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Jessica Boutte Jen Muir Emily Owens Liza Michelle johanan Lee-Frazer Ben Mcleod Aleksandar Todorovic Kemi Mai Brittany Arjune Bobby Rogers Nettie Wakefield Kelsey Beckett Tommy Parker Mossi Ross Ingielewicz Charlie Nolan Andy Stuart Mills

Cover Illustration by Kelsey Beckett Illustration on the left is by Nettie Wakefield



I like the term ‘creative’. I think I’m more of the introspective type of creative, with a tendency to collect equally strange acquaintances and friends.


Who are you and what type of creative are you?

A sincere collection of my surroundings, I’m a person trying to put all of that energy back out in the world in a sense. I like the term ‘creative’. I think I’m more of the introspective type of creative, with a tendency to collect equally strange acquaintances and friends. What made you interested in photography?

Being terrible at painting. I realized that there was a way to combine my love of telling a story and wanting to take my surroundings and scrunch them all into one image and I haven’t been able to stop doing it since. What inspires you?

Moments. My favorite thing in the world is to find one spot and stay and watch for a very long time. I am very interested in character motivation and the thought process that goes on behind simple movements and expressions. As an insomniac, I try and make the best of my extra waking hours to read and explore the world at dark.




In 40 or 50 years I want to be able to still see my images and imagine a totally different story than I originally intended...



What is your creative process?

I wish I had a good, concise answer for this one. My process is sporadic and I would be worried about it if I still wasn’t so new to this. What do you want to achieve with your photography?

In 40 or 50 years I want to be able to still see my images and imagine a totally different story than I originally intended while still being able to look back and understand where I was then. I think art in general, photography especially, is a crucial way to timestamp an era of one’s own life. If my photos help me travel or help someone else achieve something, that’s cool too. What would be a dream project?

Photographing for The Onion. I’m serious. 10 // INK & ARROWS -instagram @jmboutte


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Who are you and what type of creative are you? I’m a 20 year old illustrator based in Scotland.

How did you come up with the name ‘Platypusradio’ for your website?

I enjoy drawing things for children’s books and

I like platypuses and I was sitting next to a radio

book covers, or anything that involves creating

when I needed to come up with a name.


How did you get interested in illustration?

What are you mediums to use illustrations?

favorite in your

I’ve always enjoyed drawing since I was very

I enjoy using inks, watercolours and pens.

young, but I only started considering it as a

Sometimes biro pens or gouache.

career in my late teens when I took a class in

What would a dream project to illustrate?

visual communication.

Where do you inspiration?



A large size children’s book with lots of details and colours and monsters.

Usually just something I see that I find interesting, maybe something outside or a story someone shares. Books and movies help a lot too.

What is process?




I usually make a few small doodles and then select my favourite for a full sized sketch. Then I use a light box and watercolour paper to do a finished version. Sometimes, if I’m feeling brave, or I’m just doodling for fun I’ll just draw with pen or do some ink splashes and make something from them.


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Who are you and what type of creative are you? Hi, I’m Emily! I’m a photographer specializing in editorial/portrait work.

What made you interested in photography? What made you want to do it professionally? Way back in 2005, I had a friend who’d been given a Nikon Coolpix 3200. He never used it, so I asked if I could have it on indefinite loan. I kept this camera in my purse and I’d shoot everything possible-- parties, bugs, patterns. Eventually I kept finding excuses to upgrade my camera until, in 2010, I realized I really just needed to go back to school because shooting was the thing that made me happiest. And it still does.

What inspires you? I’m inspired by all sorts of things. Sometimes I get distracted by the way the sunlight can fill a stairwell or creep across a face. I also look at a lot of other people’s work, like Tim Walker and Kyle Thompson.

What is your creative process? My creative process? That’s a tough one. I guess usually the idea for the photo comes first, and then finding the model because that usually takes longer than I’d like. Then you just flesh out the idea, figure out how to execute it. I dunno, haha. Sometimes the model has an idea or you end up messing around on the shoot and finding a better photo than the one you set out to make. That’s always a good feeling.

What is the easiest and toughest part of being a photographer? The easiest part of being a photographer is shooting! When you’re in the moment with a subject and everything is just falling into place and every time you look at the back of the camera you fall more in love with the shoot. That’s the best. The toughest is probably, well, everything else. Computer issues or paperwork or gear failure or rain delays. Totally worth it, though.


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What do you want to achieve with your photography? I’ll consider myself successful if I’m making gorgeous portraits of people and it pays the bills. I’m a pretty simple lady.

What would be a dream project for you? I think a dream project would be shooting an interview spread for BUST magazine. That would have to be so fun.

What would you say to people wanting to be a photographer? If you want to be a photographer, you have to work your ass off and learn how to promote yourself. And make sure you really love what you’re doing. The money can be great, but if you’re not having fun it isn’t worth it.

Are you working on anything special at the moment? At the moment I’m planning a million things at once. You’ll have to stay tuned. :-)

website: twitter: @emilyowensphoto


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Who are you and what type of creative are you? Liza Michelle of Liza Michelle Jewelry, at your service!! I’m a lady jeweler living and creating in Cleveland, OH. I create handmade, thoughtfully crafted jewelry. My signature line, Twigs is created using real, handpicked twigs cast in sterling silver, bronze or 14kt gold. Each piece is one of a kind, something that is very important to me. I strive to use ethical means of production, from my materials to my processes. That includes recycled metals, ethically & responsibly sourced stones and ecofriendly studio practices. What made you interested in jewelry making/creating? As a kid I always had my hands in some art project or another. I was lucky enough to have a creative mom, and a wonderful art program growing up. In high school I took Intro to Jewelry and was immediately hooked. I took every class I could related to jewelry making, and when I had exhausted that I pestered my teachers for independent study. I applied and was accepted to Pratt @ Munson Williams Proctor, a satellite school of Pratt in Brooklyn. I learned everything I could, then transferred to Cleveland Institute of Art, where I earned my Bachelors in Fine Art with a concentration in Jewelry and Metals. What made you want to start your own business? Looking back I suppose I always knew I wanted to work for myself. For a while I lived with the dream of being a studio jeweler, creating art jewelry and becoming fabulously famous and successful. When I realized that dream wouldn’t sustain me financially, I started working for a jewelry manufacturing company in Cleveland. For two and a half years I was miserable, making someone else’s designs, leaving little to no motivation for my own work.

