Posted by Nate Williams
Pieter Van Eenoge was born in 1976 in Bruges, Belgium, but did spent his childhood in Cologne, Germany.
In 1999 he graduated from the Sint-Lucas school for Arts and Science in Ghent and started as an independent illustrator a year later.
Since then he has made illustrations for magazines, editors, theatre, posters and advertising and took part in numerous exhibitions.
In 2011 he published his first children’s book, did the poster for the biggest book fair in Europe and saw some illustrations being published in 200 Best Illustrator’s Worldwide 11/12, Fresh #3 – Cutting Edge Illustration and the 3X3 Illustration Annual where he won gold in the Gallery section and 2 more merits (Editorial and Children’s section).
Pieter now lives in Bruges with his wife, two sons and two cats.
How did you get into illustration?
I studied graphic design at the Sint-Lucas school for Arts and Science in Ghent. In my senior year I switched to illustration because I wasn’t a hot shot at this graphic design thing. But to be honest I wasn’t the best illustrator as well and it took me quite some time to find out how to become a better one. It wasn’t until 2007, when I switched from a more comic driven style to painting, that I could translate the idea in my head to the image on my piece of paper. That whole switch is probably the most important step in my career so far, otherwise I still would be the same lousy and insecure illustrator I was back then.
What other types of jobs have you had?
After graduation I worked 3 years as a graphic designer in 2 design studios. My dad wanted me to, and I couldn’t see a way to make a living as an illustrator. In the end it took me a lot of will power to get me out of the bed, I really hated the job. So in 2003 I quit and became a full time illustrator.
As we move from print to digital how do you think illustration will evolve?
Do we really move from print to digital? I see it more as an expansion, so I don’t think It’s going to make a big difference. There have always been images in the past and there always will be in the future. As long as you can digitize the illustration, you can use it everywhere, but I believe there will be a lot more animation, so if you have the skills, the future is yours!
What is your favorite type of commercial project and why?
I don’t have a favorite really, as long as the jobs keep coming. I prefer a bit of diversity though: one day an editorial illustration, the next 5 months a children’s book and in between a large painting and maybe a postcard. But I would like to have a stronger position in the international market. I’m working mainly for Belgian clients and once in a while for a magazine or company in Holland or the UK. A phone call from New York or Paris would be nice
Is your work more conceptual or decorative?
For now it’s definitely conceptual. I just can’t draw or paint a person, animal or thing without it doing something meaningful. But I love decorative illustration as well and I believe it’s going to play a bigger role in my work in the future.
Do you have an art rep? Why or why not?
I used to have 2: one In the UK and one in Belgium. I left them both early 2011 because the last 2 years I didn’t get a single job. Blame it on the recession Now I have a rep in Holland, Shop Around, and I’m still looking for a rep in the UK and/or US. I’m terrible in promoting myself, so I could use a little help
Please describe a typical day
I try to get up around 7 o’clock, but I’m more a 7.30 kinda guy.
Then there’s a lot of showering, eating and shouting to get a 4 and 6 year old in school and by the time it’s 9, I’m behind the computer reading mails, looking for some nice tunes and working my way through a load of blogs to fill the digital mood board.
At 9.30 I start sketching, drawing or painting, depending on the job of the day.
Around 5 or 6 pm it’s family time again and when the kids are asleep I try to do some more work, take a run around the block or do something useful like cleaning up the pile of toys in the living room, building a piece of furniture or watching a movie…
What is your working environment like?
I work on the top floor of our 1930′s house, which was a real sh*thole when we bought it several years ago.
There’s still some fixing up to do, like painting doors and windows, but it’s the cosiest room in the house: warm in the winter and even warmer in the summer. Best part is that the room is next to the bedroom, so if I have a great idea at night, I can pop out of bed and make a quick drawing. The only thing missing is a tap and a sink, but running for clean water all the way downstairs keeps me in shape.
Who are some of your favorite illustrators and why?
Nowadays I’m completely into Belgian expressionist painters from the 20′s and 30′s like Jean Brusselmans and Gust De Smet, but I could make a list of dozens of artists that have influenced me in the last 10 years so here is a small selection:
What is something new you have noticed or learned recently?
Although I’m 35, according to the person selling the tickets in the museum I last visited I look 26. Entry fee: 1 euro instead of 9
Top 5 favorite things in life:
- My wife being beautiful and hilarious (not at the same time, or… why not)
- my kids growing up
- laughing
- songs cutting through bones
- playing the drums
Top 5 bands/singers:
I have a favorite band for every decade since the 70′s, but also a favorite song that comes with it:
- Genesis (“Back in NYC” – 70′s – I know, I know, some people will hate me for this, but it’s a guilty pleasure)
- The Police (“Synchronicity I” – 80′s – best band ever, until I saw them play in Amsterdam in 2007 )
- A Minor Forest (“So Jesus was at the last supper…” 90′s – they invite you for dinner and then serve you roadside kill )
- My Morning Jacket (“I needed it most” – 00′s – The god of reverb )
- Bon Iver (“Holocene” – 10′s – A lot of new and exciting bands nowadays, but this one is my favorite so far)
- And since I’m a drummer, Trans Am and Lightning Bolt!
Can you suggest 3 artists or illustrators we should check out?
