Interview with Julia Yellow
Next up in our interview series is Julia Yellow: a master of media and metaphor. Julia’s work touches a place in all of us, with visuals that are easily understood, and yet, completely unique and fresh. She is able to capture, control and manipulate a universal language through her beautiful lines and textures, telling stories and truths that viewers find striking.
“Welcome In”
Q: Julia, I am just in awe of your work, and I know I’m not alone. I think what makes it so incredible is that you manage to successful marry consistent aesthetics with unique metaphors. Do you spend a lot of time planning your work before getting down to business?
A: Most of the time the ideas come pretty fast and 75% of time my clients and I end up using the very first idea. I think it is just simply how I think of things. I’ve heard from my friends saying that I have a strange point of view and logic towards the world quite often :).
“So I Swallowed My Sorrow”
Q: Explain your process, from start to finish.
A: I work purely digital which all is done in Photoshop. When I receive the project, I will spend a long time doing research on all of the aspects and details of the project. Then I usually try to create 3-5 sketches of different concepts/designs and bring them to full color comps and present them to clients. When decided which one to go to the final, I start redrawing the line and adding textures/values/colors all in Photoshop. Before finishing, I always switch the image into gray scale to make sure the value looks good.
“Holy Cow”
Q: I think your sketchbook is a work of art alone! How much time do you spend sketching, and do you feel that this has influence on your illustration projects?
A: I spend A LOT of time with my sketchbooks. It is the place I can draw freely—I draw whatever I see and whatever I want, regardless of if it’s good or bad. Sometimes I find even references and ideas from my sketchbooks for real projects.
“Memories”
Q: Tell us about a struggle that made your love of illustration stronger.
A: I’ve never been good at communicating verbally since I was a kid. As I grew up, I had always been very frustrated at school and had difficulties making friends and to me drawing seemed like the only thing that could connect me with the world. Once I wrote on my diary I “was like a little ladybug drowning in the white water, and art was the driftwood that passed me by and saved my life.” So I guess it did make me love illustration much stronger?
“Money Eater”
Q: What is your favorite aspect of your own work? And your least favorite?
A: I love working on concepts and composing different elements to create metaphors. I see illustration/art as a visual way of communication so I love creating images that contain messages and/or stories. Some small changes I’d like will be being more loose—Be more relaxed and more expressive. I’ve tried to get myself drunk drawing before but it didn’t really work. Maybe I should get another bottle of red wine ;).
“暴烈青春”
Q: You’re originally from Taiwan! How does this influence you as an artist?
A: I guess being a Taiwanese influences me as a person in whole. It comes natural that I do not feel like I am are influenced by it. However, being able to travel in different countries and being exposed to many different cultures definitely helped widen up my “idea sky”.
Q: Who are the biggest influences on your work?
A: It is hard to say who are the influences on my work. I do like looking at some artists’ work, like David Fullarton, Craig Frazier, Alessandro Gottardo, Whooli Chen and much more. Generally I just enjoy any kind of good visual art and get influences here and there.
“Smart Phone Plan”
Q: Would you rather vacation in a huge city or out in the wilderness?
A: I’d like to have a vacation in a small, cute and friendly arty town. I am not much of a big city person. I love being in nature with all different kind of animals but I love human very much as well.
Julia’s workspace
Q: If you live in another era, when and where would you be, and why?
A: No matter which era I am, where I am or what I do, I believe I would still be drawing a lot—drawing on the wall, on the sand, on a napkin after dinner or drawing on my lover’s palm with my finger.
Q: What would your dream illustration gig be?
A: I’d love to make my own picture books. I also enjoy doing visual travel journals a lot so I hope one day someone will pay me to go on a travel and draw a book about it.
Julia trying to draw with her left hand after breaking her right wrist!
Q: Anything else you would like the readers to know?
A: Smile. Always remember to smile. Because I like it when people smile. Oh, and If you want to see more work, visit my website juilayellow.com and you can also follow me on Facebook !
“Emoji”
You heard the lady! Check out her websites for more awesome work!
Interview with Courtney Wirth
We are finally picking our interviews back up again, as we have quite a few new members to share with you all! First up is Courtney Wirth, a delightful and addictive illustration personality who never ceases to bring a humorous outlook to her work. In Courtney’s portfolio, quirky culture either meets surrealistic mash-ups or sentimental scenes, leaving her audience wishing for her next unpredicted move.
“Bubble Girls”
Q: Courtney, you have an uncanny ability to capture an attitude, feeling, and outlook in your work that many people in our generation can find something to relate to. What do you tap into within yourself to create these connections with current lifestyles? Would you say you follow trends and pop culture pretty regularly?
A: I think a lot of what shows through in my work comes from the belief that your best work is created when it’s based on what you know or what you’ve experienced. If I don’t have a strong concept, I usually go to what I love to inspire me to keep me active and motivated. So I’ll end up drawing cats, or listening to music, or fictional characters that I’ve grown to love or things I simply just like to do. I’d rather work on something that I can relate to because I feel it makes it stronger. I don’t think I necessarily follow trends and pop culture; I tend to just stick with what I like, which usually ends up being bits and pieces picked up from one trend and another so it becomes a weird mash up of anything. I suppose I’m in between fads in that sense, but I’m pretty comfortable with that.
Q: Your color palettes are really limited, and work so well. How do you choose them?
A: It usually depends on what the piece I’m working on is about. I’ll usually go for one main color that can represent the mood or the main color of a certain item so it stands out. Sometimes it’s based on whatever color I’m obsessed with and from there I figure out the rest of the colors so they work together. I like keeping them limited so one can still keep focus on the subject matter and it can keep your eye moving rather than just losing it in the composition. Color can be overwhelming and I wouldn’t say I’m the best with it (I usually would have every color of the rainbow in a piece if I could successfully pull it off), which is also why I keep my palettes limited.
“Subway Boy”
Q: Would you say that any of your work is autobiographical?
A: I think there are bits and pieces of me in everything I do. A few pieces definitely are and especially in my sketchbook. While ideas and concepts that I have may be based on things I have gone through, I try to separate myself a bit so more people can relate somehow. In ways, that’s how I make my self-portraits, even though they aren’t literal self-portraits. Like I said, I draw and create from what I know and so I guess a lot of it can be autobiographical. Sometimes, I’ll draw people in situations or expressing themselves in ways I wish I could.
Q: Tell us about your journey to becoming an illustrator.
