Email From Tom Gauld

Tom Gauld's illustrations have fascinated me for a while now. He uses elements of dry wit, and intricate cross hatching techniques that make his work really appealing to me.

I recently emailed Tom a few questions and here is his response.

1. How did you first get into illustration?

I studied illustration at Edinburgh college of art and the royal college of art and graduated in 2001. I made a portfolio, got a few names of art directors from tutors and from looking in magazines and on websites. Then I started cold calling them and asking if I could come in with my folio. Everyone I met I'd ask if they knew anyone else I should see. After quite a few months I started ti get a slow stream of work which became enough to live on.


2. How did your style develop?

I'd say that my style has simplified a bit and Ive probably developed a wider range of things I can draw well and learned to use colour. But I haven't made any major changes.

3. Where do you get inspiration from when coming up with ideas for your work?

I take inspiration from things I see in my life, on tv, films, Internet and books. I come up with specific ideas just by sitting, doodling and thinking.

4. Do you have a working method when starting an illustration?

I draw in sketchbooks and on loose paper, getting various ideas down quite quickly. I never start on a finished drawing till I have a good concept/idea which works as a simple sketch.

5. Your work is very intricate in terms of mark making have you always drawn this way?

Vaguely. I got particularly into crosshatching when I discovered the work of Edward Gorey in about 1996.

6. When your not illustrating what do you like doing?

Reading, cooking, Lego with my children.

7. Do you have a favourite illustrator at the moment?

I like lots of illustrators. I've been looking at jochen gerner quite a lot recently.

8. Is there one piece of your work that you're most proud of?

I've just finished a 96 page graphic novel and I am proud to have got it finished.

9. Your sketchbook work looks amazing, how important is it for you to keep a sketchbook ?

I've got really into my sketchbook in the last 5or so years, I like that it keeps a bit of a record of my ideas, even the ones I don't pursue at the time I have them. When I'm stuck I flick through my old sketchbooks to harvest unused ideas.

10. Lastly, what advice would you give to an aspiring illustrator?

Just try to make work which would appeal to you even if you hadn't made it.

Tom Bancroft Replies

(Above artwork by Tom Bancroft)

Tom Bancroft is an accomplished character designer and animator. He worked for Disney feature animation for 12 years working on films such as "Beauty and the Beast", "Lilo and Stitch" and "Mulan" to name just a few. Tom went on to found his own company "Funny Pages Productions" with good friend Rob Corley. The company has provided illustration, character design and artistic animation development for many major children's entertainment companies.

I bought Tom's book "Creating Characters with Personality" (published by Watson-Guptill Publications, 2006) to help me with the Disney brief. The book is crammed full of great tips and advice for getting the most out of your characters designs and also has some great assignments to practice on.

Anyway, I recently emailed Tom some character design related questions and he very kindly replied.

1. How did you first get into designing characters?

When I went to California Institute of the Arts, I had my first Character design class (taught by Mike Giamo) and fell in love with it. I already loved drawing characters (from the newspapers, comic books, etc.) but this was the first time I was pushing myself to design my own- and make them better.



2. What inspires you when coming up with ideas for your work?

Other people’s artwork. I think all artists are fans of art first and foremost. The internet is an eternal well-spring of artwork. Its a bit like American Idol though, you really have to dig through some bad stuff to find the good stuff sometimes.



3. Do you have a working method when starting a project?

Sort of. It’s nothing groundbreaking though. Time is always of the essence, so I jump into my list of what I need to learn BEFORE I start drawing. Read the script or bio of the character, research whatever animal or character type or style that is being requested (usually on the internet), print out as much reference that I could gather so I can have it in front of me, then start sketching away. From that point, its straight forward and all design challenges. Always different. Step 1 is the most important. Know what and how to draw what you are designing.



