Please introduce yourself and what you do in no more than four sentences…

Howdy! My name is Matthew Scott and I am a colourblind freelance illustrator based in the UK. I’m currently working on my first full children’s book (long overdue) and am beginning to work on smaller editorial pieces for various magazines and publishers.

I love discovering new illustrators and artists every day, though that tends to lead to frequent rages of jealously/depression, but thankfully it also eventually encourages me to keep improving my own artwork.

You’ll find me drawing almost all day, every day hunched over a desk in a small hidden bungalow sheltered from natural light.

You graduated with a first class illustration degree in 2008. Do you think that universities and colleges prepare students for the realities of life as an artist?

I think that some do and some don’t. I was lucky because at Kingston University they instilled fear into all of us the second we arrived. They made us all realise from the start just how tough and over-crowded this industry is and that if we truly want to succeed it takes a lot more than good work to survive in the long run. It was far more business orientated than most people (especially laid back art students) expected it to be.

Thankfully I was forewarned enough at college and university that I had at least some idea just how hard it would be.

Do you think most students are a waste of space?

Not at all. Every student has something they can bring to the table. A lot might not realise where their strengths lie or are not committed enough until late in process, but most get there eventually.

You have been very successful in working with some big names (eg Cartoon Network, Simon and Schuster, OUP) in a relatively short time. Why do you think this is?

Sheer determination! Even before I left university I had begun to contact people. I aimed high because I thought if I never try I’ll never know. Most didn’t reply or were too busy to answer my calls/emails/mailouts. It took me ages to eventually find the right people to talk to who would understand my work better, but I kept snapping at their heels until I managed to get the chance to go and see them in person. Once I could talk face to face it was much easier and I knew I had more chance of getting work.

I never took ‘no’ for an answer.  I just read it as meaning I hadn’t spoken to the right person who was working there, or if I had spoken to the right person I translated it to mean ‘maybe, ask me again in a few weeks’.

When you first started, how did you work out how much to charge for illustration commissions?

I was lucky enough that my first commissions were all non-negotiable flat fees, so they were all decided for me, but when eventually that situation did arise I panicked. I had no idea. A few Google searches later and I was just as confused. I decided in the end the best thing to do was to work out an hourly rate depending on the job’s length and description.

I don’t mind charging less if it’s something I would enjoy and if the job could possibly lead to more work, so I decided to be flexible depending on the job in hand. It’s all personal really. I didn’t become an illustrator to earn a lot of money (anyone thinking they can do is in for a tough ride!).

What’s been your biggest paycheque so far?

I’d rather not say. I have had small, quick, easy jobs that have paid extremely well and very long, drawn out large commissions that have paid poorly.

The money does put a roof over my head and food on the table but other than that I’m more interested in the work that was produced, whether or not the client has more work for me, and what I could have done better to improve the commission.

Do you prefer to work with traditional or digital media? Will the Wacom eventually kill off paint and canvas?

I still prefer to work with pencil and ink. I work far better with traditional media until it comes to colour. I’m colour blind which has its problems every now and then, so it’s much easier when finishing my work digitally to have the ability to change colours that I made mistakes with.

I’ve only recently started using a Wacom to colour or improve my work in the final stages and although it’s enjoyable, the ability to freely go back and correct mistakes is far too easy. Sometimes I don’t like that feeling… to me its the same as cheating. It made me think about lots of other people’s art who I love that work completely digitally and changed my opinions about them. When it’s so easy to go back and correct mistakes with the press of a button the best artists are being lost in a sea of people that just have more time and perseverence to keep pressing Apple key+z until they get it right.

Whilst people who work with traditional media will do the same thing at some stage, usually at some point they are in a position where a mistake is either permanent or they will have to live with the consequences. That’s not to say I’m against digital work, because I use it to colour and I have used it myself to work from scratch, but if I had the choice I would definitely prefer to work with traditional media.

Do you attend many gallery shows or exhibitions? What was the last one you went to?

I’m not much of a gallery kind of person. I do enjoy going, but at the moment I’m spending so much time working on my own art that I forget to visit shows. I still look at other people’s art online everyday – it’s an addiction of mine to keep sifting through new illustrations, art and graphics on websites – but exhibitions have taken a back seat for now until my own work is going well enough that I feel I can afford to leave my desk and venture into the great outdoors.

What were the benefits of winning the New Blood, D&AD award?

Not many. A confidence boost maybe but nothing else. When I was there about to pick up my certificate I was told stories of how a previous student had eaten their’s. Two years on I’m thinking maybe they were right to do so.

It’s nice to be recognised, especially right after your degree show, but I’d much rather someone, anyone, had actually come up to me and talked to me about my work, told me what they think, offered advice or some tips in starting my career. Instead I received a handshake and a certficate.

I realise there will be a lot of people thinking how ungrateful I am but that’s how I honestly feel. I’m proud to have won it, but was disappointed that not a single bit of advice or conversing was done in the process. It gave me more confidence in my work to go out and try to sell myself, but at the same time gave me no clue or indication as to just what it was about my work they liked.

Apart from illustration, what other things are you into?

Music is my only other real passion. I can’t really work very well without it, I find I need something on in the background at all times when I’m working. I love seeing live music as well, though the nights of seeing gigs every week have slowly been replaced by nights of drawing bears and spread designs.

I’m just as passionate about discovering new music as I am illustrators, not always ‘new’, but music that has passed me by either due to my age or simply because I ‘missed the boat’. It’s an addiction that has led to me checking the Avalanches forums for over six years now. Some months I forget, some years have been slow, but I just can’t seem to let go, it has to happen surely… one year… this year…?

If you could collaborate with anyone, who would it be and what would you do?

My girlfriend is also an illustrator (http://www.sparrowprince.co.uk). She has great story ideas, so I’d like us to work together on a childrens book at some point.

Could you have got to where you are today without going to university?

Definitely not. I had such great tutors and students in my class that without them I would never have got to the stage I am now at.

Before university it was always just tutors helping me and inspiring me to work harder and keep improving my work. Once I was in university I was surrounded by other people who all worked differently but were all just as good in their own way of working. It helped me enormously in developing my own style. I tried a lot of different techniques until I found one that I felt was right for me.

Who are your favourite artists/illustrators alive today?

Too many to pick a few. Besides, if I did pick one or two names the chances are they would change by next month because I’m still discovering new work on a daily basis, so it’s impossible for me to say without regretting it at a later date.

The only artists I will always admire and constantly come back to are the ones who produced the books I loved as a child, but sadly most of them have passed away.

What’s next in the pipeline for Matthew Scott?

The long overdue childrens book. It’s had a ridiculous number of problems since starting, but it will one day see the light of day, I swear it…

Other than that I’m trying to step back from my work a little more and think about it from a client’s perspective. I’ve been getting so caught up producing what I want most of the time that I forget that a lot of clients don’t want busy/large/full colour artwork. I’m spending more time developing my human characters as well. I spent pretty much the whole of last year drawing animals, which was great, but I need a change. Less bears… more people…

Terminator or Transformers?

Thinking back to my childhood, Transformers. Although Michael Bay and Shia LaBeouf are trying their best to make me think otherwise.

Paris or Amsterdam?

Paris, only because I haven’t been to Amsterdam yet.

Ant & Dec or Dick & Dom?

A year ago I would have said Dick and Dom without hesitation, but those Nintendo adverts are priceless…

Chilli chocolate or tomato sorbet?

If it isn’t Rainbow Drops or Haribo I’m not interested.

You can see more of Matthew’s work at http://www.divinepaperhouse.co.uk/.

Introduction

TBFH is a graduate of the world famous Crayola Institute of New York, from where he earned his Black Belt in Illustration & Character Design (learning from his master, Sensai Wax). Clients include: Honda, Disney, Nickelodeon, BBC Movies, Macmillan Books, Time Out London, The Guide, The Observer, FHM, Computer Arts, DDB London, TBWA London, EVB (San Francisco) amongst others. Advertising. Editorial. Enjoyment. The Boy just loves to draw.

