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Mantooth's and Tighe's likeness were used for games, puzzles, lunch boxes, action figures and comic books connected to the series. The four comic books, [22] and four magazines, [23] were issued by Charlton Comics in Viewmaster released a series of reels that had film stills of the show arranged in a story or photo montage. Cinader created series, Sierra. Mantooth and Tighe appeared in the episode, "Urban Rangers".

The on-screen camaraderie between Mantooth and Tighe, as well as their friendship with both London and Troup, carried over to real life as well. Before London's and Troup's deaths, all four remained close friends after the series came to a close, and Tighe served as a best man at Mantooth's second wedding in While talking with Tom Blixa of WTVN , Mantooth said that at first it was a little intimidating working with Robert Fuller , Bobby Troup and Julie London , because they were all big stars but after doing a series with them for seven years they all became like family.

In addition to Mantooth working as an actor for over forty years, he has remained an advocate of firefighters, paramedics, EMTs, and other emergency medical providers. He does speeches and personal appearances each year at events across the country, [17] discussing the "inside story of the development of the television series Emergency! Mantooth brings a perspective and insight into the startup and history of pre-hospital treatment in the field.

He worked alongside influential men who made a difference … men he greatly admired … the late Robert A. Cinader , creator and executive producer of Emergency! Mantooth's dedication to promoting and advocating for the fire service and EMS is shown through personal reasons, "I owe an incredible debt to firefighters, EMTs, and paramedics That's why it's so important for me to do what I do.

Masimo Corporation funded a video, narrated by Mantooth, regarding the dangers of carbon monoxide to educate firefighters. He has been honored over the years with numerous awards and recognition, most recently the James O. Mantooth's work as an advocate for firefighters and EMT also extended to the Native peoples. Originally filmed in , with additional scenes filmed in , this features discussions with four doctors: Eugene Nagel, M.

Michael Criley, M. These doctors pioneered the idea of mobile medicine and paramedics based on early ideas in Northern Ireland and Russia. He moved back to New York where he explored a new direction in his career with daytime soap operas , [12] earning him four Soap Opera Digest Award nominations. He played Clay Alden [17] on Loving from It was during this time, that the character, Clay Alden, was actually Alex Masters. Mantooth described the character as a "good guy with an edge.

Mantooth left Loving for personal reasons in , before returning to the show in , this time in the role of Alex Masters. The series was later revamped and titled The City , lasting for two more years before folding in Besides his work on daytime in the s, Mantooth starred in television movies such as White Cobra Express and portrayed Bing Tupper in both the movie Before the Storm and the series Under Cover.

In , he played Solonsky in the feature film Enemy Action. Mantooth is marketing a screenplay that focuses on Indian gambling , called The Bone Game.

Justin Welby's mother was far from the only woman to fall for Anthony Montague Browne

Mantooth completed a three-month run of Tracy Letts ' Superior Donuts in [37] at the theater. From Wikipedia, the free encyclopedia. American actor. This biography of a living person relies too much on references to primary sources. Please help by adding secondary or tertiary sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately , especially if potentially libelous or harmful.

May Learn how and when to remove this template message. Sacramento, California , U. Rose Parra m. Kristen Connors m. Main article: Randolph Mantooth filmography. Behind the Scenes. Retrieved November 7, Retrieved 11 November Retrieved 15 November Retrieved 1 June Retrieved 18 May Retrieved April 22, The Victoria Advocate. Retrieved February 10, Retrieved May 20, February 1, Archived from the original on February 19, Retrieved April 15, Retrieved November 11, Archived from the original on July 1, Retrieved January 12, May 28, Retrieved December 20, Retrieved September 5, Indian Country Today.

Retrieved June 6, In a conversation with ICTMN, Mantooth discusses his successful career, his love of speaking and how he's addressed the challenges unique to being a Native actor. Interviewed by Tom Blixa. May 23, They are a way of acknowledging my surroundings, taking a fresh perspective and keeping the mystery alive.

When I think back on how I grew up to become an artist, or why I like drawing and painting so much, little snippets of memories come to mind. They are trivial perhaps but meaningful to me; moments like asking Dad to draw evil monsters from his video art game books. Showing him my own copied drawings when I was a little older, only to be told off for never creating from my own imagination.

Having a crush on my primary school art teacher. Sorry, Mom! However, I do realize that, growing up, there were large periods of time when I was not doing anything related to art, yet sooner or later I would always come back to it, which is something I think many artists have gone through as well. Until finally realizing how much they like it and deciding to turn it into what they do for a living.

So naturally, just like the many artists similar to me, I ended up pursuing art as a career. This got me onto a rocky path of frantically taking whatever freelance work I could for two years, before landing my first job in the game industry creating concept art. I can still remember how ecstatic I was. Growing up, my biggest influences were always movies and cartoon shows and games. I never really had any specific artists I followed or aspired to be like, not until the last year or so at least, when an artist I really admire showed me the merits of knowing clearly what interests you and choosing the things you allow yourself to be influenced by.

It seems like common sense to do this, but yet it is so easy nowadays to become conditioned to the endless sea of currently trending art fed to us online day in and day out. Realizing the importance of knowing where my art is headed was such an eye-opener for me, and I hope it shows through in my future work. In the last volume of White Cloud Worlds, I spoke of my love for environmental paintings. I love the scope of them, and the feeling that they could be inhabited by a whole cast of characters and events.