4. I read you worked at Disney for 12 years. Was this your dream job and what was your first day like?

Yes, it was my dream job, though I didn’t know I was dreaming it. I thought I wanted to be a comic strip cartoonist when I was young, then I thought I might be a comic book artist. Animation was last. I discovered it just after high school, then really got sucked into it. I wanted to tell stories with characters and that’s always been my goal. The first day at Disney was exciting. I was with my twin brother, Tony, and we had both been chosen as two of many interns for Walt Disney Feature animation in Burbank, Ca. All of us were students and everyone was so excited to be there. Sharing that moment with strangers that soon became your good friends was even better. We took a tour of the Disney studios that first day and knowing that we were going to be getting to know all these people was great!



5. When your not sketching and drawing what stuff do you like doing?

Just be with my family. We don’t do a whole lot, but I have 4 girls and the older two are cheerleaders so we got to a lot of high school and Middle school football games! I just watch the cheerleaders; my wife is the big football fan.



6. Are you working on any exciting projects at the moment?

I’m not sure “exciting” is the right word, but the most recent project that I have been very involved in is the website AbcMouse.com. My partner, Rob Corley, and I are co-art directors on the project and have been working full time with them for the last two years. I’ve illustrated about 20 children’s books, designed many characters, created some animation, and tons of other random things for the avatars and rooms you can decorate. Its an educational website for Preschool and Kindergarten age kids.



7. How long has Funny Pages Productions been going and what would be a typical working day for you?
We’ve been going for about 7 years now in Tennessee and I did it solo for about a year before that in Florida. That’s quite awhile for a start up company, much less an art studio. A typical day doesn’t really exist but the general version is: an hour of more of emails in the morning going over artwork from outside artists we are working with or just emailing clients, getting reference for whatever art project I’m doing that day, (hopefully) 4-6 hours of drawing to get the jobs done, and an hour or so at the end of the day to do scanning and whatever Photoshop work that needs to be done to send off the work to the client (via email usually). Coffee is in there around 3 to 4:00.



8. Is there one project you are most proud of?

Probably the film Mulan, and more specifically, the character “Mushu” which I designed and for which I was Supervising Animator. Some scenes I can look back at and I cringe (of Mushu and other characters) but for the most part, I am still happy with most of my work on him. I worked hard on that film, and that hard work still shows, I think. “Least proud of’ is easier to think of, but I won’t mention it.



9. How important is a sketch book to you and how often do you refer back to it?

For most of my career, I’ve been terrible at keeping a sketchbook. I’ve never really been comfortable drawing in them because I tend to draw large and I feel “confined” in the space of the sketchbook. That said, about two years ago, I started keeping sketchbooks for the first time in my life. Regularily, I sketch in them- though not every day like some do. I’m still not great at it, but I can say I’ve actually filled up a couple and I’m on my third one. I’ve never been able to say that til recently. What is MOST important is that you draw everyday. I CAN claim that, so don’t throw anything at me, okay?



10. What is the best piece of advice you have ever been given?

One of the first things you learn at Disney is: “Don’t fall in love with your drawings”. Which means a few things. To me, it meant I shouldn’t commit to drawing too tight too soon for fear that I would “stay with a drawing” for too long even though it wasn’t working. I should throw it out and start over, but it’s too “pretty” and detailed to throw away at some point. Secondly, it means that even if a (finished) drawing is great, if it doesn’t suit the animation or the story, throw it out. It puts you in the thought process that just drawing nice isn’t the goal but having a goal to your drawing is what matters.



11. Last but not least, what advice would you give to an aspiring illustrator/designer?

As I mentioned above, draw every day. So many beginning artists contact me and ask how to break into a given studio or job in art but they aren’t asking the right questions. Its not what tool you use, not who you know (well, maybe a little), or how nicely put together your portfolio is. The answer is in your ability. If you can draw well you WILL get hired. That’s the answer: you.