Why are you called The Boy, would it have been The Girl Fitz Hammond if you were born XX instead of XY?

Dead right. I was born with a little pencil so “The Boy” it was. The “Fitz Hammond” part came a few years later whilst traveling with the circus in Bavaria. The act I was involved in saw me, night after night, escape the clutches of a Dancing Bear by hiding inside a Hammond organ. For three laps of the circus ring, Helmut (a very polite Brown Bear), would chase me round in a rather comical manner. On the third lap I would evade Helmut’s paws by clambering into the back of said Hammond organ. The rouse was that Helmut (a Dancing Bear by nature) would become distracted by the organ music thus leaving me to flee to freedom.

The act was originally called “The Boy Fitz in a Hammond Organ to escape Grizzly”.  However after time this was condensed down to “The Boy Fitz Hammond”.  And here we are today…

Apart from art and illustration what other things are you into?

Obtaining tee shirts (not in an unscrupulous manner). I’ve got two (large) drawers full and I’ll always being encouraged to send some to the clothes bank. I’ve always loved tee shirts. The first one that I can remember thinking ‘this is my best ever tee shirt, I’ll never have a better tee shirt than this’ was a Hot Tuna one bought on holiday in Newquay in the early-mid eighties. Pink it was with fluorescent ‘puff’ inked Phirana’s on the back (yea I was cool!) I worn it till I went it got holes in it. Something I still do to this very day.

Who are your favorite artists/illustrators alive today?

I would have said Charles Schultz but sadly he is no more. Charlie Brown, Linus, Schroeder et al are fantastic creations and translate beautifully to print or motion. Much like all of the stuff from William Hanna and Joseph Barbera. When I was little I had Hanna-Barbera wallpaper that was covered in all their characters and I would spend hours copying Huckleberry Hound, Dastardly & Muttley and all the others. I grew up with those characters so they’re ingrained in my eyes, my memory and my heart. Today there are so many to mention.  I’d find it difficult to name one with out naming numerous more.

If your opinion what’s more important skill or style and why?

Are these not essentially interwoven? *scratches head and lets out pondering sigh*

If you’ve developed a style then you obviously have the skill to execute it. And if you… oh hang on a minute… I’ve confused myself.  I’ll come back to this later…

Right so I’ve had more of a think and I see to have got myself even more confused. If you have a skill you don’t necessarily have a style… or do you? A friend of mine in my first job used to say “skills that pay the bills”.  Does that help with this answer?

Has your work ever been animated, is this something you’re interested in?

Animation is something I’d love to do but sadly I don’t have the talent (or patience). Luckily for me I was introduced to Sam, an animator who has become a good friend and so he’s responsible for making things move. Sam and I have now worked together on a number of projects – the first being six animations for BBC Films in 2005. Since then we’ve developed a good understanding of how the other person works. (I did few animation workshops whilst I was at university so I can visualize how best to draw things to make Sam’s life easier too). 

But possibly the most important factor of us working together is that Sam’s style of animation seems to compliment and my illustration/characters and vice versa.

Why don’t you keep a blog?

I have thought about it. A couple of people have even mentioned that I should keep one. And I do like reading/looking other peoples blogs. But to be honest I’m not the greatest with technology – it was confusing enough getting my website together.

Another important factor that I would have to consider about having a blog is that my life is not the most exciting. So I doubt very much if I would capture nor captivate people with tales of me sitting at my desk, in a pair of pants (sorry no webcam) eating toast and drawing pictures.

Are you involved in any collaborative projects at the moment?

I’ve been working on a project (website) where the aim is encouraging people to “work towards a more sustainable, greener Scotland”. The whole ‘go greener’ thing is something which seems very prominent at the moment and one which seems more people are opening up to. The illustrations/animations on the site help deliver the information and illustrate how little things such as turning off the tap when brushing your teeth, can make a a big difference. It’s really nice being involved in a project like this (even though I usually have my computer on all hours).

What’s next in the pipeline for The Boy Fitz Hammond?

Right now I’m about to start work on an illustration for Heinz – what it is I’m yet to find out.  I’ve also got a website to illustrate (which Sam will be animating) and another project someone has asked me about but is yet to confirm. After that who knows… I’ve got an idea for a story book that I’d like to develop. The way I’m picturing it, it’ll be a change of style so maybe I’ll get a chance to work on that. We’ll see.

Baseman or Biskup?

I love Gary Baseman’s eyes (those of his characters) but both him and Biskup are magical and my eyes could happily dine on both, one or the others pictures for a long long time.

Rodney or Del boy?

Probably Rodney.

Snickers or Mars?

A Mars a day helps you work rest and play. But a Snickers (nee Marathon) has peanuts in so that gets my vote. Washed down with a packet or Opal Fruits. Living in the past you say?  Not me.

Latex or Leather?

It depends on the occasion.

Moyles or Edith?

You mean if I could only turn one of them off? 

Pop Tarts or Pop Tarts?

Neither. Both should be outlawed or at least renamed ‘Parcels or Lava’.

You can see more of The Boy Fitz Hammond’s work at
www.tbfh.com

My wife once put a worm in her grandmother’s bed, what’s the worst thing you’ve ever done?

“I killed a man in Reno just to watch him die…”

I know you no longer work for Microsoft Xbox as an Art Director, but I would like to know how you got that job and what jobs you had before that?

I was very into computers and art in college… that was around 1994 when the web was just starting to become know. I learned how to design/program web sites early on… and because I had programming skills mixed with art skills… it allowed me get to get my foot in the door at a well known advertising agency… at the time not many people could do both… not many hybrids. The ad agency had some big clients… so I had the opportunity to work on sites for Gateway, Intel, Iomega, Netscape and some other high profile technology clients.

I then decided to move to Seattle. When I applied at Microsoft Games… I had a lot of web experience for that time… and I was young and into art so I think that helped out because we were making video games and I was around the target market. Microsoft has a brutal interview process… you interview all day… for 8 hours with different people and then I had to give an hour presentation about my work… anyway… I worked for Microsoft Games as a designer/programmer for a few years and when Microsoft decided to create Xbox… I was asked to be the Art Director for Xbox.com.

You have put your skills as programmer and designer to one side although they have aided you in become and establishing yourself as an illustrator; have you ever considered putting illustration to one side to become an Artist or do you see that as the same thing?

Yeah… you’re right. I used to use those skills to earn a living… and now they just help me promote my illustration career and market other ideas I have. I think… ideally I would to do many things at one time. I think I will always illustrate… it’s what I do in my free time… I really love it… so I think that will always be a part of my life… but I would also like to invent things… I don’t know how helpful my illustration style will be in that endeavour… but who knows.

Apart from illustration what other things are you into?

Laughing, exercise… Jui Jitsui, learning about how things work… space, nature, animals, etc, walking, people watching, body language, I want to learn how to read lips, playing with my dog, making jokes with my wife, travelling, eating, being in the ocean, DISCOVERING NEW ENVIRONMENTS, taking subways and buses, figuring out patterns… or frameworks, reading quotations, learning odd facts, listening to history and scientific podcasts, music, watching movies… Etc

Who are your favourite artists/illustrators alive today?

There are so many… it’s hard to narrow it down … but at this exact moment… MWM Graphics, Calef Brown, Jeremyville, Clayton Bros, Charles glaubitz, Jordin Isip, Roman Klonek, Michael Slack, Dan May, Klaus haapaniemi, Pierluigi Longo, Modern dog, Christopher Nielsen, 3TTMan, Gary Baseman, Camille Rose Garcia, Christian Northeast .. Plus a zillion more

¿Qué harías si te besara ahora mismo?

Es común en argentina… entonces te lo devoleria

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

No… not at the moment… but I would like to Penople Cruz… can you arrange that?

