Jorge Arévalo (Madrid, 1968) is one of the most recognised and recognisable illustrators in the world. Known for his work in prestigious publications such as The New Yorker, Vanity Fair, Vogue, Rolling Stone and Esquire, among many others. And acknowledged for his style, with a minimalist stroke, pop colours and a unique ability to portray characters and create atmospheres.
He has worked for brands such as Cartier, Roberto Verino and Rayban, among others, and his illustrations are present in many of the collections of designer Custo Dalmau. Winner of countless national and international awards, including the Society for News Design in the United States, Jorge Arévalo is in charge of illustrating the cover of this year’s General Catalogue 2023 of Garcia de Pou.
What do you think about the fact that for more than 30 years García de Pou has been using art and illustration on the covers of its catalogues?
Brands know that illustration transmits and prescribes very well, in fact, something like hotel and catering products, illustrated in environments and with trendy graphic styles. I think it’s a great way to open up markets in any country.
Our products are sold all over the world, do you think your illustrations also have a universal character?
My language has a lot to do with the visual codes of the golden age of illustration in the 50s and 60s, and they are references that are deeply rooted in the imaginary. That makes it more universal and distances it from more localised or ephemeral trends. Style magazines are always comfortable with certain classic illustration codes.
Is design and illustration, in collaboration with companies, valued equally in all countries?
I think that a job well done and professionalism is valued all over the world, but it is true that countries like the United States have consolidated the figure of the illustrator more than others.
Jorge Arévalo’s stamp is present in his illustrations.
I suppose everyone tries to classify your style, but how do you like to be defined?
I have always defined myself as an illustrator who portrays with a certain minimalist essence, who tries to find the essence of the characters by telling the minimum. In any case, my work has evolved over the years. Now it is richer in textures, colours and details and that contrast between the clean lines and the voluptuousness of the forms, I think it has become the style that most defines me.
What do you like your illustrations to convey to the viewer?
Beauty and plasticity, classical elegance, but with the most pop colour and expressiveness. This may have sounded pretentious, but I recognise a tremendous effort in this sense when illustrating.
One of the illustrations from «Places», his latest collection.
In the case of our cover, recyclable products and sustainability take centre stage. Do you think this is the current trend in the food packaging sector?
The more cosmopolitan style is linked to sustainability. Recyclable packaging is now part of the visual culture of cities, brands and everyday outfit. Kraft is in fashion… Street-food is cool and eating in the street is synonymous with style.
And the other protagonist on the cover is New York. Does the city inspire you when it comes to your work?
Who wouldn’t be! Me and writers, photographers, filmmakers… New York will never be overrated, no matter how much it changes.
«New york brunch», Jorge Arévalo’s cover for the García de Pou Catalogue 2023.
Of the works you are commissioned to do, which do you enjoy the most?
The ones with interesting characters, with an excuse to tell a story and a setting to match… ha, ha. I think this cover meets all the requirements!
Thank you very much for giving us this interview.
It is an honour for us to have an illustrator of your stature this year. Your work joins that of other artists who have also done catalogue covers for García de Pou, such as Forges, Manel Anoro, Quim Hereu, Leonard Beard, Jordi Labanda and Mariscal.
