<![CDATA[Neatorama]]>https://www.neatorama.com/vosa/theme/art2/media/logo.gifNeatoramahttps://www.neatorama.com/<![CDATA[Skating Kitchen = Skitchen]]>

Have you ever wondered what happens when your kitchen is left all alone? Artist Benoit Jammes immagines that our fruits and veggies are not only alive, but active. In fact, he thinks they're taking advantage of the curves, ramps and dips in our kitchens to perform some epic skating tricks.

The series is called Skitchen and while it's adorable over all, there is at least one messy accident -this is why you wear helmets kids!

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Have you ever wondered what happens when your kitchen is left all alone? Artist Benoit Jammes immagines that our fruits and veggies are not only alive, but active. In fact, he thinks they're taking advantage of the curves, ramps and dips in our kitchens to perform some epic skating tricks.

The series is called Skitchen and while it's adorable over all, there is at least one messy accident -this is why you wear helmets kids!

]]><![CDATA[Josean Rivera]]>Commissions are available at times by contacting me at joseanriverafineart@gmail.com
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Dilophosaurus- oil marker on canvas 2011
]]>Commissions are available at times by contacting me at joseanriverafineart@gmail.com
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Dilophosaurus- oil marker on canvas 2011

Ceratopsian- graphite 2009
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Cool Story Bro- mixed media on canvas 2011
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Girl 15- mixed media on canvas 2009
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Girl 23- mixed media on canvas 2010
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Luchador De la Fey- graphite and watercolor 2009
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Raptor Icon- graphite and watercolor 2012
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Aeneam Pugnam- mixed media on canvas panel 2012
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Skullio- spray paint on canvas 2010
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Edmontoswimmer- graphite 2009
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Xray - Mixed media triptych on canvas 2011
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Untitled Muse- graphite and watercolor 2008
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See more of Rivera's work at
]]><![CDATA[Randy Bishop]]>
My name is Randy Bishop. I'm currently still in school studying illustration. I would REALLY like to work in the entertainment industry as a character designer for animated films. I would also really like creating book covers. That would be fantastic!

I usually start an illustration with a drawing which I scan in and then paint digitally. I've tried several different methods for creating art, but this is my favorite. I'm still in school, but I'm definitely on the lookout for ANY potential jobs or clients.

You can visit my blog at randybishopart.blogspot.com or email me at rdalebishop@gmail.com for any information.

Thanks for looking and I hope you enjoy my stuff!


Vincent


]]>
My name is Randy Bishop. I'm currently still in school studying illustration. I would REALLY like to work in the entertainment industry as a character designer for animated films. I would also really like creating book covers. That would be fantastic!

I usually start an illustration with a drawing which I scan in and then paint digitally. I've tried several different methods for creating art, but this is my favorite. I'm still in school, but I'm definitely on the lookout for ANY potential jobs or clients.

You can visit my blog at randybishopart.blogspot.com or email me at rdalebishop@gmail.com for any information.

Thanks for looking and I hope you enjoy my stuff!


Vincent





TMNT





Pride and Prejudice





Norton and the Minotaur





Hellboy in Meso America





Happy Halloween!





Erasmus





Rainne the Dragon Slayer





Aurech's Campfire





Zombie]]><![CDATA[Sam Branton]]>
My name is Sam Branton. I graduated from the Norwich School of Art in 2007 and have since been a working artist based in Oxford. I’m really interested in the relation between traditional drawing styles throughout art history and contemporary childish cartoons such as Ren and Stimpy and Anime. My work often combines these two leaving quite striking images. I think there’s a nice contrast between the sophisticated smartly attired figures standing proudly amongst these creatures which look sweet and innocent at first but on closer inspection can appear rather menacing and perverted.

Since leaving Art School I have been lucky enough to be included in some exciting shows, showing work in London, LA and Stockholm.

Here’s a collection of different pieces, I hope you enjoy them.

So, what would you little maniacs like to do first?

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My name is Sam Branton. I graduated from the Norwich School of Art in 2007 and have since been a working artist based in Oxford. I’m really interested in the relation between traditional drawing styles throughout art history and contemporary childish cartoons such as Ren and Stimpy and Anime. My work often combines these two leaving quite striking images. I think there’s a nice contrast between the sophisticated smartly attired figures standing proudly amongst these creatures which look sweet and innocent at first but on closer inspection can appear rather menacing and perverted.

Since leaving Art School I have been lucky enough to be included in some exciting shows, showing work in London, LA and Stockholm.

Here’s a collection of different pieces, I hope you enjoy them.

So, what would you little maniacs like to do first?

Of all the queens that ever ruled, I choose you.

I feel funky!

hubba-bubba

Blush

But I was born too late.

Three robbers in a cave

Some people call me friend

Childs play

Heroes in the seaweed

If you would like to see more check out my website.

You can also contact me at sam.branton@hotmail.com]]><![CDATA[Julia Feld]]>
Some people give me grief about destroying old books, so I think it is important to make clear that I love books, too!  Because of this, I only use books that are no longer appreciated  for their content, and I never carve rare or new books.  I've deliberately put down books (that would have made lovely carvings) if I think someone is likely to appreciate them intact.  My favorite subjects are reference books that are several editions out of date, rescued from garage sales, free giveaways, and second-hand shops.  Although most people aren't interested in these old books for the information they contain, carving them gives them a second chance to be of value.  My weapons of choice are exacto knives, rotary cutters, tweezers, rulers, pliers, files, custom cut panes of glass, and lots of glue.

