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1. I’m enjoying working on this #PetPortrait #Commission of a...

0 Comments on I’m enjoying working on this #PetPortrait #Commission of a... as of 4/17/2015 8:05:00 PM
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2. I AM HENRY FINCH - The Making Of (well, my bit)

"I am Henry Finch" seems to be doing well since it was published earlier this year, it's getting good reviews and I keep meeting it in bookshops. - People have asked me about illustrating Alexis' texts, how we work together seeing that he is also an illustrator and I am also a writer. So I thought it would be good to write this MAKING OF.

So, first of all Alexis wrote the text - I had asked him to write something about finches because I like them. Then he showed it to me.

I could see the book straight away. It made me laugh a lot. It was pretty much perfect.
At the first few presentations, people weren’t sure about the philosophical aspect, whether it would get across to small children. I was sure that it would, and kept crudely fingerpainting rough illustrations on my ipad. “Look, look, this will be awesome!” I insisted, drawing more and more beady-eyed lumps with stick legs. The monster was just a wild scribble, and the night paint-bucketed in. I drew a picture of a finch thinking of himself, and Ben Norland, the art director, laughed and said: “Oh, I think I see…” so we started working on it. After that it seemed like every week there was someone else who saw the latest version, went “Oh I see…” and started laughing.


I think that moment is heart of the whole story. A finch, hardly more than an anonymous scribble, sees himself and realises that he is somebody. His thought is identical to himself in that very moment. Truth, but no meaning, no future, no past… he could stop there. It’s a perfect moment. But he goes on, and that, I think is the greatest thing he does: he keeps thinking when he doesn’t need to, that’s what leads to all the rest.


I wanted the finches to be all the same but every one unique, that’s why I used fingerprints. Henry is always printed with the same finger, actually, and no one else has that particular print. While working on the book I started to recognise my friends’ fingerprints. I fingerprinted everyone who came to the house or the studio for a few weeks to get a good collection - I needed big thumbs for finches in the foreground and daintier ones for the background, also different shapes for different moods. Finches change shape a lot. I used to keep finches myself, so I know. I love finches more keenly than any other kind of animal, I think, they are amazing little creatures, brave, resilient and funny.



The linework is drawn with my favourite fountain pen. I always carry that one.



The beast is painted in watercolour because that’s how I instantly imagined it. I have a fear of marine invertebrates which I know most people don’t share. I figured that referencing them, I will be able to feel scared enough myself to draw a convincing monster without making it so frightening that small children will hide from the book. - Its internal organs are a mixture of drawings of sea creatures and cross sections of the human inner ear. It’s just a particularly odd-looking organ, the inner ear, and it amused me that the beast has one in its guts.
The actual design of the beast is a collaboration with Alexis - we spent an afternoon playing a drawing game with watercolour blobs, and I assembled the parts that seemed right.





I put a lot of little interactions in between the finches so that the book would be fun to look at even if you don’t follow the text, and tried to make the more conceptual philosophical pictures accessible enough that each one could be discussed separately, in simple terms, without the text. The page where Henry understands the circle of life pertaining to his part of the world is supposed to be like a little story in itself, but one that you can grasp in one moment, like a thought. Comics are great for that, showing any amount of time presented as one moment, and not even linear but as we experience it - everything interrelating. The rest of the book is paced in a linear manner, mostly by page turns, but on that spread you can spend a moment or an hour, see all at once or follow the threads, say “It is!” or speak about everything you see.

click to make bigger!

I am very glad about the way this book came together. If I hadn’t been so excited that I fingerpainted those hurried digital scribbles on the spot and made someone laugh with them, I wouldn’t have known to keep the art this simple. If Alexis hadn’t been doing workshops turning blobs of watercolour into creatures, I wouldn’t have thought of making the design of the beast into a drawing game. - Working with Alexis makes these accidents easy because he really knows how to improvise.

I hope that people will like Henry Finch as much as I do. I had him tattooed on my arm, to remember what I learned. Keep thinking, keep listening, speak, because You Are, and It Is.