Check out more of Tom Bancroft's work on his blog or Deviant Art Page and for more information on Funny Pages Productions visit their website

Neil Hanvey

I saw Neil's work in this months issue of Computer Arts magazine and really liked his style of working. Neil works mainly in Illustrator to produce his work with elements of Photoshop. I really like the use of line and texture he uses and of course the surreal humour that runs throughout his work. I emailed him to ask some questions and within about 30 seconds had a reply.

How did you start out as an illustrator?
I've always doodled traditionally but about 8 years ago I joined an online art forum, it's spiralled from there really. I didn't go to art college or do art at university. I didn't even do art at secondary school. I'd describe myself more as a blagger than an illustrator. I'm still waiting for someone to cotton on and say 'He's actually just drawing random crap!' I work full time as a web developer and do freelance illustration so I have the option to only pursue the illustration jobs that I can get passionate about. 


How would you describe your style and is it influenced by anyone in particular?
I think I have a quirky style that's not too cutesy and not too clean. I could reel off hundreds of people I'm influenced by but a shortlist would have to be niark1, j3 concepts, dj bisparulz, jeremyville, jon burgerman, frank kozik...I'll end it there before I get carried away.


What piece of work are you most proud of?
Probably either my King Kong NYC piece or my Tron Legacy one as that one won me a MacBook. Mor recently I think it has to be my chracter development pieces.


How do you go about starting a piece and what software do you like to use?
I normally start with the title and work backwards from there. I mainly use Illustrator although I do occasionally stray back into Photoshop.


How did you get yourself noticed?
I signed up to every art portal/portfolio site that I could (deviant art, behance, coroflot, slash three, shadowness, designers couch, dribbble, revuh, etc) and just kept posting work and getting to know people in the online art community. Over time I've just built up a steady profile by keeping active.


How tough is it to find illustration work out there?
I don't actively pursue illustration work so I'm not 100% sure to be honest but from what I've seen and understand, it's definitely a tough market out there. 


Do you have any advice for an illustration student that's just starting out?
Get signed up to every art site possible, you might not have a massive portfolio at the moment but the future networking opportunities you build up now might be invaluable in the future. 
Start a blog, twitter and facebook page. Blog about things related to illustration, art and things you like.
Stay original. It's ok to be influenced by people but nobody likes a copycat.


Thanks for your time Neil and for getting back to me so quickly


You can check out his website here: http://www.neilhanvey.co.uk/

Todd Oliver

Whilst browsing through this months edition of Computer Arts magazine I came across the work of Oxford Graphic designer and illustrator Todd Oliver. 


Todd's work appealed to me straight away because of it's bright colours, twisted humour and quirky characters. 


I emailed Todd some questions and he very kindly replied and supplied me with some of his cool illustrations for the blog.

Please check out his website for more great examples of his work: http://www.toddoliver.co/

Where did you study?
I studied for a degree in 'Design for Interactive Multimedia' at Reading College & School of Art & Design.


How did you start out as an graphic designer/illustrator?

My career as a graphic designer started around 5 years ago. After applying for loads graphic design jobs around my area I was beginning to give up hope after being turned down again and again for either not having enough experience (I had only just passed my degree) or for actually being too ambitious - this was actually what someone said at one interview after showing them my portfolio. I finally got my break in a small publishers, not too far from where I live.

It’s only in the past few years that I’ve really started to push myself, outside of the 9-5 day job, to start drawing more and to get my name out there as an illustrator in my own right!

How did your style develop?

That’s a really big question!

As a kid I was really into drawing imaginary worlds. Weekends would be spent with my cousin, taping bits of A4 paper together to create a massive canvas to work on from sketching skate parks to mazes with acid pits and eroded skeletons!

After leaving school, I enrolled in a full-time IT course. I didn’t know what I wanted to do, but I knew I liked computers. Mainly playing computer games... The course was very boring and technical, but there were a few units that involved creativity. These are the bits I shined at- creating interface designs.

From there I taught myself how to draw within Macromedia Fireworks - Adobe Photoshop was way too advanced for me at the time. After that I played around with animation using Flash, and eventually moved on to Illustrator.

