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issue FIVE • free

yume magazine - issue f ive INTRO: So if this was a fifth date what would that mean? Where would we go from here? I bet your wondering if we can keep that spark going and outdo ourselves each time. Well lets hope we can because so far we’ve had an amazing time and met a lot of amazing people, but I guess at this stage, hopefully you’ve begun to realise we’re gonna be sticking around. Also, I don’t mean to brag but I think we look as good inside as we do on the outside. Lucky for you I’m talking about Yume, and lets be honest here, Yume’s love life is blossoming a lot better than my own. Again we bring you beautiful women, great art and some things that have really made us appreciate some of the crazing work you creatives are doing out there. Great photographers are getting younger and younger and artist are using more outrageous mediums. So please, enjoy issue five, follow us on Facebook, tell your friends, stick your stickers on your cars and spread the word so we can keep growing! Enjoy L.S.


Caroline Onder shot by Sam Sulam



maike plenzke megan k eagles joseph marintez luke saliba hot rodded pins marguerite sauvage nick suarez jonne johnson james harvey sam sulam cameron taylor

This spread:

Lauren Burgess shot by Luke Saliba

Maike Plenzke

megan k eagles MODEL SEREN GIBSON

matchbook paintings by JOSEPH MARTINEZ

See more wonderful work at Josephmrtnz.COM


See more wonderful work at LUKESALIBA.COM

HOT RODDED PINS TIM REID tells us how he turned his passion of pinball machines into a successful career. First things first, how did this obsession begin?

Well, after completing a Primary Teaching degree 4 years ago, I rewarded myself by purchasing a pinball machine. I had always enjoyed playing them in arcades but never really considered actually owning one. After a little digging online I found that they were available for sale and I made my selection (Williams Funhouse for good reference). While the game technically ‘played’, I was CERTAIN that it would’ve played much better when it left the factory some 25 years earlier. The flippers were sluggish, and the lights and targets were filthy with years of grime build up. The playfield (the surface the ball rolls around on) was worn away in areas and the cabinet was barely holding together. At this point, I hadn’t really considered a pinball machine as a piece of art –

but the more I looked at this game; its mechanics, electronics and visual design; and how they all complimented each other – I really became obsessed with the idea turning this rusty old game into a piece of ‘playable art’. I quickly scrapped the idea of simply getting the game playing nicely, and began documenting a new process. A true, ground up restoration. I photographed and referenced of every square inch of the game, and began stripping all the parts off the playfield and from the cabinet. Anything broken – was replaced. Anything that could be cleaned was washed, polished or waxed and carefully labeled and documented. Rusted parts were sent out to be stripped and plated to last another life-time. Anything that looked like a factory flaw was given attention and dialed in. There are hundreds and hundreds of individual parts that make up a pinball machine

and I remember spending countless hours developing a refinishing process for each one. I really became obsessed with the idea of making the game perfect again. When it came to correcting the damaged playfield artwork and solidity of the cabinet – I was fortunate enough to already have some basic knowledge in the area of paint and refinishing work, along with a very patient father who I really need to credit for instilling the passion to always do something to the best of your abilities. I repaired the playfield and cabinet, and rebuilt the entire game with the fresh parts over a few months. Turning the game on again for the first time after restoration was both incredibly nerve racking and rewarding. Nerve racking before I turned the game on for fear of something being incorrectly wired; rewarding after the game came to life and looked as nice as it did 25 years ago (and didn’t catch fire).

As I had been documenting this project from day one, I decided to share the information on an internet pinball forum for other members to view and comment on. The project had a great response from members and it wasn’t long before I had collectors emailing me asking if I would be prepared to apply the same process to their games. While the offers were extremely flattering, I ultimately declined the work as I wanted to improve on all of what I learned from the project. My second pinball purchase ensued (Williams Terminator 2) and this project was used to prototype the idea of managing a restoration start to finish. I considered what order to do things in, when to order parts, when to install certain things and how to test them

before going too far with the project. I also considered the cost of purchasing a new part versus the time spent restoring the old one. If I was going to offer this as a service, it had to be realistically affordable for the client. Once this project was finished – I was confident that the end result was far superior to that of the first restoration. Not only did the game present and play better; the project followed a path I felt would be economical for a potential customer. So in reference to the initial question, ‘how did all of this come about?’ - I really have to credit those early enquirers for the idea of offering a pinball restoration service. Thank you.

great back story, what about the business?