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3. the fear of a people sketcher


Yesterday I went back to Gallery Oldham where I'd previously done research for the Museum job that I've talked about in my last posts. This time though I returned for a little mini sketch meet up with some friends.
When I was there last time I made this sketch, below, of the guy who worked in the gallery's lovely Naked Bean cafe. It was a sneaky sketch, I didn't show him but I did post the sketch on Twitter and the cafe saw it. They said that he loved it - even though i'd made him look pretty grumpy in it. Which he wasn't. He was the opposite to grumpy. 
Anyway, yesterday, when I returned and with the knowledge he was happy with the sketch I took the opportunity to get a photo of him with it. He said "I've never been drawn before. It made my day. I put it on Facebook and everything".
think the fear for all of us that sketch people is their response to it. Will they be offended? Will they hate it? I know it's my fear which is why I don't often show them. But his response made my day. This time it paid off.

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4. “Considering” #pencil #Sketch #studio #watercolor...

0 Comments on “Considering” #pencil #Sketch #studio #watercolor... as of 4/7/2015 8:40:00 PM
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5. getting with the programme

So, I'll be honest, this is basically a test post. For a long time my blog has just been chugging along. There was a time, way back when, when I would blog, religiously, a few times a week. Then social media happened.
Like many people, I suppose, I started 'blogging' there. It seemed easier. I'm not really interested in sharing the ins and outs of my life online, or social media, but sharing my artwork through those platforms seemed to make sense. Blogging suddenly seemed like much more of an effort. I mean you had to switch in the laptop and all that palaver. 
I blamed blogging, and blogs, for that - for being behind the times. Not catching up with social media. But it was me that was behind the times and not keeping up with the technology. It hadn't even dawned in me to download the Blogger app. But now I have. 
I took these photos on Friday. My friend and I, Kate of Emily Pickle design (haven't worked out if it's possible to add a link when blogging on your phone. Anyone?) took her 'pencil case' out to the pub to draw. Her pencil case/make up bag is filled with all sorts of goodies I'd never have dreamtof using to draw with. The drawing above is made with glitter mascara, liquid eyeliner and Christmas wrapping tapes amongst other things. I loved experimenting with all this stuff. I'll never look at an old eyeliner in the same way again.

Right, I'm going to put the laptop on to see how this worked out....

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6. One of my forgotten books - 'The Easter Surprise'



Here's one of my forgotten books - the Easter Surprise! It was painted in real paints on gessoed paper (for all you hard-line real media folks). And it featured idyllic scenes of baby farm animals frolicking in pastoral locales. I think it does have a nice painterly aspect to it. And now I'm much more forgiving of it's innocence, all these years later.  I think it's sweet... loving kindness.

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7. My Personal Sketching Kit: What I Carry and Why


I have been writing a section from the beginning of my book, discussing different art materials and looking in detail at the kit which I carry and why. Getting your personal kit-bag sorted is important, because you don't want to be fussing about what to take or leave behind, each time you go out. It's difficult, because we all know what it's like to want the very thing you left at home.


Nevertheless, you need to make decisions and pare things down. It's good to travel light, otherwise you aren't able to carry your kit with you 'just in case'. I have 3 versions of my kit. The slim-line version is just my trusty Sailor pen and an A5 - A6 book, which you don't even notice you're carrying. I tend to have these in a pocket most of the time, because you never know. 


The next step up is to add my watercolour pencils, a waterbrush, a sweat-wristband (for cleaning the brush) and a knife. That's my medium kit and a good on-the-train kind of size: enough to see me though the odd hour here and there.


My full kit, for sketching day's out, is still pretty compact as I hate being loaded down. All the art equipment packs up into a zipper bag, the size of the average toiletries bag, which slips easily into a large handbag, along with a sketchbook or two. 



If it's an urban day, I usually pop my mini-stool in my bag too, so I don't have to look for benches or doorsteps. It weighs nothing and fits in a large handbag:



If I'm going rural, this foldaway sitting-mat from a camping shop is way better, because of uneven ground:


I have had to unpack my full kit this week and photograph every individual element for the book. This is because I want to dedicate a spread to peering inside my kit-bag, with pictures of everything and annotations, telling people exactly what each item is and why I have chosen it. I photographed 28 different items like this:


My snaps are not the photos we will end up using, but the designers need to know what everything looks like, so they can design suitable graphics for the page. Once that's done, the publisher will commission a proper photographer to take the pictures they need. In the meantime, I have been writing all the text.

If you are interested in getting some of the specific items like the Sailor or the stool, I have put together some links to where I got them. It's on Facebook here, as part of the Usk Yorkshire website.

