illustration

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  • Sale!

    ILLUSTRATION PACK

    73.00 55.00

  • SOLIN SALA RA – Manuel Donada

    45.00

    It is not talking about the origin of this book, because this book, infinite, varied, diverse, always similar and always different, perpetual and changing, has existed from all eternity. Nothing has been discovered, everything has been found. But in the heart of this artifact everything changes, everything is transformed, everything evolves. These pages have not existed at any time or any place, the message itself has an origin and the magic emanating from each of its pages can never be trained. At this point, there is nothing to do. It would be lovely to wait for the revolution of an admirable science. This book is dedicated, in part, to all those punks of sectarian mentality and false morals, those who feed the annihilation of the individual and those who are part of a camouflaged class, who die of fear and grief with the idea of being isolated. To all those who do not violently reject the supporters of an absurd and pestilent elite. To the loose dogs of abstract camaraderie that obstructs the spiritual, individual and cosmic revolution. To the victims of the revolution block, accomplices of permanent repression, duck-faced corpses and wild manners, all obstacles of the universal protest.

  • VERY USEFUL – Fábio Zimbres

    23.00

    Fabio Zimbres was born in São Paulo in 1960. Dropped out of Architecture school FAU-USP and graduated on Visual Arts at IA-UFRGS. Zimbres Was part of the team that created and edited Animal Magazine in the late 80’s in São Paulo. Around that time, he started contributing with his comics to publications like Chiclete com Banana and A Folha de São Paulo. He was also involved with the Brazilian alternative press of the early 90’s. In 1997 he started an imprint by the name Tonto to publish small books by Brazilian and Latin-American cartoonists like Lourenáo Mutarelli, Fido Nesti, Elenio Pico, Allan Sieber, Eloar Guazzelli, Mariana Massarani and many others. Apocalipse Segundo Dr. Zeug, the book he did for this collection has been recently translated and republished in the magazine Now by Fantagraphics Books. He has contributed comics and illustration to a series of publications in Brasil and abroad: Dundum, Lapin, Comix 2000, Rosetta, Lapiz Japones, Blood Orange, Strapazin and others A book published in 2009 collected the comicstrips (Vida Boa) he did for A Folha de São Paulo during the year 2000. Música para Antropomorfos is a joint effort with the band Mechanics where rock music and comics mingled and resulted in a book and record in 2006. The famed publisher from Valencia, Spain, Media Vaca published a version of Blaise Cendrars’ Panam· with his illustrations. He has been in small press fairs in Brazil and abroad with some of his artists books works, handmade publications with reuse of discarded books and other printed matter and other stuff like floppy disks and CDs. He also takes part in the collectives A Casa do Desenho (with Ediardo Haebaert and Gelson Radaelli) and Desenhomatic Ltda (with Jaca). The gallery Bolsa de Arte represents him in São Paulo and Porto Alegre. in Artzines website

  • PRATA DA CASA – Org. André da Loba

    10.00

    In order to portray and disseminate Portuguese illustration in a meaningful and comprehensive way, André da Loba has selected over a hundred artists for the Prata da Casa. The curator highlights the strong female presence that does not always have the deserved representativeness in exhibitions. After making the selection and observing the heterogeneous, but very united group, he was not sure if the illustration has grown in the country or has always been present, but has no recognition. Younger or older, with greater or lesser fame, the artist spares no praise to all guests.

  • ZZZZZZZZZZ – André Ruivo

    20.00

    In these fifty-two drawings, all but the cover one in black, a continuous outline defines the characters that are, in the majority of cases, the only elements of the composition. If, on the one hand, the almost geometrical linearity of these drawings draws them closer to cartoons; on the other hand, this simplification shows the interior dispositions of the figures and their bodies movements. Absorbed, closed in on themselves, asleep or enraptured, the figures represent the singularity of the states of mind. It is during these moments they escape the world and, simultaneously, sometimes fall into sleep; on other occasions, they are held, intertwined by their peers, in a mutual drifting dance. Catarina Alfaro

  • THINK OF A NICE TITLE

    20.00

    145 × 205 mm 208 pages Risograph printing on Munken Print White 90 g and PopSet 80 g paper. Limited edition of 50 copies. ISBN 978-989-54373-0-6 DELLI_press and Stolen Books // Published March 2019