Early in 2013 I was laid off, and decided then and there that I was going to be my own boss. I had participated in a few shows here in Cleveland, and knew that I had what it takes to be successful. My first summer show season was enough encouragement to really buckle down and make this endeavor work. What is your creative process? I’m a very ‘fly by the seat of your pants’ kind of gal. In college we often had to draw up design boards and submit sketches for projects. I hated this. All I ever wanted to do was start working with my material. These days nothing much has changed. I sketch best in the material I’m working in, anyone who’s seen my sketch book can tell you I’m no draftswoman. My signature line, the twig jewelry, evolved from working with natural materials in college. I cast teeth, branches, seed pods and buds for my thesis work, and it sort of evolved into a line of jewelry. My motto in creating is “simplicity is complexity resolved.” With this in mind, I take a design element and expand upon it. In the case of my twig jewelry, it was simple: how many different kinds of jewelry can I create using a twig? From there I investigated further- how many different kinds of earrings/ necklaces/bracelets/rings (you get the idea) can I make from a twig. Within this process, I still leave a lot of room for play. I have amassed a huge stone collection through the years, and when I need a break from creating pieces for a particular line, I design a OOAK (one-of-a-kind) piece. This process is usually pretty quick, I pick a stone from my collection, decide where it will be worn, and go from there. I am very influenced by nature and geometry, which often translates to intricate surface detail or elaborate hidden piercings of trees, leaves and other plant matter.

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Jewelry // Liza Michelle Jewelry Photography // Suzanne Price of Suzuran Photography Styling // Jennie Doran of Room Service Boutique, Liza Michelle Jewelry, Suzanne Price Hair/Make-up // Kylee Cook Models // Katie Cutshaw, Nicolette Spiranovich, Jennie Doran


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What inspires you? First and foremost, I am inspired by my surroundings. I love nature, I was always outside exploring as a kid. I am also a huge collector of bones, antler, twigs and other plant matter and materials. I try to surround myself with beautiful objects, wonderful people, and inspiring artists. Processes also really inspire me. If I want to try a particular setting or surface texture, I let the process dictate the composition. What is the last thing you did for work? There’s always a project or piece of jewelry hanging out on my bench that needs finishing! All of my endeavors sort of overlap, so that I guess I’m never left with all tasks finished ready to move onto the next. The last piece of jewelry I did make was actually a tag for my pup Theo! What piece are you most proud of? I have to admit, I do a little victory dance every time I finish a piece! However, honestly my proudest pieces are the engagement and wedding rings I’ve made over the years. To be a part of someone’s story, to contribute the thing that will symbolize their love for the rest of their lives is such an incredible honor. That is why I am starting to design my own bridal line, I will offer rings, obviously, but also bridesmaids and groomsman gifts and such. Which one was the most challenging? Every design has its own challenges, I don’t know that any one really stands out.

get to wear all the hats I want! I also currently work part time for a good friend of mine who owns a wonderful boutique here in Cleveland (Room Service Boutique-check it out!). Along with manning the cash/wrap, I help with displays and merchandising. Jennie, the owner has been very influential in the startup of my business. What do you do when you get ‘artist block’? WALK AWAY! Seriously, when I am out of sorts or stuck on a particular design I just leave my studio. I’ll go for a walk, pour over a book, or play with my pup- I just know that I can’t do anything work related. I think that ability to put distance between me and my current project is really important. It’s often that I get my best ideas doing the dishes or walking my dog- perspective is paramount to a healthy creative mind. What are 5 things you can’t live without? My love, my creativity, my freedom, my integrity, my work ethic.

website // twitter // @LizaMJewelry facebook // Instagram // @lizamichellejewelry

Are you creative in another ways besides jewelry making? I am! I design all of my own displays, and photograph and edit my product photos, along with building and maintaining my website. That’s the best part about this business owning deal- I


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WHO ARE YOU AND WHAT TYPE OF CREATIVE ARE YOU? I am Johanan Lee-Frazer and I’m currently in my second year at the University of Salford in England. Studying for a degree in graphic communication design. Outside of studying I occupy myself with documentary/art photography as well as illustration. WHAT MADE YOU INTERESTED IN GRAPHIC DESIGN & PHOTOGRAPHY? I learned to draw before I learned to walk. Art has always been part of me as I got older it became more obvious that studying design would offer me a more stable career option than strictly visual arts. I believe my interest in photography is directly linked to my childhood obsession with wildlife documentaries, I would spend hours upon hours watching any kind of nature show. The way

that the cameraman could transport you into a world full of colour danger and life astounded me. By the time college came around I had my first 35mm camera a yahika xd and had the opportunity to get into the darkroom and learn the photo development. Since then I haven’t put the camera down. WHAT INSPIRES YOU? My subconscious has a lot to do with my creative inspiration I’m very much a spiritual person and I like to find a real sense of balance in anything I create, the same sense of balance mirrored through the natural world on every level. From subatomic, to mathematical to flower petals right through to the cosmos. Being alive to learn and to absorb information is my biggest inspiration.

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WHAT IS YOUR CREATIVE PROCESS? It changes with every project I mean obviously through college and university I been taught to structure my creative process in a set way. You have your brief, do your research find a concept and then you experiment and refine continuously until you reach a destination that allows you to execute to a professional standard. This process is definitely ingrained in my psych but I’ve always had a strong individual sense of process; much to the annoyance of my tutors. I approach much of my work on a very abstract level which is very useful to me because It makes me more comfortable and allows me to tap into idea streams and possibilities that would’ve been undetectable had I stuck to the standard methods. I attribute this to my roots in visual art, I’m an artist training to be a designer not a designer trying to be an artist. There is a difference.