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8. Black and White Ink

cait chock jeans black and white drawing
Black and White Ink

Shadows speaking louder than words.
Night and day lose meaning.
Whispers in the grey.
Hinting a secret.

White. Arresting.
A look.
A crease. A fold.

Casting sweet envelope
for emotion.


Black and white drawing first shared on my Instagram page HERE.

To order a print of this piece, or inquire for other commissions, send an email to: cait@caitchock.com

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9. 3 reasons why making art is good for you!

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“Art washes away from the soul the dusts of everyday life” – Pablo Picasso

 

Believe it or not making art for your own enjoyment actually has its benefits to both your mind and body. We often spend our weeks rushing around focusing on our everyday commitments whether its your job, looking after kids, school or ticking off daily errands, that we never really get the chance to relax.

When you’re overwhelmed with the stresses of a busy lifestyle, actually embracing your creativity can actually reduce anxieties and stresses to clear your mind making you feel better. So art itself is extremely theraputic and to fill you in abit more as to why doodling, colouring or painting should become apart of your weekly schedule here’s 3 reasons why art is good for you!

1. Helps you to slow down - During the week we’re all on the go and so being a little creative whether it’s drawing, colouring, painting or snapping a photo with your camera actually helps you to physically and mentally slow down. Rushing around doesn’t do our bodies internally any good and so making time to do something artistic that you enjoy is healthy to both your body and mind.

2. You embrace a side of yourself you might not usually - Not all of us work a creative job but this doesn’t mean if you’re an accountant for example you can get inky and doodle away! You may even surprise yourself with the things you create and through that feel a sense of achievement in the things you make which builds up your positivity in mind.

3. Self expression and letting out your emotions – Much like music and drama making art in whichever form, helps you to express a side of yourself you might find hard to do otherwise. Like musicians who infuse emotion into the music they write, you can place emotions into the art pieces you make. In turn this helps you to acknowledge your inner feelings and let out things you might not find the words to say which you are can through a brush or ink for example.

Featured illustration is by Oana Befort and you can find out more about her work here.

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10. A Sunny SketchCrawl in Manchester


Last weekend, we had another SketchCrawl day, but this time it was a bit different. 


Simone Ridyard (in the centre of the photo) is my counterpart in Manchester Urban Sketchers. She set up a street-sketching day with the Society of Architectural Illustration. It seemed like too good an opportunity to miss, so sketchers from both the Usk Yorkshire and Birmingham Urban Sketchers groups also joined in.

The event didn't kick off until 11am, but I got a slightly early train and so managed to squeeze in an extra sketch at the beginning of the day. 


The Palace Hotel, just round the corner from Oxford Road Station, is a stunning colour, especially with the sun on its red bricks. Better still, you can get a great view of it from the warmth and comfort of the Corner House cafe, on the opposite side of the road. I passed a very relaxed 45 minutes with a sketch-buddy, then we had to hot-foot it across town to the meeting place for the official start. 

A group of 20 or so people were milling about when we got there: some familiar faces, some people I had so far only met on Facebook, some new introductions. After the hellos, we split into two groups, with half of us drawing the buildings visible from Bridge Street and the others venturing down to Chapel Wharf. The modern architecture provided an exciting interplay of shapes, especially with the sweep of this suspension bridge:


I sat myself in the sun but, unfortunately, my spot quickly got swallowed up by the shade of a tall building behind me. Once out of the sunshine, is was FREEZING but I couldn't move until I had finished my painting. Just five minutes before I stopped, the sun taunted me by working it's way back round. Typical. I was very pleased with the results though, so it was worth the pain. 


I had decided to take one of my new concertina books for a trial run. You might remember that I made a test book, to perfect the technique, so I sketched in that throughout Saturday, running my sketches together. I love that the concertina format lets me keep unfolding new pages, so I can add more space as I go along. Everything worked a treat, so that's good news after all my cutting and folding and sticking (although I had a major water-bottle leak in my bag, which was nearly a disaster).

Everyone regrouped before lunch, to share the work so far, because some people had to head off. That's when we took the photo at the top. Then it was reward-time. We were too big a group to eat as one, but I went with 10 people for lunch at a fantastic Greek self-service restaurant. We were all too busy scoffing to sketch. Gorgeous food (and cheap too!).