A: I was originally studying fashion design, which I guess you can still see that in how I draw and how I like to dress my figures! I pretty much spent my entire life in school in it and I loved it and then the summer before my senior year I realized, it really wasn’t for me. When I entered the department, I actually had professors ask me if I came from the Illustration department because of my drawing skills at the time. The last two quarters of my junior year, I began to notice that I wanted to do more outside of fashion and I began to not enjoy it. I wanted to draw other things and become more conceptual, even though I loved drawing people with my designs on them. I would start getting caught up in the mood of the collection and the look of the girl as a character more than anything else in my projects. I wanted to expand my visual vocabulary and enhance my abilities with other materials outside of working digitally or with markers and pens (those aren’t only the materials you have to use, but it’s the fastest and was usually recommended with the turn around time for projects). It was a hard decision and I had a tough time coming to terms with it, especially right before my senior year because I was so close to graduation. But I took a chance, and I’m actually really happy I took that risk. I had to stay another year to complete the Illustration curriculum, but it’s not like it wasn’t worth it. Fashion Design is still my minor, and I still love sewing and designing, but I’m just not as in love with the industry as I used to be.
“Promo Card”
Q: Explain your process, from start to finish.
A: After deciding on an idea, I’ll attempt to thumbnail it out. I’m the worst when it comes to sketching thumbnails, I’m not kidding. I’ll start to draw one out quickly, and I’ll usually end up getting distracted, whether it’s the music I have on, something I want to look up to get a better idea of how it moves (and then I’ll mess around on my computer), or I just try drawing half of one and then decide that I’m wasting time and I’ll just sketch it out. I’ve been getting better about that, honestly, at least if it’s just to draw a few quick shapes to figure out placement. But AFTER THAT, I’ll sketch out the idea in a non-photo blue pencil (I love themmmmm), and that’s where I figure out all of my little details and figure out final lines. Once I finalized it in the blue pencil, depending on how large the composition is and/or what kind of strokes I want, I’ll use a brush or pen and nib with ink. Lately I’ve enjoyed using a brush with ink, but it’s back and forth, and either way, I ink the drawing. After that, I’ll scan it in, and clean it up (so easy with the non-photo blue pencil) and color it digitally in Photoshop. I noticed when I work, coloring is the fastest step for me because I keep my colors limited.
Courtney in the wild
Q: What are your greatest inspirations within the creative world, and outside as well?
A: My top three illustrators are Kevin Wada, Matt Taylor, and Sam Weber. I also like to look at Swoon (a graffiti artist), Gustav Klimt (because I can’t paint), and Nuno Plati (illustrator and comic book artist). I have a huge list actually, and as much as I’m obsessed with their work, I don’t go out of my way to look them up. I find that the more I look at another artist’s work who I admire and wish I could steal their creative genius and abilities, it leaves me comparing myself to them and can put me in a bad place or I’m OVER influenced by them and can appear as an unfortunate knock off. I’ll look at them here and there or if they come up on my feed or see them in a publication. Other creative people I admire are various writers because I love to read and I wish I had more time to just write and get better. And I have too many musical inspirations to list them out.
Q: Walk us through your perfect day in your dream career.
A: Waking up whenever I want and getting whatever food I want delivered. Basing it off that, then I’d throw in drawing as much as I can with music on and taking breaks to read whatever book or comics I have waiting to be opened. And then throw in an hour of when I go out to run or bike to the park. And then if I don’t have food delivered, I go out and meet friends and that’s when I stuff my face. Probably throw in a visit to Midtown Comics or a book store too if needed. I’m a pretty simple person I guess? And I like food.
“Swimgood”
Q: Most embarrassing moment. You know you want to!
A: I was stuck on this question so long, you have no idea. I even asked my friend if he knew of any good stories to share so I could remember any from my life. I think if there ever was a chance I was embarrassed, I was probably laughing too because I don’t take myself so seriously. I know I’m a klutz, and I can be awkward or say dumb things at the wrong time, but usually without any real punishment. Maybe I’m just the embarrassment for whomever I’m with? If you really need one, I once slipped on a grape in my high school cafeteria. It was actually a grape and I fell on my butt, but since it was so ridiculous that I slipped on a grape, I was laughing too.
Q: Who would your dream date be? And the date from hell?
A: Going to a cool museum, mainly the American Museum of Natural History. And if it’s nice out, going to the High Line or hanging out in Central Park. As it gets darker, I’d probably spend time in Union Square and/or eat in the Chelsea area? I don’t know, I don’t really date, but that’s what I’d like to do! And I guess a date from hell would be any guy from OKCupid or any blind date.
“Volcano”
Q: Any plans on the horizon?
A: Work work work work work work work as usual. But, I’ve been slowly working and talking to a writer who has a few ideas and he’d like to me create work for his comic and I have ideas for a graphic novel of sorts too. SOOOO, hopefully this happens soon! Other than that, just catching up on every idea I want to draw out with my hectic schedule.
Q: Anything else you would like the readers to know?
A: Everyone has a struggling period, so don’t ever give up even if it feels like you won’t meet success.
Courtney’s awesome workspace!
Can’t get enough? Check out Courtney’s website here!
Interview with Caitlin Alexander
Last, but certainly not least is Square Carousel’s interview with the talented Caitlin Alexander. Caitlin’s work reflects her inspiration from retro illustration of the 1950’s and 60’s, but her inventive use of pattern, color, and texture has created a lovely aesthetic authentically her own. Miss Alexander’s wonderful ability to translate such joy and happiness into visual stories characterizes her work. And, this amazing illustrator is just as warm and compassionate as her artwork appears.
“The Best Dream”
You have a truly unique ability to create pieces that communicate a sense of sincere joy and happiness. They are warm-hearted, colorful, and sentimental in subject, but also in style. Do you believe they all have a unique part of you in them?
First of all, thank you for the incredibly kind words! I do think that I put a lot of myself into my work. It’s funny, because at the beginning of my illustration education, my pieces were a lot more cynical, and sarcastic. The colors were very dull, and it was intentionally sloppy-looking. That period of time in my life was definitely more difficult, and I struggled with a lot of personal things. As I grew and embraced myself, my work began to reflect that inner peace I was finally able to discover. Now I like to think my portfolio has some of the same qualities I’ve learned to love about myself: sentimentality, joy, and a little humor, too.
What steps do you have when creating a piece from beginning to end?
For each piece, I start with brainstorming, and I allow myself to just think about the challenge presented with the assignment. Usually the best ideas come when I’m in the shower or about to fall asleep! I try my hardest to marry the assignment with something I’ve already had a current interest in illustrating. Then I sketch some really rough, ugly thumbnails in my sketchbook, and choose a composition that works best. Depending on who the piece is for, I can draw more detailed roughs, but if it’s just for me I usually don’t. Then, when painting, the process typically goes pretty quickly, and often in one sitting. I prefer not to space out painting sessions because I want my colors to be consistent, and even though I mix the same colors often, they aren’t ever just exactly the same. For more complicated compositions, I’ll paint each part separately and then join them in Photoshop. Most often I use the computer to tweak colors, but sometimes I’ll do some digital painting to touch things up or move the composition around. I’d say 95 percent of my work is traditional, though.