WHAT IS THE TOUGHEST PART OF THE PROCESS? THE EASIEST? The toughest part is definitely deciding on a final solution, again its entirely dependant on the individual project as sometimes the solution can be very obvious but occasionally when it isn’t. Being an artist its imperative for me to not only find and answer but to do it In a way that upholds my creative integrity on a visual, a moral and a theoretical level. WHAT WOULD BE DREAM PROJECT? That’s a tough one but I definitely feel it would be somewhere in the documentary photography. I like to do a Christopher Anderson style photo essay that documents the holy men from around the world spanning from monks of the Himalayas, to tribal Africa to the community priest of central Mexico. It would be a type of catalogue of all the worlds’ spiritual figures a chance to see the men and women

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who have devoted their lives to being bridges between man and forces greater than us. Things like this give us an insight into new worlds, they teach us about diversity and inspire both young and old to partake a new perspective on what it means to be human and for me there’s nothing greater than that. Curiosity fuels the soul to be daring and enigmatic to seek new avenues for expression. This would be my avenue of opportunity to expand my creativity to a global level. WHAT DO YOU WANT TO ACHIEVE WITH YOUR DESIGN WORK? Design for me just a tool, a way of communicating a piece of art to a broader audience. My only real ambitions for design are to master and improve on my skill set so that I’m able to effectively communication my creatively to the broadest possible audience and with the most significant impact.

ARE YOU WORKING ON ANYTHING? Studying for my degree takes up a considerable chunk of my time so at the moment I’m just pursuing several smaller projects. Mostly photographic narratives and such. I’m bidding my time till I have an opportunity to produce something big that will maybe get the attention of some more reputable artists. Anything I have produced so far that I feel is worthy of sharing is posted on my site.



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I have always been interested in drawing and creating images. But only when I did my degree did I really get a passion for it, and begin to find my own way of working. When I started to realize that it was possible to create images that aren’t a million miles away from what professional illustrators are doing, that’s a great feeling. That helps you keep at it.


To be honest it doesn’t come easily to me, I find I’m always struggling with some aspect of the creative process. But I guess that’s the best way to be in some ways. Sometimes if I haven’t illustrated anything in a couple of weeks I get a sinking feeling like “Can I still do it?” but that keeps me going really, like you’re only as good as your last illustration. The easiest part is finding inspiration, there is so much good stuff out there at the moment.

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Who are you and what type of creative are you? Hello, my name is Aleksandar Todorovic, I’m a graduated painter from Serbia. For now, I live and create in Belgrade. I consider myself a painter, though in the past I have done many different things. Some may even call me an artist, but I am more humble- I think that I have much more to do, to earn such title. I think of myself as a classical painter, though I have done a variety of jobs, from portraits and landscapes to illustration, as well as web and graphic design. I also create my own art, some of it, with a computer, but I just cannot get enough satisfaction using new digital technologies. The process of making a real-life art objects, paintings and drawings, the feel of paper, the texture of paint- I find it thrilling, and I cannot find a good enough substitute in the digital world. I also have plans for making sculpture-like objects in the future- but for now, it is just a thought.

website: blogspot: tumblr:

What made you interested in art and painting? Comics, movies, and my own imagination- I always had vivid pictures and escapades in my mind as a kid (and I still have them today). I started drawing when I was really young, and there were also art books around the house... My family and friends also encouraged me, my parents bought me colored pencils, crayons, paper and colors when I was kid... And they still support me today, and I am thankful for that.


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What inspires you? Many things: the world around me, everyday pop culture, modern art, politics, society in all its complex and puzzling connections. In my art, for now that is, I am 100% focused on the problems of modern society. Social injustice, being from a country such as Serbia, really strikes deep, and resonates in my heart and mind. As a painter, in my paintings and drawings, I try to expose all of those things we usually see and turn our blind eyes to, hoping it will awaken in the audience feelings of urgency to change things for the better. I believe that art, besides having its primary aesthetical function, can warn and inspire people to do and be better, by criticizing negative trends and situations in society. What is your creative process? My creative process is such that I try to stay updated with current events as much as I can. I read a lot, watch movies and news, converse with people, my friends, about many things- the situation in society, the world... At some point, inspiration kicks in, I have an idea, and I start thinking about it. It is both a rational and emotional process, which go side by side. Depending on the theme and idea, I decide how to make certain artwork, which style to use. I am truly fond of comic art and illustrations, and I also find political and propaganda posters inspiring, so I use a lot of that illustrative style in my paintings and drawings. After I decide which materials to use, which style of drawing and coloring, I start painting. The style has to correspond to the theme, and I also change my style after a while- I let it grow, in order not to bore myself with repetition. I think that an artist must nurture a variety of his artistic expressionsI don’t want to repeat myself endlessly, I want my art to evolve through time. I see my art as a tree, the series of works which fall into one style or another are like the branches of a tree, they are varied amongst themselves, yet they all grow from one tree trunk. That trunk, that central idea, is my continuing battle with social injustice, and evil, that is all around us.

What is the story behind your work? In my work, I try to explore the phenomenon of evil- its origins, the various forms it takes, where it lurks, different emotions it provokes which are closely related to it, how it develops and evolves through time. In my smaller works, mostly drawings, I often explore one phenomenon per drawing, using various techniques, but in my bigger pieces, I try to explore many different situations and occurrences and their interconnectedness, under one global theme- it may be an analysis of the Evil behind a certain historical political system or some other very complex social phenomenon. I use my own created archetypes which I associate with these perceived problems. I have created a character of a politician, a character of a bureaucrat, and then the characters of regular everyday people. Their visual appearance is associated with their role in society. Everyday people can be sacrificed and are expendable, therefore I depicted them as crash-test dummies. Politicians, both those in the mainstream and those that work from the shadows, are greedy, pale and gluttonous, blind and soulless, because they only care about the money and power. And bureaucrats and models are the mediators, which keep the whole system of institutional exploitation and media brainwashing running. As I said, I firmly believe that by exposing the viewer to things that are bad or inhumane, art can change something- it provokes the audience’s moral system and values. Of course, art alone can’t change the world, but it can contribute, not only by criticizing- it can also offer hope, visions of a better world, maybe even solutions for some of our problems. Art has to do all those things, while also keeping aesthetics in mind - it is important not to lose that in the whole process. If we lose aesthetics when creating socially engaged art, than it’s not art anymore, just activism.


