Sarah Dennis is a freelance illustrator living in Bristol. She completed a BA Hons in illustration in 2008 at the University of The West of England. With an interest in narrative, drawing and collage, Sarah’s artwork is inspired by themes of nature and childhood. Her work combines traditional collage with contemporary techniques to create a bold unique and stylised imagery thats bursting with charm.

We caught up with Sarah to talk about her new series of paper-cut illustrations for an exhibition celebrating Edward Lear’s 200th anniversary called ‘Tales from a pea green boat’.

» Sarah’s portfolio
» Sarah’s Blog 
» Follow Sarah on Twitter
» Sarah’s store 

Q1.   Can you tell us a bit about this project?

It all started when my friend Holly Clifton-Brown, a talented painter and children’s book illustrator, invited me to take part in an exhibition she was organizing. The exhibition illustrates Edward Lear’s literacy nonsense and celebrates his 200th anniversary year. It’s called ‘Tales from a pea green boat’.

I was already familiar with a few of his poems, especially The Owl and the Pussy Cat. I was particularly excited about this project as Lear’s poetry is so visual, it’s bursting with inspiration. It also a gave me an excuse to develop a technique that I have been using more and more in my work: paper cutting.

Q2.   What role, if any, did sketching play in this process? Is there a lot more planning you need to do before starting on such a work intensive medium as paper cutting?

Once I have an idea, I make a rough sketch of the composition. Then I draw straight on the paper that I will eventually cut. I try to capture the excitement and magic of a new idea as quickly as I can. Once the idea is formed, and I am confident with It, I boldly take to the paper with my craft knife and add the intricate detail.

Q3.    I really like the Old Man piece with all the animals living in his beard. What is it about Edward Lear’s work that appeals to you, and how did you decided which stories to illustrate?

It was a such a luxury to be able pick what I wanted to illustrate. I was spoilt for choice as all of Edward Lear’s poems are jammed packed with creative imagery, it was a complete joy going through the book. I ended up choosing poems that had emotion and humor, where an idea came to me instantly.

Q4.   What were some of your sources of inspiration?

I have always been intrigued by oriental artwork. I took a trip to Bristol museum one day where I discovered the most amazing Chinese paper craft exhibition. This work was the most intricate and detailed crafted imagery I had ever seen. This opened my mind to the possibilities of paper cutting. I have been inspired by artist called Sealee Oh. I discovered her in an article in Giant Robot magazine a while ago and found the artwork that she had created with paints and papers enormously heart warming and magical. I have recently been blown away by the technical ability of an artist called Elsa Mora she is a master of paper cutting and her work inspired me further into my own journey of paper crafts.

Q5.   What are some of the tools required to make paper-cut illustrations? Which are your favourites?

One self-healing cutting mat, a set of sharp blades, a good craft knife (with cushioned grip to ease the pressure on the old index finger), an array of acid free papers, glue and a mechanical pencil.

I love working with paper and I love discovering vintage/floral patterns, envelopes and wallpapers. Whatever I can find. It’s also a great excuse to make make lots of mess!

Q6.   Are there any tips that you can give someone just starting out?

Work in a medium that comes easily, don’t rush or compromise your work, be confident to share you work with clients, friends and art organisations. Don’t give up, be confident and enjoy yourself!

Q7.   Many of these pieces are wonderfully intricate and detailed. What were some of the challenges you faced on this particular series?

The piece Lady in White was the most challenging as I was cutting the design out of the paper rather than cutting away the background. I was terrified that I was going to make a wrong move and the whole piece would fall apart after days of cutting and an aching index finger. Lucky it all came together.

Q8.   What’s your favourite procrastination pastime?

This Easter I have given up facebook for lent. I know it sound ridiculous but it was a great excuse to live without it for a bit. I do love discovering new artwork, reading illustration blogs and buying old blouses on eBay. Also, I have recently got into pinterest: I’ve been looking though lots of the interior design pictures and visualising my dream home.