All About House Plants

]]>
Some people give me grief about destroying old books, so I think it is important to make clear that I love books, too!  Because of this, I only use books that are no longer appreciated  for their content, and I never carve rare or new books.  I've deliberately put down books (that would have made lovely carvings) if I think someone is likely to appreciate them intact.  My favorite subjects are reference books that are several editions out of date, rescued from garage sales, free giveaways, and second-hand shops.  Although most people aren't interested in these old books for the information they contain, carving them gives them a second chance to be of value.  My weapons of choice are exacto knives, rotary cutters, tweezers, rulers, pliers, files, custom cut panes of glass, and lots of glue.

All About House Plants


All About House Plants (detail)


Butterfly Specimen Box


Butterfly Specimen Box (detail)


Practical Standard Dictionary


Practical Standard Dictionary (detail)


Topographical Book


Topographical Book (detail)


Topographical Book (detail)


Webster's Seventh New Collegiate Dictionary


Webster's Seventh New Collegiate Dictionary (detail)


For more examples of my work, head on over to Hokey Stokes! or check out works available for purchase at my Etsy store.  If you have a book that you might like re-purposed, please get in touch with me at hokeystokes@gmail.com and we can discuss custom projects.]]><![CDATA[Megan Coyle]]>
I studied painting and creative writing in college and both areas have influenced the direction of my work. My studies in writing have made me become a storyteller with images where I illustrate narrative scenes from everyday life. As a painter, I liked using distinct brushstrokes and bold colors. With my collages, I try to recreate the look and feel of a painting through the manipulation of paper and magazine strips. The way I cut and layer paper often looks like the distinct brushstrokes I once used in painting.

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I studied painting and creative writing in college and both areas have influenced the direction of my work. My studies in writing have made me become a storyteller with images where I illustrate narrative scenes from everyday life. As a painter, I liked using distinct brushstrokes and bold colors. With my collages, I try to recreate the look and feel of a painting through the manipulation of paper and magazine strips. The way I cut and layer paper often looks like the distinct brushstrokes I once used in painting.



Benjamin
This portrait gives you an idea of what my up-close portrait pieces look like - I'm more focused on the sitter and his emotions than I am with the environment around him.



Commuters
I moved a little more towards abstraction here - simplifying the figures while defining the environment. Typically I hone in on all the nitty gritty detail of a person's face.



Sightseers
In this scene a woman is pointing to something we can't see. It's like we're eavesdropping on a conversation where we don't know the entire story or context.



Leisure Day
I think the back of a person can be just as interesting as the front. The way people sit and pose can often tell you a lot about what's going on in a given moment.



Snorkeling
Water is a reoccurring element in my work. I'm amazed by how colorful water can be when light reflects on the surface a certain way.



Two's a Crowd
I'm drawn to pairs and individuals. From time to time I create collages of larger groups of people, but I like the intimacy of images depicting couples or individuals lost in their own world.



Bar and Bakery
Usually there's more emphasis on the figures I'm collaging rather than the environment around them. Here's an example of when I was doing the opposite of that.



Afternoon Conversations
I'm often inspired by restaurants and cafes. I like the movement and colors found in these places. This is a theme that appears again and again in my  figurative work.



Bren
My collages capture moments in time - even if it's just a distinct facial expression.



Dinner for Two
The interaction between this couple suggests a story. Viewers can relate this setting to their own lives or something they've seen before.

Contact Megan Coyle

I do commission work - see my website for more info.

Email: meg@mcoyle.com]]><![CDATA[Michal Karmazon]]>
My artwork is about people. I love the human form, whether it's portraits or figures. I want to show the beauty of it, as well as convey certain messages. Until recently I've worked only with graphite and charcoal, but have recently switched to paints.


An illustration for a band out of Orange County, California.]]>
My artwork is about people. I love the human form, whether it's portraits or figures. I want to show the beauty of it, as well as convey certain messages. Until recently I've worked only with graphite and charcoal, but have recently switched to paints.


An illustration for a band out of Orange County, California.



"It is easier to see, evil as entity"
An evil form is raised up on pillars. Humans tend to anthropomorphize evil. I think the concept of the Devil is wrong, because it allows people to blame something else for the evil they do.


"Girls just wanna have fun"
Sometimes men seem to forget women are sexual beings too. A lot of women's pleasure comes from the emotional attachment, but there are times girls' lives where they simply want a good time, with no strings attached.

"High level of addiction"

The title comes from my saying, that love is just a name we give to a high level of addiction. And some men's addiction rivals the hardest drugs, eventually leading to their downfall, as symbolized by the skull the woman is standing on.

"Punk"
A piece I simply did for fun. The patterned background was very fun to do, because it put me in a trance. I think in every artist's life there's always the choice of either having fun with his work or changing the world with it.



"Look into my eyes"
People today interact in real life less and less. As a result, especially the young, don't have the same rules and customs as our forefathers did. One of those customs was eye contact, a very personal and intimate action. Here the figure compels you to look at the eyes - the point of highest contrast.



"Pleasure of leisure"
For a lot of people leisure seems to be almost a holy object. Thank God it's Friday is the most popular prayer across the western world. But too much of it ends in a silent grief. A person's life would be more fulfilling if their filled the leisure time with meaningful work.

Contact Michal Karmazon

I accept commissions for illustrations and portraits.
Write to me at michal@michalkarmazon.com.
See my artwork at www.michalkarmazon.com.
]]><![CDATA[Michele Banks]]>
I mainly work in watercolor. When people think of watercolor, they think of pretty flowers and peaceful landscapes. But watercolor’s clarity, transparency and ability to “bloom” or “bleed” make it a great choice for scientific effects also. When watercolor paint meets a wet surface, it forms gorgeous fractal patterns, like neurons or blood vessels. When I look at photos of cells under a microscope, I’m amazed by their resemblance to some of my paintings. I particularly love making pictures of cells in various stages of division, or mitosis – not only is it beautiful, but it’s really the foundation of life itself.