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WHAT IS YOUR CREATIVE PROCESS? I start with an idea, then I begin to figure out how I’m going to translate this into something visual, through sketching. Once I have my sketch, I’ll HOW DID YOU GET INTERESTED IN create my colour palette, lay in a guide DIGITAL ILLUSTRATION/PAINTING? for shadows, then I paint until it’s all I bought a tablet with the intent to done. use it for something else entirely, but somehow I ended up painting. It was WHAT ADVICE WOULD YOU GIVE kind of accidental. I didn’t draw at all TO SOMEONE WANTING TO START when I was a kid, but my interest really DIGITAL PAINTING? Try not to have began to snowball after those first few too many preconceived conceptions months, when I realised that creating about the medium. Like any other, art was both something I enjoyed and digital painting takes real practice and something I could improve at. I’ve it isn’t going to be any easier than been painting for almost two years picking up a paintbrush. It’s different and it comes with its own set of now. advantages and disadvantages, so WHAT INSPIRES YOU? Everything. just try to give it time. On the technical Scenes and quotes from my favourite side, I’d say that it’s essential to invest films, lyrics from music. I’m influenced in a graphics tablet, but there really and inspired by whatever I surround isn’t any need to spend a fortune. I started with the cheapest one that I myself with. could find. WHO ARE YOU AND WHAT TYPE OF CREATIVE ARE YOU? My name is Kemi Mai and I’m a self-taught artist based in the UK.

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WHEN YOU AREN’T DIGITALLY PAINTING, WHAT ARE YOUR FAVORITE MEDIUMS AND TOOLS TO USE? Pretty much whatever I can get my hands on. I love experimenting with different papers and charcoals are something that I’ve recently begun to use more. Watercolour is another medium that I’m trying to get the hang of, I love how organic and unpredictable it can be, but also how learning the variables can help you produce a calculated result, even in a medium that is so fluid.

trouble, but working it all out is my favourite part of the process.

WHO ARE SOME OF YOUR FAVORITE ARTISTS? Egon Schiele is my favourite artist, his work is something that I could talk about for hours. I’m always finding a ton of new contemporary artists whose work I admire, it’s something that I can really thank the internet for. Daehyun kim, Paulette Jo 0, Erik Jones, Sha’an d’Anthes, Audrey Kawasaki, Soey Milk, Amy Sol, Feline Zegers, Nom Kinnear King, Hsiao Ron Cheng, Natalie Foss, Jenny Morgan, WHAT ARE YOUR FAVORITE THINGS Peony Yip and Crajes, to name a few TO DRAW? Female portraits, as I’m of my favourites. sure you can tell! My favourite part of a portrait is always my starting point, the WHAT IS ONE THINGS YOU WOULD eyes. I also really love experimenting LIKE TO ACHIEVE WITH YOUR ART? with themes pertaining to nature, but DREAM PROJECT? I haven’t ever sometimes I just have to tell myself really thought about what my dream ‘No more plants’. project would be, but progress is definitely what’s most important to WHAT DO YOU HAVE TROUBLE WITH me with my art. I don’t want my work THE MOST? There are days when I just to ever become static and I hope I can don’t want to paint, but at the same keep learning as I continue to create. time, any day when I could’ve painted but didn’t feels like a day wasted. Hair gives me plenty of trouble! Every WEBSITE: time I come to paint it, I always feel as though I’ve forgotten whatever I’ve learnt and then it’s as though I’m INSTAGRAM: painting it for the very first time. But @ drawinds more generally, painting is something that involves a lot of problem solving SOCIETY6: for me. I’m always coming up against things that are going to give me some


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few words can relate so deeply that it feels as if someone placed a melting ice cube to the back of your neck. When I am a 21 year old Illustrator and Designer you feel this way there is a sort of hyper from Minneapolis, MN. I am completing change in the atmosphere that triggers my final year as an Illustration student and transforms your emotional state. with an emphasis on Graphic Design A lot of the time we are blind to the at the Minneapolis College of Art and change. So bringing attention to this Design. juncture is an underlining factor I try to always make apparent in my work.

HOW DID YOU GET INTERESTED IN WHAT IS YOUR CREATIVE PROCESS? ILLUSTRATION AND DESIGN? I think the first time I became interested in art was when I was 7 or so. My mom painted a dog one afternoon and I thought it was the most amazing thing I had ever see a human do. I had no clue of how to replicate it. But I knew from that moment on that I was determined to find out how.


My creative process varies from project to project. I’d never be able to create a piece identical to any of my past projects. Most of my process involves ideating. I have a perfectionist attitude towards the beginning of my creation process. It’s a blessing and a curse. Which is a bit amusing because I hold a romanticized lens when thinking of ideas. But I’ve realized that nothing is ever as perfect as I can imagine it. I use graphite and charcoal for a majority of my ‘production’ process. For every project, I develop a set of textures that I’d later place digitally into the illustration. After many more hours of additional digital maneuvering my aim is to establish characteristics to aid in the emotive aspect by attracting attention to certain areas while creating a path throughout the composition.

Something I love with art is having complete control to display the world in an aesthetic I find pleasing. I’ve found most of my inspiration through poetry. I use to practice spoken word in my younger years. I’ve always loved WHAT ARE YOUR FAVORITE TOOLS TO poetry and its persuasive nature. Poetry has almost the exact set of WORK WITH? boundless boundaries as visual art and Graphite, ink, palette knife, and a cintiq. it can be completely nonsensical, yet, a

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WHAT PIECES FROM YOUR PORTFOLIO ARE YOU MOST PROUD OF OR ARE YOUR FAVORITES? My favorite pieces are usually the ones I’m in the process of completing. I have a love/dislike (not hate) relationship with my work. Up until about a week after creating a piece I get the usual feeling of “eeh”. Which is great since I believe that I should never be completely satisfied. It inspires me to work even harder on the next project. So I love the burst of inspiration I get when I am in the process of creating a new piece. It’s like my old work is yelling at me: “That’s all you got!?”


The finish. It’s intriguing to think ‘wait… .I am finished’. When I am near the finalization of an illustration or design I delaying working for a few hours. So that once I do finish, no matter if it’ll only need a few more minutes of work or a couple of hours, this helps me view the piece with a fresh perspective and a clear conscious.


Flying. I hope this question doesn’t only pertain to art. But if so, flying is an art form. Boom.



Rarely do I ever let my studio get too unorganized. I become a bit obsessive if there is a mess…I think it’s partly due to my mind trying to find reasons to procrastinate. If there is ever a mess, instead of working, I’ll spend the following hour cleaning. And somehow this effort is validated and I have no regrets.

paid for it. But I listen to a lot of mixes. Some of my favorites are by DJ OSHO, Brenmar, and How To Dress Well. As for individual artists I listen to Drake…a lot and out loud. My roommate hates it. But he is slowly conforming. It largely depends a lot on the season, though. Current favorites are Chance the Rapper, PARTYNEXTDOOR, Lucki eck$, & Shlohmo. So you know, I don’t like music.

