Original Art Works.

Apr 15

Bettering Lettering: Goes Way Beyond Comic Sans

Scott Hull Associates artists share how an infinite variety of feelings can come out of 26 measly characters.

“Type has always been my passion. When I was a senior in high school, I used to steal my older sister’s type specimen catalogs (she was a graphic design student) and use it to draw posters mimicking the endless styles of type. Our local Kroger store even had me painting their front windows and mirrors in the meat department with ad specials and holiday messages. When I went to college, I was introduced to the craft of typesetting and ligature design, so when I graduated as a designer, I treated type in a more formal, classic Bauhaus style.
- Lisa Ballard

Lisa Ballard from Scott Hull Associates lettering

“Few things can brand a product, business or service like a custom hand-lettered logotype. Illustrative lettering is the perfect balance between design sensibilities and illustration. A unique personality and identity can be imbued from illustrated letterforms that a standard typeface could never achieve.” – Von Glitschka

Von Glitschka from Scott Hull Associates lettering

“I always feel like the odd man out in illustration cause I never planned on being an illustrator. In college, I wanted to make logos, brochures and even brand guidelines. So, when I stumbled into the world of illustration, I still approach things with the mindset of a graphic designer. Type is second nature to me, so I always want to fine excuses to use it in my illustration. It might not always be lettering, but even some smart selections of a few classic typefaces can really make an illustration sing.”  – Mikey Burton

Mikey Burton from Scott Hull Associates lettering “I love the natural visual play that exists between words and images. Reading and writing was my gateway to drawing. Some of the first images I ever drew were inspired by pictures that formed in my mind while reading a story that I loved. I respect the power of and relationship between words and images. It only makes sense that in my work one of my favorite things to do is visually interpret the mood or amalgamate the literal meaning of a word into unique illustrative lettering.” – Dani Crosby

Dani Crosby from Scott Hull Associates lettering

My type designer friends would laugh if I called myself a letterer, though being an illustrator who is also a designer it is natural that I apply the two. There’s a running joke with Sagmeister alumni that if the type is made from something else it’s too “Sagmeistery.” These visual trends come and go but what remains a playful tribute to our ability to customize, experiment and create.- Mark Pernice

Mark Pernice Lettering from Scott Hull Associates http://scotthull.com/artists/mark-pernice

“I’ve always been drawn to design, typography and art. My years spent as a designer and art director allowed me to explore the connection between them on many levels and ultimately informed my approach to illustration. I love to return to the play between the shapes and forms of type and the organic nature of illustration. Their combination offers up never ending possibilities.” – Lorraine Tuson

 

Lorraine Tuson from Scott Hull Associates lettering

What the illustrative lettering artist brings to the table is the recognition of type as art. Once upon a time, all letterforms were created by people who could draw. So rather than assembling and contorting computer generated fonts, as the modern designer does, we approach the lettering design with type’s history in our DNA and the drawing ability to create a unique piece of lettering art.
- Mark Riedy

Mark Riedy from Scott Hull Associates lettering

It never ceases to amaze me how many possibilities there are with hand-lettering. It’s just 26 characters, but you can get such a different feeling from a bold, quick stroke versus a thin, tidy one. Illustration doesn’t have to stop with an image. – Penelope Dullaghan

Penelope Dullaghan from Scott Hull Associates lettering

Lettering has always held a certain kind of hidden magic for me. Being a bookworm from an early age, I’ve devoured countless books, letting type subtly mingle together to create stories and ideas on the page. The ideas and pictures that combined in my head were more important than the type on the page. But now as an illustrator my role with words has evolved. Word and image don’t need to co-exist like an arranged marriage or fight for dominance– the lines are blurred and personality can also shine in letterforms and images alike. My voice becomes stronger the more I play with both, and realize the countless possibilities. – Meg Hunt

Meg Hunt from Scott Hull Associates lettering

“Typography is making language visible. I love being able to amplify a concept and pay off the content with letterforms. I see illustration and typography as being completely intertwined.” – Andy Hayes

Andy Hayes from Scott Hull Associates featured lettering

Apr 10

Von Glitschka Tags the Term “TypeFace” Illustration

Von Glitschka from Scott Hull Associates Alfred Hitchcock TypeFace

Believe it or not, it’s no longer what is your elevator speech but what is your elevator image.

Von Glitschka was challenged with just that, when asked to illustrate a portrait of Nikola Tesla using hand-drawn type and keywords to express a “TypeFace” Illustration of the inventor.

Now comes the fun part. Watch as Von creates his “TypeFace” portrait of director Alfred Hitchcock, armed only with an iPad and Adobe Draw for sketches. He then moves the artwork into Adobe Illustrator building the color and shading until the unveiling in its final vector form.

Want to learn more about creating hand-drawn letterform “TypeFace” with Von?

Click here

Apr 3

Lisa Ballard: My Year of Creating Inspiration

Inspiration from Lisa Ballard

Lisa Ballard from Scott Hull Associates with Kokomo ScuptedMOD

At the beginning of 2015, I declared (to myself), that this would be my year of → C R E A T I N G.

So, here is a style exploration that I really had fun creating! Kokomo is my very fluffy cat that falls into all of the cat stereotypes when it comes to attitude. Lately, I have been doing a lot of Sculpey prototypes and was in that mode. I am intrigued by the idea of illustrating in 3d and like the idea of using my fabric patterns as backgrounds. Combining illustration with photography is very on trend with everything you see on social media. The MOD style of this 3d illustration also falls into my L I S A Lounge brand. This would make a really cute shadowbox framed gift product. My next step will be incorporating more sculpted elements to create a visual story.