When people ask me what I do for work; and I reply “I restore pinball machines”, more often than not I am greeted with an unsure look and a passing smirk as if to say… seriously? The reality is, yes – I do restore these games – and while it is a lot of fun, and extremely rewarding; it has become a serious business none the less. Hot Rodded Pins (HRP) was born shortly after the two games detailed above were completed and is now coming into its third year of operation. I chose the name based on the fact car restoration and hot rod building are synonymous with attention to detail and are generally very laborious tasks. This complimented the type of work I was striving for and as such it now serves as a brand of quality and

workmanship in the pinball community. The projects commissioned to HRP are shipped from all over the country, some internationally. Every pinball machine receives the same restoration process regardless of rarity, title or age. Each project ‘generally’ takes 150 -200 hours; and will spend anywhere from 4 – 6 months at the shop. As restoration by nature is full of variables, like tracking down rare parts or making replacement pieces, we work on 4 – 8 games at any one time to ensure the business continues to operate smoothly. Is HRP just a one man operation?

Absolutely not. I think one really important aspect of running a business is to know your limitations, and to always

be open to advice and knowledge. While I own HRP, I operate the business with Stuart Coltish – who came on board 18 months ago when I wanted to take the paint and cabinet restoration work to the next level. Not only has he become an integral part of the HRP operation, we have both worked hard to develop a unique process that people recognize as one of the best ‘all-round’ options for pinball restoration in the country. So what comes next?

Well, that’s really exciting… but I’m not sure. I have had way more positive feedback than I have had negative over the years and that is always a good indication that people are happy with the service on offer. That being said, I certainly don’t want to feel like we have

reached a plateau. We are constantly reflecting on what we have achieved thus far, and how we can take the projects even further next time round. Anything else to mention?

I would simply like to thank people for taking a real interest in what this business is about and supporting what Stuart and I are trying to achieve with the projects. I recommend checking us out online. We provide an online portfolio with examples of some of our nicest restorations. Any questions about the business can be directed to


love! sydney based french illustrator marguerite sauvage gives us aN insight behind her beautiful illustrations! Hello Marguerite! First up, I just wanted to say that I used to have one of your illustrations as the wallpaper on my old flip-open mobile phone many years ago but didn’t know who the artist was until this interview! Can you tell us a bit about yourself and what you are working on at the moment?

Hmm maybe I should start signing all of my images! About myself; I’m Marguerite, hello, nice to meet you. I’m mainly an illustrator but I also do a lot of things like script-writing or concept-design because I’m really curious about a loooot of things. Don’t ask me to cook, even though I’m French, unless you want me to accidentally burn something! Currently I work on some nice projects for Skipping Girls through Jacky Winter and Pureology in London. One of the things I’ve always loved in

regards to your style is your colour palette and elegant line work. What sort of influences played a part in shaping your own personal style?

René Gruau, Alphonse Mucha, Robert McGinnis, Moëbius, Kandinsky, Franz Kupka, Bob Peak, Mark Riboud, Henri Lartigue, Wes Anderson, Alejandro González Iñárritu, Agnès Varda and thousand others! In some of your earlier work you sometimes use the roughness of actual pencil lines to great effect. Do you still use the old paper and pencil or have you moved everything onto the computer like some other artists seem to be doing?

I use a 3mm 2B pencil for lining. If I have no choice than using computer I create my own brushes to keep this “traditionally hand draw” look. Nevertheless I don’t want to lose the

paper and pencil choice. I already feel that computers, as playful and useful as they are, also cut me away from a bit of the sensual and emotional aspect of drawing. Feeling the material under your fingers, the direct contact and the real confrontation with your artistic process. It’s something quite subtle and hard to explain but I think most of artists can understand what I mean, do you ? Yes absolutely! Can you tell us a bit about your process for one of your illustrations?