What’s next in the pipeline for Nate Williams?

I don’t know what’s next… Just enjoying the present.

Spongebob or Ren and Stimpy?

South Park… then Ren and Stimpy.

Watching it or doing it?

Relaxing It Drinking a Coffee it… then People watching it.

You can see more of Nate Williams’s work at
www.n8w.com

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Why do you do what you do?

I’ve drawn since I was a kid, I’ve always loved the arts…I don’t think I was inspired by someone to start, all the thing happened naturally. Art was the only subject I used to be good at school, but I never thought I could ever make money doing it. It was more like fun to me. Then, when I was 15-17 (I don’t remember well) I started doing some folders and comics for the company my dad works at, got some experience since then, and here I am now!

How much of your work is digital?

I’d say that my work is 50% manual and 50% digital. All the sketches, concepts, studies and textures I make in the traditional way, using papers, canvas, pencils, charcoal, watercolor, etc. Only the painting/coloring process I do in the computer, using a tablet.

How did you end up becoming a Colorist?

That was when I had just graduated from Graphic Design high school. I was desperate looking for a job, sending my portfolio to everywhere I could. Some months later, Impacto Quadrinhos a comic’s studio in São Paulo, Brazil, interested in my work, and gave me some tests for American comicbook publishers.

Apart from illustration what other things are you into?

I am a Graphic designer too, so I love to make designs for T-shirts. You can find some of my tee’s submissions at Camiseteria.com

Who are your favourite artists/illustrators alive today?

There are many artists alive, who I admire a lot. Yanick Dusso, Mark Ryden, Lori Earley, João Ruas, Jason Chan, Linda Bergkvist, and Guilherme Marconi are just a few of them!

Have you ever thought about starting your own comic company, like Jim Lee did?

Not at the moment. I just love to create, painting, drawing….. I think starting a comic company can bring a lot of business responsibilities, and I am not interested on this sort of things. But, I don’t know…who knows exactly what comes in the future…

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I have made some T-shirts designs with my friend Guilherme Marconi, for the permanent contest of Camiseteria. He’s an awesome illustrator and it has been great to work with him. I’d love to make a concept art for some movie or game studio.

What’s next in the pipeline for Will Murai?

I think I am going to set up an Expo with some limited edition series of Digital Paintings, with a very interesting theme. I am pretty excited about it!

Frank Miller or Will Eisner?

Frank Miller

Hot dogs or Burgers?

Both. Love junk food

You can see more of Will Murai’s work at
www.willmurai.com

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Introduction

John is an illustrator and cartoonist living in Toronto. He writes about illustration, design, and visual culture under the pseudonym Robot Johnny for his personal blog on which he also distributes a small collection of typefaces including perennial favourites Girls are Weird and Turkey Sandwich. He conceived of Drawn!, like all good ideas, while goofing off at work. John stays inspired by a collection of hundreds of art, design, illustration, cartooning, and humour books and an unhealthy addiction to DVDs. His biggest influences are Charles Schulz, Jim Henson, MAD Magazine, Chuck Jones, B. Kliban, Jack Ziegler, the Marx Brothers, and Woody Allen. He also likes sandwiches.

Have you ever drawn a doodled of a Poodle eating noodles?

I haven’t until now!

How much money do you earn from Drawn!? And when it comes to your illustrations skill – which companies pay more, Yahoo! or Hallmark?

I’m not rolling in it, that’s for certain. The blog makes enough through advertising for hosting and maintenance, but it’s far from a cash cow. The biggest payoff is the extra exposure for my own illustration work, and the connections I’ve made with other artists. As for which clients pay more, I never kiss and tell.

Do you have an agent or do you handle everything yourself?

I don’t have an agent, no. There are times of course, when it would be helpful to have someone help find work and take care of the business end of things, but I’d be afraid of relying too heavily on an agent, too. I’ve certainly learned a lot about business and about my own work habits since I’ve started freelancing as an illustrator.

I’m lucky that I have several regular clients that keep coming back for more. It’s definitely a plus to foster good client relationships, and find not only the type of work I like to do, and can excel at, but also the type of client that needs repeat work, whether it be regular comic features, or jobs that require specific skills like working in After Effects. I used to work in the creative department for a big TV network here in Canada, and luckily even after I left I’m able to continue working with them on various projects – not just because of my skill set, but because we’ve established a good working relationship in which they know what I can give them, and I know exactly what it is they’re looking for.

Do you ever get job offers from clients because they think you will post about them on Drawn!?

No, not at all. The types of posts that end up on Drawn! are links to artists that I personally admire and find inspirational. So, if anything, I’m endangering my own career, by promoting my competition!

Apart from art and illustration what other things are you into?

Art and illustration sort of dominate my life, but I’m also somewhat of a movie geek. I enjoy wordplay (including crosswords and Scrabble) like silly poetry and light verse, and combine it with my love of movies on my personal blog by writing reviews of movies I see in verse-form.

I find a lot of similarities between writing verse and drawing comics, in fact. I enjoy the challenge of trying to communicate a thought or idea using a structured form, whether it’s the rhyming pattern of a limerick or a standard 4-panel gag strip. I find the thought process very similar – paring things down, and distilling them to their simplest forms while still retaining all the information you need to communicate the idea AND have everything fit into the right panel, or syllable, and follow a beat or rhythm. When you pull it off, and it works, it’s a great feeling – like solving a puzzle.

Who are your favourite artists/illustrators alive today?

Since starting Drawn! that list changes every day, but I’m constantly awestruck by cartoonists who have mastered simplicity and economy – those that can restrain from drawing ”too much” and manage to use the most minimal lines and scenery – Seth, James Kochalka, Sempé, Ivan Brunetti, Tom Gauld, Lewis Trondheim, Nicolas Mahler, Patrick McDonnell… I’m sure I’m forgetting about a hundred names, and I could go on, and on… And those are just the cartoonists.

Do you think Christopher Lloyd’s portrayal of Uncle Fester in the Adams Family was better than his part as Dr. Emmett Brown in Back to the Future?

Has Christopher Lloyd ever given us a performance better than that of Dr. Emmett Brown?

Are you really a Robot? You blog like it!

My website began in 1997 as a simple website to distribute some free fronts I had created under the name Robotic Attack Fonts and using the pseudonym Robot Johnny. In 2003 I reformatted it as a blog. The fonts are still there, but it’s primarily a blog. The blog part itself has evolved over time, into more of a work journal. For much of the site’s existence I was writing in character. Robot Johnny is pretty much myself, but far more self-righteous and indignant towards the human race.

I used to post more illustration and design links, but now Drawn! has become my outlet for that. And trivial personal things, or quicker links that don’t require much discussion now find themselves on my Twitter or Tumblr pages.

So now the site is home to my movie reviews and sketches, finished work, and news from the drawing board.

Could you ever see your work being hung in a gallery? Do you have any ambition for it to be on display as Art?

I make no claims that any commercial illustration I’ve done is fine art. I definitely believe there’s a line between the two. That said, I’d love the freedom to do more personal work with the intention of it being put on display. A few of the Drawn! crew have even casually talked about the possibility of doing a group show together.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

As I write this, I’m working on a comic with Ryan North of Dinosaur Comics. He’s written a story that I’m illustrating that will hopefully see it self printed in an upcoming volume of Flight. It’s always an interesting challenge drawing comics or illustrating a story that someone else has written, since the art has to perfectly complement the writing, and vice versa, without either overshadowing the other. Luckily it’s true that good art can’t save bad writing but good writing can save bad art, because Ryan’s such a talented writer, that I can just hand in some stick figures and call it a day.

What’s next in the pipeline for John Martz?

My new year’s project is to redesign my blog, portfolio, and comics sites to look more cohesive as a singular site. Right now the three are pretty separate from each other and could use some better integration.