Links:
More about PIETER VAN EENOGE at:
Website | Blogspot | Facebook | Flickr
Posted by Nate Williams
Jillian Tamaki is a Canadian who moved to Brooklyn in 2005 to pursue illustration fame and fortune. Her clients include The New York Times, The New Yorker, Penguin, Esquire, National Geographic, and The Guardian. She has published 3 books: the graphic novel SKIM, co-created with her cousin Mariko Tamaki, and two books of personal work, Gilded Lilies (Conundrum) and Indoor Voice (Drawn and Quarterly).
Please describe a typical day?
The beauty of being a freelancer is that you’re free to mix up your schedule. I work every day, either on paid projects or personal work. But I also like to get out of the studio and do things around New York, especially during weekdays. I don’t like fighting the crowds.
What is your working environment like?
I work in a studio room in my apartment. I have never had a studio outside of my home or shared a studio. Even when I was a student I rarely worked at school… I set up a little painting corner in the side of my room. I guess I like to be alone.
A too-small room with too many things in it. I have a Cintiq, an iMac, a scanner, a laser printer, and a light-table. The rest of it is just piles of junk and paper.
How did you get into illustration?
By a fluke. It happened to be part of the Visual Communication program I was enrolled in at the Alberta College of Art and Design. I wanted to be a designer… thank goodness I was ignorant enough not to research my school choices thoroughly.
Who / What are some of your influences and inspirations?
My inspirations wax and wane. Currently I’m interested in textiles and quilting. I like the limitation of those mediums. I’m inspired less by individuals and more by processes lately. Working on the computer for so long… I find the infinite “freedom” to actually be no freedom at all.
You have tried comics, children’s illustrations, animation, programming, teaching, etc… Is there anything else you´d like to explore?
I want to learn more about printmaking, especially etching.
What’s next?
I’m conserving energy for my next graphic novel, which is a collaboration with my cousin Mariko. We of SKIM fame.
Which do you enjoy the most?
I get sick of illustration, so I do more comics or personal work. I get tired of comics so I do more illustration. I always try to follow my whims so I don’t get too cranky. I’m lucky that things have worked out for me so far.
What is something new you have noticed or learned recently?
I am always learning, especially from teaching students at Parsons and SVA. I have noticed the minute students drop their preconceived notions about what illustration “is” and “what illustration looks like”, their work improves dramatically. There are a lot of copy-cats in this industry, and that’s disheartening, but the best work is that which draws upon a personal philosophy and reflects a persons’ strengths (and weaknesses).
Could you teel me some of the last books you read ?
Dracula, Bossypants by Tina Fey, Super Sad True Love Story by Gary Shteyngart, Paying For It by Chester Brown and The Thousand Autumns of Jacob de Zoet by David Mitchell.
What are the 3 computer programs you use most?
- Photoshop
- Photobooth
- Firefox
Top 5 favorite things in life
Well, these aren’t my favourite things in life but I enjoy them:
- the smell of book ink
- pita bread
- origami paper
- dry heat
- and going to museums alone.
Can you suggest 3 artists or illustrators we should check out?
More about JILLIAN TAMAKI at: Profile / Spotlight / Website / RSS
Posted by Nate Williams
Raymond Biesinger’s taught himself how to illustrate in the pages of his university student newspaper in the Siberian clime of Edmonton, Canada. There he learned the wonders of concepts, minimalism, political history and Xerox machines; all kinds of real-world physical image-making techniques and mental approaches that are the spine of what he does today. He’s moving to Montreal in early August, bringing with him a satchel full of clients ranging from the New Yorker to GQ to Monocle to shitty photocopied zines and noise rock bands. He’s been accompanying the social economist Tim Harford’s “Undercover Economist” column in the Financial Times’ Weekend magazine for a few years now, too. Strange how that works. Oh, and he’s also in a music duo called the Famines, due for their fourth trans-Canada tour in the fall.
What is your typical day like?
Wake up at 9 AM, smooch wife, bike to the studio by 10 AM, check e-mails with a banana chocolate muffin from the tea shop from across the alley, deliver some roughs. Long lunch on Whyte Ave. Make some finals, stop at 6 PM, go home, commence leisure activities. It’s pretty tame.
Please describe your working environment.
For the last while it’s been the studio you can see in those photos–a 555 sq. ft. loft off what passes for a busy intersection on a nice avenue in Edmonton. I’m lucky to have that much space, with windows on three sides and skylights up above. Very bright, and a delightful place to sleep over at and stay up really late with friends at–it’s much closer to night life than our apartment. When my wife’s out, I pretty much move in to the place. It even has a claw foot tub. On one end is the Famines’ practice space, the other illustration space. In the middle is book publishing (binder, Xerox, stack cutter). In Montreal it’ll be a bright 7 1/2 near Parc Lafontaine, and my wife and I will both live and work there. Can’t wait to get that set up!
What’s your process for coming up with new ideas?
For editorial or commercial work it’s always the same: I turn the talk radio off, for a change. Look at the text I need to reflect on, lie face down on a couch (one without arms, of course), poking out the top, with paper and a pen directly below my face. Measure out the space that needs filling. Then sketches happen. Not many of them, actually. With the Tim Harford illustrations I usually go with my first good one (time’s of the essence!) and with everything else I go until I have three I’d be happy to bring to final. With personal projects it’s different. They’ll gestate, they’ll gather dust for years, sometime, waiting for the right final motivators and infos to fall into place.