Stay tuned for more of this style. Oh, and here is the real Kokomo ↓

Lisa Ballard from Scott Hull Associates with Kokomo portrait

Mar 20

Scott asks the question: When Did You First Start Drawing?

Penelope Dullaghan from Scott Hull Associates Tantrum

When did you first start drawing? When did you first know that you were meant to be an artist? Do you believe destiny was involved? This is the question we posed to our artists for this month’s feature.

There is a common vein that runs through all of the Scott Hull artist’s earliest remembrances….they all knew at a VERY young age they were meant to illustrate. It was instinctual, a gut feeling. A way of life they felt viscerally led to follow. And follow it they have—straight to a successful career in a job we all would hope to have. A job that fulfills their deepest passion.

Lisa Ballard My first memory of artistic accolades was in 2nd grade. My teacher Miss Dillman submitted my first work of art, which was the Statue of Liberty, into a coloring contest and I won first place: a $50.00 savings bond. (I still have it! Like the first dollar bill that a bar makes.) I was presented the award at a ceremony that my parents and my teacher attended. I was hooked from then on.

My favorite part of any job is actually getting it. It is always a competition and there is no better feeling than someone recognizing your talent and saying that you are the best one for the job.

The biggest inspiration that got me into graphic design was my oldest sister Kathy, who went to UC DAAP six years ahead of me. When I saw what she was doing there, I knew it was what I wanted to do (I was in 8th grade at the time).

Andrea Eberbach
I knew when I was 8 or 9 I was meant to be an artist. My fourth grade teacher drew a rabbit on the blackboard. I drew the same exact rabbit on my paper. I had an epiphany in that moment and realized–I was an artist! From that point on, there has been many influences artistically; my first was C.W. Anderson, for his beautiful art depicting horses. I also love Gauguin, Paul Klee, Alex Katz, Andy Warhol, the list goes on and on. It’s a very eclectic mixture. I don’t necessarily believe in destiny …I believe in following and molding your inclinations…. when you are on the path of your life, details unfold.

Larry Moore When I was a kid, maybe 8 or 9, my brother was in college and was studying art. He was quite good and was my oldest brother, so I wanted to be like him and took up the drawing thing. He went in another direction and I went with art. It was pretty clear from the beginning that this was my life’s choice. Lot’s of positive feedback and encouragement from family and friends kept my interest and focus on art. Another factor was my dad who worked in the space program introduced me to an illustrator who worked for N.A.S.A. He was doing a rendering of what the LEM and astronauts would look like when they were on the moon. That further clinched the deal.

I don’t believe in fate, destiny or that life/God/universe is trying to teach us something. I believe that we are generally intelligent enough to learn lessons from what obstacles are placed in our path. Too bad the lessons don’t transcend to the next generation. However, I am grateful every day for what I have and the opportunities that I have had that many, many haven’t had. Luck of the draw, I guess.

Geoff Smith I knew I wanted to become an artist –illustrator when I would draw Hot Wheel cars, then I would show my friends and they would play me 3¢ a piece to gave one for themselves.

Kind of like now… except I’m not in the third grade.

John Maggard My interest in art was not gradual, nor a lightning blot — it just always was. There was never a time I can remember not drawing, or not wanting to draw, and/or meant to be an artist. I do remember thinking as a very young kid (probably while I was in school one day) how cool it would be to be in jail and have nothing else to do but draw…I have since revised that view for any number of reasons.

I saw the wildlife artist Ray Harm at a state park somewhere in KY while camping — a huge memory and influence, if for no other reason than to show one could make a living doing this, but his paintings were and are very cool. I drew and painted birds the rest of that summer — the more detailed the better. John Negy also had a painting show on TV that I never missed, predating the happy little trees to come later.

Then came the comic books, which became an obsession around 1963 when I discovered a secret cache belonging to my cousin, and just before my next obsession named the Beatles. In the Comics world, Steve Ditko was king. I also followed Jack Kirby, Gene Colin, and Bob Kane. Life Magazine proved influential to lots of us young artists, with their articles on the body and other scientific subjects being so spectacular. I wasn’t looking at a lot of fine artists at the time, but in looking back always responded to Grant Wood and NC Wyeth, their art was everywhere. Everything else was in museums and not cool until sometime in college — what a moron I was.

I think your destiny can be consciously changed, so maybe that makes it something else.

Von Glitschka When I was 5, I won a “Hot Wheels” coloring book and realized if I did cool art I got cool toys. Nothing has really changed since then. I credit comic books to part of my younger influence, and it has been a steady stream of creative energy since then.

Mark Riedy It was in Kindergarten. The teacher broke out the “colored ” chalk, which must have been a big deal in 1962. Each student had to draw an entry in a parade. She must have had some foreknowledge of my talents because I got to draw the lead entry– a man on a horse. Some years later, Readers Digest hired me to illustrate a story about Roy Rogers, a man on a horse. Good thing I practiced ahead of time!

Mar 18

Mikey Burton Joins TenThousand Hours Talking About Art & Commerce

A podcast interview

Scott Hull Associates Mikey Burton photo

Excited to share a podcast with Mikey Burton joining Grant and Vince to talk about the nature of art & (I would say “with” or “loves”) commerce—what’s the balance between commercial work and purely “artistic” work? Can they live happily together? Are they directly opposed? Business, art, what?!