I’ve been selling my work though festivals and galleries in the DC area for eight years now.  I recently started selling online though Etsy.  My paintings are hanging in some very nice labs and university biology departments now, but if you want to buy some bacteria for the kitchen or bathroom, that makes me happy too.



1. Green Cell Telophase

]]>
I mainly work in watercolor. When people think of watercolor, they think of pretty flowers and peaceful landscapes. But watercolor’s clarity, transparency and ability to “bloom” or “bleed” make it a great choice for scientific effects also. When watercolor paint meets a wet surface, it forms gorgeous fractal patterns, like neurons or blood vessels. When I look at photos of cells under a microscope, I’m amazed by their resemblance to some of my paintings. I particularly love making pictures of cells in various stages of division, or mitosis – not only is it beautiful, but it’s really the foundation of life itself.

I’ve been selling my work though festivals and galleries in the DC area for eight years now.  I recently started selling online though Etsy.  My paintings are hanging in some very nice labs and university biology departments now, but if you want to buy some bacteria for the kitchen or bathroom, that makes me happy too.



1. Green Cell Telophase





2. Heart Attack 3


3. Bacteria 4


4. Under the Microscope 3




5. Blue-Green Cell Cycle 3




6. Cell Division Blue 1


7. Atrial Flutter


8. Blue Mitosis Anaphase


9. Cell Division 4


10. Cell Division 8

Contact Michele Banks

Website: Artologica at Etsy

I do commission work – I’m happy to do a custom heart rhythm from your ekg, or a particular virus.

Email:  miche@null.net]]><![CDATA[Nethery Engblom]]>
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Cats vs. Dogs

These two pages were a short story collaboration I made with my friend and fellow cartoonist, Greg Fenton. He wrote and I illustrated, this was definitely some of the most fun I've had working on a comic.



Manhattan is Elsewhere

Some colored panels for a comic book I'm illustrating called Manhattan is Elsewhere. The author, Wendy Lehmann has been working on her story for at least five years, and is very devoted to her book. It involves romance, super heroes, time travel, history and New York, what more could a young reader want?







Wandering Mind

Just a small sample of a short comic I made for my portfolio. Its 4 parts long, Wandering Mind is the first part which involves a little boy with an overactive imagination.







Catman

Here are a couple of prints from a book in progress of mine. It’s a children’s book about a man who wakes up one morning and thinks he is a cat.

Contact Nethery Engblom

Write me! I’m always looking for new and exciting work.

Email: NetheryE@gmail.com

Website: NetheryE.com]]><![CDATA[Bob Staake]]>. I'm the author and/or illustrator of over 50 books for kids
. I do work for The New Yorker, The Washington Post, The New York Times, MAD, TIME, MTV/Nickelodeon, Little Golden Books, Random House, Cartoon Network and Hallmark Cards
. I rarely pencil out an illustration before going straight to the final, color artwork
. I've designed, written and co-directed numerous episodes of Ren + Stimpy, Dexter's Laboratory, Powerpuff Girls and Samurai Jack
. I still create all my work using Photoshop 3.0

Things people don't know about me:
. I was busted for climbing the Lincoln Memorial
. ID magazine named my studio one of 'The 40 Most Amazing Design Offices' in the world
. I've written stand-up material for Jay Leno, Rodney Dangerfield and Joan Rivers
. I have one of the most extensive private collections of Heywood-Wakefield Mid-Century Modern furniture from the 40's and 50's
. I bake some pretty incredible double-fudge chocolate chip cookies



Scene from 'The Donut Chef' (2009, Random House and Golden Books)
Book reviewers always point out that my work has both a retro and contemporary feel. If I can have a lot of stuff going on in a scene, it keeps the book fresh the next time a kid (or parent) reads it.]]>. I'm the author and/or illustrator of over 50 books for kids
. I do work for The New Yorker, The Washington Post, The New York Times, MAD, TIME, MTV/Nickelodeon, Little Golden Books, Random House, Cartoon Network and Hallmark Cards
. I rarely pencil out an illustration before going straight to the final, color artwork
. I've designed, written and co-directed numerous episodes of Ren + Stimpy, Dexter's Laboratory, Powerpuff Girls and Samurai Jack
. I still create all my work using Photoshop 3.0

Things people don't know about me:
. I was busted for climbing the Lincoln Memorial
. ID magazine named my studio one of 'The 40 Most Amazing Design Offices' in the world
. I've written stand-up material for Jay Leno, Rodney Dangerfield and Joan Rivers
. I have one of the most extensive private collections of Heywood-Wakefield Mid-Century Modern furniture from the 40's and 50's
. I bake some pretty incredible double-fudge chocolate chip cookies



Scene from 'The Donut Chef' (2009, Random House and Golden Books)
Book reviewers always point out that my work has both a retro and contemporary feel. If I can have a lot of stuff going on in a scene, it keeps the book fresh the next time a kid (or parent) reads it.





The Transcontinental Welt (character study)
Most of my picture books begin with me envisioning a certain character, which I render, and then see if I can build a story around it. I'll bet that for every book I always have published, I write an additional 15 to 20 stories that I abandon for one reason or another.



Midnight Prom (Rejected cover idea for 'The New Yorker')
This is how I work when I submit a cover idea to the magazine. I try and give the magazine a solid idea of where I intend to go with color, composition and concept, but I may deviate from the sketch when going to final.



Read (poster designed to encourage reading by kids)
It's really a very simple image. I've always enjoyed drawing dinosaurs and the Empire State Building, so combining the two seemed to make perfect sense.