Since then, I have pursued this love, completing a digital matte painting workshop with the talented David Luong. I thought it would be fascinating if mankind came up with a kind of anti-gravity technology, with the limitation that it was not agile. Therefore, the technology would encourage mundane and practical uses, rather than the action sci-fi tropes.

It is also a throwback to the era when gargantuan zeppelins seemed like the future of air travel. Sometimes it was designs for a prop or digital character. Other times, it was storyboard frames for a live action shoot. In any case, my work was often a step on the path towards the finished product. Sometimes a location needs to be seen in as many as six different lighting scenarios to show the passing of time, and to communicate different moods.

Interestingly, now that my day job focuses almost entirely on environmental paintings, the goals in my personal work are shifting. I find myself much more interested in drawing figures and characters when I get home from a day of finessing landscapes. It will be interesting to see where this will lead me over time. Oh yes, for I have done stuff, and I have been hungry. But does that mean that the doing of stuffs contributed to my intestinal palpitations?

For now, we will have to agree to disagree about its relevance. For me, the hunger is for visual communication, and it tends to lead to the doing of stuffs! Yes, I finally got there—to the point. You need to be hungry, practically starving, for that fix you get from the creative process, in order to be passionate enough to pursue the end goal of making the stuffs. My core passion is for environmental design, and I strive to get a sense of visual depth and storytelling into a painting. The story is absolutely key. Where the eye goes, the mind will be close behind. What cool stuffs do these future people need?

In many ways, I feel that concept design work for games or film is very similar. Well, my production pipeline has evolved a lot over the years, but one thing still rings true. So my production pipeline always starts with music—almost too often starting with a bit of Tool, but I am getting counselling for that particular affliction. So I decided to choose my top two Photoshop tips, for someone just starting out.

Firstly, there is the layer mask. You can achieve powerful results very quickly once you master it. I actually avoided using this method for the longest time, until a colleague made me see the error of my ways. Become one with the mask, you will. I always keep my value checker at the very top of the stack. This has the effect of turning the whole image to greyscale, in a non-destructive manner.

Most of the time, this layer is turned off, but occasionally I will toggle it. It gives an immediate reality check about how the values are working together. I really do need to go and do some stuff. Hopefully my meandering thoughts have been somewhat illuminative. A final thought from me—just enjoy the process … But draw until your fingers bleed! Growing up, my school lunch breaks were spent sitting at my desk drawing aliens, robots and intergalactic star battles in the back of my exercise book.

You could say that I lived in a bit of a fantasy world. Little did I know that drawing would become my livelihood. To this day, not much has changed in that respect and I still find it strange to consider myself an Illustrator. However, the who and what I am are not answered in what I write or my job title, but in the work I produce. Maybe that is why I find writing about my work harder than actually doing it. The natural and easiest way for me to communicate has always been through drawing and art, leading me to believe that my creations speak the loudest about who I am.

The self-discovery an individual makes through a creative journey is very interesting. It is even more profound when your creative endeavour helps others to do the same. When my work inspires others to express themselves and communicate their interests, it is the most rewarding and humble feeling. The result inspires me to excel in my craft even further. This process is, to say the least, hard to describe, but when I work it feels like crossing a bridge. What I am about to create most of the time already exists in my head and my job is simply bridging it to paper.

The ideas cross an ever-growing bridge of inspiration, reinforced and moulded by great artists and peers. Even close friends and family all contribute to its foundation. The people I surround myself with have helped shape and refine my thought process for the better and, in turn, shaped and refined me, too. Although my art is changing and so am I, there is one constant that stays the same. Rather than writing a witty bio, I feel like I should really take this opportunity to simply get on my soap box, and throw an idea at you guys in the hope that it strikes a chord with one or two kids who feel a little overwhelmed, lost or intimidated in the creative arts.

So, at the risk of sounding like a pretentious ding dong Well, I am here to tell you that not only can you do this, but you should. All it takes is a lot of hard work and constant practice. When we see people showcase amazing abilities at a young age, this does not mean that they were gifted from birth. It is simply because they love the activity and are therefore compelled to do it more than others. The activity becomes routine. Much like a child who might love soccer and play it day in and day out would be a much better soccer player than me.

We have not seen all the countless hours of practice the child has put in, and so assume that the abilities are natural. The reality is that you could do it—but it takes years and years of practice, dedication and enthusiasm. It really is nurture over nature. I was never naturally talented at art, but I continued to do it because I loved it and I had unwavering family support thanks, Mum and Dad! But through sheer bullheaded determination and a lot of growing up, I managed to stick with it and put in the time to get my craft to a professional state albeit with a lot of partying in the process.

And now I am here, in the White Clouds Worlds book, something I had wished I could be good enough to be in ever since the first book came out five years ago. I had to really work hard to understand and grow my abilities. I say all of this not to impress you, but to impress upon you the fact that you all have the potential to become better than any of the artists in this book.

And I really hope you do. There is no greater path you can choose than the path of a creative. I look forward to seeing you alongside me in this book one day. Much has changed in my life since White Cloud Worlds Volume 2, and much more will have changed by the time this new book comes out. I mean, how can drawing pictures all day in my boxers contribute to a better society? Perhaps it is important questions like these that drive a man to put on some pants, leave his cushy job as a contract illustrator in the advertising industry and re-enter the world of academia and teaching.