A HUGE thank you to Sarah for taking the time to do this interview.

Be sure to stop by Sarah’s site!

All images ©2012 Sarah Dennis

I’m a huge fan of illustrator John Hendrix and love his sketchbook series ‘Drawing in Church’.  Here are just a few of his wonderful pages. Be sure to stop by John’s site to check out more of his fantastic work. He’s very generous about sharing his process, which you can see on his blog. Also, he has a great Q&A on his site if you’re interested in learning more about him.

From John’s Blog: “Drawing in my sketchbook is the very best part of my work. I love it because it is linear improvisation. Much like jazz, it is unpredictable, exciting and unfiltered. Often with very good and very bad results. I attend church every Sunday, and I draw during the sermon. All of these pages were done in a pew (though I don’t bring my watercolors with me- that waits till I get home). Simultaneous drawing and listening transforms familiar language into something new- a feedback loop of symbols, theology and wonder.”

» John Hendrix’s site
» Follow John on Twitter

EN MASSE is an ongoing project, that under the direction of Jason Botkin, brings together emerging Montreal artists drawn from the diverse fields of the ‘high’ and ‘low’ brow arts (the later including graffiti, alternative comics and illustration). Through a continuing series of event-based ‘live’ projects, Botkin mobilizes groups of to create highly spontaneous, collaborative, large-scale black-and-white murals and public drawing installations.

The EN MASSE mandate is twofold; firstly, to increase the visibility and marketability of Montreal’s new young artists, both collectively and as individuals, and secondly, to foster community-oriented art events/programming, built upon a specific form of collaborative interaction and immersion between the chosen artists. Our events are greatly enhanced through partnerships with a wide range arts/educational organizations (ie Art Pop Montreal, English Montreal School Board, Montreal Jazz Festival, various galleries, etc), and the public.

» EN MASSE’s Site
» Join EN MASSE on Twitter
» EN MASSE Videos

Smart Design Mart 2009

A video documenting a crazy two day drawing bonanza at the SDM, a beautiful weekend arts/craft creation spearheaded by the fine folk at Headquarters Gallery (Tyson and Angie)

Simons — Ste Foy Quebec

En Masse drove up to Ste-Foy, Quebec, to work on 4 walls of 16′ x 16′. Including 2 members from Quebec City and 4 of the Montreal side of the project, the En Masse crew worked on a period of 5 days to accomplish this piece of work.

Safewalls

On 7 November, 2010, a team of 10 En Masse artists assembled in the 7ième ciel (“seventh heaven”) room at Cirque du Soleil Montreal headquarters. They flipped through a provided assortment of Cirque du Soleil books, examining images from the company’s productions to get their imaginations flowing, and then approached a bank of canvases, five metres squared, with paint and brushes in hand.

En Masse Project

This video has been shot at the Botkin Palace last february. The week before the Nuit Blanche event, twenty-four artists met up to produce over thirty 5’0″ x 3’0″ sheets of back lit velum that would be featured at the “Arts Sousterrains” showcase.

The DICE Show – Headquarters Gallery

Bryce Wymer is a visual artist currently based out of Brooklyn, New York. His personal works address human social progression and the driving relation between the powerful and the powerless. Bryce currently works as freelance creative director around the world. This title incorporates all facets of live action direction, graphic design, illustration, fine art, 2D/3D animation, and post production.

» Check out Bryce’s portfolio
» Follow Bryce’s Blog 
» Follow Bryce  on Twitter
» Buy something amazing from Bryce’s store 
» Bryce Wymer Videos

Q1.   How do you approach starting a new project?

I like to start with a story. Almost all of my personal work is a snap shot of a moment within a narrative. At times, these narratives develop during the painting process as the line, color and content take form on the page.

Q2.   What is most important to you when working on an illustration?