  • FKLW #1

    25.00

    Collaborative publication Invited artists: C.W. Moss (USA), Jeffrey Cheung (USA), Juan Narowé (Brazil), Mantraste (Portugal) Open Call Submissions: Alice Sprascio (Netherlands), Amir Brito (Brazil), André Ruivo (Portugal), Bruno Lucas (Portugal), Caio Guedes (Brazil), Camilo Garcia (Colombia), Christian Toro (Chile), Daria Tommasi (Italy), Ema Gaspar (Portugal), Halfstudio (Portugal), Ermãos Monjon (Brazil), Joana Bettencourt (Portugal), Joana Pardal (Portugal), Joana Rosa Bragança (Portugal), Lourenço Providência (Portugal), Margarida Ferreira (Portugal), Maria Grande (Spain), Mike Funkhouser (USA), Monique Sena (Brazil), Nicolae Negura (Portugal), Paulo Mariz (Portugal), Rada Nastai (Deutschland), Santo Mealheiro (Portugal), Simón Sepúlveda (Chile)

  • 2018 – Bráulio Amado

    45.00

    “There is a style that can be considered ‘no-style’. It’s something that can be eventually mastered, although naturally, it’s a bumpier road than sticking to one thing. The plus side though is that nothing is out of reach – you can always experiment, change and adapt.” Edd Norval (Compulsive Contents)

  • DESDICIONÁRIO DA LÍNGUA PORTUGUESA – LUÍS LEAL MIRANDA

    27.00

    franfolho s. m. | Uma coisa sem nome, de forma indistinta, que só conseguimos identificar ao apontar e dizer: «É aquilo ali». A palavra «franfolho» surgiu pela primeira vez num dicionário em 1977. Não consta nas edições de anos anteriores nem no léxico de nenhum país de expressão portuguesa. Vários estudiosos acreditam que «franfolho» surgiu de uma aposta entre lexicógrafos e há quem defenda a existência de um prémio para a primeira pessoa a detetar o intruso. Existe ainda a teoria de que o termo tenha sido incluído no dicionário depois de uma amarga derrota no Scrabble («franfolho» vale 21 pontos). A tese mais comum, no entanto, é a de que o novo vocábulo entrou no dicionário para apanhar as editoras que o andavam a copiar. «Franfolho» não é a primeira palavra inventada na língua portuguesa porque todas as palavras antes dela também foram inventadas. E não é o primeiro erro do dicionário porque já lá estava a palavra "erro". O Desdicionário da Língua Portuguesa pretende servir de estufa para palavras sem raiz etimológica, orfanato para nomes de ascendência desconhecida ou mapa para a Atlântida dos significados. Inclui «franfolho» e outras 218 novas palavras novas que se não fossem inventadas tinham de existir.

  • THE SWIMMER – KLAUS KREMMERZ

    23.00

    A “masterpiece” Klaus has always been in love with, the narrative of The Swimmer was Klaus’ first thought when Portuguese publishers Stolen Books asked him to make his own book. “It’s an intense story,” the illustrator tells It’s Nice That of the short, originally published in The New Yorker before being adapted into a film in 1968. In discussing an individual’s dependence on alcoholism, “of which the protagonist is a victim,” The Swimmer’s storyline gradually takes a darker and darker turn which in Klaus’ words is “poignant and dramatic, but at the same time fresh and full of vitality.” — It’s Nice That

  • Sale!

    AS AVENTURAS DE QUALQUER COISA – ANDRÉ RUIVO

    15.00 13.50

    I would prefer not to And so, suddenly, there are three ways to look at these drawings and all things reveal its incompleteness. Initially, each seems to develop new episodes of the life philosophy of Herman Melville’s Bartelby, the scrivener. Bartelby was a hero by absence, refusing the do all the requested talks, repeating, like a magic formula: “I would prefer not to”. Bernardo Soares is not far from it. Nevertheless, André Ruivo’s characters, with a self-destructive and deceptive sense of humour, are moving characters. So being, they are closer to the logic of urban dromology of Baudelaire’s flâneur. But they wander in an empty city, and not one full of people, a Sunday city and not an anonymous Boulevard or a Nevsky crowded street. In these drawings there is also a Pop drift: in the colours, the human bodies, the gesture’s theatricality, its props, the city’s buildings… everything indifferently perspectived, geometrized or planned, everything exclusively garish and musically rhythmic– memories of a certain and psychedelic submarine. Finally, in these drawings, it seems as if nothing is going on. Or almost nothing. Or nothing important. There is, after all, something. We can even tell very important things are going on. — João Pinharanda

  • THE SPIRITUAL ASCENSION OF ALL THE ANIMALS – Mantraste

    15.00

    From the walls to the pages of a fanzine. The Spiritual Ascension Of All The Animals is a kind of Mantraste redux or, doing more justice to the work, a portable and intimate version. It is a piece that marks a transitional phase in the career of this illustrator, the first pages of a new chapter. — Shifter

  • Can you fix this? – Mantraste

    25.00

    “Can you fix this?” is a series of publications in which artists explore the visual effect of a panel composed of 9 detachable pages from the book. In this first edition, “That day my grandma took away all the cows and dreams of my grandpa” by  Mantraste.