After graduating five years ago, the last thing on my mind was more study, but after a few years of professional practice you start to miss the freedom you have within the university environment to experiment and question. What this year of study has given me is the time to think and research some social issues and perhaps even ask how I might contribute to society as an illustrator and storyteller. The aim of this research project is to explore, through design practice, illustration as a sequential storytelling method for the engagement, education and empowerment of Pasifika youth.

Thus far, the project has given me a refreshing perspective on my work and skills as an illustrator. Joseph Qiu has loved drawing since his early childhood. None of his family are artists, but his parents also liked drawing when they were young. If his parents wanted to know his school progress, they only needed to see which textbook page had his latest doodling. Until the day he realized it might be possible to make a living by doing art. While he was working as a designer, after graduating with a graphic design degree, Joseph taught himself how to draw and paint.

He attended workshops and intensive courses, and learned a lot from many great artists around him. From , he started to receive commissions and to work as a freelance illustrator. His work has been featured on advertising campaigns and various publications worldwide. He loves drawing historical scenes, people and caricatures. And, of course, pirates are one of his favourite subjects. In reality, those guys were mostly badass, rough, rigid and not as romantic as we read in stories or saw in films.

Yet they still have some positive characteristics. Joseph has caricatured them in these works to feature them in a humorous way. Born in China but taught in New Zealand, Joseph adopts both eastern and western art aesthetics. Not only does he make his art digitally, he also paints traditionally in oil. He now lives in beautiful New Zealand with his wife and son. I got interested in tattooing in , as a way to develop my skills and keep myself fresh after 20 years of illustrating and working on comics.

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Working on paper gives more room for developing a concept over time, and you get more than one opportunity to get it right. In the custom tattoo industry, the day is spent in the studio, and the nights designing for clients. I want to design for businesses that are as passionate about their product as I am about my work. In terms of medium, the Canheads were pretty straightforward. The branding on the design is pretty minimal, so the final product is about the beer inside the can and the art on the outside and not the size of the logo.

The process for developing the Canheads reminded me of my comic illustration days; working with a team of people on the style and the concept for the characters, and then developing their back stories. If you imagine that the beer is the comic, you could think about the cans as the cover. Drawing and designing is my passion, whatever the medium. Between tattooing and illustration, I get to choose who I work with and what I spend my time on. Nothing beats the buzz of seeing something I made on a shelf and being truly proud of it. My introduction to art came before I can remember.

My favourite pastime as a child was to sit down with piles of computer paper and draw. Back then, I would be creating fantasy worlds I wanted to live in. Their warped sense of logic and fantasy grabbed me. For my commercial work, I primarily work digitally but also enjoy traditional media, pencil, charcoal, oil paint and watercolour. I am most fascinated by the strengths and vulnerabilities in femininity.

I find his street-art-inspired style to be eerie, raw and intriguing. There seems to me a limitless well of expression, depth and feeling that can be represented through the female form. I want to continue experimenting with this same subject matter, but I want to be more experimental with my work, and play with different media, traditional and otherwise.

I have been living in Purgatory for the last five years. A place undefined and inhabited by the unresolved. An ambiguous environment that has no rules and blurs culture, mythology and belief. This has been the realm my work has explored relentlessly. A project that grew from years of sketches and character studies, The Resurrection Lands is a graphic novel that pays homage to its origins in the Moleskine sketchbook. Since , the characters have been explored and developed with no intended sense of direction or purpose.

As the years went on and the used sketchbooks piled up, themes emerged and a sequential art piece began to evolve. At first, no more than a way to explore a few ideas and give one or two characters a little more depth, the musings quickly grew into a larger campaign. The story grew organically, with no initial pretence of being anything more than another study in the sketchbook.

As more people began to explore the books, the more I was convinced to continue the project. However, it became apparent that a crucial element was central to this project; the sketchbook must be retained as the established aesthetic. Eraser marks, structural lines and so on are all retained, a unique characteristic of the novel and reminder for the reader of the origins of the creative material. This collusion of creation and material gradually became far more than the sum of its parts and, for this reason, the final book will be presented as a sketchbook with an anonymous black cover, creating an intimate look into a hidden world; like a discovered journal.

The journal is self-published as a limited edition of copies, signed and authenticated by the creator, as if the sketchbook itself is being passed directly to the reader. This is a visual approach to explore the range and interests of the illustrator, exploring a unique narrative that transports the reader out of the space of art and into a world of storytelling. It crosses boundaries in this way with a new lens for creative adaptation. It enjoys a playful approach to drawing and storytelling at its core.

The first volume was released on April , selling out within the first two days at the Middle East Film and Comic Con. A second edition has been printed to meet demand and coincide with the launch of Volume Two in April The series is set as a trilogy. The publication is designed with anonymity in mind, especially on the shelf.

Black buckram with the title embossed on the front cover. It is designed to be concealed. Its tactility is a key component of the experience of the book, requiring the reader to physically interact and explore the journal-style treatment. The Resurrection Lands is a homage to the sketchbook. A personal insight from the artist and author to the reader.

Damon started drawing spaceships when he was very small, and nothing much has changed since. Motivated less from a love of drawing than a desire to tell stories, his work has shifted over the years from cartoon strips to writing to short film and then back to comics again. Throughout this time, he has remained fascinated by exploring the ideas that science throws up for our species, so most of his stories involve astronauts being tossed into wringers and then tortured for a bit.