What’s really important to me is character development and thinking about what happened before and after the moment that I chose to depict. For instance, I’m currently working with designer Farrah Sit (http://www.farrahsit.com/) on a collection of illustrative ceramics. To start, we created the ‘zine ‘How to Draw Animals” that for me is a stylistic exploration of the characters that will appear in our series. This will serve as a guide as we develop the collection.

Q3.   What’s the role of sketching in your creative process?

All of my finished work start from ideas rooted in my sketchbooks. I love that I can turn the page and not have to dwell on an I idea for a while. It keeps fresh ideas flowing in moments of inspiration. There is something less precious about a page in a book, so you are more willing to jump in without a safety net. Its freeing. At times, the sketch book pages do become the final piece . For me it’s the concept that determines a work’s value not the format, whether sketchbook, canvas or a digital file.

Q4.   Weapon of choice (favorite materials)?

India ink, gouache, mechanical pencil, collage , digital, and a arsenal of Microns

Q5.   Your favorite procrastination pastime?

Lately if I ‘m not working on visual works I have been working on music. I grew up playing bass in hardcore punk bands around south Florida and now I spend any free time I have working on a folk punk album for my project called The Jane Goodalls. I have also been working with other artists on a project called Sessions Club where I bring various artists/friends together to record a single cover song in one session. The songs chosen are used as a framework. Nothing is rehearsed or arranged ahead of time, It occasionally comes out pretty cool. There are quite a few currently on my blog.

St. James Infirmary by Bryce Wymer

Q6.   What do you like to listen to while you’re working?

My taste in music is pretty broad. Over the last couple weeks I have been listening to everything from Crass to Spoek Mathambo. Give me something with a decent pulse and some emotion and its on.

Q7.   What are some of your sources of inspiration?

I gather inspiration form my immediate environment. The people I encounter on the streets in the subway, the people I work with. I have always been fascinated with the human condition and everything that goes along with being part of this human race. The way we react to our surroundings has always been unique to me. I have lived in quiet a few different areas along the east coast and it seems each city has affected my palette. When I was living in Florida, my work was extremely bright and colorful. I moved to New York 5 years ago. The browns and greys of the city have found their way into my work.

Q8.   If you weren’t a professional illustrator, what would you be doing?

I suppose I would have become a oceanographer or a psychology teacher. I was always fascinated with the people and places. I would probably still be doing illustrations for my classes or drawing the sea life I was studying.

From Bryce’s Blog: Myself, Rama Allen and Ryan Mckenna Directed the RockBand3 open cinematic last year. This piece plays as the intro to the video game, and worked as a promotional device for the game’s release. We shot this over two nights on the streets and rooftops of Dumbo, NY. There was a ton of post work done on this one. Mainly because Dumbo is pretty stark. Check out the behind the scenes (Below) to get a quick glimpse into what went into the production. I had Mad fun working with my boys Rama and Ryan on this one! Big Ups to Digital Kitchen, The Harmonix team and of course the beloved Jon Hassell.Full credits list on my Vimeo Page.

A HUGE thank you to Bryce for taking the time to do this interview and for providing so many fantastic photos of his work and process.

Be sure to stop by Bryce’s site!

All images ©2012 Bryce Wymer

I really love these sketchbook pages from illustrator/cartoonist Joseph Lambert. If you’re not familiar with Joseph’s work I wholeheartedly recommend you check it out. I was first introduced to his amazing comics through the anthology Root Rot published by Koyama Press. Then later I picked up his book I Will Bite You published by Secret Acres. Most recently he had a short two page comic in Nobrow 6: The Double titled Wanna Play?!

» Follow Joseph on Twitter
» Buy something amazing from Joe’s store
» Check out Joe’s portfolio

Drawn with a brush pen, and a nib with black and red inks.

Drawn with a brush pen, and a nib with black and red inks.

Drawn with a brush pen, and a nib with black and red inks.

Drawn with a brush pen, and a nib with black and red inks.

Drawn with a brush pen, and a nib with black and red inks.

