31.12.09 by Jeff

Nick Lepard

Paintings by Nick Lepard. A fellow Emily Carr grad.

nick lepard artist emily carr graduate one vancouver painting

nick lepard painter emily carr graduate vancouver two painting

nick lepard artist painter emily carr three vancouver painting

nick lepard artist painter emily carr four painting

nick lepard artist painter emily carr graduate five

nick lepard artist painter emily carr six

Jeff Hamada is the Founder and Editor of Booooooom. He lives and works in Vancouver.

  • cfaye

    their attitudes upfront, but their nature ambiguous. so human nature.

  • brokolise

    his works very look like jenny savilles paintings

  • absolutely love. it’s all in the eyes.

  • EmilyC

    yes yes yes! 😀

  • Mary Ellen

    This reminds me of Jenny Saville. Nice.

  • emilyrugburn

    these are great
    I love thick,textured painting…
    it add incredible depth and character to the paintings

  • Some of them remind me of magazine cut-out collage we did in High School art class. Great Work!

  • Great work!

  • All of the abstract-ness comes together to be remarkable.

  • meghann

    him and j sav, man. always number one painters to me.

  • Must be a Chuck Close fan!!!!

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  • gCj

    nice Paint job!! i taste a bit of jenny saville in there somewhere! Really good work though!!


  • [fr] superbe !

  • It reminds me Francoise Nielly :

  • me provoca comerme tus pinturas

  • i just wanna eat your paint.
    i really love it..

  • iks

    reblogé merci 🙂

  • Fabulous! Well done!
    Keep up the good work and come to Tasmania (Australia)
    sometime to exhibit your work!

  • Roh

    They are good, but i feel like the borrow way too much from jenny saville especially the third image in relation to this jenny saville painting ‘stare’ http://30.media.tumblr.com/ZUZV4V3Fink8d8fpJqOOK1URo1_400.jpg

    i think the abstract elements contradict the tight and deliberate painting of the eyes, like the artist is afraid to go totally abstract and expressionistic (kind of like frank auerbach) and retains some illustrative quality, which is a little disappointing as i feel it cheapens the work somewhat. Also i’m not sure why the artist has chosen to paint like this, it makes sense for saville and her concept and subject matter (a very literal falling apart/deconstruction of the human body) but not sure it does in this context (what looks like straight self portraits?) but i have to admit i dont know the whole story behind the works, but again the artist doesn’t give me much to go on.

    Not everything has to be totally readable and realistically portrayed, but not everything has to be wild brush strokes and drips that have nothing to do with the concept either.

    • c.o

      shut up stupid ‘ROH’, the quality of paint is incredible I’m sure you couldnt paint like this, not everything has to be based on concept or have a reason for the way the brush strokes are portrayed. Clearly an arrogant twat trying to display to people that you have some kind of knowledge of artists who cant’t appreciate skill and ability because talented artists with canvases as refined as this are rare. Keep your snooty comments to yourself. No one cares. P.S. it’s so pretentious how you’ve put the link to Jenny Saville on your comment. Get over yourself

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20.10.16 by Jeff

Photographer Spotlight: Lluís Tudela


Photos by Lluís Tudela. More images below.

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20.10.16 by Jeff

Opinion: How to Email an Illustrator

We recently came across an article proposing the most efficient way to communicate with an illustrator, and it’s relevant for anyone looking to hire creatives of any discipline. Illustrator Kyle T. Webster wrote the article to act as “a guideline that will lead to improved communication, fewer revisions, better artwork, and fewer headaches for all involved”.
If you’re a freelance creative and have any thoughts to add, or you’re an art director with a counterpoint, we’d love to hear from you in the comments section below.

1. Your first email to an illustrator should not read: “Hey, are you available for an assignment?”
This kind of email is a waste of everybody’s time, because all of the important information is missing: size and number of illustrations, context, timeline, and budget. In order to reduce the back-and-forth between the individual assigning the art, and the illustrator, simply take a moment to include the important information in the initial email request.
For example: “Hello, John – we are publishing a story about the ongoing conflict between hedgehogs and walruses. We will need a cover, a full page, and two spot illustrations. The deadline for sketches is March 1st, and the finals will be due March 8th. Our budget is $3750. Are you available / interested in working with us on this assignment? Please let me know by 5pm today. Thank you.”
With one email, you have now given the artist all of the info needed for him/her to decide whether or not to accept the job. This used to be the standard introductory email for all assignments. I’m not sure what happened, but I, and many illustrators I know, rarely get emails like this any more. Let’s fix that.
2. Please do not expect illustrators to read minds.
Details are very important. When sending emails about your job, give as many relevant details as possible to an artist, if the assigned artwork has specific requirements. Illustrators are very capable of drawing anything you need, but we cannot guess what that might be if we are not told up front. For example, if you tell an illustrator to draw “a car on a street,” then the illustrator will assume the make and model of the car are not important. S/he will also assume the street can be any kind of street. Therefore, it is not fair to the artist to reject the final art because you expected a vintage Porsche on the Autobahn. Please be sure to communicate all required elements of the art in your earliest correspondence with your artist, and it will be smooth sailing for all.
Sometimes, very little direction is preferred, if the assignment calls for a lot of artistic freedom and interpretation. But, let us not confuse this with a lack of relevant information. For instance, the recent recipient of the Richard Gangel Art Director Award, SooJin Buzelli, is famous for giving her artists a lot of freedom. But let us note that when she assigns work, she actually has spent a good deal of time figuring out a way to distill a complex article down to its essential message or theme. She then sends this one or two sentence summary to a carefully selected illustrator, providing that individual with a perfect launchpad from which to create a unique visual solution. Concise and efficient.
3. Please write back. Please.
This is just common courtesy. I often get asked if I am available for an illustration and I then respond in the affirmative with some questions about the assignment or the budget or some other detail. Then, no reply ever comes. A week later, I will see another artist blog about completing the very same assignment that was initially emailed to me. While I understand that everybody is very busy, and emails are flying around at the speed of light, I urge you to please remember that it is unprofessional and quite rude to simply leave an artist hanging.
We often will put other things on hold or rework our weekly schedule to accommodate a project that we think is moving forward. A simple email to let us know that you will be working with somebody else, the job is cancelled, the issue is on hold, etc. is all we need to move on and stay on top of our other jobs. Thank you.

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20.10.16 by Jeff

Photographer Spotlight: Alexi Hobbs


Images by Montreal-based photographer Alexi Hobbs. More images below.

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Artist Spotlight: Max Seckel


A selection of work by New Orleans-based artist Max Seckel. More images below.

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Sponsored: Introducing Envato Elements


Envato has just introduced a new resource called Envato Elements that offers more than 6000 curated design assets, for any type of project you may be working on, created by global community of independent designers.

Envato is offering a limited time launch pricing of $29/month, which grants you access to commercial licenses to massive libraries of fonts, graphics, web templates (HTML/CSS), graphic templates and soon to come CMS templates. New items will also be added on a weekly basis to each category. Perfect for any one that has a regular need for high quality ready-to-use design assets. Learn more about Envato Elements in the video below:

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