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Here we are, issue numero uno has been born. As I sit here trying to come up with something insightful, funny and witty to write. The more I try the more the delete button gets pressed. Who knows where this will end up, its in the ether and into the unknown. Like all newborns, its a bit rough, a bit undeveloped, and realising it has two arms not three.. From the time of conception things have been developing growing and becoming clearer, closer to being dropped into the real world. Why did we decide to do this? An all to common question, why create? Desire to communicate, to express, to have a voice. In an over digitised, media driven world where one seams to be owned by what is being published or broadcast. Its the form of delivery that counts, zines are personal and unique, collectable and light, with fragile life span. A way for people to speak through visual and textural space. To reach a select audience. Forth Thread was created to support artists and designers, and their ideas. To gather thoughts and expressions of individuals along the same journey. We hope you enjoy the curated work and feel inspired to start your own creative Path. Thanks for your support and kindness. STUART SMYTHE

Chief Editor Stuart Smythe Senior Editor Tabitha Patterson Design // Stuart Smythe Tabitha Patterson Cover Stuart Smythe Inside Cover Neil Krug


Contributing Artists Vesna Pesnic // David Thompson // Brett Manning // The Yok // Craig Rochfort // Kareem Rizk // Tom Hovey // Renee Anne // Natalie Sharp // Claire Cimbora // Rebecca Murphy // Natalie Perkins // Chrissy Lau // Neil Krug // Printing Whirlwind Cover 280gsm White Knight Text 120gsm White Knight

© Copyright 2009 Forth Thread The views expressed in forth Thread are those of the respective contributors and do not reflect the views of this publication. If you like it, we did it. If you don’t, then we don’t know who did.

Forth Thread // ISSN 1837 - 4646

Typography plays a large part of making your

Could you explain your creative process, how do

compositions work, do you have a background in

you start out on a piece of work and how does

graphic design? Typography was one of my subjects

it evolve to a finished piece? My creative process

at the faculty. By joining it with collage, I found freedom

implies the collecting of materials and contemplating the

of typographical composing. I can say that typography

basic concept. To have the final product in my head which

is one of the three main ingredients for my works. I’m

remains the same till the very end, I think, has never

not talking about classical, but “drawn” typography. I

happened to me. There are so many unpredictable things

see a letter as any other shape and I treat it in such a way.

which occur in a work itself, and therefore a completed

When I use the already existing font, I like to cover it with

work is far more different from the original conception.

lines and colour everything by hand. Besides that visual

But, I don’t think this inconsistency is a flaw,because

contribution ,text plays an important part in collages

exploration is a part of the process where we acquire the

because it completes the contents in some manner.

most of knowledge.


What are some of the themes and ideas behind

conceptual art, and found its place in music and

your work you produce as a designer / illustrator?

literature. You can find the logic of this technique

What usually initiates a work and a story is personal

in modern architecture, which only demonstrates its

association with the particular theme or materials in

adapting to diverse mediums.

front of me. My fulfilment during the creation process is induced by uncertainty which raises from editing and

Your work can be seen as being expressive

matching a pile of rough materials without precisely

and communicative as collage has an almost

developed idea, final message or sense. The infinity of

sculptural effect, what are your thoughts on the

possible solutions, symbols combining and association is

difference between Art, and Design? Design is an

the one that gives special allure to spontaneous collage.

applied art, and as a discipline it is based on certain rules.

Collage is also a unique game during which you examine

Shaping method for a work of art is not affected by the

both yourself and visual elements. And, if you are lucky,

field in which an artist is occupied. Depending on his

after a while, that pice of work will reveal to you some secret

sensibility, an artist involves more or less of himself and

meanings and stories you weren’t aware of while you were

his personal taste. As a result,we get a wide spectrum of

working on it. The themes I find appealing for editing are

works ranging from pure minimalism to the illustratively

relations, dualities, complexes, absurdity of dreams and

quite rich works. I’m not trying to give preference to

reality, transition, obsession with surface, retro, etc.

this or that approach,but to emphasize that good work depends entirely on ideas as starting points and sticking

As a form of communication collage and montage

to the above-mentioned rules. Additionally,the most

has a long history, what role do you think it

experienced artists know how to break those rules and

has played in modern culture? Collage became a

refine the quality.

distinctive part of modern art in the 20th century, and it has been popular since then. It has taken the shape

Where can we see more of your work?

which follows the current trend. Expressing yourself

through this technique is very simple because it is incredibly pictorial and results are easily noticed. It has proved itself as a useful technique for animation,




What is your first memory of

told me to never overlook detail, and

creating/ illustrating? That’s

that idea really stuck with me through

a difficult question, because I’ve

out my life, in all aspects it seems...

always been creating in some way or another. I remember being very, very

Briefly describe your work?

young and loving the illustrations in a

Strangely autobiographical, but I

book of nursery rhymes, admiring the

don’t think I would ever go into depth

lines and colors. I feel like using your

trying to explain why. It’s feminine...

imagination is a form of creativity. I

and feminist. I indulge in pairing the

also remember drawing with my dad

surreal with patterns and textures.

instead of playing sports. He told me


How has studying fashion infludnce your work? Quite a lot since I have started doing these ink drawings! The ability to bridge fine art and fashion together opens many doors. But I guess my intention is to create more than a fashion illustration when I draw.. I love to draw people and expressive portraits, and maybe evoke some kind of feeling with each piece. For me, it’s really more about the emotion and the passion , not the clothes. I generally spend much more time drawing the face instead of the clothing, simply because I enjoy it.

