© Dan Matutina, 2010

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I especially like the humour that is created through her work, and I think this is emphasized through the medium she works with. I’ll leave further detail to the below interview with Jessica.

How did you develop into using sculpture for your illustrations?

Sculpting just came naturally to me. I’m a horrible drawer (most of the time) and it’s just far easier to render things in 3D. Strangely it wasn’t until after I graduated that I was aware of this.

I discovered the work of Chris Sickels and Liz Lomax and was instantly smitten.  I tried a number of methods and material until I found something that worked for me. Combining digital production methods with the hand sculpted elements really creates a image that blurs the line between reality and fiction.

I think that when people see my work they don’t instantly know how it was made, it could be 3d, painted, digital. I like the ambiguity. It also creates a unique surreal feel that you don’t often see.

What do you do to prepare an illustration?

First off, it’s important to make sure I have all the materials I’ll need to make the illustration. I usually keep extras of everything just in case I need to do something unexpected. If there’s something special needed, then I usually head out and get it.

I always use the same tools when I’m sculpting. I have a bunch of silicone tip shaping tools (which I love) that I use to smooth surfaces and crevices, and I use dental tools for the fine details.

There is this great place in Toronto called Active Surplus that sells anything that you can imagine from dental tools to old computer hard drives. Of course I always use a block of Super Sculpey, armature wire, and aluminium foil.

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How do you work through and complete your sculpted illustrations?

I always start out with a sketch of a rough idea that I like and a composition that I’m happy with. Then I’ll begin by sculpting the characters in the illustrations.

After constructing a wire armature, I layer tinfoil and Super Sculpey on top. Using dental and silicone tip shaping tools, I’ll form the clay into the desired shape. I sculpt the head, hands and feet first. The body of the characters are constructed out of foam and cotton, and then fabric is stitched over top as clothing etc.

I like to use as many different elements as possible in the illustration to create a textured and surreal feel. I use insulating foam and other materials to create the sets and backgrounds. After the pieces have been baked, I paint them and begin to set up the shot.

Once the photo is done I add the final touches in Photoshop.

How did you apply that stereoscope effect to your work?

To get a stereoscopic (3d) image you need two photos from slightly different angles.

Normally you would take a picture on your tripod, then shift it one inch say… to the left and take another picture.

In Photoshop I composite the two images into a single stereoscopic image that can be viewed with 3d glasses. Because I work at a much smaller scale (usually 3d is viewed relative to the distance between your eyes) the distance between the two pictures must be less.

© Jessica Fortner, 2010

Really this depends on the size of the sculptures but generally the distance is miniscule (about a half a centimetre). All the other principles apply.

What are you working on at the moment?

I am working on an illustration to submit to “Life in 2050″, an exhibition created by Transmission for the SCI-FI-LONDON Film Festival.

There was an open call for submissions and I’m taking advantage of it. The project is to envision the world in 2050. I’m also in the midst of putting together a self-promotional mailer and redesigning my site. I love when I get the opportunity to do design.

Thanks Jessica!

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1. What got you illustrating in your specific style?

I do try to get close to the world where I would like to live. Illustrating is actually a therapy for me. It helps me to focus and let me forget about thinking for a while. I can’t stand a day without drawing.

2. What are the tools you use and the work process behind what you do?

I used to waste so much paper (I don’t feel great about this, but it’s the truth), sharpening my favourite pencils til they are almost running out, and keeping those that are 3 cm tall inside a tin. After the briefing from the client I take down the strongest ideas that keep in my mind.

Think about them twice before I begin to draw or try a sketch. My sketches are very easy and most of them don’t look like the way they look at the end. I’m used to drawing with my Wacom.

Once I get to that process, finally most of the time I spend on erasing, simplifying and correcting mistakes, leaving the idea as pure as I’m able to do it.

3. Who inspires you most at the moment?

I’ve been inspired by the work of animator and illustrator Chuck Jones.

© Laszlito Kovacs, 2010

4. What are you working on right now?

Now I’m working on a graphic-poem book called ‘Mi diente de oro’ (’My Gold Tooth’) by a Spanish musician called Remate. I’m also finishing a Poolga App for the iPhone and iPad, my second one for iPhone as well after what I did for Qr Love Code. I’m excited about those two projects.

Thanks Laszlito!

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© Magda Antoniuk, 2010

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© John Lee, 2010

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Santiago is back to share his step by step work process behind one of his recent posters, featuring the Portland hipster Bigfoot. Enjoy!

Materials: Pencil; Sumi ink and brush; Block printing ink; Roller; Plexiglass; X-acto knife.

1. Ideas

The challenge was to create a poster for a Society6 Portland poster series based on fun facts centering around Portland in Oregon.

One thing that is often associated with the Northwest is the mythical creature Bigfoot. Bigfoot is not necessarily associated with Portland, but I figured this is a place he would call home if he were given the chance.

2. Sketch

I always start with a light pencil or blue pencil sketch and then ink that. I don’t do to many preliminary sketches. There’s usually a very rough sketch just to get the idea and placement across and after that is final.

I sketch & ink the different elements separately and then assemble and color them in Photoshop.

I wasn’t quite happy with the first Bigfoot, so I drew another one on a separate piece of paper and then collaged them together.

3. Color and Texture

I create my textures with mono-prints or with ink. For the river texture I made some wavy textures with mono-prints. I rolled some ink onto the Plexiglas and made some wavy strokes with a brush.

I then transferred the ink to a piece of sketchbook paper.

Colors don’t really matter at this point, I usually change colors in Photoshop.

