US. He has extensive experience in various facets of the illustration industry, and he has a wide variety of clients. His illustrations are aimed at both adults and children. He has also worked in the advertising world and in publishing, music, fashion, textiles, home decor, merchandising, posters, press and social expression.

Travis Lampe is an illustrator who currently lives and works in Chicago. He worked as an art director in advertising. After a two-year stint in Warsaw, he returned to Chicago and tried his hand in the art and illustration scene. He enjoys making art and toys, and he has shown in fine galleries throughout the US and in Europe.

Question: How much influence does new media have on your work? What is your relationship to digital art? Do you consider yourself a traditional artist?

Jonathan Ball: It has a lot of influence. I think because of my knowledge of programming, it influences my work. I think in terms of modular parts and variables.

Nate-Williams-1 in What Do We Really Mean By Art?
Nate Williams: “My definition of art is play, be curious, discover, express.”

Travis Lampe: I’m a traditional artist—I work in acrylic—but I wouldn’t be able to operate without computers. When I design toys, for example, I use computers to scan and create vector art from my original paintings. I don’t create digital art in and of itself, though. Purely digital work can be beautiful, but for me there is value in having a tangible and unique product, as opposed to a set of data.

No doubt, though, I’ve been influenced in my traditional art by being exposed to ideas that I’ve discovered on the Internet. It’s a great place to find old-timey cartoons, for example.

Question: Travis, if the purpose of art was once to create beauty and to imitate nature, today the concept has evolved dynamically and is constantly changing. In your opinion, how has the Internet and new ways of communicating influenced the development of visual arts, its conceptual premises and its physical execution?

Travis Lampe: The Internet most influences the development of art simply by exposing more people to more art. Unfortunately, a lot of it is really, really crappy, as you would expect. Anyone with a ballpoint pen and digital camera can post their art for the world to see. And that’s okay. I think the cream just naturally rises to the top. Ideas are still what’s important, far more so than technical skill, and the Internet hasn’t changed that at all. I’ve seen a lot of ballpoint pen art that I really like.

As far as physical execution goes, it’s evolved the way it always has: as soon as a new medium arrives, there’s a scramble to use it in new and creative ways. I don’t know that the Internet has affected the physical execution of art so much as computers themselves have. It’s just made it easier to disseminate.

Travis-Lampe in What Do We Really Mean By Art?
Travis Lampe

More communication is great for PR and in that way is a great help to artists. And more communication should equal more ideas bouncing around, which ideally should result in better conceptual thinking. But most of the “communication” is fluff. And I think there’s a threshold beyond which the constant connectedness ceases to be helpful. Artists need some disconnected time for the creative ideas to coalesce. Successful artists are the ones who are disciplined and able to balance all of this, I guess.

Question: Would you say that art and the new, social Web have a connection? Are social media a viable way to improve artistic communities?

Jonathan Ball: Of course. Art has a connection to anything in our environment that influences its creators. As far as social media goes, I think being able to communicate better is always an improvement.

Travis Lampe: Social media is great for sharing results; it’s allowed me to connect with and see the work of other artists who I admire on a constant basis. And it makes working long hours in a basement a bit less of a lonely enterprise when you can show the world what you’ve done the moment you’ve finished. On the other hand, social media are a constant distraction. When I want to get work done, I disconnect. So I love it and hate it equally.

5. New Media Revolution And Its Relationship To Artists

Visual arts comprise many forms of art—painting, drawing, sculpture, music, literature and performance art being the most widely recognized. However, with the technological revolution, others forms have emerged.

Leandro-Lima in What Do We Really Mean By Art?
Leandro Lima

So, what exactly is the relationship between these new forms of expression and contemporary artists? Max Kostenko and Pino Lamanna kindly answered my questions, giving us insight into the topic.

Max Kostenko is a Russian illustrator. He specializes in 3-D digital illustration and character design. He works as a freelancer for many Russian studios and agencies worldwide, such as Kotetkat and Lemonade.

Pino Lamanna, also known as SchakalWal, is an illustrator and graphic designer from Germany who specializes in corporate design, character design and typography.

Question: Please introduce yourself and your work. How did you get started in the field?

Max Kostenko: My name is Max Kostenko. I’m 23 years old, and I am an artist and illustrator from Moscow. I have been doing illustrations for about one year. Before, I worked for three years as a Web designer in various Moscow Web studios.

