Shaw Nielsen was recently hired by BUPA, a UK based
healthcare provider, to illustrate the
cover of a booklet given to children whose parents have been diagnosed with
cancer. Titled, “I Know Someone with Cancer,” it contains FAQ’s about what cancer is and how it is
treated, along with simple advice for
helping out your parent with cancer. Shaw, who typically works in the editorial market, exhibits
his versatility as an artist as well as his ability to gently handle sensitive
subject matter.
“This series of illustrations have been some of the toughest
I’ve had to tackle to date, as the weight of the audience inspired me to invest
a little extra. I also illustrated loads of spot illustrations for this client,
and you can see a small sampling of what I did below. “
We are delighted to share the energetic work of Andy Ward, a
unique talent from our group who is in demand in virtually every market. Andy’s delicious palette, charming portraits,
and ability to inject concepts with enormous humor make his illustrations stand
out on the page of any publication. When it comes to branding and advertising
assignments, he brings in a blend of originality, style, and an acute adeptness
for character design. Andy's artwork has appeared on the surfaces of airplanes and
buses, iPhone apps, billboards, apparel, restaurant menus, store fronts, and the
list goes on. He also writes, directs,
and illustrates for his motion work, then teams up with animators to bring
the stills to life. Below are some examples of Andy’s illustrations
and animations. Enjoy!
It was a no-brainer to call on Eva Vazquez, Bob Staake, and Shaw Nielsen to produce illustrations so appealing you'd want to wear them on your shoulder. It has been exciting to watch the artwork of these three diverse illustrators go from concept to tote bag in such a short time! Each bag is adorned with a vintage-inspired hang tag designed by John Pirman. We'd love to hear your feedback, so don't be shy, send an e-mail to mandi@rappart.com and let us know what you think!
We thought we had all the stylistic bases covered in the world of illustration, until we met the team from Pushart! This latest addition to our group definitely adds a new dimension (pun intended). Pushart conceives, draws, builds and photographs miniature 3D sets. Smart and fast, they are perfect for quick editorial deadlines.
We are excited to announce that Robert Neubecker has joined our group! Robert is one of the most prolific editorial artists working today. His strong, unique concepts connect with a wide array of subjects, from financial to healthcare to lifestyle. And don't forget about his energetic, colorful kids' work!
Workman Publishing recently asked Shaw Nielsen to illustrate a pop-up book called How Do You Feed a Hungry Giant? by Caitlin Friedman. A very versatile artist, Shaw can illustrate a heartwarming 30-page narrative, and also think quickly and conceptually for editorial jobs. No matter what the assignment, you can always count on Shaw for his big sense of humor and vivid imagination.
"My process for illustrating children's characters is a well kept secret - until now! I often put myself in the mindset of the character and pose myself in the mirror, making the noises I imagine the character would make if he/she could jump off the page and speak. In the case of the Hungry Giant I would find myself hunched over in front of the mirror repeating "nom nom nom!" My dog found the whole thing a little confusing and her expressions made for great inspiration for the dog, Cowgirl, in the book.
I think my favorite part of the book was working with the graphic designer to develop all of the pop-up and paper engineered elements."
"The process took around 4 months, in between servicing regular clients. Drew Frist from Electric-Type, the creative director on the project, broke down the areas to be illustrated and described how he had imagined them to be. In conjunction with Dino, the interactive company, he would give me a list of 'assets' which are all the bits needed in separate layers for the animations. After the first few we got to the stage where he would leave me to produce the final image without having to approve the sketches, which sped up the whole process.
It was a lot of work, but the whole exercise was relatively seamless. Drew and Dino where great to work with. We used a central work base called Basecamp which held all the correspondence between all parties and all the files in one place.
I was very keen to take this on, as I can see that this area of getting our illustrations animated is only going to get bigger and I was excited to see what was involved."
