#joana Avillez

[theblackestofsuns]

Joana Avillez’s illustration of Fran Lebowitz for Naomi Fry’s piece on Martin Scorsese’s Pretend It’s A City in this week’s New Yorker magazine.

[museoillogique]

Illustrator Joana Avillez Draws the Making (and Unmaking) of Guggenheim Exhibitions

[murmansea]

Joana avillez

[imagesfromitsnicethat]

Joana Avillez’s visual essays use drawing “to say what writing cannot”  (see more)

[newyorker]

How to Transition from Winter to Spring: A Mental Style Guide

As the winter months slough off into spring, New Yorkers divide into two stylistic mind-sets.

See the full comic here. 

[acaseforpencils]

Joana Avillez.

Bio: I have been doing illustration full-time since 2012. It's what I always wanted to do (see image below) but somewhere along the way I got distracted, or it was drummed out of me. I was always drawing and ended up at RISD where I studied painting. I remember sophomore year being told my paintings (which were extremely bad) were very "illustrative" and understanding that was not a compliment. I began making things I never would have even imagined being able to make: big things, tactile things. RISD was incredible and if I had been studying illustration then, I don't think I would have learned everything I did about ideas and materials and intention. 

 After art school I knew I didn't want to make things for walls or galleries and I honestly never had. I always knew the page was what I loved and everything to do with that — comics, writing, humor, drawing, satire, books, magazines, newspapers.  Essentially, what I make now is what I did when I was eight.

I don't do traditional gag cartoons, although I once tried for about two months. I was truly terrible at it.  It really is a unique genius I don't possess but admire. However, returning eagerly to rejection each week taught me to take things a lot less personally. I have been so lucky to work with Emma Allen doing illustrated Daily Shouts pieces; it's one of the few places in the world that feels like a home for what I consider my ideal work: a drawn and written hybrid used to induce varying shades of laughter.

My first one was this piece, chronicling the arduousness of seasonal transition, inspired by mom, one of my top muses.

 Besides The New Yorker, I've worked for a variety of places, The New York Times, New York Magazine, Zeit Magazine, apartamento...

Tools of choice:  I am very into simple-processes and working in a way that produces the most direct brain-to-hand-to-page drawing.  I feel about this the way I do Lucinda Williams' music: like she is singing right beside me, wheras a very produced song can feel like it exists very far away, on another planet — which of course has it's merits — like I would like to live on another planet.

I make drawings by very easy means and I like it that way.  It means I can work anywhere. I don't need expensive machines (granted, I have a sick scanner) or hard to find materials. I could truly make a living using materials sold at my deli.

My favorite pen is the Uni-ball vision in fine.  I wrote a love letter to this pen for New York magazine, which goes into detail about why I think it's the best drawing and writing tool.  It is easy to find, cheap, waterproof, and never finicky.  I love it.  I use five pens and brush pens in total; in order of weight thick to thin they are: Pentel brush pen FP5M, a Kuretake Fudegokochi (my friend Alexa Karolinski got me a pack of these in Japan and I have routinely reordered), Uni-ball fine, Uni-ball extra-fine, Muji gel pen .38 mm (a pen trade with Liana Finck).

I use this GraphGear 500 mechanical pencil for laying out my ideas, and these Faber-Castell erasers to erase the trace once I've inked. I'm obsessed with these erasers (such a scandalous statement).

I know for me simplicity is best, so that is pretty much all I use.  I keep an old-timey "draftsman's mini-duster" on my desk to brush away eraser residue and lunch's crumbs.

Tool I wish I could use better: I always wished I could be a nib person. Whenever I use a calligraphy or dip pen I wind up spending the afternoon addressing empty envelopes to friends or writing Joana Avillez Joana Avillez Joana Avillez over and over again in some sort of trance or meditative naming ceremony.  

When I went to SVA in 2010 (for the Illustration as Visual Essay program) I didn't even know how to use a Wacom tablet. So even just using that feels like I'm a person of the world! I was also still fussing around with Rapidographs and white out.  My tools and process have become more and more dumbed down — or streamlined — depending how you look at it.  

Tool I wish existed: A pencil who's lead, once drawn onto the page, would transform to ink.

Tricks: This is perhaps less about tools, and more for working, but I always leave something unfinished at the end of the day.  When I get back to work the next day I can jump right in, and there's no lugubrious preamble.  

Misc: 

This is Pepito. He's probably four years old and he's my studio manager.  He is very intent on making sure I get away from my desk to walk along the river and then throw a ball around for as long as possible and then lay in the grass and stare at the sky panting. He's a huge asset.

Website, etc. 

joanaavillez.com

Look out for D C-T! my book with Molly Young (writer and crossword-maker and friend), an illustrated and coded book inspired by William's Steig's classic CDB being published by Penguin Press in 2018.

Be sure to follow Case’s Instagram and Twitter for fun quotes and photos!

[mollyyoung]

And here we have a very lovely interview with my co-conspirator / co-author Joana Avillez.

[trendingfashionista]

@gracecoddington illustration by @joanaavillez 

[saulcastillo]

⩔ Hacía bastante que no nos pasábamos por las siempre originales páginas de la New York Magazine. En esta ocasión traemos una de sus imprescindibles guías, con 100 consejos a tener en cuenta a la hora de ir a un restaurante en Nueva York.

La mejor hora para ir sin reserva, cuál es el sushi más recomendable, cuál es el mejor restaurante con la peor comida y viceversa... Y todo ello con las apetitosas ilustraciones de Joana Avillez.

» New York Magazine vol. 55 #12, del 6 al 19 de junio de 2022

[no-romance]

joana avillez

[snaxel69420]

https://www.quarantinepubliclibrary.com/pick-my-nose-by-joana-avillez a zine about noses

[chillustrations]

Joana Avillez’s A Sardinha Zinha is an illustrated ode to Portuguese idioms http://bit.ly/2PKeRht

[rodreyes]

Virginia Woolf and Vita Sackville-West; illustration by Joana Avillez.

The New York Review of Books

[javierpenadea]

"Who Was Beatrix Potter?" by BY JOANA AVILLEZ via NYT Books https://ift.tt/3oocWAX

[acaseforpencils]

I really enjoyed reading Joana Avillez's interview. Thanks for publishing it. In it, there is a photo of a stack of relatively plain, sketchbooks/notebooks with brown kraft covers. The interview doesn't address them. I wonder, what kind are they? Thanks in advance. This blog is one of my favorites!

Hi there! I asked Joana, and she told me that she bought them at Muji!

The notebooks