Artwork by Mario Wagner

Where do you draw your inspiration from?
A lot of things: movies, books, news, people… life tells you so many stories, dramas, coincidences and tragedies.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I like working from home, where there are some distractions and I am always able to switch on my computer, but for my large artworks I have to figure out how a studio works for me. Over 80 inch wide artworks are too big to have at home.

As a working illustrator, do you still find time to create art for yourself?
Yes, of course, I do both things equally – I try at least – but I need freedom from rules imposed by art directors and magazines. It’s a great challenge to work with my clients but to create new ideas and, on a more personal level, I need to create art.

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?
After years of experience in the field of creating illustrations, clients book me for my style and my way of interpreting their stories, so we both know what to expect from each other, but I always want to be open to new ideas and make my clients happy.

Do you read criticism done on your work?
When it comes from a client it has to be given factually. I don’t like it when they tell you that you can do whatever you want and than criticise the whole illustration, style, colors, idea, etc. It’s different regarding my own artworks, as this is more personal and they can sometimes disturb people but that can be OK too and people don’t have always to understand my art.

How do you deal with negative criticism?
Everybody has a different taste and opinion. I don’t like every illustration that I see in magazines either, so I’m OK with criticism.

What is your favorite way to get out of a creative block?
Listening to music, getting out of the house, going into a book store. Sometimes it’s hard to say what will help.

Is there any one publication that you still have aspirations to see yourself in?
I would like to do more fashion magazines. We will see what comes up in the future… Elle and Vogue, here i am

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News published at 12:22 am, Monday, March 12th, 2012

Artwork by Michelle Thompson

Interview with T-Squat, a Melbourne based online magazine. Filtering world class contemporary art, photography, design, music, words and contributors from around the globe.

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News published at 9:17 am, Thursday, March 8th, 2012

Artwork by Mikael Kangas

How and when did you know that you wanted to become an illustrator?
I´ve been drawing and sketching all my life, I was fascinated by “how to draw” books and addicted to comic books. Later I studied industrial design, but had to give it up for my real passion in life – illustration and graphic design.

Where do you draw your inspiration from?
I get my inspiration from all kinds of things in everyday life, but also get inspiration from Art Nouveau books, Greek mythology, fairytales and fashion magazines.

What type of environment do you prefer to work in? At home or in a studio? Listening to
music?
Working in a studio and getting feedback from other people is great but I prefer to be able to access my work any hour of the day, so right now working from home works best. Being able to get up in the middle of the night and get to work if inspiration comes knocking is great.
Music is also a must, picking the right soundtrack for a job gets a great flow going.

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?
Coming from an industrial design background, where you work a lot with target groups and put other people’s needs before your own, gives me an upper hand when it comes to getting in the clients’ mind-set. I always try to create something I’m happy with, but also keep the goal of the work foremost. If I suspect that I’ve lost focus, I show my sketch to a friend and have them guess what the image is trying to convey, without giving them any clues about the subject or client.

What type of artwork do you have hanging in your home?
Some that I’ve made myself, but also paintings and pictures friends have made – almost nothing without a personal connection to the artist.

Who was the first illustrator that you noticed and admired?
I loved stories and books illustrated by the incredible Swedish illustrator Hans Arnold when I was younger and still think his images are incredible.

Do you read criticism done on your work and how do you deal with negative criticism?
I value feedback whether it’s good or bad. Negative criticism can help you improve and grow as an artist; everyone can get better. However, you can’t please everyone and you have to believe in your own artistic style, develop and perfect it.

What magazines do you personally read?
Besides newspapers, I read a lot of fashion magazines, comic books and illustration/computer arts magazines.

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News published at 1:18 am, Monday, February 27th, 2012

Artwork by Daniel Stolle

This page of DIE ZEIT with an illustration by Daniel Stolle was awarded an Award Of Excellence by the Society of News Design. Art direction by Florian Fritzsche and Haika Hinze

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News published at 10:59 am, Thursday, February 23rd, 2012

Artwork by Tyson Smith

What is your earliest memory of creating art? (or drawing as a child)
I used to sit down at the kitchen table with my dad and do drawings with him. My dad doesn’t have an artistic bone in his body, but he and I sure enjoyed those times.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I have a home studio where I can get away and listen to some music while I create my art.

As a working illustrator, do you still find time to create art for yourself?
I don’t do as much as I used to, but I have found some inspiration with my 3 year old son who loves to create art and be creative.

