CHARLENE CHUA

Where are you from and how long have you been illustrating?

I was born and raised in Singapore, and I moved over to Canada in 2007 with my husband. I currently live and work in Toronto. I did my very first paid illustration when I was 14 or so, but I didn't pursue it as a career until I was in my 20s. I think I started doing illustration work in 2003 and moved on to do it full-time and exclusively in 2005. Which means I've been at it for 5 years now, full time.

Can you give us a brief account of how you got to where you are today?

Being stubborn and lucky I think. Stubborness helps me stick with things that might otherwise be unpleasant. Luck comes in the form of clients, opportunities and friends. I have some wonderful friends in Canada that have really helped me grow as an illustrator since I got here.

I started rather tenuously like most  illustrators; I didn't have a portfolio or any proper work to show, even though I had been working for a couple of years as a designer before. So I quit my job, did a really bad comic (which helped get my drawing skills freshen up a bit), hacked together a portfolio and foolishly believed I was good enough for real work. Turns out at least one person thought I was, and I got my first real gig illustrating an article for the in-flight magazine of Singapore Airlines. Things were pretty slow going for the next year or so,  and my husband (fiance at the time) was not making much money either, so we pretty much burned through our savings. Before we ran out I decided to go back to being a designer for a bit, and when I did things suddenly took a turn and I started getting illustration jobs from magazines. After about a year at the design firm, I quit that and resumed illustration full-time. This time it worked out better and I cultivated a relationship with a magazine that, while not particularly fun, paid me enough to pay the bills in a month.

Things were going ok in Singapore, then we decided to move to Canada. The move was pretty much like starting over; I had to try to find new clients and adapt my work to suit the market here. I did nothing for 6 months I think; moving everything, setting up the house and making initial introduction emails took up all the time. It was frustrating but again, things eventually got going. It's been three years since I moved here and despite the recession last year was pretty good, and I hope that with things looking brighter all round this year, it will be an even better year in 2010!

I know what you mean about being stubborn! That was something I was always told was a bad trait when I was younger but it's served me well since then, particularly in that first 6 months after graduating. Can you expand on what you had to do to adapt to the Canadian (and I guess American) market? Are there different aesthetic preferences or is it that you've shifted your focus from say, narrative to editorial for example?

The North American market is a lot more developed than the Singapore market for sure. It is more competitive, but at the same time there is a greater appreciation for the art and what it can do. Ironically, it also feels like people get pigeonholed more here.

So, I've had to streamline my portfolio more, to give it a more consistent overall look rather than being a collection of 'look at all the stuff I can do'. The children's and educational markets have been quite good to me thus far,though that's where the problem with pigeonholing comes in. I enjoy drawing things for children - but I do enjoy drawing other things too, and trying to sell yourself on more than one thing seems to be a little more difficult here.

Aesthetically, I've developed my drawing style I think, to be less cartoony and to, of course, include people of various ethnicities. Most of the people I drew before moving here looked pretty Asian, even if they did spot blonde or chestnut hair, but usually no one cared. It's more sensitive here, and for some of my current clients it is necessary to show racial diversity in the work.

Concepts are probably the hardest thing for me to adapt to, and something that I suspect I will never quite master. Years of living in a place where thinking different is generally seen as an annoying habit have permanently dulled my ability to generate intelligent visual metaphors. I'm trying to get cope by being efficient - not all illustration work requires heavy-duty conceptualizing, so I just try to target stuff that doesn't require such brain work. I am trying to improve my sense of composition too, so that even if I can't draw a smart picture, I can at least draw an interesting one!

 I think you're selling yourself short there Charlene! Take this image for example-

That's a great idea and you've realised it so well too! Definitely not an easy one to do and you've managed to make it clever and beautiful. I reckon that's always a winning combination. I know of a few illustrators that work under more than one name in order to market their different styles, have you considered doing this? (Maybe you already do and Charlene Chua doesn't really exist!!)

Thanks, I'm glad you like that piece! It was fun to work on, but it's a bit of a rarity in my book. And it's in the ink style, which I find allows me to think quite differently from my usual vector-based stuff.

I have considered marketing that style under a different name. I've also wondered if I should spin off the pinups I do under my 'sygnin' pseudonym. But it really comes down to resources - I don't know if I have the energy and money needed to market a second persona.

That, and it would be confusing to answer the phone if someone called up looking for a person that doesn't exist. I've always wondered how illustrators with secondary personas handle that - I guess it's not so bad if you go by a pseudonym like Art Boy or something... but it would be odd to say yeah I'm Charlene and also Danielle. I'd like to hear other illustrator's opinions on the matter, really.

Do different influences inform the separate styles or do you think they just show different sides of your personality? Also can you name some of your influences for us?

I think it's a little bit of both? I'm quite bad at naming influences! Let's see, the one's I remember, from earlier in my youth - Ernie Chan, Boris Vallejo, J Scott Campbell, Jim Lee. Slightly later - Bruce Timm, Marc Hempel, Yoshitaka Amano, various manga artists whose names I simply do not know. Recently - Kazuma Kaneko, Patrick Nagel, Vargas, Schiele, Klimit. I say influences because these are the people whose work I actually studied in one sense or other, first by trying to copy their styles when I was a teen and later trying to understand the work and incorporate elements of that into my own. There are many other people whom I admire and numerous works that I have seen and thought 'wow that is amazing' but I either never took the time to pay particular attention to what they did or else didn't get their names.