What is the art scene like in Chicago, and how has

haaha. But I’ve been doing more shows since then, selling

living there influenced your work?

my work in local vintage shops and galleries, even doing

Chicago is great. I am still meeting and learning about

art fairs, and it’s been great. I love networking with artists,

the artists here everyday! I wouldn’t say that any of this

finding out more about them, sharing my work...

has influenced my work, rather collaborations develop. Working with people is very fulfilling, and creating for

Your favourtite mediums to work with?

them or with them broadens my awareness of what I am

Currently, ink and colored pencil.

capable of. How has your work evolved? I’ve always been very detail oriented and very drawn to the human form, but I’ve gotten more technical. I hope that trend continues. What was your first exhibition and how did it go? My very first exhibition in Chicago was at a place I never even went to, but ended up selling a painting. I was still in school and convinced that I had to go to bed early so

To see more of Brett’s work visit

I couldn’t make it to the show because it started so late.

The Yok, if he could would be chill’n in a hammock by the beach listening to good tunes, while on a world trip, eating balls of Onigiri, living a simple antimaterialistic creative life. Making works in pigmented shellac, with broad brush strokes, detailing in Sumi ink and pen. Yok’s characters look like gooey potato heads getting up to mischief in a land where television is worshiped. His twisted sense of humour shows through in his amusing work. A lot of his hammock time is spent working on a magazine Called KINGBROWN. Its an art mag that shows Australian and international artists. Working with Ian munch and Brook Bobridge. Yok has been doing shows around the world since 2005, keep an eye out for his work he is constantly progressing.


Craig explores the notion of personal connections that happen to an individual throughout the day. Creating an abstracted map that is sometimes busy and sometimes relaxed. Influenced buy Ernest Caramelle and his work of the early 80’s. Craig is a fan of independent publishing and has been a collector for some time. Which has lead to on online store called TEELUXE. A store that offers a collection of zines, small art books, tees, and DVD’s. Supporting a thriving independent, short run community. Craig has some exciting artist collaboration tees on the drawing board. He is working on a major body of personal work to be published/exhibited in 2010 and a book project with NZ artist Paul McNeil which is going to be awesome. WWW.TEELUXE.COM.AU


Tell us a bit about yourself/your

the world and my passion for travel is

background. I was born in Ferntree

stronger than ever.

Gully, Victioria in 1982. When I

I studied Graphic Design at Monash

was 4 years old my family moved

University and graduated in 2004.

to Egypt; we lived there for 4 years.

I have worked as a designer at the

Being exposed to such a different

Herald Sun newspaper and I have

culture made me appreciate many

also done freelance design for various

things, especially the opportunities

large and small clients. I have been

that we have here in Australia. It

making collages and promoting my

also established my enthusiasm for

work since 2006. But I only started

wanting to travel and seeing more of

seriously pursuing an art career last

the world. Since then I have travelled

year in June, after my first notable

to more than 20 countries all around

involvement in an exhibition.







How do you source your materials/textures?

How did you first get into collage? When I first

Are you a bit of a collector?I started collecting old

turned my attention to collage as a regular practice it was

magazines, old books and many other forms of printed

just after I had finished uni. But it started out as a hobby

matter just before I finished uni. Much of the imagery

and a creative outlet. Shortly after working so closely

I use comes from materials that I already have. But I’m

on empty commercial publication design at my first and

always adding more. I’m often scouring the op shops,

only job in the design industry, I had become creatively

flea markets and antique stores for new and interesting

uninspired. It sparked a desire in me to pursue a creative

imagery. I aim to keep my collection topped up at all

path that resonated with my true passion - to create art.

times - this way I always have fresh material to explore. How has your roots in graphic design influenced Is there a message behind your work?I don’t think

your work? My graphic design training has influenced

there is a clear cut message in my work. But if there is,

my work immensely. My extensive studies in design

I’m yet to discover it. Sometimes there is a story being

principles, elements, colour theory and a plethora of

told or a scenario being played out, but it is always open

related subjects has given me a well rounded knowledge of

to the viewer’s interpretation. So much of my work is also

how to make images which I feel work on many different

manifested through my subconscious mind. The final

levels. My roots in graphic design has also enabled me to

result of a piece is rarely predetermined, the work can

establish a sense of structure in my work.

change directions numerous times during the process, creating an interesting element of spontaneity.

To see more of Kareem’s work visit

In his own words; “I’m a freelance Illustrator, currently

whilst still using people, to investigate

residing in sunny South Wales, UK.

the relationship between word and

I love to draw and paint people,

image, hopes, dreams, and fears.

although I draw some celebrities I

I always try to inject a sense of humour

prefer to depict the down and outs

into my illustration and haven’t come

of society, the ones that most people

across a subject matter yet that can’t

spit on in the street. I try to work

be tackled using this approach.”

using traditional methods as much as possible but I also initiate digital manipulation when the piece needs it. In my daily sketchbook blog I work in

To see more of Tom’s work visit

a very different and abstract manner


In her own words; “I like to think that I am continually evolving and developing, yet resolved and confident. I draw for a number of reasons, which is why I don’t think I will ever have a distinct style. I don’t keep a written diary, so often my drawings are a way of clearing some space in my mind. I am loving using pens at the moment, I used to be a huge graphite drawer, but I feel strange with pencils now. Pen and paper (and digital too!) is the way for me now. I always feel most inspired after a good yoga session. This often results in very late nights.”

To see more of Renee’s work visit




Butterfly Glasses CLAIRE CIMBORA


Fairy Tale Endings REBECCA MURPHY

The Bearded Lady of Brussels NATALIE PERKINS






Everything in the book has been photographed with expired polaroid film to put across the mood of holding a beautifully beat to hell dusty LP cover. If a picture doesn’t look like it’s sat in a dark smokey lounge for the last forty years, chances are NEil’s gonna toss it.

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