What type of artwork do you have hanging in your home?
Mostly photographs that myself and my wife have taken.

Who was the first illustrator that you noticed and admired?
Early on I was inspired by cartoonists like Bill Watterson and when I started getting more into art I noticed and admired the work of Dr. Seuss, M.C. Escher, Norman Rockwell, and J. Otto Seibold.

How do you deal with negative criticism?
I am my harshest critic, so when I read some negative criticism, it pales in comparison to what I’ve already thought.

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News published at 7:00 am, Monday, February 13th, 2012

Artwork by Nata Metlukh

Nata’s work was selected for 3×3 illustration annual #8.

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News published at 8:29 am, Monday, February 6th, 2012

Artwork by Vin Ganapathy

Where do you draw your inspiration?
My inspiration comes from everything around me, events, and friends. I like carrying a sketchbook or notepad when I go out, just to write down ideas. I sometimes take photos on my phone camera as references.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I work at home, and converted part of my living room into a studio. I start out listening to music (usually something mellow). But as I get more into the project I’ll have the TV on and change the music to something upbeat, it gets chaotic. I only notice all of the noise usually when I’m finishing up a project. I’ve noticed if I try to do work in silence I find myself being distracted easily.

As a working illustrator, do you still find time to create art for yourself?
Yes, always. I find that when I’m working on a project for a client, I have ideas for personal projects that I jot down, or draw a quick thumbnail in my notepad. If the job has a longer deadline I’ll make my own art just to get it out of my system.

What type of transition needs to be made between creating art for yourself and creating art that is commissioned?
I find that commissioned work will always be the clients final opinion, so I would make it the way they wanted the piece. I usually set up steps for clients to make sure it is the direction they wanted. For my own work, I usually just have an idea of what I want to convey and draw it out. I like the spontaneity of ink drawings, mistakes and all are captured.

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?
For commissioned work, I focus on what the client is describing. I would imagine a scene or whatnot and try to create it as described. I find that being an illustrator you have to adapt to whatever the client asks for, but also offer alternative ideas that might work better. Usually when a client approaches me for a job and they have a specific piece in mind, I’ll send them sketches of what they ask as well as an alternative (maybe a different style or approach). I try to put myself in the shoes of the clients’ audience, it’s important to try different angles to make sure what would be the proper fit for a project.

Who was the first illustrator that you noticed and admired?
I would say Kent Williams when I was 12 or 13 years old. I remember seeing his rendition of Wolverine (an X-Men comic book character) and it was so different than regular comic book stuff, it was a figurative art painting, that blew my tiny mind away.

What is your favorite way to get out of a creative block?
I like to go for walks around my neighborhood in Brooklyn into Manhattan. I usually listen to music and walk for miles. I like getting out of the house it unlocks a different way to look at a problem I’m struggling with.

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

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News published at 10:17 am, Monday, January 30th, 2012

Artwork by Gianluca Folí

Gianluca Folì has won the bronze medal award at the Society of Illustrators Los Angeles with the book “The Three Musketeers” distributed by Teide Editorial.

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News published at 11:00 am, Friday, January 13th, 2012

Artwork by Hanna Melin

What is your earliest memory of creating art? (or drawing as a child)
My sister and me always did Christmas decorations together with our mum. I can remember being around 5 and painting pine cones and gluing them together with felt to create some Christmas ornament.

What type of environment do you prefer to work in? At home or in a studio? Listening to music?
I work in a studio, but I used to work at home. I don’t really mind where I work, as long as it is quiet. When I get into my studio, I put my headphones on and I get into my own world. I don’t like people watching me while I work, I like to just be “alone amongst all the people”. I listen to audio books and crime stories from the radio.

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 keep going back to the brief and rereading it over and over. I start to do sketches, and then go back again.
Am I being clear enough or can I put in some more details to emphasise the “plot”? Even when I am finished with the final image, I go back and read the article/brief.

What type of artwork do you have hanging in your home?
Posters from museums all over the world. My favourite museum is “Louisiana”, Denmark. I have artwork from shows there, a favourite being William Eggleston.
I also frame the pictures we get from my boyfriend’s cousin, aged 5. There is a new arrival at the moment where she has written ” poo, wee, bum”. I like that one a lot.

