Illustrator Denis Zilber and his toys

Denis Zilber - illustrator with an amazing sense of detail and his very special style. He paints "static cartoons" using expressive animation frames, giving all his work alive and unique haraktery.Denis was born in Minsk in a family of artists in 1991 they moved to Israel, where he worked for Russia, Europe, the United States, sets other countries and to Israel proper.

He leads Learn, which publishes not only the illustration, and text, which are also very special. It offers short, densely covered with dots and commas, merging in one quick flow into one distinct thought. He childishly sincere and direct, and it is clearly reflected in his work. Dennis and he understands it, calling his illustrations "game of dice┬╗.

Denis now 33 years old, and he believes it will take at least another 10 years before it until the end will determine the style and finally understand what exactly he was doing.

On this and many other told Denis Zilber Site in an interview essay.

I never learned to draw. Although no lie. It would be correct to say that I was never taught anybody specifically. However, due to the fact that I grew up in a family of artists, such as self-understood that I should be able to draw, as much as I have come to this, one is not particularly care.

I remember when I was 5 years old, I asked dad to teach me to draw a gun. That's what I was interested in at that age. It showed I repeated. It was the first and last time when I was something specifically taught. My parents told me what is good and what is bad, what to look for and what to avoid, and then I'll really tinkering.

I was given the general direction and principles. Never rubbings, never use a ruler, always try to draw a line from start to finish. Terms of tough, but at one time they have a very disciplined. I drew all the time, all of his free time. I never really thought that I would become an illustrator, wanted to be a father - a sculptor.

And now I'm not really sure what I'm doing is called illustration. No, of course I will illustrate articles in magazines, draw posters, postcards and book covers. It's all in theory is an illustration. But that's what I aspire to something moving in his work, it probably is a little away from the narrow concept of "illustration of text or ideas." In fact, I have not decided who I will be when I grow up.

Probably, if I had a specialized education, it would have been easier. But I do not. One time I was studying at the Academy of Art and Design "Bezalel" in Jerusalem, but a year later dropped. There was a young, bad. I was terribly oppressed, that I should re-learn everything that I already know, at least for several core subjects. Moreover, at some point, I ran out of money and could not pay for his studies.

In general, everything went something like this. I decided that everything I learn myself. Whether it was a smart decision? Not sure. Perhaps I would have been easier to start a professional career, if I had on hand a handsome certificate with a seal and a solid degree project portfolio. On the other hand, everything that I need to work at least basic things I learned myself. Maybe it took a little longer than I thought, but nevertheless somehow it happened. I draw in major Israeli newspapers and magazines, working with Russia and Europe.

Nobody asks, I have a diploma or not. Take a look at the work and everything, that's enough. Most of my classmates, by the way, one of those who finish my studies, has several times changed the profession after graduation. So diploma, apparently, in this profession means not very much. Although, I do, of course, the ignorant and brutish unnecessary illusions at his own expense, I do not cherish.

Learn to constantly. Each new job. Each new illustration - a project is a new job for himself. I have to constantly vary the style, a palette of techniques, not to be repeated, do not stray into a routine, do not fill the hand. Very afraid to stop and say to yourself, "Well, then I feel good, warm and comfortable, so I'll draw now always." It's like death. Professional death. So I spin like a top, each time trying to do something new, at least for myself.

People from the outside it is not visible, but often the whole illustration is built around a completely obscure things. It may be some special lighting, colors, fine detail such as glass or a reflection in the water. That is, for example, it was important to draw the glass and the way the light is refracted in it, let alone everything else, that is, the characters, the plot and composition - are secondary. On the side is not visible, it seemed to get a complete illustration, but my interest in it was only in the details, in this glass. For him I have everything and painted. It was my homework myself, my lesson. And this happens very often. If it still does not happen, if I do not manage something new to learn in the new illustrations, the kind of work I do, as a rule, do not show people. It is for me just communicating, are not particularly valuable picture. I am sending the client and forget.

By the way, though I half-educated, but one education I still have. However, in an industry, in the adjacent. I - animator. Chartered, yes.