Reflection (The New Yorker - November 17, 2008)
My best-known cover for the magazine. The reflection in the water symbolizes the bars of slavery, leading up to Lincoln's Emancipation Proclamation, and finally culminating with the ubiquitous 'O' of the Obama presidential campaign. Prints of this cover continue to sell incredibly well - and two years after Obama's victory. I rarely do a hyper-realistic image like this, but when I need to do so to make a certain idea work, I won't hesitate to alter my style.



We Planted A Tree by Diane Muldrow (2010, Random House and Golden Books)
My picture books are noted for their endpapers, and while I typically create them using a geometric repeat design of some sort, for this book I thought it would be best to take a more abstract and colorful view of what appear to be candy-like lollipop trees.



Releasing The Vapor - 2008
This was actually a piece I did for BLAB (Fantagraphics), and while I like the image, I wound up doing something else for the anthology. I didn't sketch anything here first, just started playing with the shapes that I saw in my head -- and then laid them all down in the scene. I create all my work in Photoshop 3.0 using a mouse (I've never even tried a Wacom), and the older I get, the more I seem to be using dramatic lighting to really set a mood.



The Ships Arrive (scene from 'The Red Lemon', 2006 - Random House and Golden Books)
I probably have more fun when I get to use impossible angles, exaggerated lines and abstracted forms in a scene like this. If I can make all the elements sort of "lock" together visually like a jigsaw puzzle, it forces the reader's eye to always scan for new little graphic surprises.



Escape From The Museum ('Look! A Book!' 2011, Little Brown)
This is a scene from a very, very elaborate book of mine that comes out next Fall. You can't see it here, but there are all sorts of weird die-cuts on each page that reveal hidden surprises. When I work on a picture book, I also go to that little "inner child" in my head and try to create imagery that I would have found mesmerizing as a little boy growing up in Southern California in the 1960s.



FEZ (Poster Design - 2009)
I have always been inspired by european poster art of the Mid-20th Century, and this image proves it. It's one of the "faux-poster" images I create for non-existent products, just images I do for myself. I've been trying this year to create unique posters like this, and my fans just love purchasing them -- because they're honest and unique.



Deep Dish Pizza (personal piece, 2010)
I really like clean, graphic design, so when I need to make a simple statement or allusion to a metaphor, I try to keep things uncluttered. Here a simmering red body accentuates the slice of pizza, a restrained glow of lighting and shadows creating a stark aura.



And Sap For Our Syrup (scene from We Planted A Tree by Diane Muldrow - 2010 by Random House and Golden Books)
Composition is very important to me, and I always try to bring heightened visual drama into each book spread. The village buildings in background are god examples of the decorative elements that I incorporate into my scenes.



The Line Snakes (scene from 'The Donut Chef' - 2010 by Random House /
Golden Books)
I always try to mix up my characters graphically -- some fat, some skinny, some short, some tall -- because I think it makes things more interesting for kids. I also thing there's no reason why characters can't be black and white and red and green and blue.



Petzoopolis (poster that accompanies 'Pets Go Pop' - 2009, Little Brown)
I love graphic simplicity, but sometimes I need to get chaotic - like in this zoo poster. While this image appears small, the actual poster measures 4 feet by 2 feet, so I had plenty of real estate to work with -- and all sorts of goofy things hide among the animals and kids.



Interlocking Robots (BLAB, Fantagraphics 2009)
I love creating very meticulous, geometric images and have always been inspired by negative spaces. By using positive and negative space, this robotic optical illusion came to be.



99 Cats (poster, 2010)
I love cats, so will jump at any chance to draw 99 of them (I also did a version of 99 dogs) The posters are available to buy.

Contact Bob Staake

My website is BobStaake.com.

People can see videos of how I work by going here.

My Facebook page.]]><![CDATA[Hugh D'Andrade]]>• watching kids interact with my art
• hearing people laugh when they look at my art
• breaking all the rules of typography
• using my favorite colors in my work, every day
• breaking things down into big, simple shapes and patterns
• seeing people I don't know who have my art tattooed on their bodies
• cashing checks from happy clients and customers

Below are some examples of my work (you can see more on my website and buy prints and originals in my online shop).




I've done rock posters for my friends' bands.]]>• watching kids interact with my art
• hearing people laugh when they look at my art
• breaking all the rules of typography
• using my favorite colors in my work, every day
• breaking things down into big, simple shapes and patterns
• seeing people I don't know who have my art tattooed on their bodies
• cashing checks from happy clients and customers

Below are some examples of my work (you can see more on my website and buy prints and originals in my online shop).




I've done rock posters for my friends' bands.




As well as for more established names.






I also do book covers. Here's one I did for Penguin that will be out in a few months.



And another I did for Harper Collins (UK) — a funny book by my friend Linda Robertson.



I've had my work featured on the cover of Communication Arts.



I've designed tickets and posters for Burning Man.



I also do so-called "fine art". Here's an original that is for sale in my shop!
Thanks for looking and reading! You can follow me on Twitter or be my fan on Facebook if you'd like to keep in touch!
]]><![CDATA[id-iom]]>
We are id-iom, a South London gonzo design duo who are more than willing to take a punt at pretty much any design challenge! Determined never again to suffer under the yoke of an oppressive employer, this is our ongoing tale of two brothers who are going to take the world by storm or die trying! Hugo and the artist formerly known as Sholto, are both noisy and enthusiastic with a flair for creativity. Hugo's hands and feet however are proportionately too big for his body whilst Sholto's head is shaped like a peanut.