WEBSITE TUMBLR WHAT WOULD BE A DREAM PROJECT? TWITTER @Bobbertlee I am working on a personal project INSTAGRAM @bobbertlee at the moment that I would have to FACEBOOK say is my dream project. Well, for the time being. It’s been in production for several weeks and I am SUUUPER excited to be sharing it soon.



I get distracted so easily that it’s crazy. So TV shows are definitely out of the question while working. I’ll turn on a show and binge watch like I’m getting

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I work from photographs, most of my subjects are people waiting for the bus, on the bus, tube or escalator. Some are also friends of mine. I only use pencils. From a 2H or a F to a 8B or 9B. I’ve just discovered these Jumbo pencils from Faber Castell, which are fantastic for my big drawings.

What is the story behind the reverse portraits your mouth pencil series? WHO ARE YOU AND WHAT TYPE OF CREATIVE ARE YOU?

I am an artist, my name is Nettie Wakefield. At the moment I am specialising in pencil drawing.

The mouth series and the reverse portrait series are connected in a way because it is all about concealing something from the viewer and making room for imagination to fill in the rest. The reverse portrait series is about challenging the presumptions of the viewer.

YOU HAVE A BA IN ART HISTORY. DO YOU HOW DID YOU GET INTERESTED IN ART & THINK LEARNING ABOUT ART HISTORY HAS ILLUSTRATION? HELPED INFLUENCE YOUR WORK? I have always been interested in art and drawing. I used to draw all over my bedroom wall when I was a kid.


I get my inspiration mainly from my subjects. If I find something aesthetically interesting for whatever reason, I have a bit of a compulsion to draw it. I get this quite a lot with old masters’ paintings and used to draw a lot in the National Gallery. I try to go to as many shows as possible.

Yes I think it has, it helps to carve out a niche for myself and appreciate the reasons why artists do what they do in the context of art history

 I really like Van Gogh’s ‘Two Crabs’ in the National Gallery. The colours are amazing and I think it’s one of his most underrated works



I’m a pub girl. I have a soft spot the coach and horses pub in soho, the warmer castle in Notting Hill, The Spaniards Inn in Hampstead for a sunday roast and my local, the Oxford in Kentish town. I love Barrafina on frith street, Dean street town house, Gordons wine bar, and Bar Italia for a 3am panini.

PROJECT? WHEN WORKING, DO YOU LISTEN TO MUSIC? DREAM Last week I helped my boyfriend, Benedict Wilhelm, who is an architectural interior IF SO, WHAT DO YOU LISTEN TO? I used to a lot. London Grammer, Bjork, Marcus Foster, Ane Brun, Santagold... I’m bored of all my music and I need some more! Suggestions?! Now, I watch movies a lot when I work.


Well, pencil obviously..... I also like to work with inks, acrylic and pen. I want to explore oil painting more in the future.

designer convert a boring boardroom into a dark rainforest where wild animals had just escaped for YSL ... so that came pretty close.


I would love to be able to sing. Sadly, I am not gifted in that department, or to be really good at a sport, like a pro gymnast!


My debut solo show just finished today (7th feb) at the Rook and Raven Gallery which consisted of 13 works in total. 10 A1 size works and 3 A3 works. I’m taking part in a charity auction at Christies on Monday. I have a piece in the Jerwood drawing prize which is currently touring the UK.






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Who are you and what type of creative are you? My name is Kelsey Beckett and I’m an illustrator. I tend to lean more toward fine art, but the possibilities in illustration are very appealing as well. Have you always been interested in art and being creative? Yes. When I was little I was obsessed with watching cartoons and trying to draw them. My brothers also played a lot of video games with characters that astounded me. So my obsession with people and figures came very early on. My most vibrant memory of creativity revolves around Sailor Moon. It was the first Anime I had ever seen, and the style took me over. I watched it every day and tried to draw the characters. If I hadn’t been so surrounded by art (in the form of cartoons,) I don’t think I would be in the same place today. What made you interested in digital illustration? It’s funny because when I started college, I was very against the idea of digital artwork. I was very much a purist - traditional only - and felt that digital work was easy...or cheating. It wasn’t until my Junior year of college that I took a digital media class and found that, yeah, wow, it’s pretty awesome. I was able to achieve the perfection that traditional media hadn’t offered, and I took off with it. The ability to zoom in and add the most minuscule details was frustrating, but also satisfied an itch I had not been able to scratch previously. Limitless possibilities makes the whole medium irresistible. What inspires you? There are a lot of things that have the ability to inspire me, but mostly it’s my peers. I already have the drive to make things, but being able to see the magnificent pieces being created on the daily really makes me push on. There’s such an emotional process that goes in to each piece, and when I’m able to see a finished product from someone else, a process begins in my head that urges me to create.


What is your creative process? Generally I start by browsing the internet, art websites, tumblr, looking for something that strikes a nerve. Once I’ve been inspired, I start to sketch and gather reference - tons of it - until the perfect composition has been set. Then I go into Photoshop, sketch out the idea, pull up my reference and...paint. Generally i’ll have music on (the same playlist over and over,) or a movie in the background I can zone out to. In college I started drinking a lot of energy drinks, so now it’s a staple in my process. Totally mental. If one thing is off, I can’t draw anything and generally get very frustrated and contemplate smashing my Macbook against a wall. Luckily I haven’t done that. Yet. What is the toughest part of the process? The toughest part is when things aren’t going right. I’m a severe perfectionist so if one thing is off, I can’t let it go. If it goes too far, sometimes I’ll work myself up so much that I have to erase the whole thing and start over. There’s also the unavoidable self doubt. Browsing your peers too much can prove devastating. I often flip flop between whether I want to work digitally or traditionally when I see artists like Jeremy Enecio or Soey Milk rocking traditional. I’m still kind of figuring out my medium niche - I love oil paint. But I’m not as skilled in it as digital. The whole “grass is greener” problem arises quite often if I browse too much while working on something. What is the easiest/most rewarding part of the process? Nothing is really easy...other than how good it feels. The good and the bad parts still feel amazing at the end. Even if I end up hating whatever it is (and I generally hate it all,) I still couldn’t live without it. It might seem cliche, but the whole process is essential to my well being. When I’m not drawing, I’m miserable. When I am drawing, I’m still pretty miserable, but there’s a glow to life that doesn’t exist without it. Life makes morse sense when I’m painting, because I know it’s what I’m supposed to do. I don’t know why I’m supposed to do it, or if I’ll even get anywhere with it, but I need it to feel life.