Illustration - this is not just a picture. This is not an abstract pattern, it is not "Oh, how beautiful." Illustration - this is not just a set of techniques, knowledge of anatomy, perspective, sense of color and composition. Draw know how well, or think they know how many. To illustrate - not all. Fine artists can be useless as an illustrator, and vice versa.

Because as an illustration, in my opinion, it is, above all, history. It is not the form but the content. This is the story behind the scenes, it's preface and epilogue, be cut off the borders of the sheet. A good illustration, I think, should always be seen through the plot. And it's not just bolted to the image of the concept, the concept can be fastened to anything. This is the story plot. Peace, if you want. Small universe.

Generally, one of the very important things that I learned when I was an animator on this understanding that everything that people make art, it tells a story. Whether it's through music, animation, film, painting, illustration, literature. Through whatever. Although the drum beat, but do not do so blindly and say, tell me. Media channel is not important, important history, and how it will be interesting to viewers, listeners, readers.

I think that's the point of illustration, that remains behind the scenes. Yuri Norstein it calls "to the canvas for the ringing string". Very true, I think. And not because, as a rule, any figure starts with the source text, which is, in fact, determines what will be drawn. The text is not very important. Personally, for example, I always try to work so that illustration of reading out the text to be independent from him. I think at that moment, when detached from the illustration of the text and begins to play its own role, it goes to a higher level, begins to tell something of their own. So, if I wanted to give a definition of illustration, I would say it's more images telling the story than the image illustrating text. The history of primary, secondary text.

A good illustration - it is not just a picture with a history behind them, but also a style of its own, its own particular view of the world, a kind of a unique form of expression. A good illustrator recognizable and unique, copy it, try to imitate him, to work "under him." To do this, of course, fully it is very difficult, if not impossible. I would like to see the difference between those who have suffered his style, put together bit by bit, it has developed over the years, and those who are just trying to use existing techniques. Good and good illustrations, illustrators, however, very rare.

Mostly I work with Western Europe, Russia and a bit at home in Israel. In Europe, I work delivers one illyustratorskoe agency, I draw their advertisements for British and German agencies in Russia, however, I have been working on an ongoing basis with GQ magazine and the Bear, draw illustrations for the articles. There was a period when I was working with Russian life, as well as with the Russian editions of magazines MAXIM and Playboy. In addition, for more than a year, I draw cards for the Moscow publishing house Contact Cultura. In Israel, the draw for the men's magazine Blazer and one of the main local newspapers. Sometimes I draw for the French magazine Capital and Management.

Apart from the purely illyustratorskoy work from time to time I take animation projects. I make one video clip and several commercials. I cooperate with various Israeli animatsonnymi studios as a designer of characters and backgrounds for the artist. A couple of times participated in feature animation projects, which, however, because of all the administrative troubles were subsequently frozen.

Each market has its own specifics. Everywhere illustrator, refers to the different ways and all your workflow. The Israeli market - a very specific market. It is so special, I'm not sure whether there is somewhere else something similar.

The fact that in Israel no professional magazine and book illustrations alone. The country is small, small circulations. Pay illustrator lot no one can, because these costs are not recouped by the publisher. Accordingly, an illustrator, so if he chose such a silly profession should draw very quickly. Increases speed, reduces the quality go down, as a result, the requirements for illustrations and illustrators. As a result, an illustration in Israel is more a hobby than a profession. For it can not survive.

Israeli customer in 9 cases out of 10 prefer to use the photo or photo collage, rather than turn to the illustrator. He even about the illustrator and remember really, because without it you can do well. And if you turn to him, it will truly believe that giving illustrator work makes him a huge favor. With this attitude to me personally to work very hard.

With the Russians and Europeans such problems, as a rule, no. In Russia, traditionally a good attitude to the artist, his work is appreciated. It is not always adequately paid, however. Russian prices for graphic differ from European at times, and sometimes an order of magnitude. Communicating with Russian illustrators I sometimes hear stories about customers who refuse to pay or are forced to work for pennies an illustrator.

Maybe I was lucky, but in the last few years in the Russian market so I almost did not come across. A couple of times I was not paid, it was. But on the other side of hunger, I did not die because of this? Well, okay. Costs profession.