I’ve got a few other projects up my sleeve, but don’t want to talk too much about them just yet. One is a rhyming kid’s book I’ve written that needs to be illustrated still. It’s about animals, so it should prove to be fun.

Spiderman or Batman?

Pffft. Batman. I was at the most impressionable age when Tim Burton’s Batman was released in 1989, and suffered from a severe case of Batmania. My best friend and I even renamed my treehouse the Batcave, and painted Batman logos all over it. We even started a Batman club that had a test you had to take in order to join, questioning your knowledge of all things Batman. We were the only members.

Casper or Ritchie Rich?

Ghosts. Always ghosts.

Meatloaf or Meat Loaf?

I would do anything for love, but I won’t listen to Meat Loaf.

You can see more of John Martz’s work at
www.JohnMartz.com

Have you always been and wanted to be an illustrator?

When I went to school the main thing was being a ‘Graphic Designer’ and at that time they had everyone take ‘Illustration’ class. I’ve always drawn so that was always a creative bentIeasily gravitated towards. When I graduated I didn’t think of myself as an ‘Illustrator’. As I continued to work I’d come across projects needing an illustrative approach and I’d just do it myself. So over the years my approach to design is such that I not call myself an ‘Illustrative Designer’. When I illustrate I am making design decisions and when I design I am using an illustrative approach. The two are so fused together for me it’s hard to separate them in terms of my creative process.

I’ve always known I’d be doing something artistic when I grew up though. Anything artistic was a touch point of curiosity for me as a kid. Being able to sit down and create something was a form of escape for me. Many days I’d stay in my room and just create stuff from house hold items like boxes, foil, tape, an old motor from a discarded toy and then when I was done I’d have a cool looking robot. Pop culture had a huge influence on me too, drawing what I saw in Saturday morning cartoons, MAD Magazine and the art on my parents RCA LP’s which were done by Jim Flora really rooted my desire to be an artist. It would however take me about 20 years to figure out how much those various sources of inspiration really shaped who I am now.

How did www.illustrationclass.com come about?

I teach digital illustration at the local college visual communications program here in Salem Oregon. It’s one day a week but it’s a whole lot of fun. It lead me to create an illustration tutorial site at: www.illustrationclass.com where I post easy step by step creative processes through various projects or methods I use. Also on the site is shared creative processes by many other illustrators in our industry. Since launching it 5 months ago we’ve had over 75,000 unique visitors and many teachers across the nation are using the downloads in their class environment so that is very cool.

Apart from illustration what other things are you into?

I really enjoy photography. Specifically capturing textures. I pitched a design book to HOW Books in 2006 and it got selected to be published. So in June of 2007 my first authored book called ‘Crumble, Crackle & Burn – 60 Stunning Textures for Design and Illustration’ will be released. Each of the ’60′ spreads in the book feature the raw texture then a piece of artwork utilizing that texture. I worked with ’55′ artists to create the artwork for the book and assigned each a specific texture to use. The book comes with a DVD and each texture is provided as a hi-res bitmap tiff and layered PSD file. It’ll be a good source of inspiration and resource for creatives whether illustrative or design.

I also love to doodle. I save all my doodles and then archive them in binders. I like to combine my photography with my doodles too and create low-tech animation such as this:Click here

Who are your favourite artists/illustrators alive today?

Pretty much everyone at Drawger

My tastes are in constant flux and I enjoy browsing new work all the time but these five I really enjoy on a regular basis.

www.paulhowalt.com
www.natewilliams.com
www.twofishillustration.com
www.tommykane.com
www.etherbrian.com

Have you ever considered moving into Fine Art?

I enjoy painting and have done a few over the years but nothing for a commercial use it’s purely for personal enjoyment. I have a style I like to work in called my ‘Doodle Style’ which tends to be more art driven rather then commercially driven. I’ve had these ran out in large format on a canvas substrate and framed and have them hanging in my studio. Everyone who sees them comments on them and asks about how they’d get some but until the stigma of ‘Digital’ is reduced in the minds of gallery owners it’ll be hard to sell them on a show in this format? I may be wrong but that is the attitude here locally. I think in NY and elsewhere it’s far more acceptable though so I might pursuit more at some point but now I am content in just entertaining myself.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I enjoy collaborating in online art projects. A few recent ones are:

www.startastory.com
www.startastory.com
www.iwantyourskull.com (My submission)
www.vormator.com (My submission)

Out side of these type of collaborative projects I’ve always wanted to illustrate a children’s book so I’d love to team up with a writer. I have had a story idea for years but have never done anything with it. I am always open to collaborate though.

Another business relationship I have which I would also consider a collaborative effort is with a printer I use. I run ideas by them and get them on board and we both benefit. I create and come up with the ideas they produces them at a discounted rate and we both benefit from the exposure. Most artists I find are bad at marketing and all though I loathe most marketing people I’ve worked with enough to know its very important so I spent the time it takes to market my work well so it has the best chance of surviving in a very competitive marketplace.

I am also very fortunate to be serving as a board member for ICON5 (The Illustration Conference) so I am excited to be helping to shape the next national conference for illustrators. Can’t announce where the next conference will be yet but if you book mark http://www.theillustrationconference.org you’ll be able to find out where the 2008 conference will be in January.

What’s next in the pipeline for Von Glitschka?

Well the biggest thing for me now is my own self-published and manufactured product called ‘Keyboard Characters’. By the time this interview is posted the site should be launched. www.keyboard-characters.com Unique limited edition art for the work environment. I’ve been working on this for a year now so I am excited to see it finally launch and I think people will enjoy them. I am already brain storming other sets and themes to do and will be offering it as a customized service too.

At some point I’d love to design some vinyl toys but I haven’t been able to make any contacts yet. I may just end up producing them on my own because I do have contacts with manufactures in China I’ve used on other things who could hand it. Another idea I’ve been working on is skipping the whole vinyl craze and focusing on lower-tech collectible toys but that is all I’ll say about that at this time.

Another thing I can talk about is art prints. Once again teaming up with a printer and producing my own set of themed art prints will be one goal for the coming year.

OK, heres one idea that is a little out there but would be a kick. I’ve been wanting to design my own fabric patterns, have the fabric printed then get some custom lounge style shirts made from it. Not to sell just for myself. Do some really crazy designs on it too.

Shouts?

Bob Staake: The guy is a machine and his work is just fun to look at very prolific too. Mattias Adolfsson: Just a whole lot of fun. – Keith Bowman: His work is just a great example of not only good art but also good humor.

Shag or Coop?

I’ll probably catch major flack for saying this but I’ll have to pick Coop because it just take more raw skill to pull off his art. I love Shag but it’s time to move on from Tiki’s, Martini’s and Retro-Hip already. But to be fair I think Coop could expand his offering instead of doing another devilishly good looking chick. Maybe try some angelic hotties? Great now I’ll probably piss off everyone. LOL

The Addams Family or The Munsters?

The Munsters. Mainly because of their car. I am a huge fan of Ed ‘Big Daddy’ Roth so those type of cars will always play a factor.

You can see more of Von Glitschka’s work at
www.vonster.com

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When growing up in Hungary – apart from people what were your main influences?

I cannot mention any particular things, I guess I grown up like any other children.

How did you develop your strong colour palette?

When I’m painting a picture or silk, I try to build a composition with strong colour harmonies. I must admit there are times when I don’t succeed in it.

Apart from illustration what other things are you into?

My boyfriend says I’m into everything I say I just love to live my life.

Who are your favourite artists/illustrators alive today?

There are some young talents in Hungary I like. And the international scene… at the moment my most favourite illustrator is Rebecca Dautremer.

Which galleries have you shown at and which galleries would you like to show at?

You can see the list of my exhibitions on my site. And I would like to show at any galleries that have the interior fitting to my works.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I didn’t collaborate with others before. The next year my boyfriend and I will redesign the site of a contemporary music trio. My boyfriend is a web designer; this work seems to be exciting.