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What tools do you use for your illustrations? I use Adobe Photoshop CS6 and a Wacom Intuos 5 tablet. Well, my tablet is actually broken at the moment, bad solder, so I’m back to using my good old Intuos. The first one ever made, I think. It’s a relic, and a great paper weight, and the only technology I’ve ever used - ever - that still works perfectly. Are you working on anything special at the moment? Not really. Currently every painting I’m making is personal. I would love to participate in more shows or work with more clients, but the wind just isn’t blowing in my direction right now. I relish in the time I have to explore mediums and subject matter. Oil is my next big project...I won’t feel content until I’m able to paint traditionally like I can digitally. What would be a dream project? I would love to be given the opportunity to explore oils without starving to death. A studio, canvas, paints and brushes, and full creative reign. I would be able to do so much more if I weren’t worried about the end result and whether or not it will get me a job/paid. Possibly removing myself from Michigan for a while, going somewhere that I’m not distracted, and being able to fully invest myself in creating amazing things.

website: tumblr: twitter: @Kelsey_Beckett blog:



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Who are you and what type of creative are you? Tommy Parker’s my name and illustration’s my game. Sorry, that was cringey. I’m currently in my final year studying Illustration at Plymouth University. How did you get interested in design and illustration? Like most illustrators and designers, I used to draw a lot when I was a kid. Usually pretty small drawings so other people couldn’t see my mistakes. After going through primary and secondary school, I studied Fine Art at Somerset College. It was pretty experimental which I enjoyed and towards the end of my second year, my work took an illustrative approach, so naturally, I applied for the course at Plymouth. What inspires you? Obviously I enjoy an awesome drawing and piece of illustration, but I enjoy looking at gritty and atmospheric photography. Fashion is also really great for references when it comes to character design. I’m also a pretty tidy man so I really appreciate graphic design, mostly UI design. It’s just so clean and precise. Mmmmmm yes…. What is your creative process? I usually start off by taking a look at my brief, analysing the important bits and getting stuck in by just drawing. I tend to just instantly sketch the first thought which comes to my head and forget it so I can focus on a different idea. This really gets my creative juices flowing and thinking conceptually as well as visually. When it comes to style, I’m all over the place. It irritates me sometimes that I can’t be recognised as an individual illustrator because my style varies so often but at the same, I enjoy being so versatile that I feel as though I could tackle most briefs to a semi-professional level.


What are your favorite mediums and tools for your work? I don’t like to be strapped down by one medium. I play with pens, pencil, ink. The usual suspects. I usually take my traditional stuff and add the colour digitally because I’m not great with colour mixing traditionally. If I had to pick one of my favourite mediums at the moment, I would have to choose Ampersand Claybord (scratchboard) and indian ink since it’s really new and fresh for me and is really fun to scratch into. I’m planning on doing a book cover with it, providing I don’t get sick to death of it. What is one thing you couldn’t live without? My pocket sketchbook and pen. It’s great for when I’m feeling run down and out of ideas. I can just pick it up and draw from observation. No conceptual design or compositional thinking. Just drawing. What would be a dream p; roject to work on? I really have no idea. A project is what you want it to be. I like to believe you can turn any boring subject into something. I guess anything with a free rein on it is good enough for me.

website: twitter: @tommydraws instagram: @ tommydraws_ facebook: /TommyParkerIllustrationandDesign tumblr:

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HOW DID YOU GET INTERESTED IN ILLUSTRATION? My path to the visual was not direct. It was during my degree in MA European studies when I fully acknowledged a keen urge to give my investigations in the world a pictorial dimension. I completed the course, moved to London and started a graphic design course within which I focused on illustration. Illustration has been the tool of my choice and the medium with I’ve continued to spend most of my most time.

I guess it happened naturally illustration is very tightly tied to the client/commercial side of the creative world, so taking illustration seriously and with a professional angle seemed like a healthy and rewarding choice.


I guess my answer here won’t be so dissimilar from most artists and image makers out there - my inspiration is the world around me, the banal, the everyday. I like to depict the overseen and boring, often it can be just sifting through a magazine where two different picture spark an idea and a story.

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My creative process is most of times very straightforward - the brief from the client usually sparks some pictorial ideas almost immediately, then I go and expand on these by further research - endless browsing and Pinteresting. What follows is a sketching down of the main ideas and visual combinations on paper, which I subsequently scan into computer and begin to work with digitally. Then, tracing the linework in Illustrator, which although it is often a very long and seemingly mundane process, happens to be my favourite part, as it is usually during this lengthy menial work that further ideas spark up and the whole project takes on additional layers of depth. Finally, I move on to the digital colouring and eventually texturing - that is applying of a small dots or miniature lines over the drawn object - for example hair, to achieve a textured non-flat quality.


I guess the goal is to strike a healthy balance of interesting (and sometimes less interesting) commissions with the financial benefit versus personal projects or small scale fun projects for non profit purposes. My solution is a part time job on the side at Saint Martins College that offers a certain degree of financial stability and often a healthy break from illustration good recharging time! Also the time to spend on things is something I really have to fight for. Especially as there are always projects to do, companies to email and people to see. But it is all doable!

WEBSITE: TWITTER: @martinapaukova

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Who are you and what type of creative are you?

I’m Mossi. I’m an artist and designer based in Seoul, Korea. I began to draw strange masses called ‘Face’ series about 3 years ago. Meanwhile, I make different art pieces except of drawing ‘Face’. For instance, drawing ‘Body’, painting a beer can, making a collage and so on.Currently I really enjoy drawing ‘Face’. Some people also love my ‘Face’. I like it. I call my artworks ‘Analogue Multi-Dimension drawing’.

What inspires you?

Sometime, I was asked this question but I don’t know what inspires me. I mean. I really enjoy to collect music, I mean CD and MP3, and listen to music. But music is music. I seldom go to library or gallery to see others’ artworks. Mostly, I just draw something on paper with

a pen. If someone forced me to answer what inspires me, then I would say it’s a pen. In the very begining of my artist career, my drawing starts from an unconscious and a pen.