For the clouds I cut out some cloud shapes, rolled ink on the Plexi, put clouds face down on ink, place another piece of paper on top of cloud, cut out and then scribble on top of that sheet. The scribbles are transferred onto the cloud cut outs.

The bridge and hand lettering were done with Sumi ink and brush..

Once it’s all been scanned and composed in Photoshop, I start playing with color by applying color to individual layers with layer effects.

The multi-colored rain was a bit much so I toned it down and ended up with a more subdued palette.

And there you have it!

ⓒ Santiago Uceda, 2010

Excellent, thank you Santiago!

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Santiago is back to share his step by step work process behind one of his recent posters, featuring the Portland hipster Bigfoot. Enjoy!

Materials: Pencil; Sumi ink and brush; Block printing ink; Roller; Plexiglass; X-acto knife.

1. Ideas

The challenge was to create a poster for a Society6 Portland poster series based on fun facts centering around Portland in Oregon.

One thing that is often associated with the Northwest is the mythical creature Bigfoot. Bigfoot is not necessarily associated with Portland, but I figured this is a place he would call home if he were given the chance.

2. Sketch

I always start with a light pencil or blue pencil sketch and then ink that. I don’t do to many preliminary sketches. There’s usually a very rough sketch just to get the idea and placement across and after that is final.

I sketch & ink the different elements separately and then assemble and color them in Photoshop.

I wasn’t quite happy with the first Bigfoot, so I drew another one on a separate piece of paper and then collaged them together.

3. Color and Texture

I create my textures with mono-prints or with ink. For the river texture I made some wavy textures with mono-prints. I rolled some ink onto the Plexiglas and made some wavy strokes with a brush.

I then transferred the ink to a piece of sketchbook paper.

Colors don’t really matter at this point, I usually change colors in Photoshop.

For the clouds I cut out some cloud shapes, rolled ink on the Plexi, put clouds face down on ink, place another piece of paper on top of cloud, cut out and then scribble on top of that sheet. The scribbles are transferred onto the cloud cut outs.

The bridge and hand lettering were done with Sumi ink and brush..

Once it’s all been scanned and composed in Photoshop, I start playing with color by applying color to individual layers with layer effects.

The multi-colored rain was a bit much so I toned it down and ended up with a more subdued palette.

And there you have it!

ⓒ Santiago Uceda, 2010

Excellent, thank you Santiago!

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Using a combination of Staedler Graphite pencils ranging from 6H to 9B, tape and ‘Awful toxic resin‘, Brooks creates images that look like relics of nature and other objects frozen in time.

I also love the gloomy and almost real effect that’s created by having elements between semi-transparent layers. They are also reminiscent of some of the pictures of flattened leaves you’d get in school science books.

‘When working on a piece I ask myself what images I want as the focus or in the foreground then literally draw the images on the layer that coincides with the layer in depth. The layers are semi transparent materials floating between layers of resin.’

ⓒ Brooks Salzweder, 2010

‘Right now I’m working on new pieces with the use of gel mediums. I’m trying to break away from the resin and see what other materials I can explore and how I can add more graphic and painted elements.’

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In my view reminiscent of Eastern European design, but also even American Indian artwork, these skillfully crafted images have a strong appeal in their balance and the striking shapes within them.

This post features a fairly in depth interview with Jonny, discussing how he got into illustration, his work process and current projects.

What got you into illustration?

I have never had a doubt that I would end up in the creative industry but just never knew just what area I would end up in. Throughout my foundation course and even on my degree course I was never limited to a single discipline. Ive experimented with graphic design typography and learnt practical skills such as screen printing and book binding.

After all the experimenting I settled on illustration because it was simply what came most naturally to me. They way of working, mark making and conveying an idea through visual imagery appealed to me the most and its since developed from there.

The great thing is illustration is not governed by any solid rules and is more about how imaginative and expressive your work can come across whilst conveying an idea.

What’s the work process behind your precise and symmetrical designs?

I have always been a kind of control freak and I’m that kind of person that needs to know whats happening when and where. The symmetrical aspect of my work is simply an extension of my personality. Every shape has its place and the design has to have balance throughout, the same also applies to colour.


In terms of the working process it really depends on what the illustration is for and what context its placed in. If its for personal experimentation I will jump straight onto illustrator and start creating shapes and looking at photographs whether it be of people places or objects and I will try to re-create what is see using a combination of shape experimentation until its perfect.

If its for a client they generally know what to expect given the style of my work so its just the same working process with the second opinion of an Art Director.

ⓒ Jonny Wan, 2010

What are you working on at the moment?

At the moment I have just finished a few editorial illustrations and finished up writing a tutorial which will hopefully come into print soon.

Aside from that I am still experimenting and working on full body character designs, I want to be able to apply my style to as many contexts as possible which means moving out of my comfort zone and challenging myself so I can apply my style to a variety of commissions. I’m also fine tuning my portfolio and getting ready to contact agencies for some representation.

Thanks Jonny!

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I asked him a couple of questions surrounding these special pictures.

What are your illustration tools and what is your work process?

Everything starts traditionally with a graphite drawing on Denril. I don’t use ink. As an early step I will decide on color before hand, usually in a very quick comp over the rough sketch, to ensure color harmony. I’m pretty methodical and know the goal before I start.

The next step is combining layers and layers of scanned objects with Photoshop techniques. At this point, I feel like I am painting with the computer, just not in the traditional sense of the phrase.

What are you working on at the moment?

Currently I’m developing a series of works for a personal book about people’s mannerisms; an image for a ‘mother earth’ themed show at the Society of Illustrators (keep your eye out for it this summer!), and various editorial projects.

Thanks, JB!

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