I read the brief or have an idea or an envy (in the case of personal work). Explore this idea and find more ideas. Sketch, sketch, sketch! Look at the drawing. Be grumpy or happy. In case of grumpiness sketch again until I get a good image. Scan, clean, compose, color ‘til satisfied and that’s it!

What is your studio/work space like? AND What sort of music do you listen to while you work?

I’m not in a settled work space for the moment, but there is still some essentials: plants, posters of typography, illustrations or of souvenir images on the wall... and a lot of messy paper to be sorted! When I work most of the time I just listen to radio news or radio programs. I love the scientific ones of Radio France and ABC Radio National. When I want a brain break I listen to music such as PJ Harvey, Eric Satie and Sigur Ross on Grooveshark.

Did you always want to be an illustrator growing up? When did you decide ‘this is what I want to do for a living’?

You are originally from Paris, what made you decide to move to Sydney, Australia?

Oh no, I wanted to be fuel-delivering lady, then a vet, then a judge or a lawer (I studied law at the Uni) then a journalist (then I studied law of media and journalism). Finally when I post-graduated at Uni I realised I was always doing things to satisfy everybody else except me, so I decided I must try something to do with my drawing skills. Now I would like to be a vet again, a drawing of one of course!

awwww That’s sweet! And that brings us to our Final question: what do you love to do when you are not making art?

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Love !

Discovering fabulous Australia, meeting people, watching good things, eating good food, reading good books. I’m not complicated.

nick suarez

out of the shadows. photos by JONNE JOHNSON MODEL Giza Lagarce

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the strangest thing happened... UK illustrator JAMES HARVEY shares with us his amazing story about how he devEloped his awesome style. One of the things that stood out to me about your style of illustration is that they have a LITTLE bit of a manga-esque flavour to them. How did this style come about for you?

I’m really glad you asked that, because it’s a long and interesting story. It began while I was hiking up Mt. Arashiyama in 2008. I was stranded by a freak snowstorm. My guide was swept down the mountain, as were the rest of my climbing party, and I was alone. After hours of blind stumbling, feeling my way along the rock with my frozen fingers, I managed to find my way into a cave which I hoped to use as shelter for the night. I saw the debris of a campsite from maybe a hundred years previous, and the body of another poor soul who had lost his life on the mountain before me. Retrieving bodies from mountains is an expensive

and dangerous process, and so many mountain peaks are to this day a grim open graveyard, the trail to the summit a parade of perfectly preserved corpses, a who’s who of who didn’t make it.

frozen peak. But my body was spent. I lay down next to the malnourished little flame and waited for release from this white, frozen hell, whether through death or through rescue.

I managed to get my camp burner lit and attempted to thaw my frostbitten body. Looking around the dead campsite, I saw an old trunk on a bed of logs and ropes that looked as if it had taken tremendous effort to bring to this spot- what could be in there? I managed to get it open using my shoulders and the tips of my boots, not wishing to risk my extremities- and inside, perfectly preserved, I saw hundred of issues of Osamu Tezuka comics, as fresh as the day they were printed. Wasting no time, I began ripping the comics apart and stuffing them inside my snowsuit, plastering them to my body. Soon I was far warmer than I had any right to be, half-way up this

As I drifted into sleephood, though, a golden warmth flowed over me. And then, as clear and as real as you are in front of me now, the great Buddha appeared before me looking exactly the way he does in Osamu Tezuka comics, his huge eyes shimmering with a steely intensity. “You died here tonight,’ his honeyed voice boomed- as pure as a child’s but as powerful as that of Moses when Charlton Heston plays Moses in films. ‘You’re shinjin now. A new man. Now, you will give that life to me.’ ‘From now on, what will stand out about my style of illustration is that they will have a bit of a mangaesque flavour to them,’ I said.