The afternoon's sketch-venue was the area around Albert Square. I have wanted to sketch the Town Hall for a while, but until recently it has been surrounded by builder's barriers. It's a monster of a building, so I tackled one tiny section, being very careful this time to pick a truly sunny spot.

At 4pm, we regrouped again at a pub, where we looked through each other's sketches and got the chance to chat to some of the people from other groups. It was all too short unfortunately, as I had to dash for a train home. 


It was still sunny though and there is one section of the journey across the Pennines to Sheffield, which is especially lovely in good weather. It's only visible for a very short time, so I had my sketchbook ready - this time a ready-made, mini Moleskin concertina, just A6. 

A thoroughly lovely day. Thanks so much to Simone for organising things.

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11. Back to My 'Urban Sketching People' Book


Now the mural artwork is done (phew) and I have got my concertina sketchbooks sorted, I have cleared my schedule to concentrate purely on my 'sketching people' book. 

If you have been following the project, you will remember that I have a handful of spreads which are more or less finished - the ones we did as samples, to get the US edition signed up, including this painting before you draw spread:


Then, at the start of the year, I sent off a good chunk of the text, along with all the images that will go with it (just photos of my sketchbook pages for now). My publisher has been working on it while I have been doing other things. About two thirds of what I submitted has now been set into very rough spreads and sent back with some suggestions for changes. I had an long phone call with my editor, where we went through everything in fine detail and I scribbled notes all over the spreads:


It's not too bad at all actually. All the text is intact without changes, it's pretty much all suggestions for either squeezing in more images or adding step-by-step breakdowns here and there. 

The publisher also sent out a call for other sketchers to submit work for possible inclusion and I have sheets and sheets of gorgeous guest work to choose from. That's going to make things easier. So far, I have been trying to collect potential guest images by trawling Flickr and saving things into Pinterest.


I have mostly addressed the changes now. I just have some captions and annotations to write, to go with the added images, but I'm waiting until my suggestions have been given the green light before I do that. 

For now, I have moved on and begun writing a new section of the book. This one looks in detail at how to draw specific parts of the body. We did sketching the eyes as one of the sample spreads. I took a couple of days to get my head back into things, after such a lengthy pause, but I am motoring nicely now and have already written 'feet', 'hair' and 'ears'. Still got mouths, hands and noses to do. Better get on...

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12. Spring Headdresses

A page in my sketchbook I'm proud of. There are many times I wished all the pages in my sketchbook were this full. I'm praying this is the light of something new. :)


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13. last, but certainly not least...

icelyn~orignal drawing
graphite on bristol
©the enchanted easel 2015
sweet, little Icelyn. 

this is the third (and final) drawing in my series of three whimsical winter girls. i know, i know....it's almost spring (ugh!) but custom work always comes first and i've had a few of those *jobs*the last couple of weeks (no complaints-love custom work) so little Icleyn here had to take a back seat. but....

she's DONE (yay me!) and FOR SALE here along with her two lovely companions...little miss Crystal and my personal favorite, little miss Glacia (love the happy little twisted pout on her...).

although i shall bid my love, mr. winter, adieu in a few days, it will eternally be winter in my heart...(hey look, someone has to show some love for that season...and well, i have MAJ love for it!)

{up next on the easel (and between other drawings)...custom nursery art...featuring an owl and some sweet little birds.}

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14. abstract n colour

abstract n colour by dibujandoarte
abstract n colour, a photo by dibujandoarte on Flickr.
tinta y lápices de color

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15. “…wake to the wonder of this grass”

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Ours is in bloom this very day, as it happens

“Our Christmas cactus has predictably bloomed each December for three decades and some years when it has been colder for longer, as is the case this year, it often blooms more than once a year. Our Christmas cactus is alive and growing 365 days of the year, most of which it is rarely seen by me but only looked at.”

That’s Owen Swain in his post “Blooming Cactus / blooming an illustrated life / and, what I learned in Sketchbook Skool.”

In his drawing of the cactus, he includes a quote which sent me immediately dashing for my commonplace book (which is to say, this blog).

“While drawing grasses I learn nothing ‘about’ grass, but wake to the wonder of this grass and its growing, to the wonder that there is grass at all.”