“Cabo Beach Burger”
When working on a piece, are there any “must-haves” in your environment in order to get creative? (such as listening to certain music, having total silence, only working at midnight, sitting at a certain window, etc.)
I have to work in daylight! Even a room with dim natural light during the day is really difficult for me to work in.
Caitlin’s supplies and utensils
Could be totally off, but your work seems to have a sense of nostalgia. Where do you derive your inspiration?
I get my stylistic inspiration from illustration created during the 1950s and ’60s, specifically Disney concept artist Mary Blair. Her work is so beautiful and fun! I love the simple, geometric design that came from that time period. There are several current illustrators that have similar influences, like Peter Brown, who I like a lot, too.
Outside of creating illustrations, what do you like to do in your free time?
I love spending time with my family and friends, to sound corny and cliche. People are like water to my soul— I absolutely need them to stay alive! (to sound even cornier!) I also like thrift shopping at garage sales and antique shops.
“GK Chesterton”
Your illustrations’ unique qualities of texture, pattern, and particular color palette stand out in the Square Carousel group. You have also had quite a bit of experience in printmaking. Has this influenced the development of your aesthetics?
Printmaking was definitely a journey for me. I’d say that, without out a doubt, it has changed my way of looking at textures, and color overlay. I often aspire to a screen print-like look, and it helps to know the process behind it. In school, I took classes in relief, photo-processes, and a lot of lithography. Printing is something I would love to dabble in again, but I did need a little break from it. Sometimes the fine art and commercial art worlds clash, and I learned that the hard way during school. It was worth learning those amazing processes, though.
“Self Portrait”
What are some of your favorite childhood books (or movies/cartoons) growing up?
For books, I’d have to say “Are You My Mother?,” by P.D. Eastman. It’s very special to me because my mom read it to me about a thousand times as a child. “Meet My Cats” by Lesley Anne Ivory was the first book whose illustrations that caught my attention, although I never ended up with a style anything like it’s detailed, naturalistic renderings. As far as movies and cartoons go, I was just your average ’90s kid, watching tons of Nickelodeon shows (Doug!) and Disney movies (The Lion King).
All of your pieces have a certain quality of telling a story. Do you see yourself pursuing a little writing in the future?
Yes! I’m actually in the process of writing and illustrating a picture book dummy, as we speak. I’m about to start painting some final work for it, so keep your eyes peeled! In the next couple weeks I’ll be moving into a new studio, and after that I’ll be a very busy bee.
“Restless Cover”
If you grew up in any other country in the world, where would you want it to be and why? Do you think you’d still want to be an illustrator?
I would definitely choose illustration, no matter the location. Picking a place is hard though! I honestly don’t think I’ve traveled enough to make an educated choice, so I’ll say instead that I would love to visit Greece, ancient Egypt, Paris, and Rome. I’m a sucker for ancient art history! It’s so incredible. I could ramble about it for hours! (and I could also travel anywhere and be happy. Traveling is one of my favorite things to do with my family).
Have anything else you would like Square Carousel followers to know about you or your work?
I’m also a member of a local illustration group called The Girllustrators that everyone should check out!
The lovely Caitlin Alexander herself.
View more of Caitlin Alexander’s amazing work!
Interview with Casey Crisenbery
Our interviews fell perfectly in time for our newest member, Casey Crisenbery! With work that evokes the timeless feeling of our favorite classics, yet never leaving behind a fresh spin on subject matter, Casey plans out his pieces from start to finish. Not a centimeter of his illustration has been forgotten or overlooked, creating a beautiful portfolio that never lacks in consistency. Casey’s work is the type that children will undoubtedly pour over for hours at a time, fully believing every detail of the new world they just entered.
“Science Fair Catastrophe”
Q: Personally, there are two things that I find most outstanding about your work: your ability to depict locations and spaces in a believable, yet magical way; and your attention to detail. Never would I say that your work is sloppy. How long did it take you to acquire these traits as an illustrator?
A: First off, thank you for the kind words! You make my OCD sound so wonderful :) Being meticulous about the details in my illustrations definitely stems from my fine art work. While at SCAD, besides majoring in Illustration, I also got a minor degree in drawing. My style for that is very close to realism and I suppose that same attention to detail seeps into my illo work.
Without a doubt my fascination for sceneries and environments really became a focus of mine after taking a three month trip to France, summer before my senior year. It truly was a life-changing trip. I was so inspired by the beautiful surroundings that I like to try and replicate that as best I can in my art.
“Chinatown”
Q: Explain your process, from start to finish.
A: Starting off on a project, I like to print out either the project specs or the manuscript and start brainstorming in the margins. Usually I transition over to my sketchbook, but more likely than not, the little scribbles on the print out are the best. From there I’ll take the small scribbles and redraw them at a larger size, figuring out composition issues and honing the drawing. I’ll scan in the finished sketch, and print it off low opacity, then draw over it with the final line work. From there I scan it in again, colorize the line work, and finish off the illo with digital painting underneath.
Q: Which do you like illustrating best: locations or people? (Or neither if you so choose!)
A: Hard question! A year ago I would have totally said locations hands down. Since then I really have enjoyed mixing the two and having more of a balance. I feel like a gorgeous surrounding really can add the context needed to showcase a character and add to the depth they have in the illustration. That, and they’re still fun to draw.
A spread from “Mrs. Crawdad Comes Home”
Q: Who or what inspires you most?
A: As far as subjects go, I’ve always loved nature and travel in all forms. Some of my favorite memories are tied to hikes in the mountains or along the beach. I’m going to throw in my sap card now- the two people who inspire me most are my parents. Like most, they are my biggest fans, but more so, they were the ones who really pushed me to follow my passions and peruse a career in art.
Q: What would your dream illustration job be?
A: Probably would be landing a book deal where it would be my own children’s story and a nice long deadline to really make the illustrations something special- that or a cover illustration for a magazine.
“Lebanon Farmers’ Market”
Q: Give a brief summary about where you’ve been, where you are, and where you’re going in the illustration world.
A: Been- Grew up in small town Ohio where I had fantastic high school art teachers that, with my parents, encouraged me to pursue art school. Out of state was a must on my list and I found my way down to Savannah, GA. Once graduating college I spent some time back in Ohio saving up money and working smaller freelance jobs until moving to Chicago where I currently live.
Are- I live in a delightfully small studio with a killer view of Lake Michigan and Lincoln Park. I work from home and managed to set up a nice space to create my art. Most of my current work comes from a surface design studio in Brooklyn, NY. I’ve been making textile patterns for a broad range of markets- everything from baby onesies to men’s underwear- never a dull moment. I’ve also landed a story-boarding job for a VH1 commercial, a corporate branding project, and a editorial piece for the LA Times.
Going- With a few editorial projects coming in– I really want to continue to develop my connections in that market. Very long term goal is to go back to school so I can teach on a college level. More importantly though, I want to gain the industry experience to be able to share beforehand.