Pino Lamanna: Hi. My name is Pino Lamanna. I am a 27-year-old half-Italian, half-German digital artist living and working in the city of Wuppertal, in Germany.

I currently work as a freelance designer, specializing in unique branding, handmade typography and character design. Most of my work is highly influenced by graffiti and street art, old-school cartoons and the music I listen to. My aim is to create stylish, unique and useful designs with an urban twist.

I took my first steps as a designer as a little kid, drawing comic strips with my own superheroes. Later, in my teenage years, I became interested in the graffiti and street art movement.

The first thing that attracted me to digital art was photo manipulation. Through that, I was introduced to Adobe Photoshop and several digital art communities. Later, I switched my focus to illustration, branding and typography, which I think suits me best.

Question: Tell us a bit about your artwork. What software do you use? How hard was it for you to learn?

Max Kostenko: In my work, I use only Photoshop. I started studying it when I wanted to start working as a Web designer. But as years passed, I understood what I really wanted to work on, because I found the job of designer boring, and so I started drawing some silly little men; that is, I tried to understand many of the principles by drawing them. In Photoshop, I do not use many tools to make my work look artistic—I just choose my normal round brush and start drawing.

Max-Kostenko in What Do We Really Mean By Art?
Max Kostenko

Pino Lamanna: Even though for the kind of work I specialize in, working in Illustrator or other vector tools would be common, I create most of my work in Photoshop. That might sound strange, but I can’t help it. There isn’t much of a difference at all, because Photoshop has vector editing capabilities, too.

Once I am happy with my design, I copy and paste to Illustrator to create the final output.

I cannot say that mastering Photoshop was difficult, because working in it has always been fun. The very first steps were kind of hard, though. I remember being overwhelmed by the gazillion options. It was learning by doing. I did a lot of tutorials, which I found online, to become comfortable with different techniques and methods.

Learning Illustrator wasn’t hard, either, because I was already used to the Adobe interface and I knew a lot of stuff about vector editing from Photoshop. And of course, there are tutorials for Illustrator everywhere.

Question: What is the main inspiration for your pieces? And how has the digital art community influenced your work?

Max Kostenko: My inspiration comes in different ways: sometimes after watching a film, sometimes from something I see in the street or on public transport. I always look for the work of known artists: it stimulates me to grow and improve my skills. I became acquainted with digital art through the Society of Digital Artists, and the first thought that came to mind was, “I could never draw like that.” But then I gradually drew things like leaves. Still, I’ve only began to walk the path of the artist and still have much to learn.

Pino Lamanna: Inspiration can come from anything, whether a cloud in the sky, an old movie or a box of sushi. My style has always been influenced by urban culture, music, movies, cartoons, etc. As a matter of fact, the digital art community has influenced my work a lot. Thanks to the Internet, I’ve gotten to know many interesting people and designers from all over the world, and in the end those communities have helped define me as an artist.

Question: How would you describe your creative process? What are some of its most important aspects?

Max Kostenko: The most important thing is a basic idea, I guess—a plan. If you have one, you can start drawing. Sometimes I get in my head a general sense of the result, and so I begin with the big shapes, placing them in a composition. When I’ve got the result, I start to color it, the most difficult thing for me. At the end, I complete the final details.

Pino Lamanna: I always have pen and paper by my side, even in my bedroom. You never know when ideas will pop in your mind, and you better save before you forget.

Brainstorming and sketching are crucial for me. If ideas pop up while working on my computer, I’ll usually put aside all the stuff I am doing and try to directly realize that idea in a design.

Pino-Lamanna1 in What Do We Really Mean By Art?
Pino Lamanna

When working for clients, research is very important. Without a detailed brief, finding a design to match the client’s needs and expectations can be tricky. Therefore, I always ask clients to fill out my design questionnaire.

Another important aspect of my creative process is patience. Often, I find a good flow and can’t stop working on a particular design until I am happy (and exhausted). However, before publishing, I always force myself to wait till the next day. I’ll often find things that need to be changed, tweaked or tuned up, when I am looking at my work with a little distance.

Question: Have you ever gotten into traditional art? If so, tell us something about that experience.