After finishing our respective universities and languishing in a number of dead end jobs it was decided it was time for something a bit different. Known for our mischievous take on pop culture, music & politics, our canvases and graffiti have adorned walls and sidewalks throughout London and Europe.

Never ones to follow trends, we try to work outside the conventional art world, engaging with real world issues in a provocative way. Our idiosyncratic approach is infused with rebellious edge and street-smart attitude - or at least we hope it is!

In order to introduce cognitive dissonance in non-believers all our designs have been carefully chosen and arranged to please believers and make them feel harmonious and confident whilst causing non-believers to become disorientated and mentally challenged. You have been warned.

Cheers
Sholto & Hugo
id-iom


Artist: id-iom
Title: Let it Ride
Media: Acrylic paint & paint pen
Size: 1m x 1m canvas set into table
The ‘Let It Ride’ table was perhaps one of my favourite commissions. It is named after an 80′s comedy featuring Richard Dreyfuss ( it only gets a 6.3 on IMDB but is well worth a watch!) Here is a link to our blog post about this piece that explains how it came into being.]]>
We are id-iom, a South London gonzo design duo who are more than willing to take a punt at pretty much any design challenge! Determined never again to suffer under the yoke of an oppressive employer, this is our ongoing tale of two brothers who are going to take the world by storm or die trying! Hugo and the artist formerly known as Sholto, are both noisy and enthusiastic with a flair for creativity. Hugo's hands and feet however are proportionately too big for his body whilst Sholto's head is shaped like a peanut.

After finishing our respective universities and languishing in a number of dead end jobs it was decided it was time for something a bit different. Known for our mischievous take on pop culture, music & politics, our canvases and graffiti have adorned walls and sidewalks throughout London and Europe.

Never ones to follow trends, we try to work outside the conventional art world, engaging with real world issues in a provocative way. Our idiosyncratic approach is infused with rebellious edge and street-smart attitude - or at least we hope it is!

In order to introduce cognitive dissonance in non-believers all our designs have been carefully chosen and arranged to please believers and make them feel harmonious and confident whilst causing non-believers to become disorientated and mentally challenged. You have been warned.

Cheers
Sholto & Hugo
id-iom


Artist: id-iom
Title: Let it Ride
Media: Acrylic paint & paint pen
Size: 1m x 1m canvas set into table
The ‘Let It Ride’ table was perhaps one of my favourite commissions. It is named after an 80′s comedy featuring Richard Dreyfuss ( it only gets a 6.3 on IMDB but is well worth a watch!) Here is a link to our blog post about this piece that explains how it came into being.





Artist: id-iom
Title: Kate Moss Cocaine
Media: Mixed media
Sometimes it's just too easy to mock troubled celebrities. As evidenced with our 'celebrity endorsed' product packaging. If id-iom did packaging this is what you could possibly expect. More (and larger) photos can be found on our Flickr page.


Artist: id-iom
Title: Careless Whisper Skunk Blend #3
Media: Mixed media
Sometimes it's just too easy to mock troubled celebrities. As evidenced with our 'celebrity endorsed' product packaging. If id-iom did packaging this is what you could possibly expect. More (and larger) photo's can be found on our Flickr page.


Artist: id-iom
Title: People I Like
Media: Screen print on high quality paper
Size: A2
I've worked in plenty of offices in my time and i think anyone who has done can probably sympathise with this piece...

A couple of YouTube videos of us in action:


(YouTube link)


(YouTube link)


Artist: id-iom
Title: I just wanna be
Media: Acrylic, ink, newspaper and paint pen
Size: A2
This was (and still is) our biggest piece to date at about 16 x 11ft. The piece was done on Chance Street in the east end of London. There is also a video of the proceedings on Youtube:


(YouTube link)



Final version of our UPfest piece - which was done by the river in Bristol in 2009.



We had a great time doing this piece at UPfest this year. The weather was lovely, the beer was flowing and it was good to catch up with people. A bit of an experimental approach to this one but I'd like to think it worked out well. We certainly managed to pull quite an imperious looking Siamese cat out of the bag... If only the fake CCTV camera kept moving i would have been happy. That'll teach me to buy cheap stuff on the internet...



Artist: id-iom
Title: The Internet Made Me Do It
Media: Hand cut stencils, spray paint & glitter
Size: 30 x 40cm



Artist: id-iom
Title: Office monkey
Media: Acrylic, spray paint and marker pen
Size: A2 paper
Another office related one but i'm sure that anyone who's had a lowly office job can testify it's just how you feel sometimes... I understand it's not a monkey but it does the trick...



Artist: id-iom
Title: Undercover Lover
Media: Hand-cut stencils and spray paint
Canvas size: 75 x 75 cm



Artist:  id-iom
Title:  99 problems
Media: Hand-cut stencils and spraypaint
Size: 60 x 60cm canvas
The name is the giveaway on this one. If you can’t work it out just let me know and I'll let you in on the secret...



Artist: id-iom
Title: Angry rabbits always attack first
Media: Ink, coffee, tea, ink, paint pen and bleach
Size: 42 x 54 cm



Artist: id-iom
Title: Pleasing her made him happy
Media: Marker pen, acrylic and spraypaint on A3 high quality artist paper



Artist: id-iom
Title: Lost in the system
Media: Spraypaint, watercolour, glitter, marker pen, acrylic, paint pen and bleach
Size: 60 x 60cm

Contact id-iom

Artists and purveyors of all manner of artistic creations - original artwork, stencils, graffiti, screenprints & limited editions. We are also available for commissions via our unique commission process which replaces the conventional brief with an artist’s questionnaire that inspires the picture. Please get in touch if interested and we can send you the questionnaire (or it can be downloaded from our website at id-iom under 'downloads').

