Bridging Design and Illustration: Teagan White’s Hands-On Emotion and Meaning

Fascination and respect for nature and its history are intrinsic to Teagan White’s art and design. The attention given to nature’s language also extends to artifacts and mortality, and these realities converge in White’s visual storytelling.

In fact, the boundary between graphic design and illustration is rendered extinct in White’s work. Here she shares her thoughts about being a designer and illustrator, striving to remove the perceptual division between the two disciplines, and, at the same time, drawing the depth of beauty inherent in the world in more ways than one:

Can you please tell a little bit about yourself?
Where are you from? What do you do for a living?
I’m a 20-year old illustration student at the Minneapolis College of Art & Design (currently in my junior year). I grew up in Chicago, which I love and miss, but I’ll probably stay here in the cold but lovely Twin Cities after I graduate.

Most of my attention is devoted to schoolwork, but what time I do have to earn money is divided three ways between freelance design and illustration jobs, sale of artwork and prints, and my work-study job on campus where I tutor other students in software and writing. I hope to make a living on the first two alone eventually.



What is your statement about being both a designer
and illustrator?
I honestly never set out to be an illustrator—I just sort of fell into it. I’ve spent a good portion of my life simply trying to make things look better, or to highlight things I find beautiful, for no other reason than my own enjoyment of them. This eventually led me to drawing and then designing, and when I started posting the things that I made online and people seemed to like them, the rest grew from there organically. My approach to it at this point is still pretty much the same. There are so many beautiful ideas and visual experiences in this world, and in some ways, creating work is a way for me to collect and catalog the best of them, and share with others my perspective in life.



What do you mean by the “perceived gap between
graphic design and illustration” and how are you closing
this gap?
This is a concern of mine partly because, as an art student, I’m limited every day by the necessary division of creative fields into different majors. It can be a struggle to take assignments that are biased towards certain styles and subject matters and turn them into something that’s relevant to the type of work I want to be producing. I think the separation is less severe in the professional world, but the mindset is still prevalent, that graphic design should look one way, illustration another, fine art another… While these definitions are practical on many levels, on others, they are stifling to the growth of every industry. Personally, I don’t see any good reason why an image made in InDesign shouldn’t find its way onto a gallery wall, and one made in paint can’t be used in corporate branding, but these are not commonly considered options. In my own practice, ignoring these perceived boundaries leads me to many results I find exciting, such as the incorporation of typography and graphic layouts into large-scale charcoal drawings. I try to sample only my favorite parts of each field—taking the progressive mindset of a graphic designer without the sterility of execution, the hand-made techniques of an illustrator without the burdens of characters and settings, and so on.



What tools and materials do you use to work on your ideas
and make them grow?
I always start out a piece with a series of sketches, although I really dislike that stage. It’s enormously important, though, as it helps plan the composition and make other choices early on so I don’t run into problems later. But I prefer to move on as quickly as possible to the final image (see progression below), which I can engage more fully with in terms of materials and detail and subtleties. Lately, since I’ve been focusing on traditional mediums instead of working digitally, some type of material study usually comes before I can start on the final, and those can be a lot of fun. My favorite materials lately have been charcoal (both dry and wet), graphite and watercolor.









What makes “natural history, antiquities, and mortality”
as particular influences on you and your art?
This comes back to the act of collecting the things. I’m drawn to and involving them in my work. The work of any good designer, illustrator, artist, photographer, whatever, is usually at its core, an expression of the individual creating it… All the complexity and richness of a human life boiled down to one image that will never do them justice, but it’s a start. In my day-to-day life, I’m drawn to things that look or feel a certain way, and the quoted words are my main attractors. I adore every detail of the natural world, especially plant life and soil and changing seasons; I also am drawn to antiquated man-made objects, anything that you’d describe as “old-fashioned”. I collect them whenever possible, so it’s not surprising that the worn look these things have finds its way into my illustrations as well. Finally, mortality fascinates me from what I guess you could call a philosophical perspective… With my love of nature comes an appreciation for the way that living things are disposed of after death, with such grace and efficiency, that it’s puzzling to me why so many people fear death and are soothed by the idea of an afterlife. My recent work explores decomposition and life cycles in general with the hope that my reverence for the subjects might rub off a bit on my viewers.