Drawn with a brush pen, a pink marker and a brush with yellow watercolors.

Drawn with a nib & ink and watercolor. For this page I made a bunch of unplanned smudges with a brush & watercolor and then tried to make wintery-clothed figures out of them.

Drawn with a nib & ink, and watercolors.

Drawn with a brush pen, and a nib with black and red inks.

Be sure to stop by Joe’s site!

All images ©2011 Joseph Lambert

Daniel Mackie is an award-winning illustrator and a respected member of the industry. Starting out in 1995, Daniel has worked globally across all segments of the industry and recently won “Best in Book” in the Creative Review illustration Annual 2011. Daniel’s illustrations have provided visual solutions to countless briefs.

We love how the strange proportions and collaging effect in Daniel’s work seems to bend space and time, each piece draws you deeper and deeper into a well crafted story. Daniel was kind enough to take the time to talk to TF about his work, process and inspirations.

Portfolio: http://www.danielmackie.com/

Blog: http://danielmackie.wordpress.com/

Twitter: http://twitter.com/danielmackie

Shop: http://danielmackie.bigcartel.com/

Q1.   Tell us a bit about yourself.

I abandoned Photoshop in 2010 having used it as my main illustration tool for over ten years. Photoshop was making me cut corners and it was driving me crazy with its flat colours. Once I started using watercolour it became instantly clear to me that one of the reasons I was becoming so frustrated with my work was that I never had to make a solid decision. I could always undo something. When you’re using watercolour, you can’t undo it. You have to be brave, and as a result your decision-making gets better.

Q2.   How do you approach starting a new project?

I always start with my sketchbook. I used to use layout pads, but the paper would get everywhere. All my drawings were becoming massive too. It turned out I needed glasses! So after a trip down to the opticians, my drawings got back down to sketch book size!

Q3.   What is most important to you when working on a piece?

Concentration. And then it’s either the idea or the execution, or hopefully a wonderful combination of the two.

Q4.   What’s the role of sketching in your creative process?

I usually have an image in my head, but it kind of needs fleshing out and that’s what sketching does.

Q5.   Weapon of choice (favorite materials)?

Watercolour. 0.5 twist-erase pencil

Q6.   Do you have a favourite place outside of your workspace that you like to go to sketch?

I’m not really an outdoor sketcher. Maybe I ought to try. Years ago I sketched the Amphitheatre in Verona, but was mobbed by onlookers! Kind of put me off! To top it all, the drawing turned out badly!

Q7.   Your favourite procrastination pastime?

Playing the guitar very badly. You would be disgusted at my rendition of “Under the Bridge”

Q8.   What do you like to listen to while you’re working?

Radio 4, Classic FM, Radiohead, U2. I won’t go on, as I feel I have already embarrassed myself enough.

Q9.   What are some of your sources of inspiration?

At the moment I am very much influenced by Japanese prints, Artists like, Hiroshige, Hokusai and Yoshitoshi. I am also a big fan of Henri Matisse. In the past it’s been the usual suspects, Egon Schile, Klimt. I was recently invited to have my work published in a book called “Illustrators Unlimited” published by Gestalten, there are a ton of wonderful illustrators in there.

Q10.   If you weren’t a professional artist, what would you be doing?

I’d be doing something outside in the wild.

Huge thanks to Daniel for providing so many awesome photos and for taking the time to do this interview.

Don’t forget to stop by Daniel’s site!

All images ©2011 Daniel Mackie

Sabrina Smelko is an illustrator and designer from Milton, Ontario. She is currently attending Sheridan College to obtain her BAA in illustration. When she’s not attending to her studies you can find her working at the college’s student culture magazine Travis, where she works as a graphic designer.

Portfolio: http://www.sabrinasmelko.com/

Blog: http://sabrina-smelko.blogspot.com/

Twitter: http://twitter.com/#!/SabrinaSmelko

Q1.   Tell us a bit about yourself.