What is your creative process?

I draw something on paper with a pen. Then I scan the drawing into the computer and enlarge the size and color on it. So simple My drawing process begins with tiny short lines. They soon form 2 dimensional mass and later become complicated 3 dimension-like wire frame as 2 dimensional masses are crossed or symmetrically arranged. It may look like that they are created with 3D computer software but with a pen. Therefore it’s ‘Analogue’.However, I may not draw ‘Face’ anymore in the future. I may paint ‘Bottle’. Whatever..

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What is the most difficult What is one thing about being an accomplishment you have artist? The easiest? You know, there is no territory between good or achieved with your art? in art.That is the most difficult thing. Or would like to achieve. bad I always think and try any method to gain more I hope to have more fans than now. That means I could afford to live with my artistic activities only. I’m skeptical about the situation of graphic design field. Today’s graphic designers gradually become small components of big companies. There is no hope. They - including me - are just visual workers. Don’t say that they are creative any more.

attention to myartworks than now. There is no easiest thing in the world. Ha!

website: twitter: @mossivisual facebook: /mossitheartist

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WHO ARE YOU AND WHAT TYPE OF CREATIVE ARE YOU? My name’s Ross Ingielewicz, I’m 21 and I’m an Illustrator based in the SouthWest of England - currently in my final year of my degree.

Final Fantasy series, Disgaea. Music, television, haha there’s so much, I won’t trail on, but my personal Tumblr blog is a culmination of all of these things if you’re interested in some further reading.

HOW DID YOU GET INTERESTED IN ILLUSTRATION? I’ve always had an interest in drawing. I think it’s a common story with a lot of us, but I’ve been drawing since I can remember - drawing from cartoons, comics and video games, which kind of formed and spiked my interest in art, and eventually I ended up on an Art and Design A-Level where I discovered the subject of Illustration, then followed a brief year studying Fashion, where I realised how much I wanted to draw. Which is how I ended up studying Illustration at University, which is where I am now.

I also generally absorb a lot from my surroundings; the weather, people, faces, clothing, buildings, furniture – it all kind of feeds quite directly into my output, although my work may not look particularly personal, a lot of what I include is. I also try to keep a timelessness within what I create. I find a real joy in referencing old objects and not contextualising my images in any particular time period.

WHERE DO YOU GET YOUR INSPIRATION? So many places! Haha, it’s hard to put a list together, but I’ll try. I really love film, particularly the films of Park Chan-Wook, Studio Ghibli, Satoshi Kon, Quentin Tarantino and more recently Wes Anderson. I get a lot from Fairytale narratives and Haruki Murakami novels. I have a big interest in Fashion, which kind of dulled during the year I studied it actually, but I particularly love the photographers Tim Walker and Nick Knight; I really enjoy any works that marry together the idea of reality and fantasy. Video games too; Zelda, the

WHAT IS YOUR CREATIVE PROCESS? I’m a keen researcher when it comes to illustrating. I love having a good understanding of the subject or theme I’m dealing with, so I’ll generally start there; absorbing any information I possibly can and developing a mental mind-map. Things are pretty fluid from there, I’ll draw out anything in my head, thumbnail, collage sketches on top of each other until compositions develop themselves. My sketchbook is gaining more importance as I go on, I’m beginning to use sketches from the development process within the finals to capture more energy from the process within the final images I make, the real challenge is merging all the different ideas and methods in my practice. WHAT ARE YOUR FAVORITE

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TOOLS AND MEDIUMS FOR YOUR ILLUSTRATIONS? I love drawing in pencil, and I generally draw all the parts to an image separately, then compose them together within Photoshop, which is where I usually colour. Sometimes I’ll incorporate ink and watercolour, but digital media is quite a new and exciting thing for me.

WHAT WOULD BE A DREAM PROJECT TO ILLUSTRATE? I’d love to have some more time to dedicate to a narrative-based project, I love working with old folk-tales and stories, and I really want to do some more creative writing and sequential imagery type stuff. It’s hard to say a dream project because I really just want to do everything – haha.

WEBSITE: // TUMBLR: FACEBOOK: /rossingillustration // PINTEREST: /rossrossrossing

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Who are you and what type of creative are you? I’m Charlie, a Graphic Designer from the UK. Born in Bow, East London, I have grown up on the scenic Isle of Wight. I am a recent graduate of Plymouth University’s Graphic Communication with Typography (BA Hons) course. How did you get interested in graphic design? I remember when I was probably about 11 and I had just become obsessed with football (soccer depending where you are) and I used to draw out the kits, sketch crests and logos just for fun. At school, I guess I didn’t really treat Graphic Design, Art and Photography lessons as lessons, more like free time to be creative and see what I could design/make/build. My interest just grew from there. I cite my A Level graphics teacher as an influence on my career choice. It was due to him that I enjoyed that lesson, taught myself out of hours and experimented using Adobe software. I wanted a job where I would look forward to going to work every day.

Where do you get your inspiration? I get my inspiration from a variety of sources. I have a list on my phone where I store all my spontaneous ideas, projects, eureka moments and artists/agencies to look at further. Ideas, some good, some not so good, hit me all the time. Like most designers, I’m always trying to develop my own style and identity so I constantly question how I can make an idea my own. I love challenging myself to something I haven’t done before. A few influences of mine have always helped inspire me. A somewhat cliché influence is Andy Warhol; I remember how my earlier work used to mimic his grid layouts. Matt Moore’s vibrant work for Nike has always stuck in my head, it probably was one of the first pieces of contemporary design I’d really noticed and appreciated compared to the usual works of Carson or Glaser. Something I’m always attracted to is vibrant use of colour and I think you can see that reflected in some of my works. The designers who I’m currently inspired by include Kate Moross, Leif Podhajsky, Anthony Burrill and the works of agencies SNASK and ilovedust. The Isle of Wight,

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although not insane in terms of nightlife and culture, has something about it that inspires me. My interest in photography is encouraged by the Island’s natural beauty and I do like to use my photos in my design work. Landscape photography has always interested me and I do live in the perfect place for it.

