Natsuki’s hope is that her illustrations can make people happy, even if for just a moment.

I have a style that is best described in colour and realised in detailed design. Bold vibrant colour forms the basis of a working practice that seeks to unite dreams and reality. I try to give the viewer a feast of colour and complexity, my surreal macabre touches are the counterpoint to my sweet and childlike innocent subjects.

My working process is simple, I do a lot of research then roughs, work on my original ink/pencil drawings as much as I need, sometime I digitally colour onto the original as well, then give it a clean finish!

© Natsuki Otani, 2012

Henry lives and works along the east coast of Kent, UK. It’s a place that may influence his work, we’ve never been there but his illustrations definitely remind us of the thick patchwork of other heather-lined areas of coastal Britain.

On his work, he says, “I think, for me, it’s all about drawing and I like work that looks like it’s been made with pens, ink, pencils, paint, paper— with no artificial additives! But, within that to make a believable world with its own set of internal rules to excite and intrigue”.

© Henry McCausland, 2012

It complements her choices of subject well, where she often depicts epic scenes of curious lands, perfectly enchanting for children with a sense of adventure. She tells us more.

Drawing is definitely the most important and enjoyable part of my illustration process. I love working on any project that involves a lot of drawing, which is probably why I enjoy making large scenes so much. Architecture and people are my favorite subjects.

I usually use either a rapidograph or a mechanical pencil and then Photoshop for color. Occasionally, I will dabble in watercolor. When starting an illustration, I usually like to dive straight into the drawing and build from there. My sketches are very loose, which I like, because it keeps me engaged in the drawing process.

© Vikki Chu, 2012

It investigates the development of cybernetics, the history of the internet, the rise of ‘Web 2.0′ and mass intelligence gathering and the interconnected histories of the counterculture, and explores the implications of new systems of societal manipulation and the development of a ‘control society’ alongside historical and current responses to advances in technology.

It will be showing at the Science Museum in London from March 7th to May 1st 2012.

As well as a book, which you can win via this Facebook competition,  the artist has created a series of tarot-style card illustrations that accompany the exhibition, shown below.

© Suzanne Treister, 2012

To win the book, head over to the facebook competition here.

“My equipment is pretty standard, my favourite inking pens are Microns. From time to time I use a Sakura brush pen, when adding line weight to the design is important. I mostly stick with the Microns, though, as I feel they give the cleanest lines.” 

“This picture is inspiring to me as I grew up on the Queensland coast, right next to the Great Barrier Reef. Brings back good memories, which helps when your stuck with rain 90% of the time …  (Thanks England!)” 

© Dooom, 2011.

“I work in different techniques, ink on paper, silkscreen prints and acrylic colour.  Computer-generated illustrations have been an easy method for me while travelling, still my love for real silkscreen prints is stronger. In my Berlin neighbourhood I am regularly seen at the silkscreen workshop ‘shining’ and loving mixing colours and creating my images.”

© Monika Aichele, 2011.

“When I work I like to build narratives in my head.”

“These narratives are personal to me and don’t necessarily find their way into my finished work as stories, but they do help me to connect with the characters I draw and the scenes they inhabit.”

“Technically, I tend to approach my work in varied ways as I don’t want to feel that I am limiting myself to a few specific tools and techniques. I try to be open to what feels more natural to the project I am working on.”

“However, at the basis of my work there is always pencil on paper.”

“The feeling of the paper is quite important. I particularly like Sennelier sketchbooks and more recently an Italian brand called ‘Skizza e Strappa’. They produce big pads of office paper, very delicate. It has a quality that I can’t seem to find elsewhere!”

One of Agnese’ favourite places, an area near where she was born.

©  Agnese Bicocchi, 2011.

For Tim Bierbaum, quick, unplanned drawings are part of his creative process, although you could hardly call many of his detailed, humorous drawings ‘doodles’. He tells us more.

“In addition to illustration, I work on a lot of films, commercials, and design work (posted here). I like to have a lot of these different projects going on at once so, if the inspiration for one thing starts to drop, I can move over to another with a fresh perspective.

As a result, I’ve created many projects for myself that can fit into tiny pockets of down time. This sketchbook is one of those projects: the drawings are mostly done during a meeting, while I’m on the phone, eating lunch, or when I take a quick break from the computer. If I have a couple of minutes to kill, rather than opening Facebook, I pick up a pen and just start sketching.” 

“Most of the content isn’t thought out; I just start drawing and see where it leads me. Or, I sit for a moment with a pen in my hand and see what images come to mind. Sometimes, a picture comes up on my screensaver and I start to copy it. Whatever it is I’m drawing, I’m trying to capture a specific mood or emotion, I’m not trying to create some sort of cryptic symbolism or something.” 

“I usually draw with either Micron pens or a Pilot G2 Mini. The G2 has a nice line but smudges very easily, which is annoying. Most of the time I don’t pencil before inking.”

“I’ve attached a photo of my workspace. I have no chair at the moment so I’ve been sitting on the arm of the sofa, which sort of sucks.”

© Tim Bierbaum, 2011. 

You mention on your site that you abandoned Photoshop in 2010. What brought on this decision?

The first thing that led me to question using Photoshop as an illustration tool was that, like many other illustrators, my line was hand drawn and scanned in, but the colour was flat.  Even scanned in textures take on a sort of Photoshop flatness!   It was only when I started painting with watercolour that I realised how much short cutting and corner cutting I was doing working with Photoshop.

When using watercolour the drawing has to be spot on before you start painting.  Watercolour is easy to put on, but dreadfully difficult to paint over or rub out!  With Photoshop I found I never had to make a solid decision because with “control z” I never had to.  I have found that making solid decisions makes for better illustrations.

How has the move into analogue influenced the look of your work?

I have discovered colours I would have never used, cobalt turquoise, quinacridone gold and permanent rose to name a few.  My work has also become more stylised.  After I decided not to use Photoshop anymore I sort of paused for breath and went through quite a long experimental period to find out where I was headed.

Have there been the kind of benefits or drawbacks you might have expected from choosing not to use digital means anymore?

Benefits, as I mentioned, are that you have to be bolder in your decision making. The down side is when you make a bad decision you may have to start again! I have to confess I do miss “control z”!

A lot of your figurative illustrations incorporate body art. Is this something that has always interested you?

Tattoos have crept into the mix really as a way of telling a story or as a  smaller part of the narrative that is going on in the main idea of the illustration.

Have you found the inclusion of testimonials and a description of your process on your site beneficial?

I think third person endorsement is good, having someone blow your trumpet looks a lot better than blowing your own!  As far as the “process” goes, most commissioners know the score but it helps build confidence I think.

Have you got any upcoming projects or plans that you’d like to share? 

I’m currently working on a job for Mens’ Style in Australia about playboys …

© Daniel Mackie, 2011.

I love Bryce Wymer‘s sketchbooks for their mixture of free, exploratory pages, and the more complete drawings, which sometimes find their way into completed pieces of work. Have a look at his website, where you can see how some these drawings have been used.

© Bryce Wymer, 2011