Comic storytelling has remained a huge influence on him, particularly since its flowering during the last decade. Largely inspired by the short black and white sci-fi comics of the seventies, his work reflects this in its scratchy, inky style, and his palette, while more modern, features complementary muted and distressed tones.

Today he is as much focused on finding and improving his drawing style as he is on making sure each panel clearly communicates the exact emotions and notes necessary to articulate the story he is writing. In that sense, he feels his work has taken on a much more graphic, communicative role, rather than one that is focused purely on aesthetics. He now works nearly entirely on computer — penciling, inking and colouring with a Cintiq in Manga Studio and Photoshop, and he has even begun reading digitally, though he admits to still loving the weight of a newly printed comic in his hands.

Since then, he has also launched High Water, a group that seeks to encourage creatives to produce climate-change-related art. This led to the publishing of a hardback collection of comics focused on climate change, also called High Water, which featured the work of Dylan Horrocks, Christian Pearce, Sarah Laing and Tim Gibson, among other comic luminaries. Damon likes to dream of a society that values artists more than bankers, and a future where there are spaceships on the way to Mars and bases on the moon.

So, pretty standard stuff really. Cory Mathis was born in the small mining town of Waihi, New Zealand. Thinking at first that he would grow out of it when he entered his teenage years, as many similarly afflicted children do, the problem was allowed to persist. The sickness, however, only intensified as he grew older. At a loss for a cure, his parents invested a small fortune in psychological intervention, rehabilitation and other experimental procedures, to no avail. Finally, their options all but exhausted, Cory was sent away for art training. Although no lives were lost, witnesses are still recovering from the traumatic events of that day.

Saurian Era started as a short animation project I finished and entered into the Hamburg Animation Awards. The world of Saurian Era would best be described as a dystopian fantasy adventure with dinosaurs in it. I often joke that drawing comics pays only enough money to buy beer with. However, they do sometimes lead to commercial work, which is another great reason for us creatives to keep pushing our own projects amongst the hassles and obligations of careers and life.

The two images above came about as a result of my experiments in comics and live in a similar art-zone: flat colours, inky blacks and a mix of loose but careful brushwork. This style is miles away from my painterly origins and quick digital character designs I did alongside many peers in this book. Only about 10 years too late, eh Tim? Film Directors and Art Directors are trained to look past the use of pretty lighting and stylistic techniques to see the intent behind the work, to see the actual ideas.

Too comics. But working for commercial clients is a bit like trying to sell them a painting for their living room. In that world, picking a commercial illustrator is often less about the ideas of that artist and more about the style that they choose to work in. These are covers for comic funny books. I spend most of my time drawing the interiors of funny books, but these are the bits that go on the outside.

Here we go These all start with me being sent a script, although some were done from a vague plot synopsis. I do all my penciling digitally these days on a Cintiq. All of these have been coloured by the great Dave Stewart. He has a way of making colours work together in a way that elevates whatever scribbles I send him.


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A lot of the time, the first idea I have for the cover is the one that goes to print. Probably something like that. I like that side of it, you just bang it out and sometimes you are proud of the result and sometimes you are really embarrassed by it. Really embarrassed, for the rest of your life.

Or something. I have no idea. Again, the point here is space. No refunds. Mythology is absolutely necessary for our happiness. Superheroes are a big deal today. When I grew up, superheroes were a huge deal. I realize now that I lived by those mythologies, and they kept me on track in my life. One of the main characters plays god by controlling people by force, another plays god by setting people free. How exciting! But just as my characters dictate their own environment, they also dictate the nature of my compositions.

Characters who have the strength to change the tone of their surroundings are those who are also well worth telling a story about. I believe in finding the look of my characters through artistic exploration on the page. How should we feel when we see that character? Once I do, then I have the design. But until I do, the process must continue. As the characters build, and the dynamics between them become richer, the world in which they exist begins to truly come alive.

Creating new, engaging and worthwhile mythology is a massive challenge. Our lives deserve challenge, and we need our mountains to climb so I aim, in my work, to inspire readers to have the courage to climb their own personal mountains and manage their expectations of the journey. We are not perfect.

This is true of our lives, and true of the characters I attempt to write. Our lives, losses, victories and reflections when faced with a crisis of truly epic proportion, wrapped in a fantastical metaphor of words and pictures. When I was eight years old, I thought that being an artist meant hanging paintings on white gallery walls and wearing berets. So I began looking for other vocational solutions. In high school, I was convinced that a career in math might be my calling. Naturally, I was about as skilled with numbers as a Tyrannosaurus is with a pianoforte, but I was sure that this job would be the one for me.

The best thing I could do in my math class was to turn the algebra signs into interesting little characters and catalogue the story of their little numerical lives. I trained as a chef, I worked as a sales manager and as a barista. And I tried so many different jobs, I felt that, after a while, I was turning into a Forrest Gump quote. My career life was like a box of chocolates; most of my jobs I enjoyed, but none had the sticky, gooey centre of self-fulfillment that I craved. Not for money, not for a business, but for me.

My friend gave me a knowing look, and I found that my insecurities, my fears and my hesitation were slowly rolling away. It just meant that I had, without using Google, without thinking, without comparing myself to any poll, story or article, decided from my gut that I knew what was best for me. Nowadays I sit at home, one cat on the chair, one on the windowsill, coffee in my hand, polar-fleece blanket on my legs.