How does time factor into your designing and illustrating?
I’m constantly racing against the clock. Between school, work, freelance, day-to-day life activities, and spending as much time as possible with my boyfriend, I don’t really get a chance to have hobbies, or read the ever-growing stacks of books I’d like to get through. But it’s nothing to complain about—I’m enormously lucky to be able to make money doing what I love, and I’m content with my busy life. The time involved in creating work, with the amount of detail mine has, makes it a labor of love, and that’s always going to be worth the accompanying stress and sleepless nights.



What is the most rewarding part of being an illustrator?
I like that I get to be my own boss. There’s no guy with a superiority complex to answer to, and no one to blame but myself when I fail. I don’t like dealing with authority figures, and clients generally treat you as an equal and with respect—they’re hiring you because they like your work, after all. I can choose which jobs to accept, which makes my future alive with possibilities and variety and potential growth. I can’t think of anything worse than being stuck in a career where I perform the same tasks time and time again without any progress in sight.

Was there a part of your work that was particularly trying
and how did you deal with it?
Being in school is difficult at times. I love MCAD and am enormously grateful for everything I’ve learned so far, but there are times when I get very frustrated by assignments with burdensome requirements (it’s difficult to major in illustration when you don’t want to put people or characters in your work) and time restrictions which don’t allow me to be as ambitious as I’d like to be. I’m also constantly flip-flopping between wanting to major in illustration and wanting to major in drawing & painting, neither of which fully encompass my practice, so I make do with taking plenty of classes in both areas. My instructors tend to be supportive and understanding of my perspective, which helps things.

How do you stay creative? Do you draw?
Or keep a journal?
I wish I could say I kept a sketchbook, but unfortunately, I’ve never been able to get into keeping one. I think the biggest reason for that is that I spend enough time in my life drawing, and would rather stay creative by branching out in other directions. Instead, I take a lot of photographs, and make a lot of lists. These are the things I come back to when I’m out of ideas, or even just to improve my mood. They’re sort of just secondary ways to remember things that I experience and want to hang on to, but in some ways they become art forms in themselves, if only for my own enjoyment.

What are some of your sources of inspiration?
I keep my eye on certain websites a lot for ideas—DeviantART and Behance especially. There are also a handful of artists who I completely idolize: Andrew Wyeth, Krzysztof Domaradzki, Matthew Woodson, Sam Weber, and Alex Kanevsky, to name a few. I’m also lucky to have talented friends who I can look to for inspiration and bounce ideas off of. Beyond that, literature is a big influence for me, especially work by JD Salinger and Jonathan Safran Foer.



What is your advice to people who aspire to be
a designer and illustrator?
Let your work be an expression of who you are, not what you think someone wants to see, or a replica of someone else’s style that you think is good. It takes time to develop your interior nature into an external expression that other people will appreciate, but when you get there, it will be more powerful and rewarding than an imitation, which will always ring empty.



How can people see your work and buy it?
Website: www.teaganwhite.com
Behance: www.behance.net/teaganwhite
DeviantART: lostsoulx44.deviantart.com

Buy prints, t-shirts, skins, etc.: www.society6.com/teaganwhite
For purchasing original work, contact teaganwh@gmail.com

Of Brazil and Painting: Hosana Bezerra’s Artistic Expressions of Geometry

Point, line and plane play major roles in Hosana Bezerra’s paintings. His visual compositions show his passion for the geometry of natural and urban settings and the environment-at-large. They also show his love of Brazil, its cultures and landscapes. Before his focus on painting, he worked as a gardener and signage designer which remain strong influences on his work. Here he shares his thoughts about becoming a painter and the humanity that comes with it:

Can you please tell a little bit about yourself?
Where are you from? What do you do for a living?
First, I would like to thank Nate Burgos for this opportunity. It is my pleasure to answer his questions.

I was born in Recife. Recife is one of the largest cities in the Brazilian Northeast, and is known mainly for its beautiful beaches and the colonial architecture. Recife’s old downtown is one of best-preserved in Brazil, with historical heritage. I left Recife 20 years ago looking for better opportunities. I went to the capital, Brasilia, and have been living here since then. Nowadays, I make a living out of painting.

What is your statement about being a painter?
I describe my art as a research project. My work comes from that research and I use geometric elements to convey my ideas, emotions and visions.