—Frederick Franck

That. Yes. Exactly. Or at least, I suppose I would say I learn something about grass when I’m drawing it, I learn something about everything I look at closely. But that kind of learning is implied in the quote. I get what he means by ‘about.’ And yes, the waking to the wonder of a thing by observing it quietly, moving your pen along its paths, or by writing a poem about it (“This grasshopper, I mean—/ the one who has flung herself out of the grass,/ the one who is eating sugar out of my hand, who is moving her jaws back and forth instead of up and down—/ who is gazing around with her enormous and complicated eyes…”)*; even, I daresay, by blogging about it—the combined act of observing, pondering, and then expressing, in word or line—these endeavors shift your relationship with the humble object; they awaken you to the wonder the thing actually is.

The very first revelation that struck me about drawing, way back in college during a too-brief foray into sketching, was the passage in the Betty Edwards book Drawing on the Right Side of the Brain in which one of Betty’s students mentioned that after she began trying to draw faces, “every face I looked at seemed beautiful to me.” I have written before about the enormous impact that statement had on me, not just in relation to drawing but to an overall view of life.

The drawing lessons taught her to really look at people, and when she did, she saw beauty everywhere.

I know I’m going all over the place here, but in my mind these things are all connected: this way of really looking, really seeing, noticing what is interesting and important and even beautiful about things many people whisk by without noticing. And what I can do for my children is refuse to fill up their lives with things they must patiently endure until a better moment comes. I can savor the moments as they happen, and give them the time and space to find what’s interesting and beautiful in every face the world shows them.

As I was writing that last sentence, Beanie appeared in front of me with a big smile and a present: a bracelet made of safety pins linked together, each pin shining with green and blue beads. “It’s for you, Mommy,” she breathed, so proud and excited. “Jane showed me how.” How patiently (the good kind of patience) she must have worked to slide all those beads in place.

I never noticed before what a work of art a safety pin is!

I’ve written so many times on this blog about how my approach to education is to keep the focus on the process, not the product. The lesson is renewed for me every time I take pencil in hand and try to capture the lines of a thing on my page. In the end, it doesn’t matter at all how my drawing ‘turns out.’ The magic is in the doing.

*From “The Summer Day” by Mary Oliver

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16. Jet skis on pencil lines...

Drawing, drawing, drawing... all day long! But when I get out my magic pens it's like putting jet skis on my pencil line... carving big sloshy inky curves and spraying splatters over the deliciously textured watercolor paper. What can I say - it's fun!

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17. Big thanks to my friend Laurel for getting me out to some life...

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18. How to chose and use your art materials wisely

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If you’re anything like the thousands of creatives out there, you’ll no doubt have something called “GotToHaveEveryArtSupply-itis”and its incurable. We get so excited and enthusiastic when the glorious sound of the art supply shop opens like an unknown force pulling us in against our will (not really), to when there’s a sale online we just have to get them all.Although with this vast growing collection of art supplies, in which we think deep down will bestow upon us great creative talent, comes being practical and responsible to.

 Each art material has its advantages and disadvantages, however its actually how you use them that will help you to produce great work.So here’s a few tips to really help  you choose your creative weapons of choice wisely and wield them like a true creative warrior!

1.  Combine materials that compliment each other – Just because you have an artbox filled with yummy supplies, doesn’t mean you have to throw everything into the mix to make the perfect receipe. Experimenting is key to know what works for you and your style to build your creative process. Look closely at the textures, contrasts and effects each material gives you and which would compliment each other nicely to create the perfect creative dish.  For example watercolours and coloured pencil work great together to create colour washes with beautiful tone work.

2. He’s got it so I need to have it to - No doubt you’ve done this to where your inspirational creative idol uses a specific art supply and  you feel the urge to possess it to achieve greatness. Although this isn’t to say its not the quality of product that gives them great results, bear in mind they’ve been honing their skills and processes with it for countless hours through “practice“. Not every art supply works the same with every creatives style and process, but experiment with different materials to see if introducing it to your creative making steps will benefit the pieces you create.

3. Invest within your budget- Last but not least investing and budgeting, understandably art supplies often aren’t cheap as they come in so many different brands, qualities and quantities at different prices. There’s also artist and student grade materials, however the key is be wise and stick to your budget. Test materials out and if you feel they have a permanent place in how you make your art then this gives you the option to invest in them further.

Good luck creatives and have fun wielding those art supplies!

Featured image by Amy Van Luijk  you can find out more about her work here.