No problem. My high school art teacher found me drawing in the corner of a corridor during break one day. My brothers crafted cut-out paper money we could trade for our grown-up services. I remember my brothers showing up to see what occupation I had chosen; me, furiously scribbling away, my little desk covered in felt tips and papers. The other, to my delight, handed me a paper note and requested a picture of a cat. I grew to be your stereotypical nerd, tripping over gangly limbs and pasting Garfield comics in my notebook. In intermediate school, I made the classroom my office during lunch breaks, and awkwardly sold cartoon portraits for 50c.

Hitting high school and shaking off a little awkwardness, I started my first real business. I dressed up as a fairy princess, painted faces and sold fairy paintings at markets and birthday parties. My first real introduction to fantasy was when my friend Jozephine Parker dragged me to a movie I had zero interest in seeing. We saw The Lord of the Rings and everything changed. I knew where I was going. I spent the following four years increasing my nerd factor by pasting pictures of LOTRs characters on my walls and sketching armour, weapons and elves in silk dresses.

At 17, I moved to Wellington to pursue my dream of working at Weta Workshop. The Hobbit was already in pre-production and I hoped for complications in the production so that it would be postponed until I got my foot in the door. Would you believe my luck? I started work on The Hobbit in costume and props in At 22, I got my first real design job. I was ecstatic. As a mature adult, I now draw pictures from the corner of my living room, laughing to myself about the fact that the team at Nickelodeon will never know their designs were coming from a girl in New Zealand, working in her pajamas and singing along to The Lion King.

T-Wei is an artist living and working from under his rock in Wellington, New Zealand.

If Jeff Bezos wants to help low-income people why not just pay them better?

With dreams of one day joining the glamorous world of comics. T-Wei began studying the human form in high school. Although that dream has since been abandoned, the stylistic tendencies toward careful lineweight-driven artwork has remained. Since then, his focus has jumped between animation, concept art, illustration and — as of late — has found its home in pop surrealism. Now his work has taken a more narrative approach, his themes jump between the considered and the pointless, and often can be described as a conscious mistranslation of the world of figurative visual communication.

T-Wei pulls established techniques from animation, comics and mass production and twists them until they once again feel unfamiliar. Or, as described in a recent article, the drawings of a bitter old man of the illustration world, whose work is as much a reaction to it as it is a contribution to contemporary illustration.

Though with much kinder wording. These days working as a freelance illustrator, T-Wei primarily works on commercial illustration during the day, and on his personal work in lieu of sleep. Asking me to write about myself for this book is like some sort of cruel and unusual punishment. Here goes … Once upon a time, beneath the light of the full and glorious moon, a baby was delivered via a flock of shining sparkly disco eagles to the doorstep of a family in Nelson.

From a young age, Anna was different. Instead of painting nails and playing Barbies, Anna preferred drawing by herself and falling in love with the handsome male characters she made up. One day, 6-year-old Anna drew a Simba so amazing she decided she wanted to become an animator. Unfortunately, looking back, that Simba looked like a crayon turd with legs, and she was terrible at animating because it took too long.

So Anna just kept drawing. This ritual helped her to develop an appreciation for powering up her skills, being the very best like no one ever was, and journeying to the digital world. While the other kids in art class were painting flowers and landscapes, Anna was drawing her own Digimon partners, designing as many characters as she could dream up … and also future Trunks with his shirt off. Eventually, she left New Zealand and travelled to Japan on the back of a flying unicorn to do her last year of high school at an all-girls school in Osaka.

The Japanese culture turned her into even more of a weirdo and influenced her art in mysterious ways. She lived in a temple dorm for most of the year, across the road from her high school, and still managed to be proudly late every day. After returning to New Zealand once again and working in the fast food industry, she moved to Wellington to study at Massey. This was a terrible idea. After failing miserably at writing essays, she began working in retail. Anna sold iPods at a tech store, then movie tickets at a derelict cinema—all the time drawing copious amounts of oddness on the back of ticket receipts and movie timetables.

After applying for all manner of creative jobs and facing rejection after rejection, she started selling her artwork online and through some form of blessing from the puppy gods of Valhalla, people kept asking for more. Now Anna is lucky enough to work in a shared studio in Wellington, where she sells her pretty artworks to innocent people around the world, as well as working for clients on branding and commercial projects to pay the bills.

And she does all this while surviving on a diet of noodles, muesli, unicorn bacon and coffee. She dreams of returning to the unicorn farm on the moon one day, to help farm them for chocolate milk and make candy floss from their manes and live happily ever after with a view of the earth in the distance The end. My work is always evolving. Not just in style, but in subject matter, genre and the media in which I work.

So for me, the creative process is often one that includes a measure of journey. I enjoy working in many creative spaces and playing with mediums and techniques, affording me great breadth in my working practice, which ultimately makes for an exciting migration through experiences and disciplines. For instance, my recent travels to Berlin to exhibit as part of the Pictoplasma International Festival of Contemporary Character Art and Design sparked a renewed interest in character-centric narrative, combined with one of my perennial interests for pre-Renaissance religious painting and iconography.

The physical journey to Berlin carried me from London through Western Europe, through its many enchanting museums and galleries, castles and historical sites, which are inspiring and captivating. From this spark of enthusiasm, I found myself drawn to the idea of representing pop surrealism through wonderful and imagined characters, revered as icons of a contemporary world, drawn not only from the completely imaginary but also from our anthropological past and the natural world around us.