Max Kostenko: The thing is, I wasn’t trained in an art school. But since childhood, I have liked drawing and thinking of stories. I’ve always drawn with a simple pencil. After school, I tried to enter the Automotive Design College but was rejected… even having passed the drawing exams marvellously well.

Pino Lamanna: As mentioned, I was into comic drawing as a kid, and I trained hard to create the world’s most powerful superheroes and villains. I can remember only a single character from these days: Super-Frog. (I know that’s lame, so don’t be mean!)

Later, I got some experience with graffiti and street art. Never made it to the All City Kings, though.

So, I don’t have much experience with traditional art, because my main focus for the last couple of years has been on digital.

Question: How would you define your relationship to traditional art? Who is your favourite artist?

Max Kostenko: I often visit the Tretyakov Gallery, and I can’t believe people could draw like that on a canvas centuries ago. I am surprised every time by the talent of classical artists.

I like Russian landscape artists. Vasily Polenov and Ivan Shishkin are top in skills for me.

6. Communication And Self-Promotion In The New Web

The artist’s life is not as simple as it may seem. Standing out from the crowd is not easy, which is why self-promotion is essential.

I queried Bob Flynn, Alex Dukal, Jayme McGowan, Chris Piascik and Irma Gruenholz for their thoughts on the art of self-promotion; on how to spread ideas, concepts and a deeper vision of their work; and on the impact of this kind of marketing.

Bob Flynn is a cartoonist who is interested in illustration, comics and animation. He currently resides in Boston, where he works as an animator and game designer for the children’s media company Fablevision. His work has appeared in publications such as Nickelodeon Magazine and Improper Bostonian.

Alex Dukal is an illustrator who was born and raised in Patagonia, Argentina. From a very young age, Alex has published comics and illustrations in the legendary Fierro magazine.

Back in his home town, he dedicated some years to painting and teaching illustration and comics. After working for some time mostly in Web design, Alex decided to get back into illustration. At the moment, he’s working mostly on children’s books and creating illustrations for design agencies.

Jayme McGowan is a freelance artist and 3-D illustrator based in Sacramento, California. She works with cut paper and posts her artwork in her project journal.

Question: Do you have a portfolio website? And which social networks are you currently on?

Bob Flynn: I have a website, but I’m very lazy about updating it. And I find I get less traffic there compared to, say, my blog, which is infinitely easier to add to. A portfolio website is more of a structured presentation, which is great for art directors and people looking to make a professional assessment of your work. It’s often static, and it offers little to no opportunity for two-way communication. You get little to no interaction with the art community except for a friendly email or two a month. A blog is dynamic and opens that dialogue. I now think of my website as a hub to help direct people where they need to go.

In addition to having a blog (my primary point of communication), I’m currently on Twitter, Facebook, Flickr and, most recently, Google Buzz. Is being on all of them worth it? Probably. I’ve found that you really can’t be in too many places—though there is certainly a sanity threshold. A different audience traffics each social space (with some overlap), so the way to reach the most people is to be everywhere.

Twitter is currently the best place to track people in the industry and to communicate with your peers—but not everyone is there. Facebook is where most everyone else is, although juggling friends, family and business is admittedly cumbersome. You have to weed through the clutter (I’m less a fan of its increasingly unwieldy interface), but you can certainly get traction over there. Flickr is the most straightforward: upload artwork, leave and receive comments. Buzz is new to the game and still hasn’t developed an identity of its own. But it’s another place you should probably be.

I can track most job leads and connections back to a tweet here or a comment there. Not to mention great friendships. Simply by spending time in these spaces, saying “Hi” and participating in a positive way, you really can’t go wrong.

Bob-Flynn in What Do We Really Mean By Art?
Driven by an obsession with off-beat cartoons that are grounded in optimism and tinged with the grotesque, Bob Flynn keeps busy spinning nonsensical creatures into comics, illustrations and animation.

Alex Dukal: Yes, I have had a portfolio online since 1998, and I currently use Facebook a lot, Twitter not so much. I really like Flickr. I used Orkut when it first came out. I tried Google Buzz and did not like it. Every now and then I take a look at Google Wave to see if it’ll ever turn into something interesting. I have a Netvibes account that I hardly use. I have an account on Dribble. As you can see, I like to test new tools.

Jayme McGowan: Yes, I have a website for my portfolio, and pages on Facebook, Flickr and Etsy, and I recently caved and am now on Twitter as well.