Casey’s Studio Space
Q: What was the best piece of advice you’ve ever received?
A: Linda Warner-Constantino, a favorite professor of mine once said, “The people who make it in the creative world are those who stick with it and don’t give up.” I think that many times, myself and other creatives, question whether or not they are in the right industry. It can be during rough patches where work isn’t coming in or whatever. I definitely think that the one’s who are in for the long haul are the ones who make it.
Q: If you had to have chosen a different career path, what would you be?
A: This is a tough one for me- besides art, I was very spread out during my school days. It’s definitely outside of the art kid “norm,” but I was very into my math and science- to the point of being in advanced classes. I also was a large music nerd, playing the piano, saxophone, bassoon and trombone. When it came to picking a career, art was the only thing that I enjoyed enough to do all the time, the rest became hobbies.
“Mountain Staycation”
Q: Do you have any embarrassing guilty pleasures that you really can’t live without?
A: Oh we all have our own guilty pleasures :) One’s that I’m willing to admit to are the comedian, Kathy Griffen, some Project Runway, cheepo boxes of cookies, and guacamole… Not together. There are plenty more, but I’d rather remain mysterious.
Q: Tell us about your perfect fantasy travel experience.
A: Without a doubt, it would be going back to Europe, revisiting some of the old haunts in France, but also traveling to new places that I didn’t have the time to go before. More of Spain, definitely Italy, Istanbul, some others.
Q: Anything else you would like the readers to know?
A: The average human brain weighs 8 to 12 lbs. and I’m super impressed that you read your way through this interview. Most appreciated :)
Casey himself!
Feeling inspired? You can find more of Casey’s work at these following links:
Interview with Jackie Farkas
Just in time for the peak of summer, we have one of our last remaining interviews: Jackie Farkas. Clearly inspired by surrealism and whimsy, Jackie’s work is hardly something you would see in your day-to-day life. This rarity is created by a wonderful hybrid of contemporary illustration, with the fine art spirit of Dali, Ernst, and Magritte. Read on to learn more about her inspirations and plans for the future!
“Hooked”
Q: Some of the most interesting and unusual things about your portfolio are your hybrid concepts, a couple of the most noteworthy being the fish bird in “Hooked,” and walnut octopus in “Escape.” I’m dying to know how you come up with these ideas!
A: Ha, you know it is less complicated than it probably should be. I usually start with a broad idea, for example in “Hooked” I wanted to express my love for travel (as I had been doing quite a bit of it at the time). This led me to the idea of being “hooked on” adventure. In my opinion a captured fish portrays this idea perfectly. I am also fascinated with aviation and human flight, so I used another animal (a mallard duck in this instance) to incorporate this idea. I felt the ocean/air juxtaposition worked really well together luckily. As for some of the other hybrids I come up with: a lot tend to be things I find amusing to bring together, something you would never see in the natural world. To me that is the job of art, to depict something we wouldn’t see in our real world lives; something similar to a visual representation of a dream. Anyone can find a picture of an octopus, but it’s nearly impossible to find one with a walnut on its head.
“Sadhu”
Q: How has your visual style grown over the years?
A: My style has definitely been most influenced by my experimentation with new media. For a long time there I had no loyalty to any one media or medium. I just kind of created on and with anything I felt compelled to at the time. This made each piece a bit disjointed from the last (in a good and bad way). It really showed my evolution and growth process, which I like. Now I’ve somewhat settled with this line work/valued process that give me a bit of a whimsical/melancholy/dreamy? vibe that I’m really enjoying.
Q: What is your favorite subject to illustrate?
A: As the first question mentions I really enjoy illustrating surreal hybrids. Most are animal hybrids. Natural and organic elements are wonderfully interesting to illustrate. I also like incorporating geometric designs/patterns. Most recently I have gotten into portraits and likenesses. I love really capturing a person’s spirit through art.
“A”
Q: Explain your process, from start to finish.
A: I usually begin with my concept, and sketch out some rough thumbnails and compositions. I also do some little practice sketches of different parts of the piece till I feel comfortable with how I’ll be illustrating the subject matter. I then bring it all together in a final sketch, which I transfer over to my good paper (I’ve been using Stonehenge recently). This is when I do my charcoal and/or watercolor base, which is the values and colors in the final. Next I do all the pen and ink line work and tighten up the details in the values. I then usually scan it and tweak any last little things digitally.
“Escape”
Q: Who or what inspires you most?
A: Is it too generic to say life? I spend all day trying to catalog all of life’s little instances that make it beautiful and so intriguing. Also, traveling. Every culture and region is so unique and different from the next. It makes each one worth seeing. I also really like the idea of being on the road to a destination; it’s a type of incompleteness and expectation that is hard to get any other way. And while I don’t always agree with organized religion, religious and tribal art are some of the best creations around. Native American works, Buddhist art, the stained glass windows and sculptures of the Roman Catholic church, just to name a few.
As for creative individuals.. I’ve always liked artists with a bit of a dark or oddness to their work. Surrealists (Salvador Dali, Max Ernst, Magritte). The man who is probably one of the first surreal painters: Hieronymus Bosch. Egon Schiele has such a way of showing form through line it’s unbelievable. Illustrators like Ralph Steadman for his spectacular and guttural line work, Maurice Sendak, Sam Webber, David Foldvari. Michael Hussar. I could go on but you get the idea.
Q: What field within illustration are you most interested in pursing?
A: Probably work for the music industry (posters, album covers, promotional images..) or editorial work.
“Howler”
Q: Tell us about your hobbies/interests outside of illustration.
A: I really love cooking (and eating!) and traveling. Anthony Bourdain probably has my dream (non-art-related) job.
Q: If you had to live in an era past, which would you see yourself fitting best?
A: 1920s: surrealism, speakeasies, fashion, the writers and poets and artists, and a booming economy. Sign me up.
Q: Do you have any unusual quirks while working on a piece?
A: Quirks, hm, a few things I do while working on an illustration I might classify as quirks. I usually can never work on only one piece at a time; I tend to flip between two or three pieces. When I feel uninspired or stuck on one I toss it aside and fiddle with the other one. I also sometimes do two or more versions of each piece, letting the image sort of guide my way.
“Reforestati”
Q: What should we expect to see from Jackie in the future?
A: Continued evolution of my work. I’d also love to delve more into typography and include that into my work. I’ve been fascinated with poster design for a long time now and I want to work more on that genre of illustration.
Q: Anything else you would like the readers to know?
A: Inspiration can be found at the most un-obvious of times. There is a great 30 Rock episode about this called “The Shower Principle”. Essentially it’s the idea that when you are distracted is when you’re the most likely to have that great moment of brilliance.
Can’t get enough? Check out Jackie’s site at www.farkasillustration.com!
