Artwork by Daniel Stolle

What is your earliest memory of creating art? (or drawing as a child)
I remember drawing was very important in kindergarten. It was done very regularly and always to a specific topic, thinking of that it seems like a good preparation for being an illustrator, though it probably was not their intention in those days. One of my earliest drawings I remember doing was of a car and I was really obsessed with the profile of the tires.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I have a shared studio since autumn 2009, and I like it a lot. Working alone at home can become a bit creepy at times. However I found out, that I can also work acceptably well even while travelling. So I guess the environment has not such a big effect on the work. I often listen to music but also audiobooks, though they sometimes interfere a bit with the drawing. But they are important since I otherwise hardly ever pick up a book.

As a working illustrator, do you still find time to create art for yourself?
Yes I do. I think creating a great drawing is very hard. Creating a great drawing for a client with all the restrictions (subject matter, colors, format, audience, time …) is naturally even harder. Making personal works is a way to work without these restrictions and also creates a reference that can help and support the commissioned work. It helps you in finding ways to do things.

What type of transition needs to be made between creating art for yourself and creating art that is commissioned?
I only know what makes it different. The work for clients has to be often very bold, clear, all-out, quickly understandable, and often has to explain or depict a complex issue. Whereas in my own work I spend a lot of time putting in a single pose or facial expression or some other detail. A woman and a dog are a great subject for a personal drawing for me, but of course the approach is very different from an illustration about “exchange traded funds”.

How do you deal with negative criticism?
Often I know the shortcomings someone points out already very well, which does not mean that it is always easy to admit to them. And of course I might curse over the seventh correction or alteration a client requests but after that is done I sometimes even happen to be happy, that someone pushed me that far. There are also simple ways to make that easier for both sides. I do not like a simple “No, different please!” – I want to work with somebody, so they have to play the ball back, include me, explain to me and let me explain … then I am happy to go all the way until we get it right.

What are your goals for your future as an illustrator?
I am struggling still a lot with the way I am drawing and want to become more confident and better with that.

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News published at 1:00 am, Monday, May 13th, 2013

Artwork by Frank Flothmann

Frank Flöthmann’s pictographic comic book “Grimms Märchen ohne Worte” was released in March and has had quite some media coverage since. People seem to enjoy Frank’s approach to comics using graphic symbols instead of words.

So did Armin Kratzert who interviewed Frank last week for German network BRalpha. Frank talks about his motivation, why he picked the Grimms and what fairy tale character he would choose to be (it’s not the frog). The interview will be broadcast on April 29, podcast on April 30 – enough time to brush up your school German.

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News published at 11:22 am, Monday, April 29th, 2013

Artwork by Gary Sawyer

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I had a great studio in New Zealand sharing with other illustrators. It was nice to have someone to annoy in the afternoon when I needed a break. Since I’ve been back in the UK I’ve been using our spare room. It’s disorganized, has poor natural light and the worst floral carpet I’ve ever seen.

What type of artwork do you have hanging in your home?
A Sarah Maxey poster I liberated from a billboard outside my studio in Wellington, a Sarah Maxey screen print, a couple of etchings from an old flatmate and lots of framed postcards.

What is your favorite way to get out of a creative block?
I live a couple of minutes away from a National Trust park so a 30 minute cycle through the woods there usually does the trick.

If you had to describe your body of work in one word, what would that word be?
Wobbly.

What magazines do you personally read?
Varoom, Printmaking Today and the Guardian Weekend.

What question do you wish an interviewer would ask you?
Did you make any New Year’s resolutions?

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News published at 8:45 am, Monday, April 29th, 2013

Artwork by Anne Isabelle

How and when did you know that you wanted to become illustrators?
We had absolutely no idea that we would become illustrators when we first met at Arts School. We started out doing design, and we completed a common diploma on a “double” theme. We experimented working with four hands and loved it, so we took a studio together and continued the experience in many different directions.
One day, an editor propose for us to illustrate a (very local) book, the experience was so enjoyable that we decided to go ahead and become illustrators. Now, illustration has become our principal activity – and the most fun.
The funny thing is that at school we did all the workshops, we tried all the techniques… except for illustration.

Where do you draw your inspiration from?
From looking at people and from the street. We love to talk and discuss projects together. We prefer to do this in a café watching people pass by, observing the infinity of expressions and looks, appearances and styles.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
It depends on the work we have to do. We prefer to work at home when we have to create images, but we really loved being in the studio directing animation projects. It is nice to meet the people you work with.
Our environment has changed a lot during the last few years. At the beginning we shared a studio in Strasbourg, a big, old, wonderful apartment, a peaceful bubble! Next, we went to Paris to work for two cartoon companies, involving teamwork with many people all the time. We used the Parisian cafés a lot to talk about our work. Later on, we worked in a studio, under the roof on the seventh floor of a beautiful Parisian building, with less space but a great view!
At present we prefer to work at home because we have both had children in the past couple of years. Luckily we have skype to keep in touch and stay close.