By the way, I think I've answered this question in different incarnations several times before, and the answer is always slightly different! I don't think I'm lying, but sometimes I forget to mention someone or feel more inclined one way or another depending on when and how I'm asked!

You've managed to break into two separate illustration markets in your career, starting from scratch both times. This shows a lot of determination and tenacity, what advice would you give to new illustrators trying to get going with their careers?

Um, just keep at it? Getting a career in illustration going is tough, because it's usually a slow process. Which means that you won't be earning a lot for the first few few years. Practically, this means that you can forget about buying that dream loft you wanted since you were 15. Heck, you probably should put off even RENTING the dream loft for a good long while. Save your money if you can - use it to pay off your student debts and loans first. If you're happy living with your parents, you can save a good deal by continuing to live with them. Start figuring out how to pay your taxes - you probably won't need to pay anything if you're not making much in the first place, but it's good to know how the tax law works in your country so that you're not in for a nasty shock when you do get to the point of paying tax (Canada's cumulative tax is something like 30% on average for a single person with no children - that means for every dollar you make, you have to put aside $0.30 to give to the taxman).

I know most people say some inspirational stuff as advice for aspiring illustrators, and yes I do think that it is important to keep being creative and inspired too. But I do think that ultimately, if you want to make a living off your illustrations, you need to be able to look at your finances too and understand if this is really the thing for you. If you choose to ignore it from the start, it could easily snowball into a problem you'll not be able to solve as a freelancer - things like paying off debts, handling your credit scores, that sort of thing.

Ok, I hope I didn't make that sound too scary!

What can we expect to see from you in the future? Any particular plans for your work or big projects in the pipeline?

I wish I could say. Right now it seems like it's work, work and more work. Which isn't a bad thing, really. Although sometimes it feels like I'm batting a neverending stream of tennis balls.... the problem isn't so much batting them at breakneck speed, it's when the machine stops tossing balls at you. By that point you're so used to batting you start feeling really edgy when it stops and you start wondering when the ball machine is going to start up again, and while waiting you either pace around the court or else keep bouncing a ball anyway in anticipation. It's a bit hard to pull yourself out of it, to say right, the ball machine's done, I'm going to go do something else now and come back later.

I think every time I've named some big project I wanted to do in an interview, it ultimately got canned because something or other came up. So no, I suppose this time I don't have anything spectacular planned, you'll just have to stay tuned to see what I manage to cook up when I do get time off work!

Thanks Charlene it was really good talking to you. See more of Charlene's amazing work at www.charlenechua.com and check out her livestream at www.livestream.com/charlenechua

CHRIS WHETZEL

1. Where are you from and how long have you been illustrating?
Well, originally I am from the very small town by the name of Mt. Solon in the Shenandoah Valley of Virginia. I would place the population around 1500 or so. Picture tons of cows and fields in every direction. It was a great place to grow up as a child, and my brother and I had many an adventure in "the sticks." But needless to say, as I grew into a teenager I felt the urge to see what else was in the world. So I moved up to Philadelphia and went to the University of the Arts from 1999-2003. It took me a while to muster up the courage to actively pursue an illustration career, and I worked mostly non-art jobs, then in-house design and illustration jobs until 2008. That’s when I bit the bullet and said “let’s give this a shot.” And here we are, solely freelancing for a little over a year and a half.