What tools and materials do you use to work
on your ideas and make them grow?
I am a perfectionist when creating colorful shapes and lines on the canvas. I usually start with sketches to work on rough ideas. Then I use a large compass (below) to create the contours and round shapes in the canvas. I had to create that compass from scraps since there was nothing of that size. I also use a ruler and pencil in the process of outlining my drawings on the canvas. The outline (below) is the secret to create my paintings and they provide great precision. People are amazed with the precision of my work and they want to know how I create my pictures without the computer. All are handmade. I don’t even know how to use a computer. The frame of the canvas is made of Marupa/Caixeta Wood. The painting surface is prepared with Elmer’s glue and plastic white paint so that the paint won’t sip through the canvas. This treatment is crucial to enhance the colors I use.


Bezerra’s compass in the news


Outline (above) of the painting “Convergence” (below)



What makes Brazil a special place for you and your art?
Brazil is an enormous country. I came from the northeast, from a state called Pernambuco, where I was raised seeing the cultural folklore and traditions that, most of the times, are very colorful and harmonic. I’ve always been amazed with Brazil’s natural resources and beautiful views. But Brasilia, with a well-balanced architecture and community, is also very special to me. Brazil is a country of opportunities, especially if you want to grow professionally. Many people are coming here these days, from everywhere.


Local newspaper featuring Bezerra in his neighborhood

Why does geometry fascinate you?
Geometry is like the stars in the sky. I look up to the sky and see nature, the size and the equilibrium between the stars. The stars are endless and geometry is like that too. It is very hard to repeat the geometry of things.

You worked as a gardener and signage designer
before becoming a painter. Has gardening
and signage design influenced your work? If so, how?
Sometimes you are well-paid for what you do, but work doesn’t always bring satisfaction. I worked with textiles in Recife, and that industry was not doing well, so had to migrate to Brasilia. I didn’t have much education, especially in the capital where most people have a degree, so I had to start working as a gardener in the neighborhoods of Brasilia. It was a necessity that later became a source of ideas for my art. As a gardener, I was able to observe nature. Later, I also worked washing cars to make a living and that’s where I discover the art. I learned that there were art galleries inside the house of representatives and that was pivotal to realize I could also do that. As an artist, I do what I want to do, and everything contributed to become an artist.

How does time factor into your making of paintings?
Time is important. But more than that, it is about emotion. To be an artist, you need to be very sensitive. Nobody is an artist because she or he wants to. She or he needs to really like it. I don’t really like to paint under pressure, but if someone commissions a picture of 1 x 1.5m, it would take me 4 days, or at least 3 days, working from 7 A.M. to 7 P.M.

What is the most rewarding part of being a painter?
The most rewarding part is of being a painter is the public, those who appreciate my work. My life was very simple while growing up; my parents were manual workers. Today, I am extremely happy with what I have achieved. I am most rewarded with the compliments coming from friends and those who appreciate art. It is very rewarding, even more than selling.

Was there a part of your work that was particularly trying
and how did you deal with it?
It was very difficult for me to start my career as a painter. But I was determined to paint. I started with paint donated from friends and using scrap wood to create a painting surface. When I started, I was washing cars and I had to divide my time. After my first exhibit in 2003, people started asking for more pictures and that was the incentive I needed to continue. I stopped washing cars, not knowing how to make money, but was able to focus and eventually sell my work. I was not thinking of the commercial side of it, and I was not an adventurer. I was simply trying to make something that I loved. These days, things are much better. I have someone who builds my frames and I can afford to buy my paint.

How do you stay creative? Do you draw?
Or keep a journal?
First, you need to be good with other people. By living well you can find inspiration and be creative. I find happiness in my work, and I hope my work transmit happiness and organization. My life and art are very organized and I try to keep that way. In my atelier, I have a notebook with sketches, but sometimes I create new forms, shapes and colors directly on the canvas. It just happens!

What are some of your sources of inspiration?
There are many sources of inspiration in my work. Brasilia—its roads, architectural contours, monuments and artists such as Rubem Valentim and Athos Bulcão—was my initial source of inspiration. The northeast culture (the colors, regional flags, the Carnaval dresses and the artist Romero Britto, who paints rich, colorful pictures) is also a wonderful source of inspiration. But I have created my own style, and I can apply that style to other areas or themes, if you will. Adriano Galvao commissioned a painting about the city of Chicago, which is an amazing place, as far as I can tell, just by looking at pictures and books. The picture I created, “Marinas of Chicago” (below), was inspired by the boats of that city and the environment around it.



