Spencerwilson

Work / Illustration

Spencer Wilson

Words by Alex Bec, Tuesday 13 January 2009

Spencer ‘Wislon’ Wilson updates his site for the new year with some fresh work.

Being able to turn around an editorial illustration on a tight deadline is a skill that shouldn’t be underestimated and this guy is one of the industry’s true professionals.

Xiang Guan’s Symbiotic Objects require a human component 19 September 2017
Alex Fergusson on the provocative and powerful nature of surface graphics 19 September 2017
Bendik Kaltenborn talks us through his retrospective book, collating ten years worth of work 19 September 2017
Meet music-obsessed graphic designer François Boulo 19 September 2017
César Pelizer’s 2D and 3D experiments are full of humour and imagination 19 September 2017
The irreverent spontaneity of Stefan Marx’s markmaking 19 September 2017

Work / Illustration César Pelizer’s 2D and 3D experiments are full of humour and imagination

Growing up, illustrator and animator César Pelizer was surrounded by comics, magazines and cartoons on TV, so his interest was piqued early on. “I still remember that episode from Bugs Bunny where he interacts with the animator and Bugs gets angry that he keeps drawing and erasing things from the scene, for some reason I saw that and thought I could do that,” says César.

Born in Brazil, he then went on to live in Argentina and years later moved to England, where he now calls London home. César is currently working as a director at motion studio weareseventeen and sees his style as a mix of 2D and 3D. “I like to use 3D more as an animation tool rather than looks, I like keeping things flat,” explains César. “At the moment I am really enjoying experimenting with 3D, basically having a 3D character is like having an actor in scene, you can position the camera in different angles and perspectives and that gives you infinite possibilities, especially if you’re coming from an illustration background like myself.”

Rebecca Fulleylove — 19 September 2017
Work / Illustration Jun Cen’s expressive illustrations capture fear, loneliness and frustration

“My goal is to create an expressive aesthetic with restraints,” says illustrator Jun Cen of his style. “I think I make my illustrations in a minimalistic way, trying not to make my work overdone.” By using a limited colour palette and playing with perspective, Jun often uses fine linework to create architectural spaces and fills them with characters dressed in costumes to bring his story telling to life.

Rebecca Fulleylove — 18 September 2017
Work / Illustration Illustrator Peter Judson on his vibrant and celebratory hoarding for The Hoxton

Peter Judson is no stranger to It’s Nice That – we’ve featured his energetic work several times before and his latest project doesn’t fail to disappoint. Recently, Peter was asked to design the hoarding for The Hoxton, Southwark (due to open in 2018) and was given the task of creating something that would “celebrate the area” and initiate engagement with the local neighbourhood. The Hoxton were keen to showcase “the good and the great” of the borough whilst also reflecting their own “eat, drink, work, play any time of day” ethos.

Ruby Boddington — 13 September 2017
Work / Illustration Félix Decombat’s illustrations revisit old characters in new, absurd situations

Inspired by the “weird and subversive” Félix Decombat’s illustrations have always been a refreshing interpretation of the world. For over a year, Félix has been working on and off on a series of illustrations called Bizarre, which sees him bring together elements and characters he found in magazines. “I revisit them and create new absurd, surrealist situations,” he explains. In other parts of his portfolio there’s an array of editorial commissions for Kiblind Magazine, the now-closed Lucky Peach, and Papier Magazine, as well as snippets of other illustrations that Félix sees as research “leading to something in the near future”.

Rebecca Fulleylove — 13 September 2017
Work / Illustration Charlotte Ager’s spontaneous drawings capture the spirit of people and places

“It’s very easy when you’re at art school to question everything you do, which can be useful in so many ways but can also just stop you doing things,” reflects illustrator Charlotte Ager. Since graduating from Kingston this summer, Charlotte has tried to “focus less and enjoy more”, meaning she’s responding immediately to ideas when she has them, without worrying too much about the end result.

Rebecca Fulleylove — 12 September 2017
Work / Illustration Timo Kuilder combines clean-cut linework with limited colours in his editorial work

Netherlands-based illustrator Timo Kuilder applies his style to both his personal work and commercial commissions meaning there’s a consistency across his whole portfolio, which is full of pared-back characters, simple colour palettes and tight linework. “My work can be described as graphic, bold, reduced. I do quite clean vector work, but like to roughen it up by adding some halftone textures and playing around with brushes,” explains Timo. “This helps to make it more organise and I like it when these little accidents happen. I don’t work with a particular colour palette, but tend to use a small amount of colours.”

Rebecca Fulleylove — 08 September 2017