Gerard DuBois is a freelance illustrator who has had his work published in numerous magazines. Some of the magazines he has been in are The New York Times, The Wall Street Journal, Times, Rolling Stones and a handful more. DuBois also illustrated for a children's book as well. He was born in France in 1968 and he studied to be a graphic designer. He ended up finding his passion with illustration and stared doing freelance work.
I love his use of color in all his work. One of my favorite pieces he did is the Sacred Space. This is the first illustration I posted. I love the high contrast in it. It is very appealing. It is very interesting that he made the sky at night so he could add some white dots which allows the piece to tie together well with the white bottom. It is very simple but intriguing. I also love the shapes. The line work in this piece is fantastic. I love how the bottom portion looks like a cut out. The line work is so clean and perfect.
His style is quite dark and eerie. He does a lot of editorials for magazines, which helps the audience analyze his work. He seems to do some surrealistic pieces as well which are enjoyable to look at. He is a great illustrator and I love his work.
I too love the night sky in the first illustration. That dark blue fading to black, and using the white dots to match the building (or vice versa) was a great design element. The piece makes me wonder, what does it actually mean, or was it drawn for a subject?
ReplyDeleteThis first illustration is very eerie. I immediately noticed the upside down twin towers formed by the negative space around the minaret. It's hard to tell if he's trying to make a comment on the connection of Islam to 9/11 or if it's more of a "here it is" type statement?
ReplyDeleteDitto to what Stef said. I found myself looking at this thinking wow, that's really beautiful, well executed and clever, but not knowing whether to be annoyed or not. I like that there are so many different ways you could read this, but I was frustrated that the viewer isn't being lead just a little. Some people are just going to come to a piece like this and say, "yeah, that's right, it's all those Muslims' fault that the towers went down." Their preconceptions are going to be the entire conversation they have with that piece, and they aren't going to catch some of the positive things this piece might have to say (such as wow, isn't this a peaceful beautiful space created by this culture, who would have thought evil that could lead to such a deed could exist here, and what other positive things might coexist within that space). What magazine was this originally run in? What was the intended audience?
ReplyDeleteAt first glance these works look really simple but after looking again I like that you can pick out little nuances and ambiguous shapes. Really interesting.
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