2. How did you like your time at University of the Arts? Did you feel prepared for real world upon graduation?
Honestly, my opinion on my school experience changes depending on what mood I am in when you ask me. Well, today I am in great mood! Those formulative years at UARTs are the greatest time of my life (so far). As you can imagine, it was a very “country mouse in the city” scenario for the first few months, but I met amazing friends who really pushed me to be a better artist. UARTs is set up in a manner that all students take a “foundation year” and then three years with in a major. Now, I was pretty set on becoming a two-dimensional artist before even entering the school so a lot of the first year felt like a waste of time.
Making wooden sculptures and such were things just getting in the way of drawing cartoons. But on the other hand, that first year was when I got my first real taste of observational drawing; all of my experience up to that point was mostly drawing out of my head. And then on top of that, the illustration major really pushed drawing in the sophomore and junior years; I thoroughly enjoyed anatomy class under sculptor Sabin Howard and more observational drawing under Roger Roth. However, during that time I was not feeling that I was being prepared adequately in terms conception/ideation, and so I honestly had a rocky patch in junior and senior year with a lot of disagreement with faculty.
It really got to the point where I was doing my own thing and critiquing myself more earnestly than I felt the faculty or my fellow students were. And honestly, I was putting out garbage and I knew it. Senior year turned things around though, and I felt I had a great teacher in Megan Berkheiser. With a focus on a concept-driven portfolio, I feel I really found a good path that year. So now I see that the department’s method is to get you drawing and painting well and THEN to get your ideation technique in order. I guess I was ready to do it all at once and got impatient! In hindsight, the program does a good job of preparing students. Mark Tocchet has set up a great learning environment, and I don’t think anyone can come out of that program and say that they were not prepared with the knowledge needed to perform as a professional illustrator.
Business practice is covered extensively as well as art and concepting skills. They even have a class for seniors taught by visiting working artists like Tim O’Brien (acceptance upon portfolio review). Can it get any more “real world” than that? But I have to be honest, I didn’t take that class; I didn’t even submit my portfolio as that was during the period of time where I was being an idiot ☺
Anyway, the illustration program finishes with “Portfolio Day” at the Society of Illustrators in NYC! It’s a day of showing your portfolio to visiting art directors that students and faculty contact beforehand. That was actually where I got my first freelance gig way back in 2003. So in summation, the illustration program at UARTs teaches you how to draw and paint, how to think and conceptualize, how to run a business, and they even try to get you a job! Good stuff!
3. So, you love drawing - and it really does show! What do you think is your favorite subject matter to draw?
Ha, recently I am lacking in drawing time due to projects. But I make myself do it almost every day by saying “somebody is drawing or painting right now and getting better than you” or “(blank artist) isn’t watching tv. He is working.” That gets me up from the couch. In terms of subject matter, I love to draw the figure. And to narrow it down even more, I love to draw the female portrait. It is actually my weakest area and so I try to draw it as much as possible. But I really love to draw anything. Drawing “tech” is always a blast! By tech, I mean anything mechanical.
My girlfriend is getting her Master’s in Metal at SUNY, and I often sit in her studio drawing all sorts of mechanical stuff like compressors, and there seem to be pipes and gauges everywhere. I try to draw a broad range of everything so I have some knowledge of how things should look when I need to draw it for an illustration; its just fueling that library in your head while also working on observation skills. I also like to just experiment in drawing. Trying new materials is a fun drawing in itself regardless of the subject! Recently, I am trying to more evenly balance observational drawing and imaginative drawing; that has been really exciting! My love of drawing is a bit of a problem though. I tend to really render out my sketches for an assignment. Fellow illustrators say that it is a waste of time that I could be working on other commissions. But what can I say, I enjoy drawing them so much I want to fully realize the idea and I like having a finished drawing! I’m an addict! Financially, I’m sure this is not the best practice, but I think that extra really makes a good impression!

4. How long have you been working digitally - did you find it at all (initially) in contrast to mark making with a pencil or was it completely natural?
Well, I wouldn’t say it was “natural;” there was a definite learning curve! Hmmm, I as I stated previously, UARTs stressed drawing and painting to a point and then you sort of felt your way into the medium in which you were most comfortable. For me, that was watercolor/gouache as I had E.B. Louis (watercolorist extroardinare) for my painting class. So there I was in junior year drawing in ink and coloring with washes. Initially it worked well as I was working very realistically, but as I started to think more graphically, watercolor was just getting in the way. There I was trying to get a flat even wash when I could just fill in the color in Photoshop.
Luckily, Mark Tocchet taught a class in which one demo was to do color comps in Photoshop so I had an idea of what could be done digitally. It was at the beginning of senior year (1998) that I “went digital.” I consider in pretty much self –taught and believe me, there was a great deal of struggle that first year. Working digitally is definitely a different beast from drawing and painting. I like that I can be an absolute perfectionist in my digital work, but I still get a thrill out of a happy accident in an ink painting as well. And I honestly feel working in one makes the other stronger; everyone says working digitally needs to be built on a foundation of drawing and painting, but I feel experience in digital work can also make one a better “analog” artist.
5. Your work with Mountain Dew is awesome, you must of been psyched about getting that call! How is working on an Ad project different from an editorial one?
Ha ha! I actually thought that email was a bunch of baloney! I was sarcastically thinking “Yeah, right. I’ll bet this is totally legit.” Then it turned out it was. I actually worked with Tracy Locke Design on that project. Advertising work is SO different that editorial. The major difference it seems is that they had a concept pretty fleshed out before even contacting me; they even had mock-ups and references for me! The focus was on my “look,” and so I really enjoyed being to spend hours upon hours just really drawing my heart out. Even drawing revisions was enjoyable. That is another big difference: it seems that advertising jobs have a longer deadline that you usual editorial commission. Working with the folks at Tracy Locke was very enjoyable and pretty much effortless. I was bummed that we did not move into the last two posters of the project due to the budget being killed. But I hope to do more advertising work in the future as it’s a nice balance conceptual work. Hint hint, advertising art directors!

6. Im a really big fan of your ... almost tongue in cheek metaphors, whats your brainstorming sessions like?
Well Pete, I think that my girlfriend could answer that question better than me. I’m sure she would say something like “Chris comes up with like 20 ideas and hates them all. Then he sits and pounds his head with his fist while yelling ‘C’mon, think you idiot!’ until he comes up with ideas that he calls ‘the it.” I typically try to refuse the easy concepts and really get beyond them to the ones that make you say “Ah ha! That’s it!” You just know that one concept that really nails the essence of the commission. My typical process is to thumbnail concepts as they come to me; I also write down phrases that come to mind as I’m mulling it over. In all of this, it may seem like I’m building up a concept, but I am really boiling down to the essence of the article. The goal is to find an idea that is easily understood by a viewer and is also relatable to the viewer. I am not one of those artists who uses metaphors like “the bird represents a child and a cage represents poor education” or something like that; my goal with my illustrations is to convey the message of the article without NEEDING the article to explain it. As for the “tongue in cheek” aspect, I guess that just my personality coming through. I am a sarcastic-in-a-sweet-way kind of guy. Also, a lot of the assignments I get are about serious or non-exciting subject matter, and I try to make it fun or exciting for the viewer while still solving the problem.