What makes a good idea?
That it isn’t a cliche. That it isn’t just an aesthetic trick or empty decoration, and that there’s intelligence, research and content behind the rational part of the idea.
What do you get inspiration outside of art?
History and politics, a respect for innovation in the past, German frugality, Protestant work ethic, the feeling I get from doing small things that mean a lot (minimalism in life, in music, etc.), simple efficiency. I’m not the most emotive person (except for in private or with the band) and love rationality, numbers, geography, statistics, structure, wit. Also: my love of honesty, clarity, being candid, etc. These all dictate how I approach making an image and concept, and even my experimentation exists within the tent these things make. That’s where it comes from, I think, and I don’t pay much attention to what other illustrators are doing or what other artists have done.
What have you learned lately?
One can easily work themselves to death/unhappiness as an illustrator. Take breaks.
What 3 illustrators should we check out?
Hmmm…. Edmonton locals
Top five influences/inspirations:
- purpose
- efficiency
- history
- evidence
- Elizabeth Hudson
Top five favorite things in life:
- Elizabeth Hudson
- restaurants
- how the real world works
- one-on-one conversations
- being punctual but never rushed.
Three favourite websites:
More about RAYMOND BIESINGER at:
Posted by Nate Williams
Dan Matutina is a designer and illustrator based in the Philippines. His illustration style is a mix of handmade & digital, clean & dirty, old & modern aesthetics. His works is heavily influenced by sci-fi, film & Philippine folklore. Dan co-founded Ideals — a social enterprise design & communications agency. Just recently, he started Plus63 Design Co. a new graphic design studio.
He has worked with different companies in the Philippines & abroad. His client list includes: Good Magazine, Ecomagination, Popular Mechanics, Wired (Italy), The Few Gallery, BBDO Guerrero, DDB, Publicis Manila, Rogue Magazine, McDonald’s, Bayantel, Nestle, & Coca-Cola Foundation, Inc.
How did you get into illustration?
I started making doodles and illustrations of Ninja Turtles and other cartoon characters when I was young. I used to vandalize the walls of our house. Haha. I made comics about my classmates in High School. I only got formal art education when I went to college. I used to do a lot of watercolor illustrations at that time, some of which I use in my current illustrations. It’s a good thing I never threw away my old sketchbooks.
What other types of jobs have you had?
Right after college I worked in an ad agency as an art director. I really learned a lot from the other creatives I worked with. I did a lot of TV commercials & print ads, it was a fun experience. When I was in advertising though, I stopped doing illustration & design work.
After 3 years, my friends and I started Ideals — a design studio for social causes. It was this time that I started making illustrations again.
Please describe a typical day?
I wake up really early, around 7 in the morning. My studio is a 10-15 minute walk from my apartment. When I get to the studio, I brew coffee and play video games. After that, I check emails and reply to them. This happens for about an hour. At around 10 am, I start doing work: sketching or doing the actual illustrations in Photoshop. I love working in the morning because it’s bright and sunshine-y. From time to time I step out of the office, hang out in cafe or in the bookshop just to look at things & find inspiration. At around 3-4pm, I play video games again. Hahaha. I usually stop working around 6pm, but for these past few days I’ve been going home late.
What is your working environment like?
I work in our own studio — Plus63. Right now I’m by my lonesome ’cause one of our partners is giving birth, while the other one is still on vacation. Haha. Right now, I asked some web developer friends of mine to work in the studio to keep me company. It’s also okay because for these past few months we were working on a website (http://revolver.ph) that just launched. We just recently hired a freelance designer to help us with the work load.
My working environment is a bit relaxed. I also love having visitors drop by the office for coffee and conversations. We get a lot of visitors in the office and it’s fun talking to designer friends who visit.
What do you like about mixing “dirty” and “clean”?
Both are things I like from different disciplines. When I do design work, my personal bias is to do minimalist work, but when I did illustrations in the past, I liked how things look handmade and organic. I guess this is also a manifestation of my bias towards watercolor and ink.
Mixing both was tricky at first, because I struggled to find a healthy balance between the two sort-of contradictions.
You are from the Philippines. Do the Philippines influence much of your work?
Yes, a lot of my illustrations are inspired by Philippine culture, but I ‘m also heavily influenced and inspired by science fiction & film. I try to show this in the mood and tone of my illustrations.
Please tell us about Ideals and Plus63 Design Co?
Ideals was a social design studio I started with a group of friends five years ago. This was after my work at the ad agency. It was focused on doing cause oriented communication and design.
Plus63 shares the same DNA as Ideals, but we also accept commercial clients. For these past few months, we’ve been slowly moving client work to Plus63. Ideals will now be focused in doing cause-oriented projects.
What do you like about design? What do you like about illustration?
Trying to come up with different possible solutions to design problems is what excites me about design. It’s very challenging & fun at the same time.
I love doing illustrations because you can have your own voice & style. I love telling stories, and illustration is the best outlet to do so.
What is your favorite type of commercial project and why?
Those that challenge you, because you always learn a lot from them.
Is your work more conceptual or decorative?