The Great Buddha smiled in acknowledgement as he receded from my vision, transient as a dream. The snowstorm continued to rage, but now death seemed as far away as this summit had once done back at base camp. I made it back to base camp at around 10am. My guide (a human-sized baboon, whose powder blue snowsuit dashingly complimented his bright red face and golden fur) was miraculously alive. ‘Hah. Don’t worry about me. If I could be killed that easily I would have been dead a long time ago’, he told me in Japanese, a language which I do not speak. I’m pretty sure that’s what he was saying, though. He went on to tell me that I’d been taken for dead by everyone. ‘Well, the strangest thing happened,’ I began, reaching into the lining of my snowsuit to retrieve the comic books that had saved my life- but I stopped there. They were gone. WOW!! Was this before or after your teaching gig in South Korea?

I went to Japan during the summer holidays, when I was an English teacher in Korea. I was on my way to Australia but got stranded.

You published a comic about a day during this TIME IN Korea teaching English. What made you decide to Travel half way across the world to teach elementary kids?

Needed the money. How is your book ‘Zygote’ coming along?

In terms of writing/layout, I am right now about to finish the final draft of Zygote. I’d finished drawing it completely, maybe 6 months ago... then I decided to show it around to people and hear feedback, let it settle and breathe, and see what was working and what wasn’t. Then late last year I started adding new material that fleshed out some of the relationships in the book, and... by the time I I was done, the book had doubled in size. I finally feel like I’ve figured out what the book is really about, now it’s time to stop writing. The book’s changed a huge amount since I first began it, as have I. When can we expect IT to be released?

Zygote’s still a ways off. At the end of last year, I’d finished drawing the book and wanted to sit on it a little. Since then, I’ve re-read it, thrown a bunch of it away, re-worked a load of it... and so, the completion needle’s moved back a good few points. So people are going to have to bear with me for a good while longer, but it’s going to be worth it. This book sounds like it has been a massive project for you over the past year. What’s next for you once it’s finally wrapped up?

As for my other projects beyond Zygote... subscribe to my Twitter (@jamesharveytm) and Tumblr for updates. I have a lot of plans, but it’s too early to talk about any of them right now. Sorry!

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ADAPTATION photos by SAM SULAM MODEL Caroline Onder @Request mAKE uP aRTIST tara e taylor styling amelia schussler

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winter wonderland While I write this it has been a little over a month since arriving back from my trip to Canada and I would be lying if I said I have not thought about going back soon. Although it was cold, (actually it was really, really cold) it doesn’t seem to stop you from doing anything apart from maybe feeling your fingers or toes. In my opinion the country is meant to be travelled in winter. I have skied in Korea and different parts of Australia but these places seemed shadowed by the size of Whistler and Blackcomb. It took almost half an hour just to reach the main skiing area on the Gondola and the first time you get up there and look down your sense of vertigo really kicks in. Banff was the picture of winter. There is something about the snow covered mountains, pine trees, log cabins with chimneys smoking and chasing a deer down the street with a camera that make you completely forget about the city. Vancouver left us spoilt for choice with food and shops. The street food culture in Vancouver is something that really needs to catch on in Australia. The option to grab a quality naan kebab, Japanese style hotdog or authentic Mexican tacos on the go was pretty neat. We don’t seem to get a lot of Canadian beers over here so I never would have guessed that they have so many great breweries and microbreweries but it was certainly a nice surprise. Next time you are thinking of getting away over December and January, leave your boardies and grab a coat or two and hit up Canada.

WORDS and photos by cameron TAYLOR. See more wonderful work at

cameron taylor




Luke Saliba

No part of this

Henry McCoy

publication may


any way without

and layout Henry McCoy

be reproduced in permission from the publishers


So! Here we are again at the end of yet another issue. Time for us to say goodbye, thanks for coming, see you next issue, yadda yadda yadda, I’ll just gonna try and keep this short and sweet! I just want to take this opportunity to say a very big thank you very much to The RK Group and the Mooregrace Company

for kindly helping us out with production costs. Without their generous donations, you probably wouldn’t even be holding this magazine in your hands right now (unless of course you are reading this online in which case, you better not bootleg our magazine!), so make you check them out if you need an event catered in Geelong or are looking to get into acting.

And lastly one last shout out to all you guys! Your support and encouragement keeps us striving to make each issue better than the last. Also we love it when you guys randomly send us your photos and artwork. Seriously, keep up the wonderful work! Until next time. H.M.

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