Ever since I can remember, I’ve been fascinated with drawing faces, people, a snapshot of significant moments in the human life. I love detail – fine, meticulous detail – and well-designed, simple compositions. While I know I’m graduating an Illustrator, I’m just as passionate about design and writing – and mixing all three together.

Q2.   How do you approach starting a new project?

I’d love to hang with the cool kids and say it starts with a good sketch, but that comes far later for me in the process. For me, it starts with an inspired idea. I do a lot of research and go inspiration digging – or running, in my case. Other than searching the interwebs for inspiration, when I start a project, I like to go for a run. Whether it’s the fresh air, the blood flowing to my brain or just being outside of my studio-space, something magical happens and I become so amped on my runs about the piece I’m working on, probably coming across as some crazed psycho-lady to the general public who are just trying to enjoy a nice walk around.

My brain starts churning and I become really passionate about the job- most of the time. After I get all hot and bothered about the idea- and from the run-, I whip out the sketchbook and begin writing feverishly, intermixed with undecipherable sketches to anyone other than me. I don’t have impressive sketchbooks with beautiful drawings; my sketchbooks are very personal, and I say that because what I put in there is for me to know and decipher and translate into the work- that, and I have terrible penmanship.

Q3.   What is most important to you when working on a piece?

Being passionate about it. I’ve found that it really makes a difference to have a craving to work on the piece; they always turn out to be far better pieces in every way (duh). The work I’m doing for my Thesis is my complete dream job and I find I’m putting out my best work for it. That being said, we don’t live in Wonderland and won’t always get our dream jobs, so that’s why it’s even more imperative to dig until you hit that gold nugget of passion hidden in each job.

Q4.   What’s the role of sketching in your creative process?

Like I stated earlier, I tend to do a lot of mental sketching and note-taking before I actually put pencil to paper. When making illustrations, after I’ve found my “nugget”, I tend to make five to ten small, non-detailed sketches to work out the composition and, by then, there’s usually an obvious winner. It has to work from a design standpoint as a composition of shapes before any details and content can be injected- this means alot of squinting to see if the shapes and white space “work”.

After I pick the winner, I make a larger more detailed sketch and scan this into photoshop – or illustrator – where I work out most of the kinks and do my line-work. Because I do a lot of design-work, I do a lot of my “sketching” on the computer. Everything has to be exact, line up and “fit”, so sometimes sketching it on paper isn’t conducive to really seeing if it could exist.

Q5.   Weapon of choice (favorite materials)?

Other than graphite pencil and fine, black marker, the computer is the winner. The amount of custom photoshop brushes I’ve made can attest to that, not to mention the dozen illustrator “rough” files and pages upon pages of word documents and emails to myself with tidbits of writing.

Q6.   Do you have a favourite place outside of your workspace that you like to go to sketch?

Other than bringing my sketchbook outside to draw, I’m not the coffee-shop or public-place-sketcher type. As for writing though, I can be anywhere. Writing and note-taking is far more productive in a social setting for me; the amount of reference for how people talk, interact and express themselves makes for a better piece of writing.

Q7.   Your favourite procrastination pastime?

When I’m not illustrating, designing and writing, I spend a lot of time reading with my fat tabby-cat on my lap- just cracked open Klosterman’s ‘The Visible Man’; great so far,- and hanging out with my boyfriend. We have a mean, mutual love for good TV series’. A lot of my life can be defined by whatever series I’m watching (and obsessing over) at the time; right now, it’s The Wire, though I know I’m a little late. Being around me, you’ll hear a lot of references and jokes about such things.

Q8.   What do you like to listen to while you’re working?

It’s a huge mix of contradicting genres of music. My itunes goes from Queens of the Stone Age and The Black Keys to alot of Jay-Z (Watch the Throne) and White Panda – for super productive nights-, to more folk sounds like Elliott Brood and Band of Horses, to mellow stuff like Feist’s Metals, Bruce Peninsula and Bon Iver. I also love The Hype Machine (www.hypem.com). It’s impossible not to find a song to become addicted to that you’ve never heard elsewhere.