My latest work, produced for the Pictoplasma show in Berlin and presented here, reflects this renewed interest in the icons of religious art mixed with contemporary character design. Exploring religious iconography through artifact and painting, the work uses my own imagined creatures arranged in reverence to ask questions about romanticised characters in our own metaphysical world and how doctrine can be established through the presentation of objects and images held in veneration.

The reliquary is venerated as an object even before considering the meanings of the characters and symbolisms held within its form. It is an object dedicated to creativity, the process by which we all, as creative people, adhere—an ideal that our passion for imaginative expression is one above everything else, the first thing you think about in the morning and the last thing at night. Our creativity and affection for imaginative wonder becomes our religion. Fanciful creative play allows us to explore the imagining of worlds that are impossible, unattainable or unattached from the confines of this corporeal world.

If fantasy is extraordinary, other worldly, then imagination is the sacred key that unlocks the door to these wonderful worlds. The name Seymour came about from early in my career, when I was working as a graphic designer. I felt that I needed a distinction between my work as a designer and my passion, which was developing my personal work.

I create mainly sculpture and print works. My inspiration comes from the broadest of influences. I come from a long line of collectors and hobbyists, and I inherited the gene. These collections have always played a huge part in the idea and inspiration process of creating my own work. My studio walls are shelves that start at the ground and almost reach the ceiling, filled with toys, vintage collectibles, books and the odd pieces of taxidermy.

The colour palette and imagination of the Japanese art toys Kaiju have been inspiring when creating my sculptural pieces, as have the visuals that result when east meets west culturally in film and print. The themes that run throughout my work is what makes the pieces stylistically recognisable, but I like to push each new collection a little further, exploring different detail, colour palettes, processes and applications.

Alongside my artwork, I have always worked to promote the pop surrealism, low-brow genre and artists.

Ovo: Cirque du Soleil, Royal Albert Hall

I have worked for both Strychnin Gallery in Berlin and currently Outre Gallery in Melbourne, which are considered leaders in the industry for the low-brow art scene. My roles within the galleries have been an important part of my own work. The exchanging of information, ideas and skills have contributed to my own work. Promoting talent and creating a presence within the genre has always driven me, and the skills I use in my own business are transferable in helping to push the work of others.

Comic Con and Designer Con are also a big part of the wider community where the type of work I produce finds its place. Well, would you look at that, some more pictures! Well, maybe not so much well-rounded as squarish and elbow-like. Hopefully, the drawings themselves are interesting enough for you to forgive me for this meandering introductory paragraph. So, I like to draw, but I draw all day at my job! But I have a lot of fun doing it! Half of the images here started as drawings in my sketchbook from one of the regular sketch groups that meet up at local bars in Wellington. Yip, I really like to draw characters.

For me, picking any archetype and putting your own signature on it is plenty to have fun with. Sometimes I like to think in terms of gangs. Naturally, you want to make each character unique, while keeping the group part of one identity. It made going through high school a lot easier. In those days, anime was an accessible source of sci-fi and fantasy concepts, with enough drama and humor to appeal to my teenage sensibilities. Anime was also a window into Japanese culture and eastern religious values, which was a relief from daytime television. My friends and I used to treat being anime artists a bit like a sport.

We would draw in big groups after school while we watched our favourite shows. Those were the best days of my youth. I was born in Hawaii, moved to New Zealand when I was 14, and have been here ever since. I have no singular cultural background, which has left my aesthetic an eclectic urban mix. But what is anime anyway? Do you care? I also have an extensive library that I used to learn the technical end of how to draw and write, and I love doing online tutorials through YouTube and Deviantart.

The marketing you have to do for yourself as an independent artist blind-sided me, but I get better at managing the business side with help from family, friends and lots of practice. I work with my husband from home, doing all sorts of creative projects. Most of my inspiration comes from my love of designing new characters for short comic stories. Our current projects are the fourth instalment of our dating-sim and point and click adventure Puppy Love, and a fantasy adventure graphic novel called Galleon.

There are lots of tools to experiment with and I recommend trying them all. Nowadays, drawing anime is my best skill. I asked a mate if he had read my previous texts for his thoughts, but nah. He said he just looked at the sweet pictures. Ohh, I could mention what future things I want to illustrate on this unnamed planet. More characters interacting with each other, like Stu dining out with other interesting folk, and with Darryl who drives the black ute.

Uncommon encounters with Schroder and Ascari who take on an array of enemies, like an alligator commander. Could also be something more simple, like a two-faced Siamese cat portrait, or some rad sci-fi wolf doing something choice! Will just have to see what I start on next They were all much too busy with the habitual hysteria of packing up their stalls before evening.

The traders were well adapted to speedy departures, hauling their assorted wares in great packs that functioned as portable stalls. This allowed them to trade freely among their fellow Earth folk at market, as well as affording a convenient means to transport their cargo to and from their burrows. Wosel watched as the last of the vendors rolled up their woven garments of dried roots and flaxen leaves and bundled up the nuts, berries and seeds they had come to trade.

Clay pots and wicker baskets filled with brews and herbs dangled from their packs as they scurried away home. Travelling to and from the market was a risky business, but a crucial part of life for any of the smaller sorts of Earth Faerie. By exchanging items they had in abundance for things they found harder to come by, they could spend less time above ground foraging, and more time below it in the safety of their burrows.