7. How has your work been evolving the past few years? what direction do you see it heading? Man, that is a great question, Pete! I think its really important to be continually pushing yourself. Otherwise, you’ll get bored and burn out. Realizing you are getting close to that is very important to keeping yourself excited about this career. Personally, I find being immersed in some type of artistic community is very inspirational and makes me want to evolve. Although I consider myself a professional, I am a member of the Visual Literacy Program as a way to continue to learn and find inspiration. Faculty includes Sterling Hundley and George Pratt among other greats, and there are a ton of talented folks enrolled in the online community.
I don’t agree with everything that is taught, but I take what I need to grow as an artist, and I try to be open-minded to new techniques and approaches to making images. I also recently set up an illustration group called The Illostop Collective that consists of a blog of our work and a private discussion forum where we talk candidly about projects, experiments, influences, and anything else. I really see things like this as making me address the need to evolve simply to keep up with all the great work I keep seeing! I am actually starting to push my digital work in a direction that I think will still be similar but different as I am becoming very re-interested in painting, both traditional and digital. So I am exploring how I can take my current techniques (which I see as more of a printmaking approach) and bring in some painterly aspects and vice versa. None of this is “portfolio-ready”, but I think I may be working a bit differently in two or three years.
I am also trying to address the issue that I am always more of a fan of my sketch than of my final image, and I am trying to figure out how to bring some aspect of my initial drawing into the final art that I think is getting lost. The direction I HOPE to head in is one that successfully addresses and combines what goes on in my computer with what goes on in my sketchbooks and on my drafting table.
8. Do you have any dream clients you've yet to work with?
I was actually just thinking about that this morning. I would love to do something for Rolling Stone or Sports Illustrated. Any comic book covers would be a ton of fun as well. In thinking about it though, I though” well, what my dream job would be is to be commissioned to cover an event through drawings like they used to assign back in the day.” That would be awesome. I guess I was born about 60 years too late, though! But since we probably won’t see a time machine in the span of my life, I will have to say that my dream client is myself in that I would love to do a creator-owned project like a graphic novel or illustrated manuscript. It is slowly in the works so I guess I’m working my dream job!

9. any advice for new illustrators?
Do you mean students entering the field or folks in a similar position to myself having been in the field a short amount of time? To students, I would say start getting ready NOW. Start saving money for those mailers and your studio, and don’t be afraid to spend money!
You have to get your work in front of clients so don’t just put your work on a website and not promote! I try to add two pieces to my website every month as well as to blog about them and any other events like gallery shows or items like this interview! Also, try and talk to working illustrators and learn from them. And of course, always be working on new material to add to that website that you are actively promoting! I would say 1/2 of my job is actually making images; the rest of the time is occupied with the business of promoting, client relation, networking, and financial chores. I guess all of that can apply to new illustrators as well. An addendum would be to always be kind, courteous, and professional. ALWAYS meet the deadline, and always do your absolute best. Try to deliver more than is expected. And be gracious for any assignment, especially in this economy!

10. any advice for older / established ones?
Well, I guess I would say to be open to us new guys. Please don’t see us as beneath you or as competition. Share your knowledge, and I think folks in that class might even be able to learn a thing or two from us fresh faces. We all need to get along and depend upon each other; we need to unite as a single entity if we are going to have a voice that carries weight and can unlock stagnant budgets, protect our artwork from things like Orphan Works, and continue to provide content in a world where its very easy to license stock art or photography. None of that will happen if we don’t communicate.
Thanks Chris, It was great to hear about your practice :)
All images copyright of Chris Whetzel.
To see more of Chris' work go here: http://www.chris-whetzel.com
or here: www.chris-whetzel.blogspot.com

ROB SCHULTZ, Macworld

1. where are you from and how long have you been an AD?
I was born in Chicago but spent most of my life in California. I've been art director at various publications (T3, Computer Gaming World, Macworld) for the past 10 years.

2. how was your university experience - did you feel ready for the real world upon graduating?
I went to California State University, Chico, starting out as an art major. I developed a solid foundation in art, then decided I wanted to do something that was more stable financially. At that point I changed majors and put all of my creative energy into design.
I graduated with a BA in Communication Design. In the last year of school I got an internship at a local weekly newspaper. That turned into a full time job upon my graduation. The job entailed the entire editorial design of the paper, including the covers. At this point I knew this was something I wanted to do with my career. I've been in editorial design ever since. I feel like that internship was crucial in sending me on the path I've taken in my career.

3. Macworld is an awesome, hugely read mag - how thrilled are you to be directing its visual identity?
I always look back to the time when I was in college and subscribed to Macworld after I bought my first Mac. I could not have imagined that one day I'd be the art director there. It's an honor to have the job and I love coming to work every day (... or most days at least!).

4. what are some of the key responsibilities in your day to day role?
My position is a very hands-on job. I supervise one designer and multiple illustration and photography projects every month. I'm responsible for the look and feel of all editorial content in the magazine. In conjunction with our designer, I lay out the sections and features of the mag every month.
The cover is also my responsibility -- from developing a concept with the editors, to directing the photo shoot or illustration, to designing the covers. I generally design 20-24 covers every issue before we decide on the final one.
5. you hire illustrators all the time, how does someone get your attention?
I generally discover new illustrators through postcards or emails. Once I find a style I like, I'll generally utilize that person's talent more or less regularly for for an indefinite amount of time. Send me great work, stuff that sets you apart from the next guy and you'll have a much better chance of grabbing my attention.