Interview with Maily Degnan
For our lucky 7th interview, we are learning more about the marvelous and mysterious Maily Degnan! Anyone who has seen her work before can easily recognize Maily’s quirky, dark, and humorous illustrations, as her style is uniquely her own. The subjects, ranging from porky pugs to infatuated introverts, give a small window into a world woven by Maily, and leave the viewer pining for the next life to peer upon.
“Pug Lady”
Q: Maily, it seems pretty clear from just even a glance at your portfolio that you really enjoy illustrating people, and pugs. It’s such a niche subject, but so unbelievably lovable, and I’m sure most anyone would agree. How did this come about?
A: Hmmm. I’m not really sure. Anytime I have free time, I doodle. I can’t keep my hands still. I guess pugs and faces are the things that just end up getting doodled the most.
“Tissues for Issues”
Q: Where do you get the ideas for your characters?
A: A lot of my ideas for my characters usually come again while I’m doodling. Mostly when I’m at work or just getting coffee. Some of my best illustrations have come when I’m not purposely concentrating on trying to make a “good” drawing. When I am brainstorming ideas, I usually gravitate more towards the awkward or the angry, just because that’s what I like to draw.
Q: Do you find any parallels between the subjects of your work and your own life?
A: In a lot of my work, I try to find the humor and sarcasm in ridiculous or unfortunate events. And I most definitely like to pull from my past. I guess when I grew up I always felt a little awkward or out of place, like any normal high school or middle-schooler. Little embarrassing events always felt like the end of the world to me and for some weird reason, those are my favorite kinds of scenarios to draw. Maybe because I realize how ridiculous they were then and now I try to find the humor in them? I’m not sure. I guess my art can be a little self-deprecating. Either way I’ve always thought sad/dark humor was the most funny.
Q:Describe yourself in five words, without using any similar to “artistic” or “creative.”
A: Tedious, Creepy, Cute, Awkward, and Sarcastic?
Maily’s “ridiculously messy workstation”
Q: Explain your process, from start to finish.
A: Like most illustrators, once I choose a topic to illustrate, my process always begins at the thumbnail stages. I try to come up with as many variations as I can before choosing what to illustrate. Once I finally pick a few thumbnails that are my favorite, I then draw a larger, more detailed sketch. I have a pretty difficult time liking something until it’s completely inked, so most of my sketches usually turn into the finished line work (if I get it right the first time). Other times I like to draw the background and the character separately. Just so that I have a little freedom to play with size and placement. I always like the look of graphite and ink together and as you can see, most of my pieces and tediously patterned with micron. I can spend literally hours drawing blades of grass, because for some crazy reason I find it really soothing. When I’m finished patterning I always like to add a little pencil for shading and “pop.” After I am completely finished with all the elements and line work of the illustration, I will then scan everything into Photoshop. I work on a Cintiq and using my saved collection of scanned textures, photos, patterns, and papers and I use Photoshop to digitally color and collage everything in my illustrations. I’ve always been obsessed shadow boxes, and to me collage and teeny bit of drop shadows really help give my illustrations a subtle almost 3d/shadow box kind of feel.
Maily hard at work
Q: Who or what inspires you most?
A: This is a really hard question because I admire so many people. John Waters is probably my number one inspiration all around. I am obsessed. His movies are always so campy and bad, yet completely perfect and hilarious at the same time. And even behind all the ridiculousness, there is always a good point being made. I love when people can achieve that kind of strange balance. He’s been making the ridiculous films that he loves for years, and does not conform to anybody. That, and he is also so funny and incredibly intelligent. I always feel like I learn something new when I listen to his interviews.
Art wise, Charles Addams, Charles Burns, Daniel Clowes, and Edward Gory are my illustration-idols. Charles Adams, for he created the Addams Family comic, which if you haven’t gotten a chance to read them, are so so funny. Charles Burns, because he created Black Hole, which is one of the most amazing graphic novels I’ve ever read…impossible to put down. Daniel Clowes, because his comics and the way he writes. He is perfectly sarcastic, and keeps your attention the entire time. And last but not least, Edward Gory, because he is the master at mixing adorable children’s book like illustrations with dark creepy humor, and I am obsessed with his work. He’s a huge influence for sure.
“Doll Hoarder”
Q: What would your dream illustration gig be?
A: I actually have a number of dream illustration jobs that I’ve been thinking about since graduation. The first would be to teach illustration college level part time, while working on illustrations jobs. I’ve always admired my teachers at SCAD and envied their ability to balance and multitask two amazing careers simultaneously. My second dream job would be to work for Cartoon Network. I would absolutely love to illustrate character designs and backgrounds for an animation, most specifically for the Adult Swim genre. Animation has something I’ve always been itching to try or be around. The third would be to finally make my own graphic novel or comic series. I always wanted to draw a comic about my Asian mother and the funny/ridiculous things she says.
Q: Aside from illustration, how you enjoy spending your time?
A: Aside from illustration, I love reading comics and watching movies. I’ve always had an affinity to movies that are so bad, they are good. I cannot get enough of them. This is probably why I love John Waters so much. I also really really love bad television, especially while I’m drawing. When “Sister Wives” or “Ru Paul’s Drag Race” is on, it is nearly impossible to turn me away from the television. They are the most addicting, I must say.
“Eating My Lunch”
Q: Tell us about your silliest childhood memory.
A: Hmm. I guess I could talk about when I started to like pugs. It all started when I was in fourth grade when my parents told me that if I got straight As they would get me a dog. So I made it my mission to get perfect grades. While doing so, I was also on a mission to find the perfect breed. Over the course of 4-6 months, We visited an obscene amount of different dog breeders, researching for the perfect kind of dog. I took this incredibly seriously. You’d think I was researching colleges. I met pekineses, shitzus, caren terriers, malteses, Boston terriers, and even English bulldogs….but it wasn’t until I took an online breed compatibility test, that I even thought about getting a pug, and from then on I was sold. It’s kind of ridiculous how a random online test could be so right.
“The Animal I Am”
Q: Any plans on the horizon?
A: I’ve actually just been accepted to the Maryland Institute Collage of Art’s MFA Illustration Practice program along with Seo and Josh, so currently I’m frantically looking for places to move to within the next month. John Waters movies, all being about Baltimore, has made me irrationally excited about moving there. I’ve been looking forward to a new change of scenery.
Q: Anything else you would like the readers to know?
A: Hmm. I guess that I’m happy? A lot of times people tell me my illustrations are so sad…. but I don’t want people to think that’s how I am. I’m actually a pretty up-beat person, believe it or not!
Want more of Maily’s work? Visit her portfolio at www.mailyillustration.com!