They had been forced to adapt to a world that was growing ever more hostile, for they were not the only type of Faerie who lived in the Gloaming. One frantic trader was so involved in the adjustment of the straps on his heavily laden pack as he hurried away, that he ran right into the back of Wosel. Articulating what it is I do and why I do it, however, is much harder than the actual making!

Although dolls are widely regarded as a meaningful and crucial part of our material culture, there is something aloof and dismissive about the way in which dolls and doll makers are sometimes regarded by their artistic peers and contemporaries. The word of art doll artists, which I associate myself with, is much more vibrant and diverse. I find just showing a few photos of my work is enough to convince people that these are not ordinary dolls. I made my first doll at age Will Scarlet from Robin Hood. Some influences from the fantasy world, however, still remain.

My dolls enable me to create new entities and personas, to be a world builder. As a child, it meant that any thought or fantasy I could dream up could become a tangible reality, and I was restricted only by my own ability. Characters gestate in my mind and I have a constant need to get the ideas out into their physical form; an expression of my own imagination influenced by environmental, social and political narratives that provide for a rich storytelling experience. Each doll is a small piece of me. The most important attribute I feel within my work is achieving character believability, through their physicality, expression, attention to scale and proportion, texture and tone.

Like good architecture and design, there are attributes which, when addressed in correct proportion and composition, create the believable being. The expression in the eyes; the size of the head in comparison to the limbs, each decision plays a valuable role in the development of the whole. This meaningful being is a timeless creation with its own world, purpose and ambition.

For me to achieve success in my work, a piece needs to speak to me, and continue to express long after my pleasure in its creation has waned. For me, it is this driving force that keeps me creating new work. She has been making dolls for over 20 years, inspired by the world around her and, predominantly, her obsession with birds and war. Full-time work in front of a computer. This is important: a slow relaxed start may spoil the recipe.

Sift out any exercise and put aside. While Wife prepares 4YO, mix clothing and apply to various sets of limbs. Order is not important as long as self and twins can move independently. Set aside while preparing breakfast. Apply breakfast to face-holes while providing quality entertainment. Own brekkie is optional. Take freshly prepared 4YO and insert into car, by force if necessary.

Extract 4YO from car, by force if necessary. Place into Kindergarten for six hours or until golden brown and muddy. Bring self to work and apply self creatively and vigorously for 10 hours, stirring brain the whole time. Pour in whole bottle of Energy Drink. This does nothing, but separates the phlegm nicely. Ensure workplace has a side of succulently talented individuals to keep you on your toes.

Add chocolate and empty carbohydrates to taste. Return body from work. Brain may need to stay in a little longer until completely cooked through. Stuff mouth with lovely dinner [mod. Rinse children and place in bed to simmer until 1am 3am morning. Begin by tidying workshop. Swear to self that the next project will be done cleanly, and tools will go away each night. Leave tools to sit for another night. When first layer of procrastination is hard, browse through inspiration scrapbook. Remove from heat when Block is solid and feeling like there are no ideas left unclaimed in the world.

Sit and stew. Start anywhere. Start with no destination in mind. And always be prepared to start again. In most cases, this will clean up all undigested traces. As a temporary blob of atoms still inhabiting planet earth as a human, I find myself making things up for a living, as if they were real. I do this a lot, as well. Where the hell does this get me, you ask? Well, in the entertainment industry, of course! Or that exist only in the memories of other human beings and how they see fit to portray that reality. This is what I find myself doing on a daily basis. And all of the artists who inspire me many of whom are featured in these books seem to ask that same question, too.

Come in! Plain and simple. If I loved something, the best outlet I could think of was to draw it. I mean, thanks for stopping by! I feel very privileged to be in the third volume of White Cloud Worlds. There are truly so many talented artists represented here. It has opened up new avenues to explore the potential for creatives. As technology marches forward, I have found myself drawn more and more to the romanticism of simpler times.

My greatest inspiration is drawn from 19th century classical sculpture. I still love the technical precision of handling physical matter, pushing mud around with sticks and all the imperfections and happy accidents it brings. Although these pieces and their inspiration may seem contradictory, the line that connects them is the observance of nature. Beyond that, I try not say much about the back story or inspiration, hoping each person will have their own interpretation and observations of my work.

What more can I say? I will keep this brief and let my work speak for itself. I feel much more comfortable drawing pictures than trying to string together sentences about myself that would be interesting to read. I found it difficult to know what to write for the previous volume of White Cloud Worlds, so in trying to do this for the second time I find myself spending a lot of time staring blankly at the screen. Seeing some of the amazing work the students do also makes me more motivated to lift my game.

I realized that scratchboard was a great alternative; you can get a similar aesthetic to wood engraving but still have a little bit of leeway in terms of corrections. Scratchboard is basically a bit of cardboard that is covered with a thin layer of white china clay, which is then coated with ink, so you scratch through the ink to reveal the white clay underneath.

If you make a mistake, you can just re-ink and scratch through again although you can only get away with doing this a couple of times before you end up going through the clay and hitting the board underneath. The digital piece I just did for fun and I have some ideas to turn it into a series of illustrations. Visual art has long been an integral accompaniment to the popular music album. The genres of hard rock and heavy metal in particular are extremely visual; the fantastic, the surreal and the symbolical lending perfectly to these realms of music. The psychological impact of a powerful album cover can add another dimension to the collection of songs residing within.