6. what can an illustrator do to really piss you off?
Some illustrators seem bent on illustrating their own concepts for a given assignment. Sometimes that's fine, but there instances when it isn't. If you don't cooperate then there's a good chance I won't use your services again. At least give me a sketch for the desired concept, then do another with your own idea.

7. what are your thoughts on the current state of the industry?
Print is obviously in a continued decline. A lot of magazines aren't going to make it. But it's also an exciting time to consider what is next. Could a tablet save the magazine industry? Will the web continue to evolve to and become a place where magazines can thrive. Who know. Right now I'm just thankful to have a job.

8. what are you loving about design right now?
It's been really interesting to see how the web has influenced magazine design. You can see it in magazine navigation, photography, etc. You used to see that sort of influence over print design from television. Now the web influences everything around us.
9. what magazines catch your eye / do you just have to pick up?
I've always loved Esquire. Also a big fan of Bon Appetit -- both content and design.

10. how important is down time, away from the office etc for your creativity?
It's funny, you'd think with the economy slowing down work would be the same. I'm actually as busy now as I've ever been. My free time is generally consumed by other work-related projects. Free time away from work is usually spent doing freelance projects. In the rare event I have some down time, I try to stay away from design work, enjoying time with my family. Any amount of time away does wonders in getting me recharged for when I return to my work.

11. favorite font and why?
I'm a huge fan of Helvetica. i love it's simplicity and versatility. Distant seconds include Din and Gotham.

12. any advice for new illustrators just starting out?
If it's what you love to do, commit to it and don't give up. Get your work noticed and the assignments will come.

13. any advice for those looking to get into the magazine industry?
If you want to work in magazine design, go for it. Jobs aren't nearly as plentiful now as they used to be. The key here is to make yourself more valuable to the employer. Do this by broadening your area of expertise to web design. As we move forward, more and more publishers will be hiring people that are experts in both areas. Limiting yourself to print could prove to be a huge handicap.
Check out more of Rob's great design work on his website: http://www.robschultz.net
Thanks Rob!!

ZARA PICKEN

1. Where are you from and how long have you been illustrating? 

I originally hail from England, specifically Walsall in the Wild West...erm, Midlands. I spend a quarter of my time explaining how I'm not from Birmingham, thanks to my apparently not-unlike-a-Brummie accent. I use another quarter describing where Walsall is in relation to Birmingham and a further quarter is spent wishing 'Walsall' didn't sound so much like 'Warsaw'. It is quite disappointing for all involved when my inability to speak Polish is uncovered. The remaining quarter of my time is spent illustrating. I have been illustrating since I can remember, though properly and professionally since graduating in 2008.

2. From an outsiders point of view there seems to be a healthy arts scene in Bristol and the Here Gallery is really great but what is the city like to live and work in?

Bristol is great place, full of contrasts and contradictions. You could probably walk in any direction for 20 minutes and find yourself in completely different surroundings. There are a lot of wonderful people living and working here, I'm lucky to know a few of them - being able to meet up with like-minded souls is invaluable to coping with what can otherwise be quite a solitary lifestyle. It's also helpful that Bristol is a friendly city, it doesn't feel as big and anonymous as a lot of other cities. I live right in the centre so it's easy to go elsewhere when I feel like a change of scene from a screen.

3. I think the conceptual side of your work is outstanding, can you give us an insight into your ideas generation process?

My ideas mostly emerge from my ability to talk a lot of rubbish! My husband Alex and anyone else who happens to be within a mile radius suffers as my soundboard - I read briefs aloud, ramble down various dead ends and labyrinths, make lists, bang my head against wooden furniture and consume a wide range of beverages.

I like to think I'm a visual person but I tend to generate a lot of links between words. I approach each brief as if it was a problem solving activity, looking for an eloquent answer to a question. Connections will lead me to start considering visual solutions, from the obvious to the tenuous and everything in between. I like to feel like I'm halfway there by the time I start sketching.

4. You also realise these ideas very well in the medium you use, how much experimenting did it take before you found this way of working?

It took me quite a while to find a method I could be happy working with. I actually worked in a linear style using fine line pens and pencils for a long time, even though I love colour. It was quite frustrating not being able to make my work look the way I imagined. Aside from a brief love affair with gouache, I never found a great affinity with paint. Even though I felt I could get sort-of-satisfactory results from using it, the process of creating the work brought me no great pleasure.

I then moved into experimenting with collage using blocks of colour and latched onto a more graphic approach. I tried all sorts of print making as well, finding the look of screen prints especially appealing. So referencing the basic principles of these processes combined with digital techniques, I found that using my line drawings as a framework for building up layers of colours and texture was the way forward.

5. Apart from trends in fashion what do you think it is that separates work that sells from work that doesn’t?

From an editorial perspective, I think content is key. I've always thought of illustration in terms of illumination - not lighting up something in a decorative way but rather as a means of shedding light onto the subject. A strong style is essential, of course - I don't believe people who dismiss style as unimportant or a secondary consideration. Individual style does exist and it's an essential part of voice. It is what we use to convey ideas, after all. For me, however, there has to be a good balance of the aesthetic and the conceptual. Illustration should communicate. A voice has to speak.