Interview with Seo Kim
After a little gap in interviews, we are picking up again with the lovely Seo Kim! Having already pocketed many unique experiences in her life, Seo presents us with work that has a quiet and confident wisdom behind it. This treasured traveling influence provides a worldly view, while maintaining a sense of playfulness that keeps her subjects fresh. I believe it is safe to say that Seo’s work is difficult to compare to much else, and followers of her portfolio are always excited to see her perspective and approach on the next illustration. Read on for a fantastic interview filled with valuable tips and inspirations!
“Busan Map”
Q: Seo, your work is so unique and wonderful. There’s something that I can’t quite put
my finger on, but recently, especially, it feels almost as if your illustrations are old souls. Tell us, what influences the mood of your pieces?
A: Haha, old souls…that is quite a compliment (I think? Ha). I guess I just have an
aesthetic that is pretty traditional and old-timey that is reflected in some of my pieces.
Some of my pieces are bright and playful, but recently I’ve been creating pieces that are
quieter—almost melancholy. I think this could be felt in pieces like Busan Map (above), because I was trying to stir up some nostalgic sentiment from this piece. I think the mood of my pieces largely depends on the subject matter and what I am trying to interpret.
“Tara Beverage Bottles”
Q: Explain your process, from start to finish.
A: I usually start out with incredibly rough thumbnails (that usually only I can
understand), and then move on to rough sketches directly on the Cintiq. I usually use the pen tool to break up areas in big color blocks, then proceed to more detailed rendering. I try hard to keep different elements on different layers so it can be easily adjusted later. I go back and forth from Photoshop to Painter, which largely depends on what aspect of the illustration I am working on—for instance, I usually use Photoshop for preliminary work, layer adjustments, and final touch-ups. I use Painter for any kind of “painting” or coloring that requires textural expression. I like textures that are rough and grimy, so during the final stages, I usually like to put a texture layer on top of my entire piece for textural cohesiveness.
Seo’s workspace
Q: Do you have any particular quirks while working on an illustration?
A: I hate it when printers are not calibrated to the system they are printed from. Nothing
is more frustrating than when the color is completely off from the color you see on
your screen. Also, this is not really a quirk while I’m working on an illustration, but I
absolutely hate it when illustrators devalue the worth of a designer/artist/illustrator. I
know the real world is tough, and especially as a student, some extra money is always
nice. But just remember when you work for someone, oh let’s just say, on a work for
hire contract at $15/hour, you’re not only devaluing yourself as an artist, but you are also making it harder for all your fellow artists and illustrators out there who are trying to make a decent living out of this profession.
“Faces”
Q: What was your childhood like?
A: Wow, where to begin. Well, let’s just say it is incredibly hard to put my childhood
in a nutshell. My first journey to America was when I was six years old with my whole
family (Mom, Dad, older brother) and we settled in Durham, North Carolina for about a
year. Then we went back to Korea for two years, but promptly came back to N.C when
I was in the second grade with just my brother and my mom. Our family went through 4
years of the “lonely father goose” period (which is when the dad is apart from the rest of
the family to support them), but we reunited back in Korea when I was in the 6th grade. I finished 6-8th grade in Korea, and returned to N.C again to begin and finish high school.
There was a year when I lived with just my brother in high school, and then after he
went off to college, I basically lived on my own. I learned to be independent at a very
early age and had to go through things like college hunting, prom, and graduation, which most teenagers go through with the full support of their families. The last two years of high school were incredibly difficult for me, weaving in and out of depression and homesickness, but all in all, I think the life experience I had then made me the person I am today. I am strong, confident and assertive in everything I do, although I would never recommend any parents to send their child off to school in another country without some family member accompanying them. So as you can see, my childhood happened all over the place. I’m really happy it did though because you gain so much more in life when you have the opportunity to adopt two cultures at the same time.
“Edge Poster”
Q: Who or what inspires you most?
A: Isabelle Arsenault is my all-time favorite contemporary illustrator. Her new children’s
book “Virginia Wolf” embodies ALL of the things I love about her art. Her illustrations are filled with beautiful floras, mixed media collages, and color palettes that are simple, yet never boring. Her sense of composition is impeccable; her composition is organized in a way that just makes perfect sense aesthetically, yet they are dynamic enough to draw your attention whether they are done with vibrant/dull colors/different rendering style. Her line work is so beautiful and eloquent. Her characters are so versatile and playful. There is nothing about her art that I could criticize. I could look and study her art all day long. Check out her site at http://www.isabellearsenault.com/.
Q: When was the most influential time in your life, as far as your work goes?
A: It’s really funny because before sophomore year in college, I had never even opened
Photoshop. And now I’m a full-on digital artist. I think the most influential time for my
work was during my junior year in college. My ‘style’ actually began developing during
this time and I think I started attempting my first digital illustration. I enjoyed being able to experiment with different layering techniques that was just like a traditional collage but found tremendous relief in how impermanent my decisions could be. I loved having the freedom to make changes without the burden of starting over from scratch.
“Grow Starter Kit”
Q: There is a lot of reference to organic forms in your work, including floral shapes. Do
you enjoy any specific outdoor activities that inspire your work in this way?
A: Haha do I! I love going hiking and going to gardens to look at flowers and plants. I just really love being outdoors in general. Ever since I was a kid, I loved planting seeds and watching them grow, and I think this directly came from my dad’s love of horticulture. We would go hiking together every single morning when I was a little girl (Korea is a mountainous country—pretty much everyone has a mountain in their backyard) and I would be fascinated with different plants and how everything changed from season to season. I guess this kind of connection to nature and the breathing, living world really resonates in my art.
“Autumn Joy”
Q: Aside from illustration, how you enjoy spending your time?
A: I love watching movies. Preferably sandwiched together between my boyfriend and
his dog Sadie. I’m an avid user of Groupon. I look at my phone a lot. I find pleasure in
making handmade cards for people I love. I like making sample art for my students to
see. I enjoy cooking and baking. I LOVE being outdoors. I dream about the day I will
have my own fantastic vegetable garden and chicken coop.
“Fish Story”
Q: If you could be anything other than a human, what would you be and why?
A: A cat. What a life, man. Lying around the house, finding warm places to sleep. Getting loved on by people you love. And you get to pounce around and hunt things if you want, or just get fed. You’re trustworthy enough to be left outdoors and independent enough to live on your own. Cat’s life pretty much sounds perfect.
Q: What does the future hold for Seo?
A: Well, I am actually starting graduate school in the fall at Maryland Institute College of
Art. So I’m pretty excited about that. But for the FUTURE, I hope to become a successful
freelance illustrator who teaches at a university part time. I would love to move back to
Korea at some point because I really miss living with my family. Since we had been apart
for so many years of my life, it feels like a luxury to actually spend any time with them.
But for now, I’m content working on my freelance projects and teaching little kids art.
Oh wait…does that sound like my future plan?
Seo being silly!
Q: Anything else you would like the readers to know?
A: Remember how you were probably the best artist in your high school? And you were
asked to draw stuff for people all the time? And then you went to art school—BAM!