Far beyond a simple marketing tool, album art has the potential to draw a listener into a heightened experience of the audio journey. With the technological evolution of digital music formats and abundance of download access, the relevance of the album cover is called into question. Yet, for many musicians and music fans alike, the cover art and physicality of the recording is a crucial aspect of experiencing it and will remain so into the future.

This collection of illustrations were predominantly produced as album cover artwork. Having long been a fan of both heavy metal and fantasy art, it was only a matter of time before the two crossed paths in my own illustration. From the sublime, metaphorical visualisation of overarching themes to the literal depiction of song lyrics, each subsequent project has been a unique artistic endeavour only possible through the collaboration and art direction of the musicians who have engaged me to visualise their worlds.

Adam Tan Adam was an artist and illustrator who lived in Auckland and came from a Chinese-Malaysian background. Greg Broadmore The publishers and editors of White Cloud Worlds would like to formally apologize to our readers for the factual inaccuracies of the previously published biographies of artist, Greg Broadmore. However, we feel the need to share at least something about this enigmatic and mercurial creative and, in lieu of an actual biography, we have gathered the following facts and insights: Broadmore was born in Whakatane, a beautiful but remote dolphin-farming village on the southern Kaimanuatangibrotuwhenua peninsula of New Zealand.

Allan Xia I love telling stories through art. Rebekah Tisch I live in the realm of make-believe most of the time, and I think my work reflects this—even down to the subject matter. Aaron Beck Aaron is an artist with a background in animation, illustration, concept design and photography.

Christian Pearce Kia ora! Laura Dubuk Hello, my name is Laura Dubuk. In the future, I hope to continue to work on these forms and see how they evolve. William Bennett Hey you! I grew up in the No, no, um Hold up I like to make stuff and do things with people. Personal Blog. Steve Wheeler To the reader: my greetings.

Imery Watson I am very happy when I daydream. Amit Dutta Under the watchful glare of his own stubborn nature, he began to truly blossom into the bleary-eyed, caffeine-fuelled, solitary, autodidactic, sleep-deprived, dribbling artist he has now become.

Frank Victoria The warrior glanced at the sky. Gus Hunter Well, this is my third contribution to this wonderful creative fantasy series, and I have thoroughly enjoyed each opportunity. Tim Kings-Lynne My first exposure to fantasy and science fiction art was probably through playing old tabletop roleplaying games back in the day. Paul Tobin Hi, my name is Paul and I am an art addict. Yip Lee Wooo! Linhan Ye I was born in Shanghai, China. Ben Wootten Right, here we are again. Sanjana Baijnath Sanjana is a freelance illustrator who works out of her tiny studio in Auckland.

Henry Christian-Slane My work has always had a narrative focus, if not within an image itself then as a way to research visual techniques that could be applied to a narrative project. Sam Yang When I think back on how I grew up to become an artist, or why I like drawing and painting so much, little snippets of memories come to mind.


  1. Les chevaux de Saint-Marc (Litterature Fra) (French Edition).
  2. The Boy Next Door?
  3. Discovery..!
  4. The Price of Peace.
  5. White Cloud Worlds.
  6. welby and charlie the grasshopper welby a fantasy for children book 9 Manual.
  7. WHITBY: An Extraordinary Town.
  8. Ivan Vegar Growing up, my school lunch breaks were spent sitting at my desk drawing aliens, robots and intergalactic star battles in the back of my exercise book. Matt Katz Rather than writing a witty bio, I feel like I should really take this opportunity to simply get on my soap box, and throw an idea at you guys in the hope that it strikes a chord with one or two kids who feel a little overwhelmed, lost or intimidated in the creative arts. Vaughan Tangiau Flanagan Much has changed in my life since White Cloud Worlds Volume 2, and much more will have changed by the time this new book comes out.

    Joseph Qiu Joseph Qiu has loved drawing since his early childhood. Simon Morse I got interested in tattooing in , as a way to develop my skills and keep myself fresh after 20 years of illustrating and working on comics. Rebecca Kereopa My introduction to art came before I can remember. Stefan Messam I have been living in Purgatory for the last five years. Damon Keen Damon started drawing spaceships when he was very small, and nothing much has changed since.

    Tim Gibson I often joke that drawing comics pays only enough money to buy beer with. Ben Stenbeck These are covers for comic funny books. Dylan Coburn Mythology is absolutely necessary for our happiness. Claire Tobin When I was eight years old, I thought that being an artist meant hanging paintings on white gallery walls and wearing berets.

    Ruby Lee My high school art teacher found me drawing in the corner of a corridor during break one day. Anna Johnstone Asking me to write about myself for this book is like some sort of cruel and unusual punishment. Garry Buckley My work is always evolving. Tom Robinson Well, would you look at that, some more pictures! Andrew Baker As a temporary blob of atoms still inhabiting planet earth as a human, I find myself making things up for a living, as if they were real.

    Welby Andreatta (welbygsa) on Pinterest

    Lindsey Crummett Oh! Nick Keller Visual art has long been an integral accompaniment to the popular music album. Dane Madgwick — view —. Adam Tan — view —. Greg Broadmore — view —. Allan Xia — view —. Adam Middleton — view —. Rebekah Tisch — view —. Aaron Beck — view —.

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    Christian Pearce — view —. Laura Dubuk — view —. William Bennett — view —.