What is your advice to people who aspire to be a painter?
In life and art, you need to be persistent. But first, you need to have fun with it and you need to like it. Second, you can’t think of it commercially. Third, if it is something you love, you should never give up, especially if it is a dream you have. There is always someone who will help you along the way.


Bezerra shows his painting “The Four Elements” to Brianna Sylver of Sylver Consulting and who is a promoter of the painter’s work

• • •

Big thanks to Adriano Galvao and Brianna Sylver for sharing their enthusiasm of Hosana Bezerra and his art, especially the painting “Marinas of Chicago”. Particular thanks to Galvao for interviewing Bezerra in Portuguese and translating it.

• • •

Listen to an audio version of this interview in Portuguese.

Design Feaster’s Highlights of 2010

Like 2009, 2010 was another ambitious year of creativity. Here are my picks of people, places and things that proved most memorable for me:

Everyone
To echo my first highlight of the last two years, I commend all those who strive to get things done, who aim to do good work and practice full-time integrity in these tough economic times. Even in the toughest times, creativity remains charged, and sometimes more so. To Gapingvoid’s Hugh MacLeod, “Art with purpose. Work with purpose.”


Photograph by Frau Kuchen

Growing and Learning at The Prinzessinnengarten
Highlighted in a Business News Report by Monocle magazine, Robert Shaw, a documentary filmmaker, and Marco Clausen, who worked in bars, dove into their gardening project with little knowledge of the field—but this didn’t scare them. Passion drove the project: they honed in on an unused space in the center of Berlin and transformed it into an urban garden. A gutsy move commanding admiration. What makes it impressive is their undeterred drive and commitment to succeed—despite a lack of related experience, as Shaw admits, “We’re not gardeners at all.” To also quote one of the garden’s visitors and participants, Jonathan, “No one’s an expert.” Shaw’s and Clausen’s urban garden project is for everyone.



The Scout’s Video Trilogy about the Joy of Creativity
At The Scout, a “lifestyle and design-conscious site” about cultural experiences in New York City, a delightful set of short documentaries is dedicated to craft. The first is an interview with the brother-duo Billykirk who make handmade, leathered goods. Architectural and interior design firm Roman & Williams is featured in the second, and chocolate-makers The Mast Brothers (above) are featured in the third and final installment. Each story is a champion of certain principles that ring true: size doesn’t matter in making good things; shared attitude is critical; achieving the impression of “well-made” is hard work. From writer Raymond Carver, “Art doesn’t have to do anything. It just has to be there for the fierce pleasure we take in doing it.”


Photograph by Joey Roth

Joey Roth’s Ultra-Simple Poster “Charlatan, Martyr, Hustler”
Industrial designer Joey Roth believes in making “products that push boundaries now and remain valuable for years.” This belief is demonstrated in his poster “Charlatan, Martyr, Hustler”. It’s part info-graphic and part op-ed, but 100% motivational. It visualizes the type of role model and co-worker in a stripped-down way. From walk-to-talk and bark-to-bite and vice versa, it’s crystal clear which type of person you aspire to become and the type of people you prefer to work with.

Lists of the Female Mover-and-Shaker Varietal
“A Field Guide to The Female Founders, Influencers and Deal Makers of the New York Tech and Media Scene” is a template for every city, no matter the size. Chicago’s all-female collaborative Quite Strong created and now sustain the “Lust List”, a growing serving of “quite talented and creative ladies.” The focus is on ladies who are passionate about design, business and technology and revel in these worlds.


Photograph by Reuben Stanton

“Time Flies” iPhone App Maker’s Open Process
Once I viewed the blog by Reuben Stanton, creator of the witty Time Flies app for the iPhone, I was smitten with sketches. Stanton shows his conceptual wares in wireframe after wireframe, for software features and apps he’s noodling about. Sharing these moments of process is just as rewarding as sharing the final product.

What are your Design Highlights of 2010?

As you think about it: Thanks for visiting and reading, and have an excellent new year of crushing it, rework and making ideas happen!