SONWABO Sonik VALASHIYA describes himself as an “emerging creative with BIG dreams and awesome ideas for this industry” in a feature on him for Conté Magazine. (Check them out, pretty awesome stuff). Sonwabo is an illustrator and graphic designer from Pretoria, South Africa. He has an uncanny talent for fusing calm hues, grit and pop culture that leaves you gasping for air and ready to re-imagine present realities. And oh, he might have a thing for guns.
Very? Then this is right up your alley!
MTV Breaks (platform that offes budding creatives their first breaks – on a global scale) is searching for creative illustrators and colourists to translate the multi-award winning television drama, MTV Shuga into a unique and original comic book. Continue reading “Dear South African Illustrators On The Come-Up, How Dope Are You?”
If you’re looking for a one-stop shop for brilliant art that’s seasoned with black/African spice, Nubiamancy is it. It is an online goldmine that promotes some of the most amazing art depicting sci-fi, fantasy, mysticism and horror from and for a black/African perspective.
Nubiamancy aims to inspire creativity – to showcase works based on African mysticism and alternative forms of Afrocentricity – and to promote creators such as La’Vata E. O’Neal, Gbenle Maverick, Venus Bambisa, Setor Fiadzigbey, Marcus Williams and more, who are spreading these sci-fi narratives through their creations. Continue reading “Nubiamancy: Scoping Black Magic Through Art with Asante Massawa”
I doubt sheer creative tenacity alone drove Creo Concept to create the visually stimulating depictions of Ghanaian female day names. Rather, I presume it was their passion to showcase our beautiful culture as much as it was to promote the ever expanding Ghanaba movement’s online presence.
My curiosity was piqued after seeing a few illustrations that the company had shared. Creo’s manner of teasing was truly effective in heightening fan anticipation for subsequent illustrations and accompanying interpretations.
The Creo team’s artistry is appealing, their color compositions are fluid and their characters are nicely shaped, with easily identifiable elements characteristic of African women.
Their settings are easily identifiable and show these goddesses in their elements, doing things any girl on the continent and in the diaspora can relate to, one way or another.
The settings seamlessly blend the characters’ activities and mannerisms, easily evoking pride and nostalgia. Overall, the profound beauty of Creo’s characters is irresistibly endearing, much like ants in a candy shop.
While I may not agree with all the interpretations, I must say some are certainly true to the letter.
I do not intend to delve into the meaning of the names but rather, to appreciate and share what I call, “feel-good” art. An exploration of the meanings can be saved for another post or deduced here.
I believe art demands more reverence than life does because of it’s longevity, the multiple stories it tells and the many lives it impacts. This belief pegs the Creo team as illustrators of extraordinary gifts, whose talents can be trusted to produce a circle of multi-dimensional characters, complex enough to boldly depict Ghanaian and African realism and thus make art an essential part of life.
I applaud Creo’s wonderful work and can’t wait to see the god (male) series.
Edited by Kadi Yao Tay