6. In the first few years out of university what can new illustrators expect and what do you think is expected of them?

New illustrators can expect to expect the unexpected! I don't think university fully prepares anyone for the reality of it all. It probably helps if you can let go of any preconceived romanticised notions of what it is to work as an illustrator. Initially, the chances are that you will have very little money, which is less than glamourous. Unless you consider shoes with holes in to be in vogue, of course. It's probably best not to focus too much on that aspect! You are expected to create the best work you can, enjoy it and be professional about it - ask questions, make sure you understand what is required of you and your work, meet the deadlines and work with the art director. It's not easy starting out but if it was easy then it wouldn't be worth doing.

On a positive note, I just bought a new pair of shoes.

7. What do you do outside of illustrating that inspires you and your work?

Observation is a favourite pastime -  I like to stand back and watch people interacting. I love to wander around aimlessly, walk through cities or jump on a bus or train when I can, just to see what's out there. On my random travels I will occasionally purchase some old object which I will deem to be "the best thing in the world ever made" for at least a few days - collections are a passion of mine, faded objects from the 1950s always seems to capture my imagination. I also read a lot of books and seem to be working through everything Haruki Murakami has ever written at the moment! I like the surrealism of his work.

Music inspires me a lot, I have been known to create illustrations based on songs before. I'm currently a fan of Spotify and like putting together playlists to work to. I own a lot of musical instruments which don't get played as often as they would like. I'm also a bit of a technology geek - I'm usually figuring out some gadget or other. I fancy maybe making an online project this year. Of course, it has only just turned 2010 so it is possible that this ambition will fade along with my resolutions to learn Japanese, ride a unicycle and write an award-winning sitcom.

8. Who are your favourite illustrators/artists at the moment?

So many! I started a blog called Hovering Cat (http://www.hoveringcat.com) in 2008 to keep a running record of all the amazing things I see. There are more than 400 posts to date so I suppose there really are a lot of talented people around.

9. Dream client?

I've worked with some great people so far. I always love working with people and companies who are creative and open minded. I have a strong interest in ideas surrounding communication and technology, as well as relishing the challenge of more conceptual or scientific themes, so anyone who commissions something like this would be a dream client for me.

10. Any particular goals for 2010?

I try not to have anything too specific in mind - one of the things I enjoy most about doing this is not knowing what will come next. It would be exciting to have an advertising or publishing project come my way. I have also recently been working with clients outside of the UK, which brings interesting new opportunities.

Everything I did in 2009 was a pleasure, so I hope 2010 is just as good. Challenging editorial jobs are always welcome and it would be fun to complete a few personal projects along the way. I've been doing a fair amount of hand lettering work recently, I'd like to continue forward in that area. 

11. Any advice for new illustrators?

Just do it (apologies to Nike).

12. Anything to say to the old one’s?

Keep doing it (no apologies to Nike).

To see more of Zara's fantastic work visit her site at http://www.zaraillustrates.com

Thanks loads Zara.

SHANE LUITJENS, Ink Publishing / torquere.com

1. where are you from and how long have you been an AD?
Born and raised in the Midwest (rural Illinois). Been an AD now for 7 years (2 of which were freelance while living and working in Europe.)

2. how was your university experience - did you feel ready for the
real world upon graduating?
I got my degree in communications. I was supposed to be a TV News Reporter, but after 17 internships and 2 national awards, I actually started watching the news with these excessive live shots, stalking behaviors and fear mongering ("how your credit card can be used to kill YOU!?!") that it defeated what I saw as the value of journalism: to educate. At the same time, I worked across all mediums from TV to radio and print, and after doing my time in AmeriCorps helping at-risk youth discover the arts in rural Washington state, I stumbled into design. Since then, I try and absorb and learn and listen as much as I can to improve. I believe I enjoy this work because I continue to learn.

3. Now, you sort of rule over several mags, how challenging is THAT?
(curious about the challenges of each mag having its own visual
identity , cohesiveness etc)
Not only are they different magazines, but at times, they are vicious competitors in the same market. We have different editorial teams for each of the magazines and I work with an exceptional design team that works to really understand the brand, even as it is a complicated mix of corporate voice and independent journalism. In this way, I have an idea in mind along with the editors and work to have the visual image of the magazines communicate that. MyMIDWEST, for example, represents an airline very focused on the people and communities that they serve, so the illustrations have a more hand-touched feel (Ilana Kohn, Yuta Onoda, Polly Becker, etc.) and the editorial will veer from harder sell travel to engaging pieces about cultures and discoveries in destinations. GO Magazine, on the other hand, is always trying to discover new trends and topics that continually engage a consumer to take a proactive role in their travel (hence the inspirational, movement-natured name of the title) so the illustrations will tend toward newer technologies and flavors (Si Scott, Thomas Allen, Army of Trolls).
4. what are some of the key responsibilities in your day to day role?
Answering email. :) Seriously tho, I am actively in design on at least two magazines at a time with the current schedule and doing the cover and feature design work. We recently took on a photo editor, but the bulk of that work continues to fall on my team. Also, as a photographer, I take on some of the feature photography (an exciting perk to the gig!).