You had a reality check and thought to yourself, ‘wow I was a big fish in a small pond.’
Well, as soon as you graduate, you realize that it is 100,000,000 times that. The world
is filled with so much talent and it sometimes makes me queasy how good people are.
What I realized after graduating is that a lot of the first jobs actually come from personal connections. (And that’s why it’s SO important to make connections during school!) Also, if you get lazy about self-promotion, then your career will also suffer from it. There comes a point where it’s not really necessary (because either you are so SWAMPED with freelance work or have an agent) but diligence really pays off since essentially you are self-employed. Ah, I’ll stop preaching to the choir. Alright then! Hope you enjoyed getting to know me a little better!
See more inspiring work at www.seokim.com!
Interview with Molly Wilson
This round, we are learning more about Molly Wilson, one of our newer members and a wonderful water-colorist. Molly’s work gives us a small window into her quaint and whimsically charming world. Through the freedom of her loose lines and light application of paint, Molly depicts lives untainted and delightful, with a open invitation for the viewer to join. Flipping through her portfolio, one can’t help but feel inspirited and sunny— or possibly more inclined to send a letter, visit the beach, or start a unique collection!
“Untitled”
Q: Your style is definitely one that most people are too afraid to try. A lot of artists
have a tendency to overwork their pieces, but it’s beautiful that you allow your
medium to speak for itself. What led you to working this way?
A: I have no idea! I always struggled in school, and still do, with finding
the “perfect style.” So, I think I just let go of controlling the medium so heavily.
Watercolors and I have become great friends since then, and being very soft-
spoken myself, I let them do the talking.
Q: Do you have any particular illustrators or other artists that inspire you?
A: Of course!
Andy Warhol’s early commercial illustration career in the 50’s has always
made my heart swoon. I would walk to the Jenn Library in Savannah many
afternoons and check out books about his life and early career.
Also, Charley Harper was a beautifully brilliant artist, whom I draw much
inspiration from. I have his calendars, prints, stationary, (basically anything I
can get my hands on) strewn everywhere. I was very excited when I saw his
book, “An Illustrated Life” on sale at Anthropologie one day. I have it at hands reach most of the time.
“Untitled”
Q: Ooh yes, Charley Harper is really wonderful! Explain your process, from start to finish.
A: I draw a little doodle, then refine it somewhat. When I’m happy with the
drawing, I transfer it to watercolor paper with a homemade light box my boyfriend
helped me with. Then comes the ink. Every time I start this process, I think
about the little squid, Pearl, from Finding Nemo. She says, “Oh you guys made
me ink,” while they were trying to touch the boat (butt.) Once the ink has dried, I
begin painting. Lastly, I scan and edit lightly in Photoshop. Ta-dah.
Q: How long do you spend on sketches and concepts?
A: Not as long as I should probably. Getting my sketch polished enough for
the final is usually the most time consuming of my process. Except for maybe
scanning, I have a smaller scanner and it can be painstaking with larger pieces.
Q: What would your perfect illustration job be?
A: Working for a greeting card company, or creating children’s books all day.
“Grover” and “Bernard”
Q: Describe your workspace.
A: Messy. I have cards from dear friends, pictures of my dog, painted samples,
brushes, paints, candles, and trinkets. Organized chaos.
Q: Where do you currently reside? Is it your place of choice, or do you desire a
relocation?
A: I live in Rockledge, FL currently. I would love to move back to Savannah, GA,
which has always felt like my home. Paris would be okay too.
Molly herself!
Q: What is your favorite flavor of ice cream, and why?
A: ooo that would depend on any cravings going on… Sometimes it’s chocolate,
or something fruity and exotic. I recently tried a key lime gelato from Target that
was excellent. But I do love ice cream. Especially in the Florida summer heat.
Q: Aside from illustration, how do you like to spend your time?
A: My dog Bruno has recently become a therapy dog. We have enjoyed doing
observations at medical centers, and look forward to future endeavors. We also
like going to the local dog beach here, dog parks, and play dates with his best
friend Mr. Barkley.
Q: Anything else you would like the readers to know?
A: I am running the Run For Your Life 5k in Boston with 2 of my dearest friends
in May. I’m so excited!
Molly’s full portfolio can be found at www.mollykwilson.com. Flip through it for more pieces!
Interview with Catherine Fontenot
Time to meet our resident scientific illustrator, Catherine Fontenot! Using her perfected technique as a tool, Catherine beautifully tells stories through the anatomy of creatures small and large. Her attention to detail is astounding and unique, as if the subjects of her renderings were telling her their secrets themselves. Catherine’s drawings are accurate, but still carry a personality of their own. Perhaps because of the way these creatures are clearly so lovingly created, Catherine’s openness and heart carry into her work, and brings out a little of the animal lover in all of us.
“Cougar”
Q: Okay Catherine, first thing’s first: you capture the anatomy of animals so beautifully, and yet, these renderings still have a personality to them that you can call your own. How did you get to this perfect balance? Was it a conscious effort, or did your work just evolve this way?
A: Well, I’m pretty sure that I was just born an animal lover and never grew out of it. I have always had a fascination and desire to learn about them: anatomy, behavior, and character. It was definitely not a conscious effort; if anything, my illustrative interpretation of animals stems purely from my observations and feelings toward the subject. In choosing to focus on natural elements, I hope to remind viewers of one’s innate connection to the earth, its creatures, and to each other. However, when working on a specifically scientific illustration (like the cougar) I try to stay more objective than expressive. Yet the emotion from my hand still can’t be totally disguised.
“Save the Tigers”
Q: Who or what gives you the greatest inspiration?
A: Deriving much inspiration from the Golden Age illustrators, like Arthur Rackham, Edmund Dulac, and John Bauer, my unique style has developed into something of its own. Not only do these artists astound me in their ornamentation with delicate detail and fine drawing abilities, but also in their sensitivities to translate emotion. There is a timeless elegance about the mystical illustrations from the 19th century that spurs my imagination. During the onset of the Industrial Revolution, these artists were innovators in their own time, reconnecting an audience to the enchanting qualities of nature. I also like to keep a kind of mood board in front of my desk while I work, filled with visually inspiring things.
Catherine’s inspiration wall just above her desk
Q: Explain your process, from start to finish.
A: My creative process begins by making word lists of my initial thoughts or responses for a certain project. By intuitively mapping out my ideas, I obtain a concept truer to my own instincts. After selecting a handful of key words or descriptions I move on to sketching thumbnails. Then, I refine sketches with variations based on the chosen thumbnail often accompanied with lots of research. I prefer to use my original sketch as the basic drawing for my final, to preserve its originality and freshness. Going over my lightly drawn image, I use ballpoint pen in a way that imitates the textures and forms of the figures and surfaces. Inspired by nature and the Golden Age illustrators from the late 19th century, I tend to use limited color palettes. For color techniques, I either use traditional watercolor or work digitally.