I think it’s more conceptual. I’m always conscious with coming up with a big idea before doing the execution. I guess this is an influence from my stint at the ad agency.
Who are some of your favorite illustrators and why?
- Jon Klassen – The mood of his works are just so good. I also love how his works look organic.
- Frank Chimero – His editorial illustration works are always a joy to look at, & they’re always rich in concept.
- Jon Contino – Those Typography works are just nice!
- Nate Williams - Killer hand letterings and brilliant ink illustrations.
- Noma Bar – It’s amazing how he can say a lot with a simple graphic illustration.
What is something new you have noticed or learned recently?
A lot of my friends are also playing Skyrim! Haha. I see it in their Facebook wall and Twitter posts. It’s a really good game.
Top 5 favorite things in life
- Coffee
- Turon (a local dessert)
- Conversations
- Video Games
- Good vibes
Top 5 bands/singers
- Lali Puna
- M83
- Null Sleep
- Noah & The Whale
- Eraserheads (A local band)
Can you suggest 3 artists or illustrators we should check out?
Links
Posted by Nate Williams
Josh Holinaty is a freelance illustrator who currently lives in Edmonton, Alberta, a northern city in Canada that is cold during the winter and beautiful during the summer. Since Josh started illustrating commercially about 5 years ago where he’s had the chance to work with variety of clients — mostly editorial work for magazines such as Wired, Owl Magazine, Runner’s World, the Globe and Mail, Kill Screen Daily and Sled Island Music Festival.
When he isn’t drawing or working at the Art Gallery of Alberta, he is also drumming in his riffrock band, Camembert. He lives with his partner and fellow illustration Genevieve Simmsand their cat, Nintendo.
How did you get into illustration?
Not intentionally. Well, I’ve always liked drawing and thought it would be a nice way to make a living, but I never thought I’d be working for magazines and the like. I went to art school, but not for illustration / design. If anything, I was into the painting thing. Two of my school pals got gigs at Transworld Snowboarding out of college and thought my stuff would be good for the magazine. Those were my first jobs, surprisingly! After college life and assessing the situation I’d say my partner Genevieve made me look at it a bit more seriously. She told me I should promote myself to various magazines and other clients I’d like to work for. A few post card runs later I was getting steady enough work to actually support myself by making drawings. Neat!
What other types of jobs have you had?
First job ever was at a Pizza Hut when I was 14, and that sucked. But it did help me save up for a Playstation and Metal Gear Solid, so in the end it was totally worth it. I worked at McDonald’s, too when I was younger. Where else, food warehouses, gas stations. Usual stuff that a teen would do to support his or herself, right? Once I was out of art school I worked full time at an industrial sign shop for a couple years. After those couple of years I was getting enough freelance work to go full-time for a while.
Currently I work at the Art Gallery of Alberta as the Digital Media Coordinator alongside being a freelance illustrator. Personally I need the balance of going somewhere and working in order to get healthy ideas for drawings and to appreciate my drawing time. I found it hard to stay motivated and draw all the time when I worked at home as a full time freelancer. Now I work at a contemporary art institution during the day and create images at my studio at night. It’s a busy life but I’m surrounded by creative stuff all day. I really do enjoy it.
As we move from print to digital how do you think illustration will evolve?
In short I think the world will need more illustrations due to the whole digital thing. With iPad publications, kindles, e-readers, etc., it’s pretty clear that more and more people want more and more to look at, and they want it faster and faster. I think illustration will be seeked out more often than it has been in the past, but also on a much shorter deadline. I think we’ll be seeing more quick / graphic illustrations.
Side note / pro tip: Web Use rights seem to be included in almost all illustration contracts now, so watch out. We illustrators should make sure that we’re charging more for those web usage image rights. Just because it’s assumed that the illo will also go online doesn’t mean they’ve factored that into the budget. Don’t low ball yourself!
What is your favorite type of commercial project and why?
My favourite type of job is the poster. Music, theatre, you name it, I’ll probably do it if it’s a poster.
A poster doesn’t have to necessarily back up any words or solid concepts. In the end it comes down to one thing: it has to catch the someone’s attention to make them stop and read it. With that, it’s the perfect excuse/medium to experiment, go wild and make a crazy image. When I get a poster commission, it always comes with a certain restriction to the client: they can’t tell me what to do besides include the necessary information for the show. With 100% freedom in it’s creation it usually turns out good, because my heart was put into it and I’m usually making something new and weird.
Your work is filled with humor. Do you like to communicate other types of feelings in your work? Explain?
Clients usually approach me with an idea or story that is either generally humorous, or generally boring, and want me to make it more exciting by drawing something silly or gross. I think the language of humor (cartoons, etc) can be a very powerful tool to help get serious points across if used correctly. I’ve been commissioned a few illustrations that were for more serious stories that didn’t require any humour at all. In those situations I try to tone down the humor a bit but it ends up looking even more silly because I see I’m holding myself back. I’m not too sure what I’m getting at here, but I think I should probably stick to drawing humourouss and gross things. It’s just what I do, and I’m comfortable with that… for now.
How does your personal work different from your commercial work?
Well, simply, it’s not commercial work. Commercial work is just a means to make some cash, but I still really enjoy it. My personal work on the other hand is made because I want to make it. I didn’t draw some “mom at a dinner table with her kids” illustration because I really wanted to – I did it for the money, to be honest.
