Here's your chance to learn a little bit more about the amazing artists who donated their time and talent with specially curated illustrations for each story in Paper Darts Press' upcoming book, Get In If You Want To Live. Each week we'll highlight three artists from the book and give you a peek into their background and style.
Front Cover Typography
Missy Austin is originally from Cedarburg, Wisconsin and received her BA from the University of Minnesota where she was the art director of the Minnesota Daily newspaper. She lives and works in Minneapolis as a junior designer at Zeus Jones ad agency and is very interested in the following things: Supper clubs, texture, gin & tonics, genuine kindness, the U.P., road trips, samurai movies, camping, Steve McQueen, getting lost abroad, maps & the song "Waterloo Sunset". Missy has a unique stance on design, stating that "I appreciate simplicity as long as it's compelling and value attention to detail as highly as I do efficiency. I don't think branding (or anything for that matter) should ever compromise character and I believe quirkiness, a sense of humor & experimentation will always beat out the safe choice."
Illustration for "Looting"
Robert James Algeo is a native Philadelphian illustrator, cartoonist, educator, and writer currently living in uptown Minneapolis with his lovely wife (who you may know already if you read our Paper Darts blog on Mondays). He has a high school diploma, one and a half bachelor's degrees, and Masters of Fine Arts in Comic Art, which he received from the Minneapolis College of Art and Design in 2011. Robert regularly creates amazing narratives with electrifyingly colorful graphics, which you can check out along with his comics, process exploration, and more over at his regularly updated blog, inasbentiapress.
Illustration for The Future
tandem on both the conception and completion of their oil paintings. Their artist statement eloquently describes the strange and wonderful way in which they create such colorful, crowded worlds. "As two painters working together, we attempt to keep a practice which allows a shifting and challenging exchange for each of us. Processes of negotiation, cooperation and sabotage lead to paintings which are nudged in certain directions but ultimately take a form of their own. These are things that neither of us would make alone, which seem to arrive through accidental intersections of our intentions. This synthesis of oppositional intentions can manifest as a third actor with its own sensibilities and conditions. If this shadow actor refuses to appear, we can be left stranded and situated more as assistants; building canvases, filling in backgrounds, waiting and creating conditions for this voice to rise again."
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