What’s next in the pipeline for Roth Aniko?

My next work is to design silks on to the walls of a restaurant. These silks will resemble to flags. I didn’t do things like this before; I’m excited to achieve it well.

Budapest?

Budapest

Palacsinta?

Palacsinta

You can see more of Roth Aniko’s work at
www.rothaniko.hu

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What is Inkthis and how tough was it to get it off the ground?

Inkthis is a design exhibition I started with artist/designer Gurps Kaur in mid 2006 as we were getting frustrated at the lack of design & illustration produced in our city. The first exhibition was limited to 4 weeks before the gallery closed with 1 week setup time so everyone involved spent long booze filled hours into the night creating their works. The end result was amazing and big thanks go out to all involved!

What’s the most you’ve ever been paid for a job?

I enjoy doing my work so much that I often forget about getting paid! It’s more important that I have fun and learn something along the way although it is nice to buy stuff once in a while.

Apart from illustration what other things are you into?

I’ve been a passionate musician for years now and am addicted to my drums and guitar, design and music have pretty much taken over most of my brain. I’m often torn between doing some work or just annoying the neighbours with a huge amount of noise. The rest of my brain likes snowboarding, going out and talking nonsense.

Who are your favourite artists/illustrators alive today?

There are so many I admire, it’s hard name all of them. But I always feel inspired by Lucinda Rogers, Genevieve Gauckler, Jon Burgerman, Saiman chow, Rinzen & Emek. They really capture something I can relate to in their work.

Which galleries have you shown at and which galleries would you like to show at?

I’m always looking for new exhibition possibilities; it’s a great feeling knowing my work is somewhere so far away and I always wonder how the people viewing my designs interpret them. I’d love to show work at galleries in Paris, New York or China, I’ve recently shown work in Sydney for semi-permanent which was really great!

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I’ve just finished a paper sculpture project with Shin Tanaka, I’d really like to collaborate with Jon Burgerman or Kid Robot but I’m happy to work with anyone who has good ideas & passion for their work, I’d also like to break out into motion graphics in the future.

What’s next in the pipeline for onesidezero?

The main project I’m working on is Inkthis 2 which is due for March 2007, we plan to bring together 30-50 international artists and it should be amazing. The project can be viewed at www.inkthis.co.uk some other projects involve skateboard designs, limited tee’s for subliminal, more screens and some secret stuff!

Shouts?

My Family & girlfriend, my neighbours for putting up with the noise. All my friends that have supported my design and anyone who is reading this or has enjoyed my work!

Chicken soup or Tomato soup?

It’s tough but I’m going for tomato because it’s nice with cheese, looks warmer and I the thought of drinking a chicken just doesn’t stick.

Godzilla or King Kong?

Godzilla, everyone goes for Kong because he’s furry and made out to be the hero. Godzilla’s got my vote, if I was massive and could breathe fire I’d go on a rampage too!

You can see more of onesidezero’s work at
www.onesidezero.co.uk
www.inkthis.co.uk

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Introduction

Jock started working full time for 2000AD and The Judge Dredd Megazine in late 1999. Since then he has worked on a number of different characters, most notably Judge Dredd and Lenny Zero, a character whom he created with writer Andy Diggle. Winning a National Comic Award for best newcomer in 2001, he has drawn the the Eisner award nominated DC Vertigo series ‘The Losers’ with Andy, and covers for Batman and Detective comics. Nominated for ‘best cover artist’ in the 2006 Eisner Awards, his other credits include working on the acclaimed Batman begins movie. [CBDB]

How did your great working relationship with Andy Diggle come about?

Andy was the editor at 2000AD when I met him. I showed him some art samples which he really liked and commissioned some work from me at 2000AD. We then did Lenny Zero together for Judge Dredd the Megazine – the start of our working relationship. That was seen by Will Dennis at Vertigo, which led on to The Losers. We work very well together – Andy’s very big and bombastic in his style, and I’m a little more dirty and gritty. Put those elements together and I think we compliment each other well.
 
Do you draw 24/7?

Every day… 

Apart from illustration what other things are you into?

Music. I play drums too, and have balanced touring and art in the past. I’m not sure I’d do it now though!
 
Who are your favourite artists/illustrators alive today?

Jenny Saville, Barron Storey, Sergio Toppi, Alberto Breccia, Bill Sienkiewicz, David Downton, Alex Kanevsky.

What’s going on with the Losers movie?

The script’s completed… originally written by Pete Berg, director of the Kingdom, Friday Night Lights and Hancock, with revisions by the uberly talented Jamie Vanderbilt, writer of the David Fincher directed Zodiac and current writer on Spider-man 4 and 5. The scripts great – they really nailed the characters, and the studio is currently still looking for a director.
 
Do you still draw Judge Dredd?

I don’t have a lot of time to draw Judge Dredd anymore – but I do when I get the chance. He’s the character I grew up reading, and it’s always a pleasure to work on the strip.

Are you involved in any collaborative projects at the moment?

Comics wise I’m working on an hardback ogn with writer Jamie Delano – it’s a 124 page John Constantine story called Hellblazer: Pandemonium, all drawn and coloured by myself. Covers for the monthly series Scalped, which, in my humble opinion, is one of the best ongoing monthlies out there right now. aside from that, I’m working on film concept art for the remake of Dune, directed by Pete Berg (there’s that name again), and did some drawings for the new Christina Aguilera video ‘Keeps Getting Better’, also directed by Pete.

Have you ever worked in animation or had your work animated?

I haven’t, no… there was a 2000AD animation happening at MTV a few years ago, but that didn’t get produced properly and fell flat on it’s face. Pretty disappointing. Would have been great to have some 2000AD strips turned into animated episodes… the current work I did for the Aguilera video is ‘morphed’ with live action, and some of that worked okay, but that’s about all.
 
What’s next in the pipeline for Jock?

After Hellblazer: Pandemonium finishes early next year, I’m working on some in game shots for a video for EA Games, alongside Chris Bachalo… that will allow me to collaborate with Andy Diggle again, probably at Image Comics for a little thriller story called Snapshot. You heard it here first.

Jim Lee or Alex Ross?

Jim Lee, for sure. As well as being very mainstream, he can can DRAW!! So many artists try that glitzy style and it often comes off horribly… Jim knows his stuff and can put it down very effectively, whereas a lot of seemingly popular artists don’t even seem to have basic anatomy down… it boggles my mind to be honest. Simple things appeal to me. Good anatomy, an understanding and ability of form and shape. Jim has all these in spades. 

Batman (1989) or Batman Begins (2005)?

Probably Batman Begins. I think it took itself a little too seriously for it’s own good, but it looked and played beautifully. The 1989 Batman did wonders for our comic industry though, so it’s a difficult call!

You can see more of Jock’s work at
www.4twenty.co.uk

Do you ever get hand cramp?

I have done recently, it’s not nice. I’ve also found working near an open window, where the draft blows across my mouse hand can result in pain. The other day, after a few late nights of messing with Illustrator my elbow began hurting, having been held at a right angle for too long. I tell you, doodling and computering can be a dangerous business!

What is the biggest doodle you’ve ever done and could of it have been bigger?

The biggest hand drawn doodle I’ve done was for the Miss Sixty hotel in Italy, it spanned most of the room. Also Doodling for pictoplasma’s exhibition in Peterborough with Sune Ehlers was pretty big. Print-wise I’ve just completed a giant 27meter long snake timeline monster for the Science Museum, that’s quite big, but of course, you could always doodle it or print it bigger. And anyway I’ve always though it’s not size that’s important, it’s the doodley-ness.

Apart from illustration what other things are you into?

I like making salads. And then eating them.

Who are your favourite artists/illustrators alive today?

That’s always a tricky question; let me have a think about it…

Jamie Hewlett is pretty damn good and so is James Jean. There are tons of great people knocking about today. It’s hard to really choose. Chris Ware is tops, not my style of course, but amazingly wonderful and so prolific. Is three enough, do I have to mention more? Actually questions like me feel pretty self-conscious, I don’t like them really.