Creating personal work is an exercise in image making that isn’t required to follow any rules, guidelines, margins, gutters, bleeds, etc., because in the end I’m making it for me. My personal work is usually made on a whim.
Please describe a typical day?
Wake up. Hit snooze. Wake up. Catch a bus. Go to work. Eat. Work. Go home or to the studio. Make some drawings or practice in my band. Play video games. Sleep. Weekend comes. Play more music. Make more drawings.
What is your working environment like?
Normally I work at home, upstairs in our small converted attic. It’s nice and cozy. Recently Genevieve and I have acquired some studio space in a sort of co-op / collective with some close friends. That should make for some real exciting times for the coming year.
Who are some of your favorite illustrators and why?
Actually, I don’t look at too many. One of my favourites over the past year has been Patrick Kyle. He’s located in Toronto and really kicks ass at making images. I’m a huge fan. I think we were both in the same issue of Broken Pencil back in the day. Byron Eggenschwiler and I go back a while – we went to school together – but I’ve always really liked his work. He’s been making some real good, graphic stuff lately. Victor Kerlow out of NY is also really fun. And funny. And he draws really fast. He’s like a wizard.
And of course, Genevieve Simms, because she is way better than me.
What is something new you have noticed or learned recently?
I like to work with less. I like to work in black in white. I only like to work if it’s worth it. I like designing things that have zero of my drawings in them. It’s OK to reject a job. I like learning computer programming – and I suck at it.
Top 5 favorite things in life
- Cats
- Video Games
- Music
- Drawing / Graphic
- Beer + Rock music
Top 5 bands/singers
Fave bands at the moment:
- Weedeater
- War on Drugs
- Kurt Vile
- Stephen Malkmus and the Jicks
- Troyka
Links:
Posted by Nate Williams
More about CHRIS TURNHAM at: Profile / Spotlight / Website
“Onward Through the Mangroves”
Chris is an illustrator who has worked for video games and animation studios, most notably at LAIKA Entertainment as an illustrator on the film “Coraline.” Chris has also done freelance illustration work for clients such as Monocle and Scholastic.
Can you tell us a little bit about your project TWILIGHT DIVA CHECKS IN TO THE HOTEL DE PARIS?
This is an illustration I painted for Kevin Dart’s upcoming Yuki 7 Adventure spy story, “Looks That Kill.” Yuki 7 is a character he created based on his love for mid century design and spy flicks. Kevin and I produced this book under our business Fleet Street Scandal, with a planned release and launch party on July 16th. For more info go to www.yuki-7.com
“Twilight Diva Checks In to the Hotel de Paris”
It looks like you like creating environments, is that true? What do you like to create?
Yes, environments tend to be what I focus on in my work. As a professional artist my career has always put me in the position of painting environments, whether it be as a set design or background painting, or designing specific props within an environment. Even when I worked in video games I did 3D modeling and texturing of environments and props. Personally I love painting environments because I have a specific love for the way buildings and landscapes can become these really graphic elements with an image.
“Suez Canal”
California Landscape 1
Please describe a typical day?
My days now are anything but typical. I recently made the move to Los Angeles and transitioned from working in a studio to being completely on my own. So my day can vary wildly. Some days I’m really focused and can get a lot of work done. Other days I’ll spend exploring my new environment (LA is a huge place and it contains some of the most beautiful landscapes I’ve ever seen). I also have to take care of a lot of the day to day tasks that are required to run our business, like packing and shipping but prints and books.
California Landscape 2
What is my work environment like?
I work at home now so my environment isn’t anything too special. But I have my desk set up with my Cintiq monitor so I can work pretty much as I did when I was at a studio. I have a couple inspiration boards set up above my desk that I can post any images that are particularly moving to me or are my inspiration for an illustration I’m painting.
California Landscape 3
How did I get into illustration?
Illustration for me was never something I wanted to do when I was growing up. I did create art, like most kids do, but by the time I got into high school I thought I wanted to make graphics for video games as my career. Like any kid my dream was to work for Nintendo! So I went up to Seattle and went to school with the goal of getting into games working as a 3D artist. While I was at school I started getting exposed to concept art for animated films and I found that to be really inspiring, so I started to do illustration in my spare time. After school I ended up working in games as a 3D artist for four years. During that time I continued to do my own illustration in my free time. At the time, my friend Kevin Dart was also my roommate, and he and I decided we should start a business where we market our illustrations together and sell them online and at conventions, so Fleet Street Scandal was born. And from that our art was discovered by different people within the animation industry and I got my first job in animation based on the connections I made at those conventions.
“Fantastic Garden” – Production painting from the film “Coraline”
What is my favorite type of commercial project?
My years spent at LAIKA working in stop-motion made me really fall in love with that medium. It was truly inspiring being able to work in an environment where the majority of the creative people in the studio were running around all day, creating real, physical objects with their hands. My job there was to design the sets and props that were going to get built for the movie and it was amazing to be able to send off a drawing and in a couple weeks see it built out of real materials.