5. you hire illustrators all the time, how does someone get your
attention / what does it take to work with Ink Publishing?
I think the primary thing is to really present a solid ability to translate abstract concept into meaningful compelling imagery. That gets you in the door. From there, you gotta know that the industry has changed a lot over the years and the parent company and these magazines stay strong by being reasonable when it comes to budget. High end newsstand magazines set a precedent with bloated budgets that we can't afford. I give illustrators up to five weeks sometimes to work on assignments so that they can be flexible with the budgets. Once I like you, I want to work with you, and I work hard to make sure I pay a respectable amount. And we do pay. Seriously, the money does show up. As a former freelancer, there is no undervaluing the idea of a client that follows through. Now, as the client, I will make sure it happens.

6. promotion wise, what do you like to see?
It's tough because other friends in the business also get inundated with postcards and mailers. Some I keep and some I don't. Those are really about the work. At the same time, what really pulls you into the pool of contributors will be regularity and forming the relationships. Not so much kiss ass as to do simple reminders about the latest work you are doing. We do come to recognize names. And a lot of us do at least look at the emails most of the time. Obvious other areas are awards. They do matter. We do look. 7.what can an illustrator do to really piss you off?
It is rare an illustrator has gone too far. Most are respectful of my time. Photographers, on the other hand, can get under my skin. So, this is more a word of warning. Have limits. In this day and age, cold calling may get you one client out of 20, but most of us, will bag you then and there. Nothing bothers me more than calling to ask if I got a promo. Nothing. If you want a response of some value, run a contest, start a blog, something. But in this day and age, interrupting my day to ask if I got your unsolicited note: unforgivable. Same with sending books unsolicited. At larger agencies with huge photo and art departments, that might be cool. But with us, we are a small team working very hard. Keep it simple. You'll know if I am interested.

8. what are you loving about design right now?
Typography. I wish I had more time to be playing more in the world of less-digital type. One thing my schedule has NOT allowed enough of is play. INvaluable to the world of graphic design is the silly, slovenly mess of screwing things up only to put them back together in interesting ways. Sometimes you get an idea from the start, and that's great. Even in the best situation, inspiration and ideas need to be opened up. But when you got so many pages to move in a day, I don't get enough play. So I get excited when I see the returning trend toward non-digital type (can I call it analog?). I want to be hiring out more type to illustrators versus illustration. so that excites me.

9. whats amazing about living in New York?
What isn't? Every section of the city opens up new ideas, new opportunities to learn or expand upon existing ideas. In my first year here (four years ago), I read my spoken word at Lincoln Center, learned to make paper at Le Petit Versailles (a performance art garden space in lower Manhattan), saw Cassandra Wilson play for free in Central Park, danced away Sunday mornings at Club Shelter and started my much loved hiking in the Hudson Highlands. And that isn't counting the museums, the walking tours, the private art shows, the millions of conversations one can have in the cafes or sitting round the fountain at Washington Square Park. I have lived in eight cities and visited countless ones. At this point in history, nowhere is like New York City.

10. what magazines catch your eye / do you just have to pick up?
I kind of divide these in two categories: those I pick up for visual reasons and those I pick up for the content. As an outdoorsman, I admit a bias to the well-designed Outside or the wonderfully redesigned Backpacker, not to mentions Men's Journal and National Geographic Adventure (rest in peace). For design and content, Esquire and New York continue to do interesting work. I like that they push the boundaries. Andrew Horton's stint at BusinessWeek has really given their covers such flare! Conceptual illustration at its best! I am always excited by the growing number of DIY magazines in the mix as the market changes to represent a new generation of readers and these homegrown publications really introduce the 'zine in a way that looks more together, more produced.
11. how important is down time, away from the office etc for your
creativity?
VERY. I am lucky in this job to be able to shoot on location and also work off location. So, while I am working, I am still exploring the world and that hopefully reflects in the work. My vacation time is serious business for me, so I am planning jaunts pretty far out. This year, I got my eye on some backpacking excursions in Canada and California as well as kayaking in Maine. Save our parks!

12. best places to get lunch, coffee, inspired in the city?
Inspiration from people: Washington Square Park and the Village. For me, having always lived in Manhattan while in NYC, I admit a bias to the overcrowded island. But then you walk down past Sullivan Street Records (and the bizarre superhero-laiden store across the street), grab a bite at Cuba (after checking out one of TWO, yes TWO, chess specific stores), and then go sit and watch the kids run in and out of the fountain or local rock star hopefuls sloppily croon on some song or another. It's why I live here.

13. any advice for new illustrators just starting out?
I have many friends that are illustrators now, and I hear a lot about the ups and downs. Here's what I take away from listening: 1) Define yourself so that you are doing work no one else is doing, 2) Be controlled in your marketing so you don't throw money away on promotions that don't speak to your target group, 3) Share the new work and 4) Be social. I hate to think it, but I am just as susceptible to it as anyone I know. Once the name and the artwork are familiar, then when I am thinking of a story, it is easier for me to associate a particular illustrator to it. You want to be the image that comes in my head when I am plotting something.

