Totally different strokes
The death of George Floyd and the subsequent BLM protests caused a seismic shift in the focus on diversity on the global agenda. Brands of all shapes and sizes demand to deal with the matter and connect with a broader cross-section of society.
As a direct consequence, the demand for brands to collaborate with different artists has increased dramatically. It's not just about appearing “awake” and showing that the company cares about people from outside the mainstream.
Hiring a really diverse creative work from really different creative people not only fixes the support imbalance for amazing invisible artists. It also brings creative diversity and gives brands a whole new perspective on the world.
We have such a wide, eclectic mix of styles and ways of seeing and redrawing the world that we can really push the boundaries of a client's vision
"This global movement has opened people's hearts, eyes and ears and made them aware of their own privileges and the need for greater equality," says Sachini Imbuldeniya, founder of Studio PI – a new photo and illustration agency founded by News UK that only represents people with an underrepresented background.
"However, there is a risk that artists will be viewed as a reflection of a particular time or movement – such as LGBTQ + artists commissioned by Pride or artists for International Women's Day," she adds. "It doesn't have to be like that."
As Imbuldeniya points out, the main challenge is not only to ensure that all of these impulses are currently having a major positive impact, but also to lay the foundations for sustainable diversity for future generations.
We previously explored how Studio PI connects talented photographers from underrepresented backgrounds – including women, blacks, people with disabilities, and working class people – with an industry hungry to hire.
If we keep certain groups from hearing their voices and seeing their work, then it's not just that artist who is missing
When it comes to illustration, the influence of different perspectives on both the style and the subject of the work can be dramatic – unleashing moments of unexpected alchemy when working on a client assignment.
"All artists bring their personality to their work, regardless of age, gender, background or education," says Imbuldeniya. "We have such a broad, eclectic mix of styles and ways of seeing and redrawing the world that we can really push the boundaries of a client's vision."
Artists can inspire us to see the world differently, and the limits of illustration are only defined by our imagination. "That's why diversity is so important in the creative industry," she adds.
“If we prevent certain groups from hearing their voices and seeing their work, then it's not just that artist that is missing out. We are creative directors and art directors. and ultimately, so are our customers and brands. "
One cannot simply expect a very diverse illustrator to document the cracks in cultural appropriation
Tokenism and cultural appropriation will never appeal to different audiences in a meaningful way: they must fall back on authentic lived experiences and a deep understanding of the nuances of a particular culture.
"That doesn't mean you have to hire a black illustrator, for example, to work on a streetwear campaign. That kind of stereotyping is equally derived," adds Imbuldeniya. "But brands need to make sure someone is immersed in the culture, you want to embody. "
"It could be the planners or marketers or the owner of the company or a voice on the board," she continues. "You can't just expect a very diverse illustrator to document the cracks in cultural appropriation."
Challenging expectations
Ngadi Smart, originally from Sierra Leone, also lived in Tunisia – and now lives mainly between Great Britain and Côte d & # 39; Ivoire. She mainly works for editorial clients such as The Atlantic, OneWorld and Reportages.
Smart's illustration and collage creations are colorful and apologetic and explore identity, culture and sexuality from an African perspective. It deconstructs mainstream society's prejudices of "normal", "beautiful" and "right".
“Diversity and inclusion go hand in hand with work that really represents and reflects how multicultural and diverse our world really is,” reflects Smart.
"Unless established organizations and publications create or seek a level playing field for artists from different racial and cultural backgrounds, it is detrimental to all of us," she adds. "Children see opportunities in pictures for themselves."
Filipino Daryl Rainbow was born and raised in London and studied illustration in Camberwell. He combined these two passions to specialize in sports illustration, with assignments from soccer magazine Mundial, Adidas' London Ready for Sport campaign, and a grassroots soccer project with men's grooming brand Harry & # 39; s.
Rainbow's customers include Netflix, the BBC, Chelsea FC, COPA90, Major League Soccer and the style title MilkX. Through his colorful and distinctive technique, he also explores his other passions related to politics, lifestyle and culture.
Growing up as a Filipino immigrant, Rainbow expected him to get a "real job" with financial security. Illustration convinced his family as a career choice. "Filipino culture isn't really known for producing illustrators who mock European football," he smiles.
Feminism plays an important role in the work of graphic illustrator Sinem Erkas, and she believes that her experience as a young woman influenced at least half of the assignments she has received.
Her first illustrated book – The Girl Guide – was published in more than a dozen languages. Erkas has also created a series of 3D paper books called Work It, Girl, which advocate the achievements of modern women.
Erkas describes himself as a “style sponge” who has absorbed various influences from all over the world: Japanese minimalism, European humor, Islamic geometry, African boldness and American pop art.
“People with a minority background have culturally different perspectives and ways of thinking according to the established norms,” she states. "Minorities and outsiders see life differently, and that tends to lead to more interesting work."
Diverse cultural influences
LA-based illustrator and animator Janice Chang has a flowing style that is particularly effective at capturing movement and often uses humor to keep viewers engaged with more complex subjects.
“A lot of my work is focused on using characters to tell stories and have conversations about social and interpersonal issues,” she explains. "I am very inspired by my own experiences and those around me."
"I'm always thinking about how to represent different types of people so that more people can relate to and empathize with my work," adds Chang, whose clients are Apple, the New York Times, Wired, BuzzFeed and Vice belong. "Growing up as a Taiwanese / American, I share parts of this duality."
Selman Hosgor, a multidisciplinary visual artist who divides his time between London and Istanbul, believes that his Turkish upbringing influenced his approach to illustration: "To me, diversity means color," he explains. "Even though things are crowded, there is definitely an order in the chaos. I see this balance in my own work."
Hosgor combines photography and typography in lively, colorful collages. His clients include Apple, Pirelli, and Bulgari, and editorial work for Vanity Fair, Vogue Turkey, The Guardian, The Economist, and Elle USA.
Inspired by her homeland India, music, interior, architecture and nature, Sneha Shanker is an illustrator and brand designer and now lives in London. Her work reflects topics such as wellness, mental health, and self development. Her commercial clients include BBC Three and Vice.
Shanker's characters are either based on themselves or on specific women they inspire. "I took it for granted that they had Southeast Asian traits," she says. “I drew what I considered normal. It wasn't until later that I realized that most of the promotions represented people I had no connection with or had nothing to do with. "
Shanker then set out to incorporate even more diversity and cultural flair into her illustrations. “I try to take into account different skin and hair colors, ethnicities, same-sex partners, etc. in all of my work,” she explains.
"I think the responsibility for fair and diverse representation rests with both the illustrator and the commissioner," Shanker concludes. “As illustrators, we should expand the conversation to include all of our work until it becomes the norm. If we don't have to talk about it as a topic, we've done it. "
studiopi.co.uk