Can you recommend 3 marketing tactics for illustrators with a limited budget?
a) Create an online portfolio! Every artist does this nowadays but it’s important to have one that’s easy to navigate and also easy for other people to share your posts and art. The easier it is to share, the more people will see it. And if you don’t have the technical know-how to create your own site (like me), use a site like blogspot or tumblr to create your portfolio. Tumblr is especially great because once you put a post up it becomes this thing that other people on tumblr can easily reblog and you always get the original credit.
b) If you can afford to show at comic conventions, do it! I wouldn’t be where I am today if I hadn’t done comic conventions. You never know who will walk by your table — it could be someone from a company you want to work for.
c) And as an extension of that, market your art with a friend whose style compliments yours! It’s more fun to do this kind of stuff in a team, so whether it’s starting a blog together or a business, two brains are always better than one.
Do I have an art rep?
I currently do not have an art rep. Since I’ve worked mainly in studios I haven’t really needed one, but as a freelance illustrator I know it can be useful. Art reps can help you find work and negotiate better rates, which is something that a lot of artists (especially the introverted ones, like me) can have trouble doing on their own. But I would say try and make it work for yourself at first, and then later on get a rep if needed.
Who are some of my favorite illustrators, and why?
Like many animation artists, I’m really inspired by mid-century illustrators. Of course the Disney greats like Mary Blair, Eyvind Earle and Walt Peregoy are always wonderful sources of inspiration. Martin and Alice Provensen are amazing — their “Myths and Legends” book has a permanent spot on my coffee table. I love Andrew Wyeth, I sometimes forget how brilliant he was.
Tadahiro Uesugi was and is a huge inspiration of mine, particularly during my early development as an illustrator. If it wasn’t for him and his style I wouldn’t have gotten my first animation job on Coraline.
I had the amazing opportunity to work with Lou Romano while I was at LAIKA. He’s one of the modern greats and I always look to him when I need advice on how to simplify.
And of course my buddies Kevin Dart and Jon Klassen are great influences as well. It’s inspiring to have such skilled friends.
What is something you recently learned?
I recently learned to screenprint! I’ve worked digitally my entire career and have had art of mine screenprinted by outside printers, but I’ve never done it myself until now. It’s a labor intensive process but it’s also really fun and it requires you to get dirty — something that working digitally does not.
5 favorite things
My Cintiq, hiking around LA, baking, pesto sauce, my GPS on my smart phone
5 bands/singers
The Decemberists, Sufjan Stevens, The Radio Dept, Erlend Oye, any Sofia
Coppola movie soundtrack
Gig poster for The Decemberists
Related Links
Posted by Nate Williams
Chris Sickels, the creative force behind Red Nose Studio, creates an eccentric world we’d all like to visit. Red Nose Studio’s illustrations appear in advertising, magazines, books, newspapers, packaging, character development and animation. His work has been honored by virtually every award institution or annual and has been featured in HOW, Print, Creativity, Communication Arts and 3×3 Magazine. He has twice been honored with the Carol Anthony Grand Prize award from the Society of Illustrators 3-D Salon. Two of his short films, The Red Thread Project and Innards, were selected to screen at the 2005 and 2006 Los Angeles International Short Film Festival. He authored and illustrated The Look Book, and has illustrated the children’s book Here Comes The Garbage Barge released in February 2010.
BFA in Communication Arts with an emphasis in Illustration from The Art Academy of Cincinnati (Ohio) class of 1996
Selected Clients
- Target
- Microsoft
- Time magazine
- New York Times
- Wall Street Journal
- United States Postal Service
- Random House Books
- AARP
- SMFB (Norway)
Speaking Engagements
- HOW design conference in 2008
- ICON 4 (illustration conference) in 2007
- Ringling College of Art
- RISD
- University of Southern Indiana
- Parkland College
- Savannah College of Art and Design
- Taylor University
Top 5 Influences/Inspiration
- being raised on a small family farm in rural Indiana
- the artist Tim Hawkinson
- any good stop-motion animation
- old photos
- Alexander Calder among many others
Top 5 favorite things in life
- date nights with my wife
- wrestling with my kids and reading with my kids
- drawing
- the saturday morning donut breakfast with my kids at the Sweet Shop here in Greenfield
- working on our 1894 house
Top 5 bands/singers
- Devochka
- Cracker
- Johnny Cash
- Tom Waits
- Nick Cave
What are your top 3 favorite web sites?
I dont really have specific websites that I hang out on… but my three most recent books are
- Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig
- Shop Class as Soulcraft by Matthew B. Crawford
- The Education of and Illustrator by Steven Heller and Marshall Arisman
Please describe a typical day?
Well, right now you have to set that question up with sleep deprived nights with our newborn son.
Mornings start off with getting our 5 yr son, 3 yr old daughter and newborn son ready for the day while we try to keep the coffee hot.
I try to be in the studio by 8-9 am. do a few emails while my coffee gets cold. The rest of the day is sketching and building. I dont leave the studio very often unless it is for supplies or material searches. Lunch is with the family and I usually try to romp with the kids a bit before i head back out to the studio. My oldest sometimes comes out in the afternoon and works at his little table here in the studio. After lunch there is another good stretch of time for idea generation and then after 2:30 its best if the work is mostly the doing part of building things and the world gets gets quiet up here. By about 6pm its either time to help with dinner, get that last call in with Magnet Reps, or go to the gym. evenings are quite around here and when deadlines are tight i am back out in the studio for a couple hours before bed.