Q9.   What are some of your sources of inspiration?

People and their stories. For my thesis, I’ve written a novel and am illustrating, branding and designing the whole thing, and the inspiration for it came from reading a ton of great books- namely Larsson’s Millennium series- and watching a ton of great movies. Other than books, movies and people, other illustrators and creative individuals are hella-inspiring. One individual who inspires me is greatly is Douglas Coupland. He’s doing exactly what I want to do- whatever the hell he wants- he writes books, makes art, works in film and television, designs etc.

Q10.   If you weren’t a professional artist, what would you be doing?

I’d be a novelist. I absolutely love writing and plan to chase that dream after I graduate, but I guess that could be considered in the realm of an artist, so other than that, I’d have to say I’d have chased an old dream of being a surgeon. I loved (and still love) biology, math and the sciences in high school. I actually took them all the way to Grade 12 instead of taking art!

Huge thanks to Sabrina for providing so many awesome photos and for taking the time to do this interview.

Don’t forget to stop by Sabrina’s site!

All images ©2011 Sabrina Smelko

Juliana Neufeld is an award winning illustrator and mixed media artist living in Toronto, Canada. Her work has been inspired by the whimsy of children’s illustration, journal art and an obsession with textiles. Her work has been showcased in galleries in Japan, France, Los Angeles and across Canada. Some of her clients include The Globe and Mail, Element Skateboards and Arts and Crafts Records.

Portfolio:  www.juliananeufeld.com

Blog: www.juliananeufeld.tumblr.com

Tumblr: www.pocketvessels.tumblr.com

Q1.   Tell us a bit about yourself.

As a kid, I spent a lot of time with my mother’s collection of old childrens books from the 40′s and 50′s, so I think I’ve developed a nostalgia and love for the worlds in those books, which has kind of found its way into my work. I gravitate towards whimsical character based illustration… children, monsters, animals, but with a darker touch. I also love animation. I dig the idea of my finished product looking like a moment from a larger story, but without all the specifics.

Q2.   How do you approach starting a new project?

If it’s client directed work, I’ll do some image research, make some preliminary sketches and just mess around – whatever medium gets my brain running. I work best when I don’t overthink the work, which is why its super important I do the planning and research first. Then I can give my brain some leeway to run around. Sometimes I work in pencil and sometimes I go straight for watercolor… still a sketch, but with a different, looser finish. When something sticks, then I redraw a new refined sketch on a larger scale and then I get right to painting. I used to do most of my work digitally, and sometimes time constraints force me to go to the computer, but lately I’ve been trying to do all my work in watercolor and ink. My lines and decision making feel less forced with watercolor.

With personal work, I just jump in. Sometimes the journal sketch ends up being fleshed out with color and it becomes the final piece. Sometimes it starts in a journal and if the idea has some kind of pull or power to it, I’ll try to recreate it with more considered decisions for a final piece.

Q3.   What is most important to you when working on a piece?

It’s important to me that I always respect my own creative voice when I’m doing personal work. I have a tendency to be hard on myself, constantly questioning if my work has relevance, and wondering if I should bring my work in more abstract directions. The designer in me wants to try everything and be everything and I so I have to remind myself that I can still appreciate a variety of styles of work, without feeling the pressure to try to execute them all.

Q4.   What’s the role of sketching in your creative process?

Sketching has a huge roll in my work. It gives me a place where I can make mistakes and try out line and color combinations without feeling the pressure to make a final piece. Trying to translate something that worked in a sketchbook without losing the looseness and charm can be difficult, but when it works, it feels amazing.

Q5.   Weapon of choice (favorite materials)?