You did a Computer Arts cover recently and so did Jeremyville. Out of you and Jeremy, who do you think got paid more?

Haha! Probably Jeremy, I hear he’s quite the superstar doodler! When I compare prices with some of my friends I always seem to get less for jobs, so maybe that’s no different, who knows really, maybe I’ll email Jeremy and ask him…

… oh it seems we got about the same.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I’m working with the multitalented doodle king Sune Ehlers on the next part of the Hello Duudle series, it’s called Hello Zuudle. It’s mainly focused on creatures and animals. I’m also working with a musician on a technical nerdy project that should be interesting or a complete mess, or perhaps both. There are many people I’d love to work with but it’s not just about working with someone cool, it’s having the right project to collaborate on together.

What’s next in the pipeline for Jon Burgerman?

I’m hoping my toys will appear soon, the delays have been quite horrendous to be honest. I’m also going to do less work, and by that I mean less illustration stuff. I think I’ve done enough for the moment and I want a bit more time to work on my other projects amongst new drawings and paintings.

Shouts?

Shouts? I don’t understand… Is this some kind of new young persons speak?

Hells kitchen or Wife swap?

Wife Swap, both featuring shrieking idiots though.

Coco or Tiddles?

Coco, he’s greedy, grubby and sometimes has wind. Tiddles is a minxy charlatan up to no good.

You can see more of Jon Burgerman’s work at
www.jonburgerman.com

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How do you make you work look so shiny and clean?

Well I don’t think that’s true of a lot of my work, some of it is pretty messy and that’s something I really enjoy. For the stuff that is clean though I guess I just utilise the fact that in digital art it’s very easy to achieve clean edges and perfect textures. If I do use photos for pictures like that I make sure I put in a bit of time retouching them before hand, fixing little bits and bobs that might distract from the overall purpose of the image I’m using. I’m moving away from that sort of stuff right now, using a few more traditional media to give it a rough edge. Whether people will like this or not is another thing, but I’m enjoying it right now. Shinybinary will be Shittybinary for a bit.

Are you web designer or an illustrator?

I’m a web designer, that’s my job at the moment anyway. I’m quite passionate about web design and web standards. I get sniffy about use of HTML tables in web layouts and overuse of Flash and things like that. However my real passion at the moment is digital art/illustration, and that’s what I spend a lot of my spare time doing and try to improve myself in. There is some overlap in the two, making web graphics certainly use some of the skills I have learnt while doing my art, but overall there is a definite divide between them. My designs are based on things like usability, accessibility, web standards and semiotics whereas my artwork is nearly always about visual impact and nothing else. Basically I do both and enjoy doing both.

Apart from illustration and design what other things are you into?

I’m really into my music, which is probably what every artist who’s asked about their other interests says, but it’s just the truth. I try and see as many gigs as possible, whether large bands at festivals or big venues or local bands in shitty pub’s back rooms. When I’m at my computer I tend to always have music playing, I find working without it a lot more tedious. I need to buy one of the new ipod nanos, I’m a bit of a design whore when it comes to them. They look far too good to buy any other mp3 player, although I hate whoever’s decision it was to only have the 8 gig one in black, I want green! Apart from that the obvious things, books, films, drinking, making fun of people with silly hair, buying shoes, laughing at birds etc.

Who are your favourite artists/illustrators alive today?

I’m generally rubbish at remembering other artist’s names or who did what, but there is actually an enormous amount of work out there I like. I love Jeff Soto’s art, he has what I would consider to be a perfect mixture of technique and vision and is someone I admire hugely. Apart from that (forgive me if I only remember design names rather than the actual person’s name here) I love the work of Vault49, Zenvironments.com, Tragiklabs.com, Damnengine and many others that escape me right now.

If I told you your work reminds me of H. R. Giger’s work, but in a digital age; what would your reaction be?

I would be amazingly flattered, and pretty incredulous. Giger is actually one of my favourite artists ( I guess I should have mentioned him above seeing as he’s not dead as far as I know), and I adore his unique vision. Also the technical skills he has with an airbrush are pretty mind boggling, a lot of people try to emulate it with digital painting techniques but I’ve still yet to see one come close to his.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I have a couple of things on the go, but finding the spare time for any personal work at the moment is tough. I really enjoy collaborating with other artists and should really be more proactive about asking other artists if they fancy working with me. I think I enjoy working with people who have very different styles and work in different media to myself. Traditional artists and photographers are people I would particularly like to have a go with, so if anyone reading this is fancies doing something then they can give me a shout… As for people I would like to work with, you could take any of the people I mentioned earlier, I’d love to work with them all. Doing something with Jeff Soto would be a dream come true, but unfortunately something I think will probably remain just a dream Oh and I would love to do stuff on clothes, putting my designs or pictures onto shoes would be very cool, I have a thing for nice trainers.

What’s next in the pipeline for Nik Ainley?

Things are moving quite fast for me right now so I’m just trying to take stuff as it comes. At the minute I think I’ve accepted a few too many commissions, which is stopping me from doing any personal work. I would like to slow these jobs down a bit so I can do some more of my personal pictures as I have a lot of ideas floating around my head right now which I would like to have a go at turning into reality. Apart from that I have a whole bunch of magazine things coming up, which is nice, and hopefully eventually I will be able to move into a creative agency. Somewhere where I can do what I love doing all day, and learn from more experienced people than me. Who knows, I just want to get better at what I do really, then die bloated and rich at 30.

Shouts?

I should mention the guys and girls at Depthcore, a great bunch of artists who are a lot of fun to work with. Also the guys at Computer Arts and Digit for being so nice to me, may they continue to pay me money for doodling in their mags.

Aliens or Terminator?

Aliens without a doubt. Even if I didn’t love Giger I would still say Aliens, they are just far cooler. I think the fact that they are quite so lacking in any humanity, or rationality makes them scary. Even if you could work out a way to communicate with them and explain the situation and how there’s no point in wanting to kill humans and how we could just get along they would probably still want to rip your face off. I don’t quite get their reproduction system though, it seems overly complex. You need a queen alien to lay eggs, to produce face huggers which lay eggs in other creatures to produce aliens who then just prat around killing people and don’t seem to help in producing more aliens themselves. Where does the queen come from? Maybe a normal alien gives birth to her, that would at least give them some purpose but still doesn’t make much sense to me.

I guess if I had to say who would win in a fight, it would probably be a terminator. I just don’t think an alien has the strength to actually do much harm to a terminator, seeing as how they are really really hard bastards. The only way would be for an alien to get its blood onto a terminator, I bet that even they would melt under that stuff. Then you have the T-1000 though, he’s designed to melt so I’m not sure if the acid would have any effect on him? A question of chemistry I guess. Now it has been raised though I think it’s the duty of film makers to find out for us. As for T-X, I didn’t like her; she’d get her arse kicked.

Coke or Pepsi?

Full fat Coke or nothing.

You can see more of Nik Ainley’s work at
www.shinybinary.com

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Who’s more important and why – Gina, Matt or Wesley the Boston Terrier?

This is clearly a trap.

How much influence do you have on each others work?

In the collaborative work, it’s pretty much equal say. We talk over the general feeling and imagery of the painting before we begin. This is when we say whether there’s anything specific we pictured the other person doing. In the individual work, it’s more of an as needed thing, mostly in the brainstorming phase. So we’ll help each other sort through art direction and come up with sketches. In creating the finals, there might be a little asking how a color or whatnot looks, but not as much as in the beginning of a project.

Apart from illustration what other things are you into?

Matt really likes to ride his bicycle. Gina and Wes really like to sip coffee and watch people walk past.

Who are your favourite artists/illustrators alive today?