What is working environment like?
What is your process for coming up with new ideas?
using a thesaurus and dictionary, changing drawing materials and surfaces sometimes helps and there is a quote i have on my wall that says ‘The Best Cure For Writer’s Block Is To Lower Your Standards’ (i am not sure to whom it is credited)
Your work is a mix of art + ___________?
photography, set design, costume tailoring, sculpture, and people watching
What is something new you have noticed or learned recently?
that I need to have more faith and trust in my drawings
Can you suggest 3 artists or illustrators we should check out?
Paolo Ventura
http://www.paoloventura.com/
Frank Kunert
http://www.frank-kunert.de
Tom Haney
http://www.tomhaney.com/
More about CHRIS SICKELS at: Profile / Website / RSS
Source: illustrationmundoblog
Posted by Nate Williams
Lucy Boden is a freelance illustrator living and working in Gloucestershire, England. She grew up in Cirencester, a small town in the Cotswolds, and her work has been heavily influenced by the surrounding countryside and the animals that live there. Lucy studied BA (Hons) Illustration at University College Falmouth and graduated in June 2009. Her medium of choice is gouache, which she uses to create images with a bright, clean quality to them. Her work is aimed predominantly at children, experimenting with narrative, characters and colour. Lucy’s work has a quiet sense of humour about it and she enjoys adding small details, such as snails and ladybirds, in all her images.
More about LUCY BODEN at: Profile / Website
Influences / Inspiration:
Quentin Blake, Nick Butterworth, Jane Chapman, Rebecca Dautremer, Neil Gaiman.
Best Things In Life:
Collecting children’s picture books, my 3 cats, New York, live music, Cornish beaches.
Music:
Tori Amos, Sia, Charlotte Martin, Florence + the Machine, Stevie Nicks.
Source: illustrationmundoblog
Posted by Nate Williams
Since leaving art school in 1998 Chris has peddled his wares in the fields of Animation, Illustration and Comics in London, Paris and Los Angeles. Working on such animated projects as the Gorillaz, Robotboy, the Amazing World of Gumball, the Fairly Odd Parents, Fosters Home for Imaginary Friends and Stressed Eric, enjoying roles from design, storyboarding and art directing. More recently he has been involved in creating, writing and directing new TV series for development with both Disney TV in LA and Cartoon Network Europe in London.
He has also enjoyed a fruitful career in illustration producing work for clients including BBC, M&S, Sainsburys, McCann Erickson, Oddbins, Scholastics, Nestle, BT, Vodaphone and various children’s books for Macmillan. Chris’ illustration work is currently represented by Arena Illustration in London.
More about CHRIS GARBUTT at: Profile / Spotlight / Website / RSS
TYPICAL DAY
A typical day would depend on what I’m working on.
When I was putting together my pilot/animatic for Cartoon Network earlier this year, I’d get up around 7 to 7:30am and go to the gym. Then, after coming back home, feeding the cats, cleaning up cat shit, taking a shower, cleaning up cat vomit and negotiating public transport, I’d get into work around 9:30 to 10am. I’d be greeted by a whirlwind of crap that would need taking care of and overseeing depending on what stage of production we were at. From the early stages of coming up with stories, thumb-nailing storyboards and designs, to the later stages of voice records, making notes on music, sound effects, editing and overseeing animation and clean-up. I would often get home around 12am, watch something funny on TV to clear my head, and fall asleep with my face buried in a Dragonlance book! Then it would all start again…
When I’m freelancing it’s often a lot less hectic, especially on illustration jobs. You’re predominantly working from home so you can organize your time better and not have to worry about putting on pants.
PROCESS FOR COMING UP WITH NEW IDEAS
I don’t think there’s necessarily a hard and fast process I use for coming up with new ideas. I find it can be very counter-productive to be sat at your desk trying to force out an idea, they tend to pop out when you least expect it. Sometimes doing everyday things like riding the train, taking a walk or cleaning the house can be the best places for your mind to feel free to waltz around parading new ideas in front of your lobes. I suppose it’s like daydreaming. If you can trick your mind into thinking it’s not working it often comes up with the best stuff.
But, saying that, being in a state of deadline induced panic can also kick start your brain into unexpected heights of creativeness.
One process we have used if we’ve been stuck for story ideas in the development studio is to play a game where each person writes down a word or draws a picture on a piece of paper. Then that piece of paper is passed to the next person who writes an act one based on that word or picture. Then the next person writes act two and so on. It’s not always successful but you do sometimes get a couple of gems. And it’s just a good way of getting the creative juices flowing.
MY WORK IS A MIX OF ART AND…
Fart…
WHAT IS SOMETHING NEW YOU HAVE NOTICED OR LEARNED RECENTLY?
I’ve just learned recently that Soundgarden have reformed and I’m trembling with rock-fueled excitement for news of them touring again.
TOP FIVE INSPIRATIONS
It’s difficult to break it into a top five as I tend to take inspiration from everywhere, but music, films, cartoons, books, traveling, seeing new people and places all help to inspire and freshen up the creative side of my brain.