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19. Birth of a Morning Glory - Sketch

Slowing getting the hang of these videos. :)


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20. IA Talks to Tara Jacoby About Her Illustrations for Gawker

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[Very Blessed New Mom Wishes She Had Been Warned More About Blessings – Article]

You may have noticed something happening over at Gawker media.

Things have been way visually cooler over there for the past year, thanks to the efforts of Illustrator Tara Jacoby and Art Director/Illustrator Jim Cooke. Last April (2014), Cooke – on behalf of Gawker Media – put out a call for a “staff illustrator”.

We’re looking for a graphic design and illustration junkie with an editorial focus. You can read a post, conceptualize an interesting visual solution, and execute an image that will make that post better…within an hour or two. You are clever and have a keen sense of humor, and your portfolio reflects this.

Tara Jacoby turned out to be the perfect choice for the job. Her work brings just the right balance of humor, wit, and humanity to Gawker’s incredibly wide range of topics and compelling headlines. Here at Illustration Age we always strive to celebrate the people, publications and organizations that embrace the use of illustration, and next week we’ll be sharing our conversation with AD Jim Cooke about Gawker’s motivations for doing just that.

But first, we think it makes sense to start with the images themselves, so we’ve collaborated with Tara to highlight some of our favorite illustrations of hers and also take the opportunity to pick her brain about her experience working with Gawker over the past year. Enjoy!

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portrait1.jpgILLUSTRATION AGE: What inspired you to answer Gawker’s call for an in-house illustrator?

TARA JACOBY: I had been working as the graphic designer at the Society of Illustrators and freelancing. I’d looked to change gears and focus on illustration and considered going freelance full-time. To be honest, I had no idea Gawker was hiring. A friend had sent me the link twice before I even read it. When I actually did read it, it felt like the stars had aligned. I had to have it. This job was tailor-made for me. So, I applied immediately.

Sometimes the job feels too good to be true. I cannot believe that I’m excited to go to work everyday. You know when people say “do what you love and you’ll never work a day in your life”… well, they were right!

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[Here Is What It’s Like to Do a ‘Soup Cleanse’ – Article]

Fun (after the) fact: Jim had me come into the office for a trial day after my interview. I completely blew it. He sat me at the “smelly Deadspin table” and I sat there silently freaking out and frantically sketching ideas, reading and re-reading the assignments as my career hung in the balance. I basically had an eight hour anxiety attack. I still can’t believe that he hired me after that.

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[Why You’re So Horny During Your Period – Article]

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[Twenty Days of Harassment and Racism as an American Apparel Employee – Article]

IA: What’s it like to work under rapid-fire deadlines on such a regular basis?

TJ: Well, had you asked me that in June, my head might have exploded from all of the pressure. At first, I was completely stressed out. I tend to overthink… let me see… well, everything. The first couple of weeks I was waking up at 4:30 every morning just to mentally prepare myself for the day ahead. I basically drove myself insane. I think I hid my neurosis pretty well? I’m not sure. All I knew was, Jim hadn’t canned me yet, so everything was copacetic.

Now, I actually think it’s refreshing to work under rapid-fire. You don’t have time to overthink anything. And being a perfectionist, I feel like this really helped me loosen up both technically and creatively.

Overall, I love it. Typically, each one of us does 3-5 illustrations in a day, depending on how busy we are. That doesn’t include the other more design-oriented images we make. The three of us are constantly working. By the end of the week we can’t even remember all of the things we’ve done. Over a course of 7 months, I’ve done roughly 500 or so illustrations. I’ve never been so productive in my entire life.

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[You Prefer to Date Fat Guys So You Don’t Feel So Bad About Yourself – Article]

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[When You’re a Black Woman, You’re Never Good Enough to Be a Victim – Article]

IA: How much creative freedom do you feel like you have on these illustrations?

TJ: The organization as a whole is encouraged to be bold and honest. Nick Denton once said, “We are beholden to no one.”  That holds true for the art department as well. We can draw whatever we want with no apologies. That’s the beauty of working for a truly independent media company. They are always challenging you to push the limits and speak your mind. I’ll admit, sometimes we do get a little carried away, but that’s not a terrible thing.