The pen tool was like a revelation to me. Being able to draw these smooth looking lines, and realising I could draw anything I wanted to with just a few clicks, and it looking GOOD!

In 2002 I started a web comic, which was also drawn in illustrator. Updated tri weekly, instead of drawing each panel from scratch, I built up a bank of character assets which meant I could build poses rather than having to draw them. This saved time but after a while I began to find this technique quite boring. It wasn’t creative and after a year and a half of updating the comic, I decided to call it a day. 

Soon after this I was bought a WACOM tablet as a gift. Slowly the pictures I was drawing in Illustrator had a slightly less perfect, handdrawn style.

It’s only very recently that I’ve gone back to basics. Any new piece of work begins as a sketch on paper. I won’t touch a computer until I’m happy with the sketch. Making this decision has really changed my style. It’s allowed me to layout an image much more effectively, utilise space better, add loads more details and retain my original hand drawn lines.

What piece of work are you most proud of?

I’m very rarely satisfied with any work I’ve finished! Even before completion, I can look at my illustrations and see things in it I’d wish I’d done differently. I think that’s the same with a lot of creative people though. It’s good in terms of wanting to better yourself and try new things, but it can demotivate you sometimes.

Based on the most hours spent working, and complexity, the Cola poster is probably my biggest achievement so far! In terms of getting my work out there to the masses, I’m quite proud of my poster artwork for the CTRL+ALT+SHIFT charity and a Qee toy I designed for TOY2R. On a personal level, I’m quite fond of the recent portraits I made for friends and family. It’s too hard to choose just one!

I read you were inspired by Where's Wally books and Garbage Pail Kid Stickers, are there any other inspirations for your work?

Yes - loads! I’m a big fan of Keith Haring’s work. I was lucky enough to go to New York recently and visit a couple of the murals that still exist in the city. That was a big highlight of the trip for me.

On a daily basis, thanks to Twitter, I’m constantly discovering new artists. If you’re not on there, I highly recommend you at least check it out. It’s great to show off your latest work, get and give opinions, and help be part of collaborative projects. For an upcoming illustrator, I think it’s a must.

How do you go about starting a piece and what software do you like to use?
It all depends who the picture is for! With commissioned artwork, I will spend a while thinking up ideas and then very quickly, sketching a few of my favourites. At this point, the ideas/concepts are the important bit, not the quality of the work.

My digital process is almost always the same. Working with my Wacom tablet, I’ll digitally ink the line work as close to the original sketch as possible. This is what gives the work it’s own style.

How do you overcome a creative block?

I used to think trawling the Internet, checking out other people’s portfolio was a great way of conjuring up ideas. Sometimes it can be, but it can also be very easy to start comparing yourself to other people which can really chip away at your self confidence. There are a lot of very talented people out there!

I don’t think there’s a tried and tested method for overcoming creative block. Sometimes you need space to get away from the job at hand, and come back fresh although if it’s a tight deadline, you may not have the luxury of doing so.

It doesn’t hurt to have a sketchbook. I try not to ever throw away my doodles and sketches. Not only are they great to look through as a visual diary of your work, but they’re useful for kick starting new ideas.

How did you get yourself noticed?

That’s still a work in progress. I would say Twitter has really helped with promoting my work. Creating a Facebook page hasn’t hurt either. I regularly share current work, take an interest in what other illustrators are working on and try to contribute as much as I can to collaborative projects and shows. I’ve still got a long way to go in terms of getting my name out there.

How tough is it to find illustration work out there?

I don’t think this is something I’m best suited to ask! I’m still very much trying to find my feet as an illustrator! My commissions have been through social networking sites and word of mouth. I’m not signed up with an agent.

Do you have any advice for an illustration student that's just starting out?

I think the biggest selling point you can have in your portfolio is originality. Some illustrators market themselves as a jack of all trades covering many different styles, but don’t feel like you have to too.