14. any advice for those looking to get into the magazine industry?
Think creatively. That doesn't mean don't do print like everyone keeps saying. It means, rethink print. The bloated beast and it's lazy brethren won't last much longer. expensive shoots for one photo, fashion budgets, credit cards without limits - those days are gone. Designers are expected to design. Art directors are expected to know the software. Production as a business is disintegrating and a lot of cash cows for a lot of less talented people are out to pasture. To hold course in this new world, you have to become famous (but you have competition) or indispensable. As I am not the former, I make sure I have the latter. Coming from the interactive sector, I continue building up my skills (recently completed a Flash minisite for TV Guide, finishing up a redesign of GO Magazine), as well as producing award-winning work for my main employer. Versatility is a tough trade to get into, but as the market changes and e-mags hint at their profitability and magazines begin Darwinian struggles, it is better to react to the instability by focusing on skills that go beyond the creative. Idealistic? No. Pragmatic? Totally. No one knows what will happen to this industry, so to be in it, you gotta be willing to ride where it takes you, and that could be anywhere.

More about Shane, including some cool projects can be found on his website: www.torquere.com
Thanks so much Shane!!

Aaron Huffman, The Stranger

1. where are you from and how long have you been an AD?

I've lived in Seattle most of my life, and I've been the art director here at The Stranger since December 2006.

2. how was your university experience - did you feel ready for the real world upon graduating?

My university experience was a little disappointing, at least as far as my classes were concerned. I learned most of the practical skills I've used in my design work by working at the student newspaper, which came out five days a week. Deadlines, software, all the basic fundamentals of page design—all of this stuff came from the paper (and the amazing art program we had in my high school). Eventually I dropped out (partially on the advice of my favorite professor) and did whatever design work I could find—posters, CD art, etc. Years later I ended up at The Stranger, where I started by doing manual paste-up (with wax! Another skill I learned in college) and advertizing design.

3. the stranger is such an awesome music magazine, how thrilled are you to be directing its visual identity?

I really love being part of the Stranger tradition. The paper is very involved in the local community in many ways—arts, politics, music. I really love Seattle, so I like to feel that I'm doing something for the city. We've always used our cover as our own personal art gallery. The cover images rarely have anything to do with the content of the paper, so I think that keeps us from looking like the average alternative weekly. Basically, if it seems like something that somebody else would do, we don't do it.

4. what are some of the key responsibilities in your day to day role?

I oversee a small staff of editorial designers, dole out assignments to illustrators and photographers, and generally do my part to help keep things running smoothly. With our tight deadlines, there isn't much room slacking off in terms of finding/creating good art.

5. you hire illustrators all the time, how does someone get your attention?

A unique style is an attention-getter, of course. There's an awful lot of illustrators out there, and less work to go around these days. This is another place where I try to avoid typical alt-weekly-style art. I try to use as many local artists as I can, but it's also great to have a stable of people all over the country—and beyond—who have fresh styles and viewpoints.

6. what can an illustrator do to really piss you off?

Missed deadlines and poor communication are the deal breakers. Lateness can easily be forgiven if you're in contact with me and respond quickly, but the combination of the two is deadly.

7. what are your thoughts on the current state of the industry?

Well, my particular corner of the design industry, the independent alternative weekly, has been a little slow lately, but I think things are looking up. The key is to branch out, become a valuable part of the local community, and have a creative and vital presence on the web. The physical paper is just a part of what The Stranger is doing these days. Not only is that vital to our survival, it's also really exciting.

8. what are you loving about design right now?

Design is in an in-between period right now, as are a lot of things. There's a lot of possibility. The old ways of doing things are dying, and the new ways are in the process of being invented. I'm excited to see where things end up in, say, ten years.

9. what are you into music wise - what are you listening to / do friends REALLY trust your opinion band wise?

Since I'm also a musician, I would hope that my friends trust my opinion when it comes to music, but maybe I don't want to know the answer to that question. More often than not, I end up listening to the same music I've been listening to since I was a teenager: the Pixies, the Smiths, the Cure, Blur, R.E.M., etc. As far as new stuff goes, I've been listening to Blitzen Trapper, Grizzly Bear, Vampire Weekend, Liam Finn, and probably a bunch more that I'm forgetting.

10. what magazines catch your eye / do you just have to pick up?

I used to be such a magazine-aholic, but I've weaned myself off of them a bit. Paste has always looked amazing. The Believer and McSweeney's are always a pleasure to look at. There's a cooking magazine, Saveur, that's very attractive. I remember Rolling Stone always being really classy years ago, but I haven't picked it up in a while.

11. how important is down time, away from the office etc for your creativity?

Getting away from work once in a while is essential. It's all too easy to reach a point where the last thing you want to do when you leave work is think about art and/or design. That's not a good point to be at. I recently went on a trip to a few countries in Europe, and I didn't really speak any of the languages. It was refreshing to look at the design all around me—posters, books, signs, menus, everything—completely divorced from the meaning of the words, based solely on its composition. I try to step back and do that as much as I can.

12. favorite font and why?

Oof. That's a tough one. I'm partial to fonts like Trade Gothic these days. Classy, versatile. We have a font called Knockout that we use at The Stranger that has about a million different weights and variations. It's good for just about any display/headline/cover text application.

13. any advice for new illustrators just starting out?

I'd say establish your own unique style and convince people that you're the one they need instead of trying to figure out what people want and fitting yourself into that mold.

14. any advice for those looking to get into the magazine industry?

Learn web design. It will be a big part of your job. I went to school just prior to the web taking over everything—and I also happen to love the specifics of designing for ink on paper—so I can't say that I'm that excited about designing for the web, but it's undeniably a major part of everything. Learn to love it.

Thanks Aaron, LOVE what you do.