If I think that something might be going too far (or not far enough), I’ll ask Jim and he’ll point me back in the right direction. When Disney Dudes’ Dicks came out I was very concerned about offending the Disney loving masses, but Jim gave me some sage advice: “If you’re not offending someone, you’re not doing it right.”

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[How to Keep Photos of Your Naked Body Off the Internet – Article]

wgig8eidorh8qtvuemyh[Disney Dudes’ Dicks: What Your Favorite Princes Look Like Naked – Article]

IA: To end on a light note, many of your illustrations deal with sexual themes. What does your mother think about that?

TJ: My mom rules. My whole family does. I could draw pretty much anything and they’d support me. They always have. After the first couple of weeks, they all just accepted that if they ask about my job, they better be ready for some NSFW art. I’m lucky to have a family with a few loose screws and a great sense of humor.

Thanks to Tara Jacoby and Gawker Media for their contributions to this article. Stay tuned for our conversation with Gawker Art Director Jim Cooke!

More places to find Tara Jacoby:


Filed under: Interviews

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21. Sunday afternoon sketching....

working on a little custom drawing for a very special girlfriend from school...she's going through some tough times and needs a little "pick me up".

sweetness to the rescue! :)

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22. SketchCrawl in Nottingham


Sorry it's been a week since I last looked in. I am working hard every day on my mural. I did get to escape the computer on Saturday though - everything stops for SketchCrawl day!

This month, Urban Sketchers Yorkshire met up with our counterparts in Nottingham, for a drawing day at Nottingham Castle. There were a few sketchers from the Manchester and Birmingham groups too, so it was really lovely to meet lots of new people.



The train from Sheffield arrived half an hour before the one from Manchester, so I did this quickie of the station front, while we waited. By the time I got underway, I only had 20 minutes, so I was really pleased with the results. I think, because of the silly amount of time, I had such low expectations that I was really relaxed. No time to think either, so I was working on instinct, by-passing my brain (often a good thing with my brain).


Fired up with this success, I decided to brave the cold at the castle and draw outside. Several people did the same as the views across Nottingham were spectacular. I avoided the really long views and drew the interesting aerial view down over the surrounding streets, continuing in my concertina sketchbook with the tinted paper, flowing on from the drawing I did on Castleford.

Nottingham Castle isn't a real castle - the real one was blown up hundreds of years ago. The new one is a museum and art gallery, so I headed inside and had a quick whizz round to warm up my fingers and toes. Then it was time for some lunch and chin-wagging with my new chums.


After lunch I was sufficiently thawed to try again outside. It was cold, but there was very little wind, so it was possible to stand it for about an hour. I did this view of the front entrance.


Once more chilled to the bone, it was wonderful to walk through the automatic doors and feel the wall of heat kick in! The gallery was a really lovely space, so I sat in there for my last sketch of the day, working with my Koh-i-Noor rainbow pencil and some white pastel:


This was a continuation in the concertina sketchbook and flowed on from the earlier drawing:


It also filled the very last section of the book - a rather satisfying end to the day - so it's now complete: 


You can't really see the drawings properly here but, if you are interested, you can enlarge it sufficiently for a good look on my Flickr page.

This lovely book was made for me as a present by one of my group (thanks again Lucie!), but I have also made concertina books for myself. They are very easy. If you want to have a go, this post shows you how.

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23. Shamrock Pixies

New Art!
Created for Creative Design Outlet and Crafts and Me digital stamps. Coming soon!




• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

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24. “The Story of the Fisherman” Sketches and Video

During the course of working on "The Story of the Fisherman" I've generated many many sketches, here are just a few. I hope you enjoy them.



via Studio Bowes Art Blog at http://ift.tt/1DeDbsU

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25. Shark and Lobster - a diary sketch book of character development work

One of my first books was Shark and Lobster's Amazing Undersea Adventure - a tale of Shark, who is afraid of Tigers, and his best friend Lobster.
It was very hard to write - I had already written one draft years before when I was still in school, and now I had to learn how to rewrite and edit and make a picture book story of it.
One thing I did then, which I've kept up since, is make a diary for my characters to see what they got up to and who they actually were.
I did find out a lot about Shark and Lobster this way, almost none of it made it into the book, but that's not the point of character development work.

I thought it would be nice to stick it on my blog so that you can see how I work (or how I worked when I was starting out in 2001 - I've gone lest wistful over the years, but my approach is still very similar).
Here you go!





















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