India ink and watercolor are my top two favorite weapons. I love the smooth gradations and transitions from one color to another that you can achieve with watercolor. You can keep layering and layering. My wacom tablet has also been a crazy, crazy game changer.

Q6.   Do you have a favourite place outside of your workspace that you like to go to sketch?

My apartment. I basically spend most of my evenings with a cat or a sketchbook on my lap, watching a movie or listening to a podcast. Sometimes I try drawing at a coffee shop, but I usually get self-conscious.

Q7.   Your favourite procrastination pastime?

Checking art/design blogs, bike rides, coffee breaks with other non nine-to-fiver’s.

Q8.   What do you like to listen to while you’re working?

I listen to a bunch of podcasts. NPR’s Radio Lab and This American Life, Savage Love and CBC’s WireTap, and lots of old blues, jazz and reggae. The trojan tighten up box set is amazing!

Q9.   What are some of your sources of inspiration?

Artists’ sketchbooks, Old black and white cartoons, postures and facial expressions… weird daily life moments. My friends who are hustling to make their love a living.

Q10.   If you weren’t a professional artist, what would you be doing?

Probably teaching? Art classes or creating extra curricular art programs for kids.

Huge thanks to Juliana for providing so many awesome photos and for taking the time to do this interview.

Don’t forget to stop by Juliana’s site!

All images ©2011 Juliana Neufeld

Exploring the mysteries of science and nature through the images of Jake Pauls. Whether his images suggest letting nature take the lead in The Forest Power Glove, or the making of the cosmos in The Spell, Jake Pauls’ work simultaneously captures the beauty and power of nature, whilst reminding us of keeping a “childlike wonder” not only with art but the world around us.

His work digs into worlds unknown and reveals only more mysteries. Jake has kindly taken the time to talk to TF about his work, process and inspirations.

“When I’m thinking about a new project I rarely refer to recent sketches. Ideas need to sit for a bit before I am ready for them. I’m often going back to some old idea that now seems good”.

Portfolio: www.jakepauls.com

Tumblr: http://jakepauls.tumblr.com/

Twitter: http://twitter.com/jakepauls

Q1.   Tell us a bit about yourself.

I grew up in the States, but moved to Canada to go to school and be around family…also I’m a cold weather person. I like building fires and eating outdoors as much as almost anything else in the world. I’ve got an awesome wife and a rad new baby boy.

Q2.   How do you approach starting a new project?

This is something I am still figuring out. I’m not an avid sketcher. I’m always seeing advice that says “carry a sketch book with you everywhere, draw everyday.” To be honest, that is not how I work. I sketch when I feel the urge. When I’m thinking about a new project I rarely refer to recent sketches. Ideas need to sit for a bit before I am ready for them. I’m often going back to some old idea that now seems good. Maybe it is a bad way to work, but I usually find something redeeming in most old drawings, so it is somewhat efficient.

Q3.   Weapon of choice (favorite materials)?

Mechanical pencil and BIG paper. I’m trying to make a studio desk that is just a large surface of replaceable paper. I don’t like resting my wrist on the edge of a pad. I wish I could do it all without my computer, but I never could, so Photoshop is another favourite.

Q4.   Do you have a favourite place outside of your workspace that you like to go to sketch?

My apartment or my family cottage I suppose. The place doesn’t matter so much as my mood. But I would say that mood is most often present when I am at home.

Q5.   Your favourite procrastination pastime?

I am a terrible procrastinator and I do not enjoy it so it is hard to say I have a ‘favourite.’ I look at design sites, art sites, music sites, mess around on my studio-mate’s drum kit. None of these things help. I suppose the best procrastinations are convincing myself that it is important to cook a really involved meal or that it is okay to go off to the woods for a long weekend. When I’m doing those things it doesn’t feel like procrastination…I tell myself it is a reward for the hard work that came before it.

Q6.   What do you like to listen to while you’re working?