Western Europe, the USA, England, Germany employ illustrators to its fullest. Competition in these markets is mad - great illustrators sea, but, with due diligence, professionalism and luck you can be beaten up, to become famous, and then the orders will have no problems, and paid they are not as "image to the text", and as a work of art, that is quite high. Well, in general, to the work of an illustrator is very respectful that captivates.

Once I had to draw some sort of illustration to an American customer, but something was not grown together, and they have refused my services. I worked through an agent or directly with the customer did not communicate. And then I received a letter from this customer, in which he was very apologetic, he said that despite the fact that this time did not happen, he is sure to appeal to me in the future, and that he really liked my work, etc. etc. But I could not explain anything, did not have to. However, it is specially procured my mail and write me directly, so I do not let God was not offended or did not think of that. Frankly, for the sake of these people I'm ready to break into a pancake.

In general, job offers are coming from the most unexpected places. From Turkey, the United Arab Emirates, Iceland. Recently invited to work in Peru, in India even offered to pay for the move. Chinese writing, Malaysia and Nigeria. But Japan has never, even surprising.

With advertising and I work quite often, at least in many cases, do not spread the result in the network. Why is that? The fact that I, as I said, certain things are important in my work, and often with the customer, we are pursuing different objectives in the same project. I'm concerned about the artistic value of illustrations, a balanced composition, color, shape, some emotional and meaningful message, a final rezltate that I can be proud of. In working with advertising in most cases, such decisions are made by the art director, with him our views on what is good and what is bad, what is right and what is wrong, can be diametrically opposed. Therefore, if in the end the art director still remains happy with the result and I'm not, I'm kind of work people do not show.

And it's not that it's bad. No. I never schlock, and this illustration is, no doubt, will be high-quality. Just there is nothing of value to me personally, and I do not want her to represent me. Ultimately, the artist - this is not what he does, and that puts on public display.

My main and essentially the only goal in the work - is primarily a good illustration. Good in my opinion and according to my criteria. It is desirable that each new illustrations present a qualitative leap forward to each new picture was slightly better than the previous one. Let per gram, but better. I am therefore extremely important to take all the creative solutions in my work, to choose the direction in which to work.

In other words, I constantly strive for the greatest possible freedom and the lack of control on the part of the customer. Fortunately I have a portfolio, it is not too small, it is open to everyone, and it is easy to imagine what I can and what can not. So that any potential customer can decide in advance whether it is suitable style, in which I work or not. If appropriate, he will have to trust my taste. If you do not fit, then it will turn to another illustrator. It's very simple.

In working with periodicals, this approach is quite widespread, at least to me often allow you to draw what I think is right, without any control from the editor. In advertising and commercial illustration with this difficult, so often have to negotiate the extent of my responsibility as an illustrator in advance. In any case, I am very actively try to avoid clients who are waiting for me only the technical performance of their remarkable and unique ideas. Thank God, I can generate the idea itself.

I'm afraid I still a little early to talk about a style of my own, I think he has not yet formed, and before that oh so far. Again, I have no illusions about his own expense. I think it will take another 10 years at least, before you will form something in that I can point a finger and say, "That's my style." However, when it comes to the manner in which I am working now, and from which it is formed, it seems to me, some of these terms.

It is primarily the color, light, volume, dynamics, grotesque and humor where appropriate. I like to create vivid images with a small convex 'pribabahom ┬╗.

There is a whole galaxy of remarkable artists that I admire, to the level that I am drawn, and that its influence create the pieces that I eventually do. This Nicolas Marlet and Poly Bernatene, and Shaun Tan, and Jean-Baptiste Monge and Alberto Mielgo and still a dozen others. Not all of them illustrators, by the way. Nicolas Marlet, for example, character designer studio Dreamworks, creator of characters "Kung Fu Panda" and "How to Train Your Dragon." That is actually a narrow specialization in the picture is not very important to me. I'm concerned expression.

I constantly strive for maximum expressiveness, this desire I moved into an illustration of the animation, where the expressiveness and attractiveness of the frame is one of the fundamental principles.


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