As working illustrators, do you still find time to create art for yourselves?
Yes, it is very important for us to keep time aside to create something else. And it is very important to create individually, or with someone else. We try and do it in the evenings and sometimes into the night, because we don’t have enough time to do everything we want.

What type of transition needs to be made between creating art for yourselves and creating art that is commissioned?
A technical transition. Our commissioned art is produced on our Macs. When we create for ourselves we often need to leave our computers behind and work by hand, with ink, brush and pencil.

When you are creating commissioned work, how do you take yourselves out of the project and focus on the idea that needs to be conveyed?
We have no problem with that. On the contrary, we like to be confronted with another personality. We work within a duo, and we have often worked in a team. If the graphic style is strong, the Ego has no need to be nervous… C’est ludique.

What accomplishments so far in your lives stand out as most important?
AC – The birth of my twins Liv et Aliocha.
I – The birth of my son, Robinson.

How do you deal with negative criticism?
If the criticism is negative but not violent it is often very constructive and it can make things move forward.
Working as a duo, we use the critical eye a lot on one another and accept what is said. We don’t really like it when the criticism is a matter of “taste” because as illustrators we propose a particular sense of “taste” through our images. But we can accept any other criticism.

What is your favorite way to get out of a creative block?
To talk with good friends, drinking coffee and creating new projects.

Is there any one publication that you still have aspirations to see yourselves in?
Elle, Glamour, Vanity Fair and, of course, we would love to see ourselves in the New Yorker, but we don’t have the style to match.

What magazines do you personally read?
Le Nouvel Observateur, Elle, Elle Déco, Liberation.

What are your goals for the future as illustrators?
We want to be illustrators until we’re 110 years old and never retire. So we want to be constantly renewed in order to last.

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News published at 8:00 am, Monday, April 15th, 2013

Artwork by Grems

How and when did you know that you wanted to become an illustrator?
I started drawing when I was a kid. When I was young I started by copying cartoons, then invented the continuation of the stories. With books, I was not interested in the texts, I only looked at the drawings.

Where do you draw your inspiration from?
My inspiration comes from a patchwork composed of TV series (from the 60’s – 70’s), cinema, funk music, Jacques TATI…

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I prefer to work in my studio, listening to a perfect playlist.

As a working illustrator, do you still find time to create art for yourself?
Every time it’s possible I always take time to create for myself. It’s so important to stay creative.

When you are creating commissioned work, how do you take yourself out of the project and focus on the idea that needs to be conveyed?
When I have a commission, I usually keep the brief in my mind for 2 or 3 days and live with it, then try to forget about it. The idea then comes naturally. When I work on the image, I always take the place of the reader and try to surprise him.

What type of artwork do you have hanging in your home?
Paintings, portraits by a painter friend, “kitch” art, deco and children’s drawings.

Who was the first illustrator that you noticed and admired?
Sempé.

Do you read criticism done on your work?
I would really like to read criticism on my work.

How do you deal with negative criticism?
It depends on where it comes from and who is criticising. Constructive criticim is positive.

Is there any one publication that you still have aspirations to see yourself in?
Cover magazine.

What magazines do you personally read?
Graphim, fashion magazines.

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News published at 2:20 am, Monday, February 18th, 2013

Artwork by Mar Hernandez

Mar Hernandez was recently interviewed by Graffica and DissenyCV.
She was talking about her new book and also about her creative process.

graffica.info

dissenycv.es 1

dissenycv.es 2

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News published at 9:55 am, Tuesday, February 5th, 2013

Artwork by David Senior

How and when did you know that you wanted to become an illustrator?
For me there are two times that together made this decision. The first time reaches all the way back to the last few years of design school. A vast majority of my student work featured illustrations I would create for my projects. I enjoyed it, but adding an illustration major to my workload was not an option. I was told during portfolio reviews to consider putting an alternate portfolio together of my work.
Fairly soon out of school I started working at a magazine, and I was able to commission a handful of illustrations every month. It was a wonderful experience working with all these illustrators I admired, and many I had never heard of who were equally amazing. Being in this environment fueled my passion for illustration, and I continued to create my own work. Once I felt I had a solid portfolio built up, I set up my website and marketing efforts and began my illustration career. Working with so many illustrators in itself was a big inspiration and influence on my decision to be an illustrator.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
Working at home is by far the best place for me. I have a place in the basement where my set-up is. I tend to work very late into the night, or even get up very early to work, so its nice to be home with my family even when I am working.
I always have music playing, and when I am working through concepts its usually something instrumental like Explosions in the Sky, then when I am creating the work it can be anything I’m in the mood for.