Question: Do you write articles for your own blog or for other blogs and publications? Would you consider either an effective way to get your name out there?

Bob Flynn: I regularly post artwork to my blog, and I have written a few Flash drawing tutorials. Simply having an online presence is a good start, but think of the impact you could have by sharing information, ideas and helpful tips. People enjoy reading about process, so document your methodology as you work, and it will make for more interesting posts.

I wouldn’t be in this just to get my name out, though. If you’re all for show and self-promotion, you risk turning people away. Participation is key: I enjoy reading about what everyone else has to say. There’s more value in that, really.

Alex Dukal: I started writing little news on my website using Grey Matter, an old tool for blogging. Then I switched to Textpattern, and finally I separated my portfolio and blog (now in Blogger) as a matter of convenience. In the blog from time to time, I’ll write an article or tutorial. Judging from the feedback I get, I’d consider it an effective method of promotion.

Jayme McGowan: I have a blog where I post images of my work in progress and updates on current projects I’m involved in. I use it to give readers some insight into my process. I think it definitely gets people more involved in my work. Most of the visitors to my main portfolio website were directed there either from my own blog or from someone who did a post about my work on their blog. I think if you keep your blog up to date and post regularly, it will be an invaluable tool for getting your name out there.

Question: What are the challenges of creating a self-promotion strategy? Have you implemented a self-promotion strategy for yourself? Has it worked? If one is starting from scratch, how long does it take for a strategy to start working in their favor?

Bob Flynn: To be honest, I can’t say I’ve ever architected a real strategy. You’re talking to a guy who’s never even sent out a promo card. My approach has been to put myself out there and see what happens. Sort of the like old adage, “Just be yourself”—that’s how you stand out from the rest of the pack. I try to update my blog at least once a week to keep people coming back. Keeping up with your website’s stats is a good way to see what’s sticking (i.e. where your traffic’s coming from and what your most popular posts are).

Alex Dukal: Yes, of course, as a freelance artist, self-promotion is absolutely necessary. I think the first challenge is having something to say, something to show, a reliable portfolio to back up that promotion.

Personally, I placed my bet on a portfolio that shows my best work, something that showcases the illustrations rather than the website interface and that makes it accesible and simple. And then there’s the blog, which allows me to maintain other kinds of contact with people: social networks, forums, contacts database, etc. It’s a big garden; one must water and take care of it every day.

I think a strategy of this kind should be thought of in different phases. And you can’t expect a miracle before six months (though miracles do happen).

Alex-Dukal in What Do We Really Mean By Art?
Alex Dukal

Jayme McGowan: My self-promotion strategy is fairly simple and involves social networks, as I mentioned earlier. When I got started creating a presence online, I came up with a plan by looking at the networks that successful artists who I admired were involved in, and I tried to do something similar. I was fortunate enough to generate interest in my work early on just by posting photos on Flickr and becoming an active member of the Etsy community. Many people who commission work from me say they found me on one of those two websites.

Now I use Facebook and Twitter (and my blog, of course) to keep people posted on what I’m up to. But to succeed in promoting yourself on any of these networks, you have to be truly interested in making friends and business contacts. You can’t just scream, “Hey, look at me!” all the time without giving anything back. I guess I have a subtler approach to self-promotion: let people know what you’re up to from time to time, and trust that they’ll follow you if they like what they see.

Question: Do you regularly submit your work to online galleries? Is that useful for gaining credibility and getting feedback on your work?

Bob Flynn: I created an account on a great website run by Nate Williams called Illustration Mundo a few years back, but I’ve never put my work in an online gallery (or paid for anything of the sort). I guess I view my blog as having that purpose. Flickr is a kind of gallery, though.

Alex Dukal: Not at all to both questions. Ten years ago, if someone invited you to show some of your work in an online gallery, it was cute, flattering. Today, I think we have to be careful, because the selection criteria is often not that great, and one must pay attention to those details as well. If you display your work in the wrong place, it could have a negative result. In principle, credibility should come from the work itself.

Jayme McGowan: I have a profile on Illustration Mundo, which is a great website that functions mainly as a directory of illustrators, not a gallery per se. Honestly, I don’t participate in any online galleries. I’m sure that’s a great way to get feedback from your peers, but I don’t know that it will give you added credibility as a professional. I can maintain only so many Web pages myself, so I try to limit them to the ones I get the most benefit from, those where I believe art directors and buyers might find me.