We can be found online at various places but the following are our favourites:

This is id-iom

YouTube channel

id-iom website (not update nearly often enough as it can only be done by our webmonkey!)

If you have any questions, comments or just want to get something off your chest please send us an email at either hugo@id-iom.com or sholto@id-iom.com! We love emails! Go on, send us one!

]]><![CDATA[Teale Hatheway]]>


Victory – The Historic Bridges Over The Los Angeles
Ink, acrylic, gold leaf, copper leaf, chalk and grommets on canvas drop cloth. 9’x12’. 2010.

Victory – The Historic Bridges Over The Los Angeles is a cartographic representation of the Los Angeles River through Downtown looking North, including Griffith and Elysian Parks as well as the Silverlake Reservoir, with stylized elements of each historic bridge traversing the terrain. As an amalgamation of components of this remarkable collection of bridges, there is a puzzle-like quality to Victory, a non-literal landscape or an abstracted panoramic map of the Los Angeles basin, providing hints of locations, but leaving the answers un-spoken.
At twelve feet tall, this painting has presence. My attraction to searching for existing buildings or my own location on old, panoramic maps shifted during the process of working on Victory. Instead of leaning over a book and tracing a path with my finger, twelve feet of painting leans over me, enveloping me, and declaring my presence in every inch of the composition. Likewise, it is fascinating to watch people identify with particular parts of the work, thereby understanding a location within a larger map of related monuments, which are (from North to South):]]>


Victory – The Historic Bridges Over The Los Angeles
Ink, acrylic, gold leaf, copper leaf, chalk and grommets on canvas drop cloth. 9’x12’. 2010.

Victory – The Historic Bridges Over The Los Angeles is a cartographic representation of the Los Angeles River through Downtown looking North, including Griffith and Elysian Parks as well as the Silverlake Reservoir, with stylized elements of each historic bridge traversing the terrain. As an amalgamation of components of this remarkable collection of bridges, there is a puzzle-like quality to Victory, a non-literal landscape or an abstracted panoramic map of the Los Angeles basin, providing hints of locations, but leaving the answers un-spoken.
At twelve feet tall, this painting has presence. My attraction to searching for existing buildings or my own location on old, panoramic maps shifted during the process of working on Victory. Instead of leaning over a book and tracing a path with my finger, twelve feet of painting leans over me, enveloping me, and declaring my presence in every inch of the composition. Likewise, it is fascinating to watch people identify with particular parts of the work, thereby understanding a location within a larger map of related monuments, which are (from North to South):



Victory – Detail
Detail showing the contrast of materials and techniques

The Glendale Hyperion Viaduct (1927, 1152’) The Glendale Hyperion Viaduct was constructed to relieve traffic congestion between Glendale and Los Angeles. It is the most complex of the river bridges with multiple approaches, exits and levels. After its construction, the bridge was designated “Victory Memorial Bridge” in honor of the men who served in World War I.

The Fletcher Drive Bridge (1927, 469’) The Fletcher Drive Bridge was constructed as part of a grand boulevard plan for Northeast Los Angeles known as the “Great Fletcher Drive Improvement.” It is located in the Glendale Narrows which is the most central and longest stretch of natural habitat in the Los Angeles River.

The Riverside Drive Bridge - Figueroa (1927/1939, 451’, aka. Dayton Avenue Bridge) The original 1927 structure was damaged in flooding in 1937-8 and was mostly replaced by the current bridge, reflecting the upper deck aesthetic of the original, but supported from below by a metal truss. This bridge is a favorite of mine due to its contrasting elements or Beaux-Arts bridge design, Warren Truss construction and that ridiculous ninety degree turn in the middle of it. The Riverside Drive Bridge to Figueroa is slated for demolition and replacement in late 2010.

The North Broadway Viaduct (1911, 968’, originally The Buena Vista Viaduct) The Buena Vista Viaduct was the first of the monumental Beaux-Art bridges built over the Los Angeles as well as the first open-spandrel arched bridge in California. At the time of its opening it was also the longest and widest cement bridge in the state.

The North Spring Street Viaduct (1927, 682’) The North Spring Street Viaduct was built to relieve traffic congestion on the Buena Vista Viaduct and was designed to complete a sub-group (including The Buena Vista Viaduct and Main Street Bridge) of bridges unified through their classical theme. The Spring Street Viaduct is perhaps the most imminently endangered of all the historic bridges over the river as The Los Angeles Bureau of Engineering is currently fast-tracking a proposal which would eliminate the bridge’s Historic-Cultural Monument status and potentially demolish the bridge in order to add a bicycle lane and widen sidewalks. Passage of the BOE’s proposal would be a tragic precedent to set for the remainder of the river’s bridges.

The Main Street Bridge (1910, 280’) The shortest and most neglected of the historic bridges through downtown, The Main Street Bridge, is also the oldest, celebrating its centennial this year! The Main Street Bridge once sported a crisscrossed railing pattern and unusual light standards supporting cantilevered glass globes. What a marvelous birthday present it would be (for all of us) to see her adorned once again.

The Cesar Chavez Avenue Viaduct (1926, 1270’, originally The Macy Street Bridge) The Macy Street Bridge was designed in the Spanish Colonial Revival style to commemorate its location along El Camino Real, a road linking the California missions originating in San Bruno, Baja California Sur through San Diego to Sonoma, California. It is the most ornately embellished bridge through Downtown Los Angeles.