  • DOUBLE CHECK YOU’RE ALONE – Aaron Elvis Jupin

    39.00

    “Cartoons and erotica have much in common — fantasy, desire, an adipose sense of volume. Aaron Elvis Jupin assembles these polarities of play and smut, refracting their constituent parts to form a visual cosmology that crawls over paintings, onto walls, into various vintage ephemera. The results layer innuendo and innocence; a declension of glyphs sticking their tongue out at the fuddy duddiness of words.” — Christina Catherine Martinez, An Interview with Artist Aaron Elvis Jupin, thehundreds.com

  • 2017 – Bráulio Amado

    35.00

    After the success of 2016, Bráulio repeats the formula in 2017, making use of the fact that he rarely repeats formulas to offer us a book with unpublished works, such as posters, illustrations, identities, exhibitions, merchandising and other works, all materialized in 2017. “(…) Bráulio continues to consistently create intense, frenetic, almost manic pieces at an exhausting rate. The posters seem to reference a wide variety of historic cultural designs from around the world without copying any of them. They feel contemporary but at the same time vintage. The fun is turning each page to see what new technique or typeface is being distorted or invented. (…) Bráulio plays every instrument in the orchestra and he plays them like an experimental jazz musician - with skill and with creativity.” — Luke Hayman (Pentagram)

  • Sale!

    242 HASHTAGS – Patrik Mollwing

    35.00 25.00

    Patrik Mollwing is an illustrator and art director, and his colorful, fluid style feels loose and wibbly with characters made up of long limbs and soft-edged shapes. He depicts a colorful cast of forms including bendy wrestlers, Norse mythology figures, and sweaty runners. Recently he’s been broadening his practice by creating gifs and wigglegrams, which suit his style perfectly, with the movement making his work feel even more fluid.

  • 2016 – Bráulio Amado

    28.00

    “In 2016 I did more than a hundred posters. This is a collection of (almost) all of them. I took some out because they were really really really bad. Others I just couldn’t find the high res files.”

  • THE BULLSHIT YOU DON’T KNOW… – Luís Alegre

    15.00

    Don’t all comics tell stories? How can a comic be abstract? Luis Alegre plays with the possibility of comics which tell no stories other than those that result from the transformation and interaction of shapes across the page. Reduced to the most basic elements of comics — the panel grid, brushstrokes, and colors — these abstract comics highlight the combination of abstraction and sequential art, resulting in work that is often surprisingly humorous or emotionally disturbing.

  • BEGÓNIA – Gonçalo Duarte

    12.50

    noun Plant native to the warm regions, grown for its decorative foliage and for their brightly colored flowers that range from pink to deep red.

  • DOUBLE CHECK YOU’RE ALONE – Aaron Elvis Jupin

    39.00

    “Cartoons and erotica have much in common — fantasy, desire, an adipose sense of volume. Aaron Elvis Jupin assembles these polarities of play and smut, refracting their constituent parts to form a visual cosmology that crawls over paintings, onto walls, into various vintage ephemera. The results layer innuendo and innocence; a declension of glyphs sticking their tongue out at the fuddy duddiness of words.” Christina Catherine Martinez, An Interview with Artist Aaron Elvis Jupin, thehundreds.com

  • UPPERCUT – André Carrilho

    15.00

    A selection of works developed for the last 2 years, among which the cartoons that evoke the Charlie Hebdo attack, Muhammad Ali’s death or the 15 years after New York’s 9/11.

  • BOOTLEG GROCERY low budget – Germes Gang

    18.00

    A crew/art project based in Portugal and now in Berlin. Their first interest was to create some kind of graff that didn’t exist before, something mega dirty, mega trashy, and the ultimate badass style, but allways with some kind of humor behind it, ironical and evil, something really bad in all senses.