There’s so many great folks out there. If we had a boatload of money, here are the first five things we’d buy: an Adam Wallacavage chandelier, and paintings by Ross Bleckner, Sigmar Polke, Brian Cronin, and Clare E. Rojas.

Have you ever considered creating your own brand of G & M merchandise?

Right now, we’ve worked on a number of clothing and product projects where our contribution is a part of someone else’s line. This works for us because we don’t really want to get into the production and distribution of products. If the opportunity came along, it would be great to design a cohesive line of clothing or products with someone who could then handle the other aspects. The closest things you’ll see for now are: t-shirts at Urban Outfitters, magnets we did for Ipop, our snowboards for Option, Lamar and Sims, and Gina’s signature sneakers for Converse. That, and the giclee prints available on our website and Gina’s prints from Thumbtack Press.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

We just worked on a Bumbershoot/Starbucks poster for Wieden + Kennedy and a book cover for Faber & Faber. Gina’s been busy with a few projects for Chronicle books. The collaboration in our field is really one of the great aspects. Some art directors can really tap into what we are doing and help us to adapt it to their project’s needs. Books may be one of our favourite things to do, so I guess we’d like to collaborate with anyone doing an interesting or fun book project.

What’s next in the pipeline for Gina Triplett and Matt Curtius?

We just bought a new house, so there’s a bit of renovation to be done. We’re pretty overdue for some travel. We have a November exhibition with Rachel Salomon at The Riviera, in Brooklyn. Hopefully more fun jobs, but with some spaces between them.

Things have been hectic.

Shouts?

Philly Friends: Jude, Amy, Damian, Mike,
Jess, Jason, Holly & Becky.
NY Friends: Joel, Kelly, Rachel & Brian
Friends on the other coast: Greg & Martha

Nirvana or The Beatles?

Aren’t these the same thing?

The Brady Bunch or The Waltons?

Gina’s upbringing had the exact Brady proportions, but in a Walton’s setting. For these reasons, we’re fans of both.

You can see more of Gina Triplett and Matt Curtius’s work at
www.ginaandmatt.com
www.ginatriplett.com

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Do you consider yourself to have a commercial style?

I have a style that can be applied towards various markets of commercial illustration.

Is the recurring face in all your paintings you? If so, could you be a modern day Rembrandt?

I basically see them as my alter ego. All my characters have a similar face for that reason. Their different but very much alike.

You were in a punk band called Lunacy for 10 years; Can you and do you still rock?

I loved playing in that band. I currently play mostly acoustic guitar but am still hopeful the band will get together for one last show.

Who are your favourite artists/illustrators alive today?

Too many to name but here’s a few. Matt Wilson, Phil Hale, Shaun Tan, Joe Sorren, Mark Ryden, Greg Simkins, Nathan Ota, Glenn Barr…

Which galleries have you shown at and which galleries would you like to show at?

I currently show at La Luz De Jesus, Gallery 1988, Roq La Rue, and M Modern. I’d like to show at Billy Shire Fine Arts in L.A. and someplace in New York. I’m not familiar with NY though so I wouldn’t know where to start.

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?

I’m working on a toy with Strange Co right now and I have a book that just came out with Murphy Design. I also have a Circus Punk coming soon.

Visit – www.murphydesign.com

What’s next in the pipeline for Bob Dob?

I have a show at La Luz De Jesus next year that I’m very excited about. I’m currently president of The Society of Illustrators of Los Angeles which is a lot of work.

Shouts?

Jim Auckland, Nathan Ota, Mark Murphy, Billy Shire and everyone at La Luz De Jesus.

Sega or Nintendo?

Nintendo

Buck Rogers or Flash Gordon?

Neither

You can see more of Bod Dob’s work at
www.bobdob.com

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Introduction

Mike Maihack is a graduate from the Columbus College of Art and Design and spends his time drawing pictures of pixies, superheroes, space girls and just about anything else he can think of that might involve a giant pink heart or serving tea. He is the editor and art director of the upcoming Christian comic anthology, Parable, creator of the weekly all-ages webcomic comic, Cow & Buffalo, and member of both the bi-weekly art challenge group, DrawerGeeks, and all-ages webcomic alliance, Lunchbox Funnies. Currently Mike is hard at work editing and contributing to a second volume of Parable, making slow progress on his “just for fun” sci-fi epic, Cleopatra in Spaaace!!, and watching lots of movies with his wife and two Siamese cats down in far too hot and humid Tampa, Fl. His most recent work can be found in the Tori Amos inspired anthology, Comic Book Tattoo, published by Image comics.

Do you have a secret identity?

That would be telling, wouldn’t it?

So we know you’re a fantastic illustrator and you draw great cartoons and comics, but what I would like to know is how do you actually earn your bread and butter?

I work at a place called Saint Leo University where I spend my time drawing up illustrations and graphics for the online courses that they offer. Not the most illustrious day job, but it’s close to home and I get to spend my day in front of a computer which is just fine with me.
 
Other than that I take on some freelance here and there and do fairly well with my own comics and other side projects.

Who is your favourite mutant from the Marvel universe?

Kitty Pryde! Though, Molly Hayes from Runaways has been slowly taking over that spot since she debuted.

Apart from art and illustration what other things are you into?

Those familiar with my blog will know that I’m huge into movies and music, though they may not know to what extreme. Jen and I try to go to the theater at least once a week and I’m addicted to buying special edition DVDs even though I never have time to watch them, much less open them. And I listen to music about fourteen hours a day. I love it so much that if I wasn’t drawing all the time, I’d be practicing my guitar more so I could be a rock star. I still kinda wish I was a rock star.
 
I’m not an avid TV watcher, but there are a variety of TV shows I try to keep up with too. DVR has been a Godsend. I mean that literally. I think God was watching us rip our brains out trying to remember to set our VCRs and finding blank VHS tapes that one day he just said, “I shall give them DVR.” And it was good.

What do you get out of all the conventions you attend?

I don’t think I really attend that many. Not as many as a lot of my peers do at least. But my favorite part about conventions is just seeing all of my friends who I only really get to see when I go to these things. We spend so much of our time talking to each other online or exchanging emails that it’s nice to just being able to hang out and drink a beer or something. Except I’m usually the one getting made fun of for ordering an appletini. And I never do hear the end of it. And then someone starts an argument and I’m dodging a pool stick and the next thing I know there’s appletini all over my favorite shirt. Actually, my friends suck.
 
I like selling books.

Who are your favourite artists/illustrators alive today?

Alive? Well, wow. There’s a ton. Jeff Smith has probably been my biggest influence for as long as I can remember and the reason I started drawing comics in the first place. Craig Thompson almost made me get up and quit after I read Blankets. Just about four days ago I finally read through the first four Scott Pilgrim books and have now joined the giant legion of Bryan Lee O’Mally fans. Those books are incredible. I think all my favorite artists draw comics.
 
But honestly, and I mean this too, my absolute favorite artists are the ones I consider friends. Everyone involved with Parable, the Lunchbox guys, my fellow Floridian artists- seeing the awesome work they produce is what really inspires me to create awesome work too. Most of the time I’m just trying to keep up.
 
And then there’s the countless number of artists I discover on the web. I think there’s a new one everyday. I still remember the first time I discovered Bill Pressing and I was like, “How am I just now finding out about this guy?” I do that a lot.

Web-comics… why do it, why not just self publish a real comic?

It’s cheaper! Haha. Seriously though, it’s cheaper. You don’t have to front the expense to print a ton of books and just hope you’ll somehow make enough money to print the next issue. Webcomics are just so much easier and instantaneous. Like Kool-Aid. Plus, I’d like to have my comics read by as many people as possible regardless if I’m making money from them or not. The internets make that possible. The webcomics community is one of the best communities in the world. We all totally promote and support each other because, for the most part, we’re all in the same boat. We all are just doing what we love regardless of financial gain.
 