The First Street Viaduct (1929, 1300’) The First Street Viaduct was built in a neo-classical style that includes five pairs of ornamental pylons which house viewing balconies. The First Street Bridge is currently being restored, as well as widened in order to accommodate the Gold Line Eastside Light Rail Extension, slated to be completed in April 2011.The Fourth Street Viaduct (1931, 1890’) The Fourth Street Viaduct is the only bridge over the Los Angeles exhibiting Gothic design elements. It is a long span, forking on the Western side and is (debatably) the iconic bridge of the Los Angeles Arts District.

The Sixth Street Viaduct (1932, 3546’) At two thirds of a mile long, the Sixth Street Viaduct is the longest, as well as youngest of the Los Angeles River bridges. With its pair of sweeping steel arches and unique Classical Moderne design, it is considered by many to be the Crown Jewel of the bridge collection. The future of this remarkable structure looks bleak. Afflicted with alkali-silica reaction (ASR), a chemical reaction which affects the structural integrity of cement, the bridge structure has been substantially weakened. The Bureau of Engineering is pushing for an expedited and thorough bridge replacement. Many members of the community are hoping for alternative options.

The Seventh Street Viaduct (1910/1927, 1530’) At first glance, the Seventh Street Viaduct appears to be a double-decker bridge. On closer inspection, one discovers that an original 1910 street car bridge supports a 1927 addition that was constructed to carry automobile traffic over the grade level train tracks. The interior of the bridge is not accessible by vehicle.

The Olympic Boulevard Viaduct (1925, 1420’, originally 9th Street Viaduct) The 9th Street Viaduct was re-named in honor of the 1932 Olympics, held in Los Angeles. It was the first span to be completed under Los Angele’s bridge replacement push in mid 20s and is stylistically more organic and delicate than subsequent bridge structures. The ornamental pylons which support the lamp posts protrude past the edges of the deck, giving the bridge a rhythmically patterned silhouette.

The Washington Boulevard Bridge (1930, 312’) The most notable features of the Washington Boulevard Bridge are the terra cotta friezes which adorn two pairs of monumental pylons at the entrances to the bridge. These bas relief panels depict engineers, laborers and equipment operators entrenched in the art of bridge design and construction.


The Los Angeles through Downtown – Triptych
Ink, acrylic, gold leaf, bleach on singed linen. 8” x10” each.


The Golden Gate Bridge
Ink, acrylic, copper leaf, bleach on singed linen. 26” x 52”.
The Golden Gate Bridge (1937, 1.7 miles) At the time of its opening, the Art Deco style Golden Gate Bridge was the longest suspension bridge with the tallest suspension towers in the world. The deck of the bridge is suspended from two cables made of 80,000 miles of wire, at a height of 220 feet above the high water mark. Painting the bridge International Orange, a color chosen to complement its environment as well as increase its visibility in fog, upwards of thirty staff painters work continuously to abate corrosion of the all steel edifice. One of the most iconic structures in the United States, the WPA era Golden Gate Bridge was declared one of the modern Wonders of the World by the American Society of Civil Engineers.


The Sixth Street Viaduct
Ink, acrylic, gold leaf, bleach on singed linen. 24” x 48”.

The Fourth Street Viaduct
Ink, acrylic, gold leaf, bleach on singed linen. 15” x 45”.

Light On The Olympic Boulevard Viaduct
Ink, acrylic, gold leaf, bleach on singed linen. 15” x 45”.


The Athenaeum
Ink, acrylic, bleach, gold leaf on singed linen. 36” x 48”. 2008.
Envisioned in the 1920’s by George Ellery Hale and conceptually modeled after The Athenaeum of London (a club whose members included distinguished individuals known for their scientific, literary and artistic eminence as well as men recognized as patrons of the afore mentioned pursuits), The Athenaeum at Caltech was designed by Gordon Kaufmann to provide an environment where faculty, students and associates could exchange intellectual, cultural, and social ideas. The first formal dinner was held in February 1931. Three Nobel Prize winners, Albert Einstein, Robert A. Millikan, and A. A. Michelson, attended that dinner. Today, exclusive membership is available to associates of Caltech, the Jet Propulsion Laboratory, the Huntington Library and Art Gallery, and the Palomar Observatory.


Paradox Iron
Acrylic, copper leaf, bleach on singed linen. 36” x 48”.
Southern California Edison, Electric Power Station #3 was built in 1902 by John Parkinson and was originally part of the Edison Electric Company.  In 1992, the building was registered as Historic Cultural Los Angeles City Landmark #388 and currently serves as the iconic structure of the Brewery Arts Complex as well as a location for film and television. The frequently photographed Paradox Iron facade is a remnant from the 1994 film “Color of Night.”

The Fine Arts Building Diptych
Ink, acrylic, bleach, metal leaf on singed linen. 15” x 30” each.
Originally constructed for artist studios, artisan workshops and dealer showrooms, The Fine Arts Building was designed by Albert R. Walker and Percy A. Eisen and completed in 1926. The ornate, Romanesque Revival facade is embellished with architectural detailing including two enormous figures representing Architecture and Sculpture, created and designed by Burt Johnson, which recline at the second and third levels. The interior art works include display cases for art and Batchelder tile on arches, columns, and the shallow pool in the center of the lobby. Figures representing various fine and decorative arts kneel atop interior columns, and were designed by Johnson, but sculpted by Kathleen B. Ingels under the supervision of Ernest Batchelder. Sold four years after its completion, the Fine Arts Building has never fully realized its intended purpose of becoming a cultural mecca for Los Angeles.

