ISSUE 1•2009 THIS AIN’T DIGITAL
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 werenâ€™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. Iâ€™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,
M ON S I E U R
CABINET DAVID THOMPSON
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 chillâ€™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. Yokâ€™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 80â€™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 DVDâ€™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 kareemrizk.com
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 renee-anne.com
NATALIE SHARP WWW.NELIPOTDESIGNS.COM
Butterfly Glasses CLAIRE CIMBORA schmooks.etsy.com
Fairy Tale Endings REBECCA MURPHY rebecca-murphy.net
The Bearded Lady of Brussels NATALIE PERKINS definatalie.com
Wolf Girl CHRISSY LAU deciphertheday.co.uk
PAPERBACK COVERS FEATURING SUPERMODEL JONI HARBECK.
A PHOTO BOOK OF FAB R I C A T E D P S Y C H E D E L I C P A P E R B A C K C O V E R S F E A T U R I N G SUPERMODEL JONI HARBECK.
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.