Jayme-McGowan-1 in What Do We Really Mean By Art?
Jayme McGowan

Chris Piascik is a freelance designer and illustrator who is active in the design community. With six years of professional experience at award-winning firms in New England, he has had work published in numerous books and publications, including the Logo Lounge series, Typography Essentials and Lettering: Beyond Computer Graphics. He currently posts drawings on his website daily.

Irma Gruenholz is a Spanish illustrator who specializes in clay and other materials, allowing her to work in volume. Her work is used in books, magazines, advertisements and online marketing.

Question: Are you an active participant in every social community you have joined? How much time do you set aside to interact in social media? Do you commit to posting new work and personal updates regularly?

Chris Piascik: I stay active in quite a few social communities. I admit that I have joined some that I couldn’t keep up with though! I don’t really schedule time for social networking, although that’s probably a good idea. Instead, I scatter it throughout the day, whether it’s browsing Twitter on my iPhone while exporting a big file on my computer or procrastinating the start of a new project. It’s all about multi-tasking! I think the biggest thing that has helped me with social networking is my daily drawings. I post a new drawing Monday to Friday on Flickr, and from there I post it to my personal website, and those updates flow to my Twitter and Facebook accounts.

Chris-Piascik in What Do We Really Mean By Art?
Chris Piascik

Irma Gruenholz: Yes, I have a blog, and I participate in some social communities, such as Flickr and Behance. Unfortunately, I don’t have much time for a very active presence. I would like to devote more time because it is a good way to keep up with and see the work of other artists.

Question: At the moment, which community is the most valuable for finding job opportunities?

Chris Piascik: I think most of the networks out there have value. I do think Flickr works really well, though. My Flickr page seems to get the most traffic out of all my websites. Flickr is so vast that a lot of people use it for image research. I think my daily updates help my work not get lost.

Irma Gruenholz: Based on personal experience, Behance is a good platform for showing your work to art directors and art buyers. I’ve gotten some work through it.

Question: How important is crafting the messages you send out and keeping your website looking professional?

Chris Piascik: I don’t censor myself that often. I think keeping things honest is a good thing. My work has some personality; much of it has a loose quality—pairing that with a cold or professional Web presence would seem odd. Expanding your social networks requires you to be yourself… just as long as “yourself” is interesting!

Irma Gruenholz: Internet presence is very important for the artist. It is the best way to exhibit your work to the rest of the world. So, keep your website updated, and make it easy to communicate with people who want to follow your work.

Irma-Gruenholz-1 in What Do We Really Mean By Art?
Irma Gruenholz

Question: How do you make time for social networks? Are you committed only to websites from which you can get some professional benefit?

Chris Piascik: I have completely given up sleep. I really just sprinkle it throughout my day. It’s a nice way to start my day while drinking my coffee or eating some lunch. I wouldn’t say that I limit myself only to websites that I benefit from, though my opinion is that all networks help. Visibility is visibility. I use social networking to stay in touch with friends as well, so it’s not strictly business for me.

Irma Gruenholz: I have little time to devote to social networks, so I prefer to focus on communities related to my profession.

Featured Artists

To grasp the meaning of art and how it has evolved over time, I interviewed Alexander Daniloff and Jonathan Ball. To explore the aesthetics of digital art, I spoke with Jan Willem Wennekes, who touched on some important points related to the differences between digital artists and other artists and the nature of digital art itself.

I also feature Nate Williams and Travis Lampe, in an effort to learn more about their work and their relationship to technology, including digital art tools and social media, and to explore the way the Internet influences the development of art.

To better understand the relationship between contemporary artists and new methods and tools for creating art, I’ve interviewed Max Kostenko and Pino Lamanna. I focused on their creative process and professional experience, from their entry into the field right up to their current sources of inspiration.

Finally, I interviewed Bob Flynn, Alex Dukal, Jayme McGowan, Chris Piascik and Irma Gruenholz, asking their opinion of the challenges that artists face when promoting themselves and their work in the new Web, trying to capture their experience with social media and online art communities.

Each of these artists has a particular style and is an active member of the artistic community. As such, they could be a source of inspiration to many. I hope their insights are helpful.

What about you? What does art mean to you?

(al)


© Marilina Maraviglia for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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