Podcasts. On the Media and PBS News Hour are great for world issues, This American Life and Radiolab are good for a story, and my long standing favourite thing to draw to is Night People. It is just two guys talking about nothing in particular and is the best for lulling me into a state of focus. I listen to the Best Show in spurts, but then get tired of Tom Sharpling complaining about everything and I take a long break. I listen to a lot of music, but not so much when I’m drawing, I don’t know why.

Q7.   What are some of your sources of inspiration?

Books, science, music…they are all synesthetic. Music gives me ideas for drawings, but I don’t mean it in the way people talk about ‘feeling’ music. That are talking about an emotional response but I mean it in a cognitive way. A style of music or an author’s writing style can really give me ideas about how to draw something. If I am enjoying an author whose style is sparse and detached I could use those qualities in my drawing.

From Jake’s Blog: I did this video for friends the Hooded Fang back in the winter and it has finally hit the web. Animation is so hard and I am not very good at it. I hope you dig my attempt.

Huge thanks to Jake for providing so many awesome photos and for taking the time to do this interview.

Don’t forget to stop by Jake’s site!

All images ©2011 Jake Pauls

There is something mysterious and compelling in the language of Nick Sheehy’s images. As we draw from our own visual vocabulary, we can connect stories to the mundane ritualistic habits of everyday life. Yet looking closer, these masked characters – shrouded in theatricality – conjure up mythologies and times forgotten. They exemplify our disconnect with one another and the world around us.

Nick’s work, drawn and coloured by hand, is meticulously crafted and wonderfully executed. Nick Sheehy has kindly taken the time to talk to TF about his work, process and inspirations.

Portfolio: http://www.showchicken.com/

Flickr: http://www.flickr.com/photos/showchicken

Shop: http://www.showchicken.bigcartel.com/

Twitter:  http://twitter.com/showchicken

Q1.   Tell us a bit about yourself.

I am an Australian human male living in the south east of the United Kingdom. I like drawing. I spend a lot of needless time thinking and sometimes worrying about how I draw.

Q2.   How do you approach starting a new project?

For commercial work, usually the first thing I do is determine the final dimensions of the piece and then think about what I could show in that shape. For a recent commission for a set of skis I thought about a character with really long legs. If you set one simple rule for yourself, then you can get a lot of freedom dancing around that rule.

Other than that I usually just sketch ideas, piece things together until something interesting comes out. I always have a sketchbook wherever I am, so for new projects it’s usually a matter of assembling elements together to fit the new project’s context.

Alternatively, sometimes I have an idea I can’t get right on paper until a new project comes along.

Q3.   Weapon of choice (favorite materials)?

Graphite. Everything starts as a pencil drawing. Sometimes I add acrylic. Or if I know that a lot of tweeking is going to be involved I use photoshop. But I generally find analogue more satisfying than digital. It’s just that digital is more convenient.

Q4.   Do you have a favourite place outside of your workspace that you like to go to sketch?

Public transport or sketching in front of a film produces the best results. I like to try to draw a lot when travelling. Your mind is automatically in a different game. I don’t really use my workspace to sketch, it’s more of a place where I finish works. Sketching seems like more of a thing I do whenever I can grab the time to do it.

Q5.   Your favourite procrastination pastime?

Clicking refresh on my mail inbox. Researching albums on wikipedia. Trailing through 70s footage on youtube of bands I like. Buying new pencils.

Q6.   What do you like to listen to while you’re working?

At present I’m revisiting The Jesus Lizard which does a good job of blocking out any background noise and helps me to focus. I like Tom Waits because of the stories. Other regulars: Bill Callahan/Smog, Talking Heads, early Van Morrison, Kurt Vile, etc

Q7.   What are some of your sources of inspiration?

I get most inspiration from films and music. I like the atmosphere. Going for a walk also helps get the grey cells moving. Seeing trees.

Huge thanks to Nick for providing so many awesome photos and for taking the time to do this interview.

Don’t forget to stop by Nick’s site!

All images ©2011 Nick Sheehy