What is your favorite way to get out of a creative block?
Go out. Get some air and look at people. Or if I am lazy, just look on Google images.

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

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News published at 6:30 am, Monday, January 9th, 2012

Artwork by Nathalie Dion

As a working illustrator, do you still find time to create art for yourself?
In the last few years, my schedule has been filled for weeks in advance, so my sketchbook has become the playground where I create art for myself. Still, I do use every opportunity to sit down, preferably not in my usual work environment, and follow the inspiration of the moment.

What type of transition needs to be made between creating art for yourself and creating art that is commissioned?
The sketches I do for commissioned work are very precise and if approved, ready to go to final. To make the transition between work and sketchbook I have one rule: No sketch allowed. The first draft is the good – or bad – one . Straight to paintbrush. Judgment-free!

What type of artwork do you have hanging in your home?
Framed prints from some of my favorite illustrators: Jean-Philippe Delhomme, Maira Kalman, Miroslav Sassek, Michel Rabagliati… An original Aron Leighton collage I bought on eBay. And a constantly evolving cork board – at present filled with stuff I picked up at Montreal’s Expozine.

What accomplishment so far in your life stands out as most important?
Making a living as an illustrator is in itself my biggest accomplishment – a cliche, but oh so true! I am still grateful for it after all these years. The “Urban Babies” board book series is especially important to me. The adventure began five years ago with “Urban Babies Wear Black”. Initially, it was meant as a single book. But we were asked to create a follow up. One title after another, it turned into a successful series. Michelle Colmann Sinclair is now working on the next manuscript, so I’ll soon be sketching the 10th volume.

What is your favorite way to get out of a creative block?
I doodle freely and watch the idea unfurl on the page.

Is there any one publication that you still have aspirations to see yourself in?
I’d love to illustrate a children’s book story that’s been in my mind for years.

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Malgré les demandes de votre métier d’illustratrice, trouvez-vous toujours le temps de créer pour le plaisir ?
Ces dernières années, mon agenda est complet plusieurs semaines à l’avance. Il est difficile de prendre le temps pour des projets personnels d’envergure. C’est pourquoi mon cahier de croquis est devenu mon terrain de jeu. Je profite de toutes les occasions pour dessiner en dehors de l’atelier; salles d’attente, cafés, bibliothèque…

Comment effectuez-vous la transition entre la création sur commande et la création pure ?
Les croquis que je produis à des fins professionnelles sont très précis; prêts à passer à la couleur dès qu’ils sont approuvés par le client. La règle d’or qui distingue ma création personnelle de ma création professionnelle est simple : Croquis interdits ! Le premier jet est le meilleur (ou le pire, dans certains cas ! ). J’y vais directement au pinceau. Sans jugement.

Qu’est-ce qu’on peut voir accroché aux murs de votre maison ?
Des impressions encadrées de quelques-uns de mes illustrateurs favoris : Jean-Philippe Delhomme, Maira Kalman, Miroslav Sassek, Sara Fanelli, Michel Rabagliati… Un collage original d’Aron Leighton acheté sur eBay. Et un babillard de liège en perpétuelle évolution. En ce moment, il y a un tas de bidules dénichés au salon Expozine 2009 de Montréal.

Quelle est selon vous votre plus grande réalisation personnelle ?
Le fait de vivre de mon métier d’illustratrice, c’est déjà beaucoup en soi. C’est peut-être un cliché, mais c’est tellement vrai. J’en suis toujours aussi heureuse après toutes ces années. Ceci dit, je suis particulièrement attachée à la série de livres pour enfants Urban Babies. L’aventure a commencé il y cinq ans avec Urban Babies Wear Black. Au départ, il ne devait y avoir qu’un seul livre. Puis on nous a demandé une suite. Les titres se sont succédé, et c’est aujourd’hui une série populaire. Michelle Colmann Sinclair rédige présentement le manuscrit du prochain livret. Ce qui veut dire que je vais bientôt commencer les croquis du dixième volume de la série.

Quelle est votre méthode favorite pour sortir d’un blocage créatif ?
Je gribouille sans trop réfléchir jusqu’à ce qu’une idée surgisse.

Y a-t-il une publication dans laquelle vous aimeriez voir vos illustrations paraître un jour ?
J’aimerais beaucoup illustrer une histoire pour enfants que j’ai en tête depuis plusieurs années.

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News published at 7:01 am, Monday, December 19th, 2011