That said, I am actually starting to branch out more into the print world with my C&B collections and Cleo and other stuff. But I can’t ever see me leaving the webcomics world entirely. I’d never have been able to do something like Journey Cow in print. It’s just more fun to be on the web.

Do you ever dabble in the realm of animation?

Well, I minored in animation in College because I honestly thought that’s what I was going to do after graduating. But then that whole traditional animation field kinda crashed my third year in and I never pursued it any further. Now I’m content just drawing comics.
 
I still love animation though and drag my wife to more animated films then she’d probably like. Seeing Cow & Buffalo animated would certainly be cool, but someone would need to show me how they are drawn from something other then a three-quarter profile. I still don’t even know.
 
Your book ‘cow & buffalo – adventures in sandwich making’ in your store on your site – you offer to do a free sketch inside when one is purchased. So, let me get this right, not only does it only cost $10, you also get an original bit of artwork thrown into the bargain?
 
Haha! Well, I hope others see it that way! But yeah. The least I can do for someone buying my silly cartoons is to draw them a little sketch.
 

Are you involved in any collaborative projects at the moment and is there anyone you would like to work with?
 
Over thirty other creators and I are in the midst of Parable, Volume Two, an anthology meant to inspire the themes of faith, love and grace (the first volume is due out this December). Organizing that is my biggest project at the moment.
 
As far as working directly with another artist, that would depend on the project and my availability. Most likely if I did work collaboratively it would be with one of my friends, but it just depends on what comes up. I’m so busy with my own projects that I seldom have time to focus on anything else unfortunately.
 
What’s next in the pipeline for Mike Maihack?
 
I’m putting together Cow & Buffalo’s second book right now. That should be out early next year- just in time to get lost in the midst of the release of Scott Pilgrim vol. 5.
 
I’m also doing my best to plow ahead with Cleopatra in Spaaace! which is tough since I only work on it during my free time- of which I have none. I have four issues outlined though and do intend to finish them even if it takes me the rest of my life.
 

Beans, Spaghetti, Hoops or Alphabet Shapes in tomato sauce?
 
NONE! My friends will vouch for me on this- I am one of the pickiest eaters known to man and tomato sauce is at the top of my list of least favorites. I can really only stand it on pizza or lasagna, and even then it needs to be barely on there.
 
Cow or Buffalo?
 
Oh, Cow. Definitely. Buffalo’s a sour puss.
 
Alice in Wonderland or Alice Cooper?
 
Alice in Wonderland! I’d love to do a whole project with that some day. And do people even still listen to Alice Cooper? Doesn’t he just play golf now?

You can see more of Mike Maihack’s work at
www.cowshell.com

How did the Iconic pod cast come about and how did you get involved with Illustration Mundo?

First, thanks Ape for this asking me to do this interview, I think it is great what you have going on at the Ape Society. Ok, so to answer your first question: I got the idea of ICONIC during the week of ICON4. I was attending these great seminars and meeting great illustrators from day to day but I was also getting a little sad that this was going to end in a couple days. So one night, when I got home from Icon, I was watching Charlie Rose and I started to think, “hmmm, I wonder if I could create a platform where people in the illustration community could come talk and share there thoughts about life as illustrator or really anything illustrated related?” I would base the show on a Charlie Rose-style format or least try to, lol, and hope to engage meaningful conversations with illustration in mind. Since illustration is such a huge industry and dips into many parts of the arts such as animation, children books, editorial, etc there would be no limits to where ICONIC could go… Hence ICONIC was born.

As for Illustration Mundo, Nate Williams came to me asking if I would like to contribute the ICONIC audio to Illustration Mundo. He really liked what I was doing and believed this was something good for the community and if he could help me define a consistent look for ICONIC, he was game. Those early days when I was trying to find a permanent home for ICONIC were really tough especially dealing with the whole bandwidth issue… A lot late nights. If it wasn’t for Nate, I probably would not have 35 episodes up right now. His generosity is unbelievable and I can’t say thank you enough to thank the man. Ok one more thank you. By partnering up with Nate, I have been allowed time to define the show more and give it a home. It s been a great partnership and friendship!

If you could interview anyone dead or alive, who would you chose and what would you ask them?

Hmmm, so many people so little time. So I am going to cheat and say a couple of names. Well I would love to talk to Seuss because I am a huge Seussian (is that word? It should be!) I think, at least for me, Seuss would be a great interview. I would ask questions like, what was some of your illustration influences?, what books did not get published? As for the living, I would love to talk to Bill Watterson, I like to know more about what makes him tick. Too many questions to list here both have fantastic imaginations!

You’re building up quite a nice Illustration portfolio, where do you see yourself in five years and how are you going to get there?

Thanks Ape, much appreciated! Ah yes, the portfolio, well it is coming along and slowly I am getting responses from it. My career goal is to create stories for children books so I see a lot of trips to New York. I would say to get there I am going to put some miles on my motorbike. Just like anyone else, go through the trenches and see what happens.

Who are your favourite artists/illustrators alive today?

Now this is a really tough question for me, I could play it off like a politician and say no comment because there are just so many artists I enjoy, everyone brings something new to the table. However, right now I am really into comics again and I am really enjoying the talents of many in that field such as: Andy Runton, Aaron Renier, Jordan Crane and anyone in the Flight books… So much talent out there not enough time to list everyone.

Do you like the sound of your own voice?

No! Especially now since I have to listen to it ad nauseam while editing ICONIC. For example, to produce one episode of ICONIC, I think I listen to myself at least seven times after it is all said and done. It’s well worth the pain if someone gets inspired and creates some art. I just wish I could find away to stop breathing so heavy while on air, that’s probably the most embarrassing thing for me, but an asthmatic can only do so much.

If you could take your ipod with you onto a desert island, but only one pod cast; which one would it be?

I would have to say my first ICONIC conversation with the Illustrator Cathie Bleck. She really got things rolling for ICONIC and I can’t say enough thank you’s to her! By the way, her book just came out from Murphy Design and if you haven’t picked it up it’s a must!

What’s next in the pipeline for Iconic?

Well as I am winding down with season one, I am really looking for some suggestions for ICONIC season two. So far a lot people who have written in have asked to have more interviews with art directors and children book artists so that will defiantly be on the schedule for season two… If anyone as any other suggestions, please let me know at iconicpodcast@yahoo.com…

Also, I just got a donation from anonymous donator which will allow to fix the audio problems. This has been the biggest challenge for me with ICONIC, the sound quality. Doing phone interviews are especially tough because not only do I need a clean signal at my end but I have to rely on the other phone and the quality of the connection which, at times, can be iffy at best. I just tried out the new audio program and it is like magic! I would just like to say thank you to everyone for sticking with me as I have been solving one problem at a time. I think the last 10 shows are coming close to where I would like the show to sound…

Shouts?

My voice hurts, just kidding. Thank you to my wife Quelli (aka www.raquelmcclure.com – gotta give my girl’s website a shout too for all of her support, Von Glitchka for his expertise on retooling the design of the ICONIC logo, and also to Nate Williams for being the great supporter and cheerleader he has been for ICONIC. Also, to all of my guests on ICONIC, without them there is no ICONIC and I can’t thank them enough for spilling the digital beans. Thank you to the anonymous donators who have given money to ICONIC which helps take some of financial burden off. And also to everyone who listens and writes to me saying how ICONIC inspires them and pushes them on as an artist. That is the most rewarding part of ICONIC. It gives me the energy to keep ICONIC going. The little thank you’s, man, those are really appreciated!

Questions or Answers?

Again let me know what or who you want on ICONIC I am all ears. Hopefully when ICONIC is all said and done, people will look at the series as whole and say, “Damn, I wish there were more!”

Laurel and Hardy or Pinky and the Brain?

Pinky and the Brain, timeless characters, it’s a classic for me. Thanks again for the interview Ape!

You can see more of Erik’s work at
Iconic Audio on Illustration Mundo
www.theartoferik.com

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