Contact Teale Hatheway

Please contact me for studio visits, commission inquiries and mailing list inclusions through my web site.]]><![CDATA[Lisa Evans]]>Alongside my commercial work I spend a lot of time working on personal projects. At the moment I'm learning 3D modelling in Autodesk Maya and Mudbox, which is a slow process as I'm easily distracted by the familiar world of 2D. I've also begun playing around in Game Maker, a mostly coding-free tool for creating computer games. I'm enjoying making my own games, as there's enormous appeal to creating an interactive world for my characters to live in :)

I'm inspired by science, technology and space exploration and I'm hoping at some point this will manifest in my work. That hasn't really happened yet! One of my goals is to find a way to communicate science through an emotional narrative, perhaps in a comic or game. That would be very satisfying!


A Bear For Lain
I was inspired by the anime show Serial Experiments Lain, and wanted to create a companion for Lain as she's very isolated within the show.

]]>Alongside my commercial work I spend a lot of time working on personal projects. At the moment I'm learning 3D modelling in Autodesk Maya and Mudbox, which is a slow process as I'm easily distracted by the familiar world of 2D. I've also begun playing around in Game Maker, a mostly coding-free tool for creating computer games. I'm enjoying making my own games, as there's enormous appeal to creating an interactive world for my characters to live in :)

I'm inspired by science, technology and space exploration and I'm hoping at some point this will manifest in my work. That hasn't really happened yet! One of my goals is to find a way to communicate science through an emotional narrative, perhaps in a comic or game. That would be very satisfying!


A Bear For Lain
I was inspired by the anime show Serial Experiments Lain, and wanted to create a companion for Lain as she's very isolated within the show.



Astral Plane
My partner and I created a small comic about two children learning to navigate their dreams. They travel aboard a strange vessel called an Astral Plane.



Bellamy And The Birds
It's about a disarming armless cat called Bellamy.



Someone Has To Water The Plants
A detail from an image called Moomin Demons and UFOs, in which aliens are nurturing and supportive. In an ideal universe anyway.



Reindeer Comic
I was listening to the Knife and in particular to a song called Reindeer. It inspired me to create a Little Red Riding Hood sequence.



Panda in the Brain
I'm not religious, but faith, hope and idealism are valuable qualities to me. In this picture I was trying to show how these qualities can help with depression.


Ginger and Stealth
Ginger is a three-legged bunny and Stealth is a half eaten ginger bread man. They were originally smudging the tree, but their feathers and sage turned into lolli-pops for the final image.



Star Belly Under My Bed
I guess this one speaks for itself.



Flying With Star Belly
And this one.



The Keepers
Wee Ted and Star Belly are Keepers charged with looking after two children. Sometimes they hang out in trees.


Guinan and her Tarcassian Razor Beast

Inspired by Guinan from Star Trek TNG. As a little girl Guinan had an imaginary friend called a Tarcassian Razor Beast. He had golden eyes and dark brown fur.


Contact Lisa Evans

Website: Lisa Evans

Email: firefluff@gmail.com

Twitter: @firefluff

]]><![CDATA[Julia Wolfson]]>
I’ve been doing printmaking for about ten years, mostly woodcut and linocut with some silkscreen and lithography in between. I am largely self-taught, with a few courses in printmaking and animation completed at the School of the Museum of Fine Arts. I also create comics and embroidered drawings. My work has been described as narrative, and I like to explore topics of connectedness, instability and personal landscapes, always with a sense of humor. I love to work with high contrast, black and white, and flat imagery. My inspirations are very internal: dreams, visions and stream-of-consciousness doodles. I also have a bit of an obsession with kitchenware.



1. Kitchen Spread (green). This silkscreen print is from a series of textile-inspired pattern prints, in which I explore slicing up images and putting them on repeat. Bon appetit!]]>
I’ve been doing printmaking for about ten years, mostly woodcut and linocut with some silkscreen and lithography in between. I am largely self-taught, with a few courses in printmaking and animation completed at the School of the Museum of Fine Arts. I also create comics and embroidered drawings. My work has been described as narrative, and I like to explore topics of connectedness, instability and personal landscapes, always with a sense of humor. I love to work with high contrast, black and white, and flat imagery. My inspirations are very internal: dreams, visions and stream-of-consciousness doodles. I also have a bit of an obsession with kitchenware.



1. Kitchen Spread (green). This silkscreen print is from a series of textile-inspired pattern prints, in which I explore slicing up images and putting them on repeat. Bon appetit!



2. (Kitchen Spread detail)



3. Sprout. This woodcut print is from the same textile-inspired series. Birth, curiosity, a new world sprouting from the dark.



4. Routine (Fear on the Horizon). From an embroidered series of fears manifested as awkward characters. Something has cracked the ground on which she stands, as she finds herself caught in her daily routine.



5. Three of Swords. An embroidered piece from my Tarot series, an ongoing project in which I replace the four elements with mundane objects. Here, swords become forks.



6. Four of Cups. A linocut print from my Tarot series. Here, cups become beer bottles. The meaning of the card, according to my 1968 Rider-Waite deck: Weariness, aversion, imaginary vexations, as if the wine of this world had caused satiety only; another wine, as if a fairy gift, is now offered the wastrel, but he sees no consolation therein. This card loves to pop up in my personal readings. Hmm.



7. Table in Red. This painting came to me in a catalog-inspired frenzy.


(YouTube link)


8. Computed. A mix of digital film, stop action animation and pixilation (a type of stop action in which people are used as puppets).  Wait for it... wait for it...



9. Girl, 24. From a series of portraits drawn in Paris.



10. Lactaid Lady. A true story! This is just one of the many adventures I had while working at a popular ice cream shop in the Boston area.



11. Poem for Spring. A self-portrait done in a moment of big transitions, unclear motives and fuzzy vision.

Contact Julia Wolfson

I do indeed accept commissions!

Email:  julia.wolfson@gmail.com

Website: Julia Wolfson

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