TOP FIVE FAVOURITE THINGS IN LIFE
Again, it’s hard to whittle it down to five, there are so many. Cartoons and comics (of course), tea and biscuits, music and playing the drums, football, getting lost in a heroic fantasy novel, and the undeniable joy of a bright blue sunny sky in the morning (a rare occurrence in my life due to growing up in the north of England and currently living in London).
TOP FIVE BANDS/SINGERS
- Ride.
- Brian Jonestown Massacre.
- Mudhoney.
- The Doors.
- Manowar.
TOP 3 WEBSITES
3 ARTISTS/ILLUSTRATORS WE SHOULD CHECK OUT…
Posted by Nate Williams
Victoria Semykina was born and grew up in Moscow where she studied painting for six years at the Art Institute under Sourikov. Victoria is fond of travelling around the world and is currently living in sunny Bologna, Italy. However, during the wintertime she misses the snow of her homeland.
During the last six years, she has been active as an illustrator. Among her most recent accomplishments are two personal exhibitions, as well as several published illustrated books. Her clients are GQ Magazine, AD, Forbes, Robb Report, Prime Russian Magazine, Kommersant, Story etc. Apart from learning printmaking at the Academy of Fine Arts of Bologna, Victoria is now working on paper installations.
How did you get into illustration?
I’ve actually fallen into illustration by chance. At the Moscow Art Institute I studied painting and murals, although I had always been fond of illustration. As far as I can recall, I always wanted to sketch images and situations that appeared in my mind. In order to stimulate myself to finalize incomplete drawings I decided to keep a page on LiveJournal. My blog was only intended for personal purposes and I was surprised to discover that many people followed me. After some time I started to receive several orders thanks to this blog.
I was also fortunate to be acquainted with highly talented illustrators such as Nikolay Popov and Victor Melamed from who I’ve received valuable advice.
As we move from print to digital how do you think illustration will evolve?
Possibly illustration may develop more towards animation (where it fits properly), which means the illustrator will need to develop new skills.
What other types of jobs have you had?
In the past I’ve worked a lot with mural techniques such as mosaic, fresco, sgraffito etc.
I’ve learned a lot working with large spaces and feel comfortable working on very large surfaces. I’ve always found these projects very inspiring and stimulating.
I was also a teacher of painting and illustration for several years. This experience made me realize that one can start to draw at any age and achieve impressive results.
Do you have an art rep? Why or why not?
I’m not working with an art rep yet, but am currently considering some attractive offers which I’ve received recently.
You work in a variety of mediums, do you have a favorite?
What I love most is working with collages and other techniques using paper. I’m always experimenting and researching new and fresh ideas.
What is your favourite type of commercial project and why?
This may sound a little strange to some, but I like working on commercial projects that have a strictly defined and limited timeframe. This stimulates me to handle an assignment efficiently, allows me to come up with fresh ideas rapidly and be most productive. The faster I work, the better and more surprising the results become.
Is your work more conceptual or decorative?
I believe that my work balances equally between decorative and conceptual art.
Please describe a typical day
I try to get up around 9am, though this is often a struggle… I’m not much of a morning person.
After getting out of bed, I go through my emails and check my favourite websites which are mainly about illustration. Nearly every day I discover a new artist whose work I find original. This always makes me happy. During the rest of the morning I work on either commercial or personal projects.
In the afternoon I take a short break, often in the company of my bicycle. After dinner I continue working at home until around 9 or 10pm.
I’ve a habit of watching a movie every evening, except when I’m meeting my friends. I really love movies which are my most powerful sources of inspiration.
Around midnight I go to bed to watch my own movies. My dreams are very vivid ones, with high quality acting accompanied by excellent soundtracks. This is why I often struggle to get up early in the morning.
What is your working environment like?
I’m working in a rather small and dark studio in which I’ve fortunately managed to fit three tables.
I need a lot of surface area for my work because I’m working with many different sketches, drawings, papers, fabrics and other materials.
I truly miss my spacious and bright studio in Moscow where my friend and colleague Irina Troitskaya works now. I’m pretty sure that at this moment she’s making a new series of her matreshkas.
Who are some of your favourite illustrators and why?
I am very fortunate that I was brought up with children’s books by great Russian illustrators such as Vladimir Lebedev, Yury Vasnetsov, Lev Tokmakov and many others.
Of course, when I started to learn illustration I was influenced by creative key figures such as Ben Shan, Saul Steinberg, Ralph Steadman. As for modern Russian illustrators – I appreciate the work of my colleagues in the TZEH illustration community most. For the last couple of years I’ve been very interested in naïve and outsider art. I feel envious of the ability of these artists to broaden the repository of the traditional rules and create completely unusual and surprising artwork. My favourites include Horace Pippin, Adolf Woelfi and Alexander Lobanov. This encourages me to start the creation of my own collection of primitive art.
What is something new you have noticed or learned recently?
I have noticed that Italian carabineers look so beautiful and sophisticated that I have started to consider them as objects of art. Watching them gives me as much delight as for example admiring a high Italian renaissance painting. I assume being admired is also their main duty in Italy.
Top 5 favorite things in life
- Fat cats
- Downpours
- Self-irony
- Dark Chocolate
- Old American cars
Top 5 bands/singers
- Knife for Fraw Muller
- Jimi Hendrix
- David Holmes
- Miles Davis
- Billy Holiday
Can you suggest 3 artists or illustrators we should check out?
Links