  • BUTT-BUDDIES – C. W. Moss

    30.00

    One-sentence summary: A visual exploration of what happens when two men come together.

  • SEBENTA DO DIABO – Mantraste

    25.00

    [The Devil’s Seed] is an illustrated grimoire containing several tales about rituals of occultism, passion, spells and popular conjurations.

  • APROVEITA A VIDA CRISTALYS! – Pedro Almeida

    10.00

    “Instead of glorifying powers, I want to expose the vulnerabilities of cartoon characters and comic book icons usually portrayed as invincible characters who never get sick or die. They become, in the universe of my works, fragile and mortal characters - metaphors of an announced decadence.”

  • [NO TWITTER] / [NO NOTHING] – Luís Alegre

    15.00

    Imagine, for example, birds. When they look out at the world, they have a sense that they are alive. If they are in pain, they can do something about it. If they have hunger or thirst, they can satisfy that. It’s this basic feeling that there is life ticking away inside of you. António Damásio, Los Angeles Times, Conversations in science interview Birds are a miracle because they prove to us there is a finer, simpler state of being which we may strive to attain. Douglas Coupland, Life After God

  • VISUAL MANIFESTO – Alice Geirinhas

    30.00

    Alice’s second book is a manifesto in the form of an artist’s book which, in the words of the artist, imprints “memories and transgressions explained in patterns”.

  • BOOTLEG GROCERY – Germes Gang

    28.00

    A crew/art project based in Portugal and now in Berlin. Their first interest was to create some kind of graff that didn’t exist before, something mega dirty, mega trashy, and the ultimate badass style, but allways with some kind of humor behind it, ironical and evil, something really bad in all senses.

  • THE CABINET OF DR ALICE – Alice Geirinhas

    38.00

    This is a kind of image repository that ultimately builds (or rebuilds) a fictional biography of the artist. Not so much a collection of Geirinhas’ images, but a kind of return to her personal memory. We find here the artist’s drawings, some of which are from that recognizable series, produced in scratchboard, but others made with ballpoint or cheap markers, perhaps more remote chronologically speaking, or the result of relaxation exercises, scribbles to support the thought. But we also find images “found” or “appropriated”, in the form of photocopies, scans, pictures of all kinds of graphic qualities: children’s books, paper dolls to dress, multiplication tables of illustrations and traditional tales, recipes book guards, book covers, advertising sheets, an excerpt of a text in Spanish conservative tinge to the woman, and the everlasting Crónica Feminina.

  • STEALING BOOKS – Yvonne Winnefeld

    10.00

    An hommage to Abbie Hoffman’s Steal this Book. Written in 1970, the book exemplified the counterculture of the sixties, mainly focusing on ways to fight the government, and against corporations in any way possible. The section “Survive!” describes techniques of obtaining “free” things through legal and extra-legal means to survive “on the run.” It includes chapters on how to acquire food, clothing, furniture, transportation, land, housing, education, medical care, communication, entertainment, money, dope, and other assorted items and services. Suggestions include the use of slugs, taking advantage of government and church hand-outs, and a variety of shoplifting techniques. On the success of the book, Hoffman was quoted as saying, “It’s embarrassing when you try to overthrow the government and you wind up on the Best Seller’s List.”

  • RED LABEL – Toyze

    30.00

    Emoticons we use every day in our e-mails, SMS and online publications in general, have inspired these images. They are powerful and colorful drawings born of small sketches in notebooks during meetings that Zé attends regularly, capturing the moods of the artist and the political and cultural zeitgeist. We are to live again a time of rapid change. As in street art, these laughs and grimaces capture the same urgent and unconventional visual literacy as writing on walls. They are essentially a radical speech. As meta-digital drawings, these masks, in their vector form, work at the same time as moldings or potencies of future identities.

  • [NO AUDIO] box – Luís Alegre

    Box containing: 2 giclée prints (600 x 600 mm) 1 [ NO AUDIO ] book

  • [NO AUDIO] – Luís Alegre

    20.00

    [NO AUDIO] displays a series of images which reveal particular moments, more or less known from the worlds of cinema, fashion or advertising. But also vernacular images that any of us could make and spread on the web. The vast majority of images have captions written, a fact that ultimately guides the viewers to a wide spectrum of interpretations and literary imagery. There is a somewhat paradoxical idea in these works that I deliberately wanted to explore, which ultimately situates these pieces on the border between sorrow and joy, between “I’ve felt this before” and “what the fuck is this?”.