As a working illustrator, do you still find time to create art for yourself?
Not nearly as much as I would like, but I do find some time throughout the year to make it happen. It is pretty important to make the time if you find you become too busy.

What type of transition needs to be made between creating art for yourself and creating art that is commissioned?
Not much transition is needed, I go about it the same way for both. The biggest challenge or difference is that there is usually a story or summary when it is commissioned, and the timing is often up to the client. Work I do for myself is based on inspiration I have after something I have read, watched or talked about. Then the timing is up to me, and when I can fit it in.

When you are creating commissioned work, how do you take yourself out of the project and focus on the idea that needs to be conveyed?
I find I will often put myself into the situation to see what kind of emotion comes out of that. I straddle that line of viewing it from my point of view, and then also looking at it from the outside, and removing myself. Both will give me various viewpoints on how to handle the concept and idea. Then I use the one that works out the best.

What type of artwork do you have hanging in your home?
I actually do not have a lot of artwork hanging, but what I do have I love. My stand out items would have to be the 6 or 7 Nick Dewar originals, one of my all-time favorite illustrators. They are framed and in various spots around the house. One of them is even the first illustration I ever commissioned as a young art director. He was so gracious, it was a “welcome to art direction” gift.
I Also have a handful of posters some friends have created, and some photography. I used to collect photo and illustration postcards from my magazine days, and I still have a ton of those tacked up to my boards at home. They are their own little pieces of artwork.

Who was the first illustrator that you noticed and admired?
Brian Cronin is one of the first that comes to mind. He did the cover for AI 19, and had a handful of images in the book as well. The man ironing his lower half while standing at an ironing board is still one of my favorites.

What is your favorite way to get out of a creative block?
If time allows, then I put it aside and just do something else altogether, something that does not require conceptualizing. Read a magazine, make some french-press coffee, something along those lines. If I am pressed for time, then its just a battle that has to be won, and you push through it. I will do word association in my sketchbook to help me lead into a new idea and get over the block.

Is there any one publication that you still have aspirations to see yourself in?
New York Times Op-Ed.

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News published at 2:44 am, Monday, February 4th, 2013

Artwork by Eduardo Bertone

How and when did you know that you wanted to become an illustrator?
I’ve worked as an art director for advertising and a graphic designer for more than 10 years. But over the last six years I’ve taken part in a lot of independent art projects where illustration was involved. And finally, a couple of years ago Anna Goodson Management contacted me to join them. I was so excited, it gave me courage to mainly express myself through illustration.

Where do you draw your inspiration from?
I find inspiration everywhere: maybe a stupid situation in the street; a child’s scribble; graffiti on the door of a toilet; perhaps in a song, a movie or a book. If you’re an artist it’s important to be constantly aware of what’s happening around you.

What is your earliest memory of creating art? (or drawing as a child)
I’ve always liked drawing, since I was a child I wanted to work in the graphic area. But I started being interested seriously in art about six years ago. At that moment I discovered that art was not only a matter of classical painters. Designers, illustrators, and even people not connected with the visual world were doing great pieces of art, then I started working in this way, my own way.

As a working illustrator, do you still find time to create art for yourself?
Definitely. What I do professionally influences my artistic work and vice versa. I love painting and I always try to make some time to do it and also get involved in art projects like mural painting, video art or anything that makes me feel good.  
 
What type of transition needs to be made between creating art for yourself and creating art that is commissioned?
The art I create for commissioned projects should be as personal, implicated and committed as the art I make for myself. Commercial work has also to represent myself, it must have part of me, and it´s important to enjoy creating it. Otherwise it could be like any other job. On the other hand non-commissioned art has to be serious and committed.

When you are creating commissioned work, how do you take yourself out of the project and focus on the idea that needs to be conveyed?
Sometimes I work in a completely spontaneous way, and sometimes I´ve got a really clear idea of what I want to say, so I work in a rational way. Once I have received a brief, depending of the project, I take one of those routes. I also a mix the two, which creates a weird atmosphere.
 
What is your favorite way to get out of a creative block?
“Inspiration exists, but it has to find us working” Pablo Picasso.

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News published at 10:15 am, Monday, January 21st, 2013

Artwork by Michelle Thompson

Artfinder’s Joe McRoberts chats to Michelle Thompson about kids, coffee and looming deadlines.

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News published at 10:32 am, Thursday, January 10th, 2013

Artwork by Michelle Thompson

After a busy weekend with Open Studio’s I spent Monday morning being photographed by photographer Celia Bartlett. Then interviewed by Ella Walker for a piece about illustrating. You can read the interview here:
www.hertsandessexobserver.co.uk

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News published at 10:26 am, Thursday, December 6th, 2012