Catherine’s sketches: Various figure studies, “Goult Windmill,” and “Bonnieux Afar”
Q: Do you have any particular habits when working on a piece?
A: First, I have to clean up the area I’m about to work in: keep everything all nice and neat. I like to be comfortable, have nice lighting, maybe a cup of coffee, and have my supplies laid out, so I don’t have to break my concentration when I start to work. Then, I love to listen to music that fits my mood while I’m working. Usually pretty loud, too … (sometimes I think I was also meant to be a musician)
“Orange Haiku”
Q: What do you want to achieve with your illustration career?
A: Materialistically, it is much less clear for me than when I was in school. Although I believe competitions, shows, and participation in illustration events or communities is very important, I am feeling less concerned with winning awards and more concerned with sharing my passion and work. I feel there are so many gifts that nature has planted to enrich our existence, and they tend to be under-appreciated unless a little time is taken to admire such precious things. I hope that my art can help free viewers’ censored psyches, allowing them to revisit the inherent human qualities that they otherwise would ignore.
“Roussillon Collie”
Q: Did you have a period of time in your life that you see as instrumental in your development of style or viewpoint?
A: I lived in Saudi Arabia for 4 and a half years (from about the age of 4 to 8-years-old), and I really believe my childhood being spent overseas has made a huge influence on my perceptions and beliefs, my aesthetics, and my creativity. During that time, I attended an international school and had the opportunity to travel the world with my family. When I was 21, I also had an 8-week trip with SCAD’s study abroad program in Lacoste located in the Provence region of France. It was truly a priceless experience as a student, and even more so as an artist. Exploration and its experiences, I believe, are essential to anyone’s personal growth.
Q: How long does it take you to complete a work?
A: It depends on the size of the piece and the complexity. It’s difficult to give a particular time frame, but I would say between 1 and 2 days without interruption.
“Fromage de Lune”
Q: What superhero power would you have and why?
A: To be faster then any animal, have unlimited endurance, and to be immune to injury!!! Well, that goes both for running and for creating artwork, haha!
“Red Tail Hawk”
Q: Tell us five words you would use to describe yourself, without choosing any similar to “artistic,” or “creative.”
A: Hmmm, tough question. I would say intuitive, patient, hard-working, compassionate, and open-minded.
“Sombra”
Catherine’s work can be found at www.cfillustrations.com. Be sure to check it out!
Interview with Moira Hershey
We are kicking off the nearing season change with a member who makes some of the most cheerful work in Square Carousel, Moira Hershey. It only seemed fitting for Spring! Moira is arguably our most unique member, as she works in several different styles of illustration. The organic texture of her lines create a chipper and subtly humorous take on a wide variety of subject matter, which leaves the viewer curious to see what may come next. Moira can give personality to the typically dull, brighten the mundane, and make her audience laugh about the unexpected. Take a look through her portfolio, and see which style appeals most to you.
“Antler Boy”
Q: Moira, I find your portfolio really interesting, because you seem to work successfully with slightly varying styles. Is this a strategy you use? Do you prefer one look over another?
A: Funny you mention that because style has always been a struggle for me! It took me a very long time to finally settle on something I feel comfortable doing and also like the look of. I think I bounce around style-wise so much because I see things I like and then try to emulate it in my own way. I’m fascinated by different techniques and I love to see what other artists are doing. I do pride myself on having more than one way to do things because I think versatility is important as a commercial artist. I prefer gouache resist and Andy Warhol’s blotted line technique (http://edu.warhol.org/aract_blot.html)
“Katie”
Q: Explain the process and techniques with your different styles of working.
A: I really love the gouache resist technique, which creates bold, irregular lines. It’s very fun because you never really know how it’s going to turn out (which can also be a bad thing sometimes!) I start with a line drawing on watercolor paper, then fill in the areas around the lines with a mixture of gouache and water. I let it dry and then cover the whole thing with black india ink. After that dries, I rinse it in the sink and anywhere the gouache was placed will wash away. This leaves the india ink line. I also enjoy the blotted line technique. (The link above explains the process!) It’s basically a cheap and easy printmaking technique that creates irregular, organic-looking lines that are easy to manipulate in photoshop. I always finish off my work in photoshop, even if it’s just cleanup.
“Starbucks”
Q: What is your greatest influence?
A: I think my greatest influence is other artists, and my varied interests. I’m obsessed with movies and music and draw a lot of inspiration from that. I love Andy Warhol’s advertising work, Edward Gorey’s morbid pen and ink drawings, and Charley Harper’s graphic birds. I am also really into texture and pattern and I’m trying to incorporate that into my artwork more and more.
Q: When not illustrating, how do you spend your time?
A: I watch sooooo many movies! I actually started drawing in high school because I was compelled to do bad fan art of my celebrity crushes haha. I spend a lot of time on the internet and reading. (I’m working on getting through the Song of Ice and Fire series by George R.R. Martin) I think it’s important for an illustrator to be aware of world events and popular culture because it gives great inspiration. I also enjoy karaoke and hanging out in shady bars 
:)
“Ms. Sane- Self Portrait”
Q: Which do you prefer: working alone, or with others around?
A: I very much prefer working alone. I get extremely anxious when people watch me work. I’ve been known to cover whatever I’m working on when someone walks by! It’s also hard for me to talk and work at the same time so it would basically be like working alone anyway!
Q: Would you time travel to the future, or back through history? How far would you go, and why?
A: hmmmm that’s a tough one…I would probably go to the future to see what the world is like about 200 years from now. No matter how advanced our technology becomes, there will ALWAYS be a need for artists in one way or another. Unless it’s like Waterworld or Mad Max….then artists are kind of screwed. I don’t think I’d be very useful in a post-apocalyptic society haha
“Crown”
Q: What is your ideal illustration niche to be working in?
A: I’m intrigued by editorial illustration and licensing. I’m very lucky to work at Wild Apple, where we have a growing licensing department. I hope to someday get my designs and illustrations on products. I work in print (wall decor for framing) and hope to build a great portfolio of design and illustration work over the next few years.
Q: Do you have a favorite artist or illustrator that inspires your process?
A: Other than the ones I mentioned earlier, I really love the feel and textures of Wolf Erlbruch’s illustrations. I also love the heavy lines and desaturated colors of Alphonse Mucha. I very much enjoy seeing western artists taking inspiration from Japanese block prints (Japonisme) with an emphasis on line, shapes, and flat areas on color.
“Into the Woods”
Q: Tell me your favorite quote or mantra.
A: Some words of wisdom from the great sage Gary Busey -
“Your imagination is the hood ornament on your car of creativity.” I’m not sure what that means, but Gary Busey said it, so it must be true.
“Karma Chameleon”
Moira’s work can be found at www.moiraart.com Be sure to check it out!