What pieces from your portfolio are you most proud of and why? I’m proud of a project called FESTIVALL. It’s my proposal for a service that works alongside event organisers to assist and guide the public, ultimately with the aim of improving their experience and generating order from the chaos that festivals and events can bring. I created all outcomes using luminous inks and silkscreen printed onto those luminous inks. I’m proud of that project because I used my Mac as little as possible and used silkscreen printing as much as possible. Another project i’m proud of is my ISTD (International Society of Typographic Designers) entry entitled The Circus Museum, a typographic identity conveying the past, present and future of the circus. The project’s aim was to change perceptions, banish eerie Victorian themes and attract a new audience. A huge amount of work and typographic specification was required with this entry so I was very satisfied with the outcome after all the time and effort I put into it.

What is your creative process? That entirely depends on the project or brief. Normally I would analyse the brief, if there is one available, and write down my initial thoughts. This tends to lead me to sketch out possible ideas and directions. I try to put off going on to my Mac as long as possible but that is the next stage of my process, and probably my most productive stage. I tend to lay out an Adobe Illustrator document and just play, placing some of my sketched ideas and scans and just treating it as experimenting. If the job is for a client I always give them a few design options, everyone loves to choose and make their own selections. I try to give them the opportunity to do that. If its a more personal project, I still tend to have lots of different versions of designs. website: Twitter: @C_N_Design What is the most challenging and rewarding part of the process? The part when the idea works with the outcome. What’s the point to a design without a concept. That’s what graphic design is about. What would be a dream project for you? It would have to be a project that would unite people. A project with a purpose, not just for corporate identities or for profit but something to engage people and society.

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Hello! My name is Andy Stuart Mills, 26, and I’m a UK based Illustrator tucked away in Devon. I worked my way through a BA Illustration degree at Plymouth University and now I’m about to enter the real world again as a working illustrator. I’ll be bringing my rabbits with me as always.


I always knew that I’d be happiest doing something creative with my artwork and had always pursued it at school, but it actually took a long time for me to realise that ambition. After A Levels I panicked and thought ‘I’d better do a real degree!’ and subsequently

spent a few years changing courses trying to find something that suited me, but ultimately I left and wasted a few years jumping between bar work and bank jobs. It was actually when they announced that the student fees would be increasing that I realised it was my last chance to do what I had always loved, regardless of whether it brought me financial success. Besides, it was only a matter of time before I got complaints over drawing on people’s bank statements. The great thing was, on the first day of university at Plymouth, I knew I was exactly where I was meant to be. Since then I’ve rediscovered my artistic self and learnt so much while on the course. It just goes to show that you can never give up on your dreams and that it is never too late to start doing what you hoped for as a kid.

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From the earliest days that I can remember I have loved stories. Being read to as a child and marvelling over the artwork that went alongside it sparked my imagination. As I grew up I never really stopped seeking out narrative, whether it be in books or film. This last year I have taken the next step and started writing narratives of my own to illustrate. We invest so much of ourselves in stories and I think it is such an important part of life. You only have to stop and take a look around you to realise that there are so many stories happening everyday, just waiting to be told. I want to be a part of that experience. As for what inspires me, I have a very, very long list of illustrators, but I suppose the key ones would be Yoshitaka Amano, Kent Williams, Jillian Tamaki and the greats like Arthur Rackham and Aubrey Beardsley. You know when you are in love with someone’s work when you are both amazed and sickened at just how good it is.


When it comes to adapting a book or a theme, I always start with a massive mind map. I’m talking about the size of a wall here. Luckily my Dad is a painter and decorator and has excess amounts of wallpaper for me to work on, but having such a large canvas really helps. I’ll just start writing down words or printing off images that spring to mind and then just let myself branch out instinctively. When doing this I try to shut out any noise or distraction so I’m not influenced by anything so that it really is a subconscious exploration. By the end of it I’ll have arrived at words or images that challenge the brief and me and start to generate imagery from that. Then comes the fun stuff.

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I’d say the toughest part of the process for me is creating dummy books. Although I dabbled in illustrating books and covers, creating a single image felt like I hadn’t fully explored the narrative. I wanted to tell a story from start to finish, not sporadic spot illustrations. However, creating sequential art comes with a whole bunch of challenges. Page limits, page layouts, image to text relationship, the pace of the narrative and the visual impact you have when you turn the page all needs to be considered and refined. This was fine when the story was only five pages long, but when you get to twenty, fifty, one hundred pages that each need to be carefully considered and tinkered with, that’s when you lose days. And then you have to do multiple versions. It can be very demoralising looking at hundreds of rough sketches and not yet being ready to render them, but that feeling is countered when you do get to that last completed dummy book. Seeing the story from start to finish, holding it in your hands. Its special, its like you’ve just created a little world that you’re dying to invite someone into and experience. That’s what a storyteller does; they create a whole other life for someone to lose themselves in.


That has been the most troubling thing for me these last few years. I’ve experimented heavily from ink, gouache, acrylic, charcoal, etching, pencil and digital and at the moment I can’t say which one is my preferred method. On the flip side of that though it does mean I am flexible to work with any of those mediums, and not be forced to work with a tool that doesn’t fit with the mood of the story I’m currently working on. I think it can be quite intimating when you

get asked that question, like you have to make a definitive statement as to what kind of artist/ illustrator you are. I’d like to think we are all experimenting and changing with our own styles constantly. I know I get bored using the same medium for too long.


I used to always have a film on in the background when I worked, but I have found them to be more distracting than anything. Also, with the way I work, it doesn’t help if I have to break from my ‘work mood’ to go and change a disk every hour and a half. Someone suggested I try audio books instead and they have been a great revelation for me as it kills two birds with one stone: I get to catch up on my reading and they are a good way to trigger my visual creativity, I highly recommend it!


I do actually have a story in the works that I consider my magnum opus. I wrote it a couple of years ago and return to it every now and then, so I’m waiting for the chance to turn that into a book. I’ve always told myself though that if I only ever get one book published then I’ll be happy... of course, more would be lovely!

WEBSITE: FACEBOOK: /andystuartmills TWITTER: @AndyStuartMills TUMBLR:

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Thank you for reading! Be sure to follow us on the sites below for updates on future issues and how to be featured! Website: Twitter & Instagram: @inkarrowsmag Facebook:

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This is the sixth issue of INK & ARROWS Magazine. Interviews and features from Kelsey Beckett (the artist on the cover), Nettie Walkfield,...


This is the sixth issue of INK & ARROWS Magazine. Interviews and features from Kelsey Beckett (the artist on the cover), Nettie Walkfield,...