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.

Visit Daniel Stolle's porftfolio page →
Read more of Daniel's news →
Subscribe to Daniel's RSS feed → Tell us what you think! Currently there is one comment.



Tweet


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.

Visit Frank Flothmann's porftfolio page →
Read more of Frank's news →
Subscribe to Frank's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


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?

Visit Gary Sawyer's porftfolio page →
Read more of Gary's news →
Subscribe to Gary's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


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

Artwork by Emory Allen

Emory was asked to contribute to Bad Teeth Zine’s “Guest Artist” issue.

Visit Emory Allen's porftfolio page →
Read more of Emory's news →
Subscribe to Emory's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


News published at 10:03 am, Thursday, April 18th, 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.

Visit Anne Isabelle's porftfolio page →
Read more of Anne's news →
Subscribe to Anne's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


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

Artwork by Marisa Morea

Marisa Morea was invited to Weekend Pills in Madrid. During the weekend some of the best spanish illustrators, photographers and design studios get together to speak about their experiences and careers.

Visit Marisa Morea's porftfolio page →
Read more of Marisa's news →
Subscribe to Marisa's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


News published at 9:59 am, Tuesday, April 2nd, 2013

Artwork by Katrin Funcke

Katrin Funcke was asked by Page Magazine to show her studio. Have a look!

Visit Katrin Funcke's porftfolio page →
Read more of Katrin's news →
Subscribe to Katrin's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


News published at 8:42 am, Friday, March 22nd, 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.

Visit Grems 's porftfolio page →
Read more of Grems's news →
Subscribe to Grems's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


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

Artwork by Laura Pérez

Over 100 illustrators have been selected for the Spanish Illustrators book which features two of Laura Pérez’s illustrations.

Visit Laura Pérez's porftfolio page →
Read more of Laura's news →
Subscribe to Laura's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


News published at 10:58 am, Friday, February 15th, 2013

Artwork by Mar Hernandez

Mar Hernández was featured at Apeonthemoon.

Visit Mar Hernandez's porftfolio page →
Read more of Mar's news →
Subscribe to Mar's RSS feed → Tell us what you think! Currently no one has commented.



Tweet


News published at 9:38 am, Tuesday, February 12th, 2013