Ricardo Bessa by Sarah Kuhn

Ricardo Bessa is a 26 year old Portuguese freelance illustrator that’s currently working out of London, England. He obtained his Bachelor’s in Art and Multimedia at the University of Lisbon in Portugal and his Master’s at Kingston University in London. Though he claims these places did not necessarily influence his style, but did shape him more as a person and provided him opportunities to learn.

He’s been commissioned by several different kinds of magazines, such as Wired Magazine and Cricket Magazine, has worked on covers for books and comics, like Lumberjanes and The Sword & The Circle, has designed murals for the insides of buildings, and has collaborated with many different artists for collective zines that have been published and sold online and during special events like conventions.

He has attributed social media platforms for his success as an illustrator. With a somewhat large presence online, he has brought more clients his way as well as expanded his own skills and inspiration as an artist through community interactions through various websites. He was quoted as saying, “…it’s about how you truly get to find (and sometimes eventually meet) some wonderful people who make up your community, who keep you inspired and make you feel like you belong somewhere – when most of the time you would feel like you’re just drawing somewhere on your own.” Social media gave him inspiration to refine his skill as an illustrator and pursue his trade courageously.

His illustrations are whimsical and colorful and often have fantasy or science fiction themes–which is something that I am also heavily inspired by. His bold use of color, combined with the fantastical elements of his art, seems to define his style. Even his sketches are wonderful and the portraits have character. They seem like very real people–and probably are, considering he often finds inspiration in the things and people around him. Existing works made by others also inspires him in his own work and he often draws fan art of things that are particularly inspiring. Inspiration comes in many different forms for the artist and feeds his creativity. Mythology, nature, and comics also contribute to this.

He often starts a work with a simple sketch in pencil in one of his sketchbooks, scans the work, and finishes up by coloring and adding details using a tablet and Photoshop. Sometimes he makes GIFs or small animations of his work, which isn’t at all outlandish considering he was an animation major in college. He does think that to get a good piece, one needs to have a well drawn base sketch. Throwing it into Photoshop doesn’t make it a good drawing.

This is one of my absolute favorites from his work. It was a piece made for an online “Catalog of Merfolk” and his description behind the work has inspired me in many ways–even if he said he wasn’t entirely pleased with the finished product. The story behind the picture is: “What if mermaids live really long – and the longer they live, the bigger they grow? (I guess the bigger they grow, the harder it is for them to stick their torso and even their head out of the water. That’s why no one ever sees the big ones. And definitely never the huge ones.)”

NSFW BELOW…

(male bits)

Diana Al-Hadid by Maicey Scott.

Diana-Al-Hadid experiments with material in such a way, that she floats between the realms of sculpture and painting.

Her processes fluctuate, yet are continuously messy, moving, dripping.

She’s fascinated with suspension, size, liquidation and decay, and has said that the reason for making such large pieces are so she is able to “navigate through them.” Navigation is such a wonderful way to put it, because her intricate lines and massive scale give you this strange sense of bewilderment.

Born originally in Syria, and not always familiar with biblical stories, Diana takes a part of “Western” culture and makes it her own. She allows mainly Northern Renaissance paintings to be her inspiration. There are specific Christian images that can be recognized in a few of her paintings and sculptures, but she tends to stray away from the idea that her pieces reflect certain interpretations. Though they may share the same ethereal characteristics of Mannerist works, for example, her work is very ambiguous.

Architecture appears to be a big part of her life, and though at times her form seems less than practical, Her larger, more three dimensional pieces are heavily supported with hidden steel bars and complex framing. She is amused with giving her sculptures the appearance of instability, “Unfortunately, sculpture has to obey gravity, I have this painting envy of Northern Renaissance and Mannerist paintings. They are given more liberties with illusion and space, while I’m dealing with actual gravity. “To get a sculpture to get off the floor, that’s the first way to rebel, that’s the main event. “I work pretty hard trying to have my sculptures not to fall. I don’t want to burden the viewer with mechanical details, but instead make something that seems improbable. I have enough reality in my life, and not that I live in such a fantasy world, I just want to weigh in on the other side “.

“I’m married to an architect, that’s why I realize I’d be a terrible one, but in terms of drawing out space or building structures, or thinking of counterweights and triangles, I’m still a builder at heart”.

“Al-Hadid creates her works by “painting” in polymer gypsum, fiberglass and plaster, forming a loose image in trails and drips over a wall-like support. She then pries the image off the backing, resulting in a stiff, lace-like scrim.”
These “fossils” are then aligned and suspended, or given frames. Her process is incredibly physical. Layers are continuously added and taken away. She is deliberately always cutting, pasting, warping, and transforming her work. There is a constant state of change, this perpetual movement in her world of celestial beauty. Religion is somewhat an allegory for this layering process. As people form religions in various cultures, she allows herself full range of the exploration of these spiritual images.

“Exquisite Mass.” Cultured Magazine – June/July 2015. N.p., n.d. Web. 10 Nov. 2015.
“Diana Al-Hadid’s Suspended Reality.” ART21 New York Close Up. N.p., n.d. Web. 10 Nov. 2015.
“Ground and Figures.” Exhibitions. N.p., n.d. Web. 10 Nov. 2015.
“Such Beautiful Decay.” Los Angeles Times. Los Angeles Times, n.d. Web. 10 Nov. 2015.

Boris Vallejo

Boris Vallejo was born on January 8, 1941 in Peru, and immigrated to the United States in 1964. He is married to Julie Bell and has two children from his previous marriage to Doris Vallejo, as well as two step-sons. Julie Bell, and his step-sons, Anthony Palumbo and David Palumbo are all painters. His daughter, Maya Vallejo is a professional photographer, and his ex-wife, Doris Vallejo is an artist and a writer.

Vallejo works mostly in the Science Fiction and Erotica genres, painting them almost exclusively. He began painting at only thirteen and gained his first job as an illustrator at sixteen. After his immigration he soon gained fans from his illustrations of Tarzan:

Conan the Barbarian:

Doc Savage:

and several other fantasy characters, which led to commissions for movie posters, advertisements and artwork for many collectibles, including Franklin Mint paraphernalia, trading cards, and sculpture.

Vallejo paints a lot of erotic pictures, often using Julie Bell for a model, though he is known for using female body builders as well.

His paintings are always full of life and color, unlike most fantasy artists. Not only is he a master of his art, but he has touched both ends of the science fiction spectrum. From heroic barbarian warriors, to beautiful landscapes, and strange alien beasts he has done it all.

His preferred medium is oil paints, however he has done several graphite and pen drawings, as well.

Even in black and white his drawings come to life.

Despite his astounding paintings and magnificent drawings, Vallejo can be considered a jack of all trades, as he is also an accomplished violin player. He began playing as a child, but put this passion aside for a long time. After really getting his foot in the door with several illustration companies he began to play again and enjoys it to this day.