Candy_issue_6a by Macacos Flamejantes

THE CRAFT ISSUE. PART ONE.

PARTNERED BY

THE CRAFT ISSUE. CONTENTS.

----------------------------

Introduction. Aidan Kelly. Alan Hynes. Base Design. Bleed. BrenB. Brian Coldrick. Brian Cronin. Christopher Lee. Dalek. David Cleary. Debbie Paul. Design People. DopePope.

Gisèle Scanlon. House Industries. Ian Francis. Ingi Erlingsson. Kam Tang. Luke Slater. M&E. Matthew Moore. Michael & Johnny Kelly. Misprinted Type. Nate Williams. Nathan Jurevicius. Other. Parra.

Peskimo. Pictoplasma. Richard Gilligan. Robert Carr. Serge Seidlitz. Stefan Sagmeister. Stephen Ledwidge. Swifty. The Big Wheels. The Small Stakes. Vince Frost. WK Interact. Zach Gold. Zero-G.

----------------------------

All contents in grey above viewable in second part of this double issue. Download at http://www.candyculture.net

Previous page. ‘Candyman’ exclusive illustration done by Christopher Lee.

Right. House33 ‘Jack’ by House Industries.

*Sharply dressed and ready to cut it!

Order a limited edition print from http://www.thebeastisback.com

PARTNERED BY Candy is an independent venture developed to showcase exceptional Irish creativity and culture alongside international equivalents. All informations and visuals contained within this document remain the copyright of the creators, they are simply being shown for the purpose of presentation. No elements of this document may be used, reprinted or transmitted without the prior consent of the publishers and the people featured in the piece being featured. Should any credits be wrong, please contact us and we’ll set it right next issue. Postal address: c/o Dynamo, 5 Upper Ormond Quay, Dublin 7, Ireland (We LOVE when stuff arrives in the post, weekdays can be so boring otherwise!!!).

Woohoo!!! After a balmy Summer hiatus Candy 7 finally drops and it’s a big ‘un (ooh ‘er missis)!! What’s more, with such a big issue we couldn’t let the moment slip without telling our equally big news. Over the Summer IDN http://www.idnworld.com approached us about partnering then for future issues. What this means is that aswell as the people downloading directly off the Candy site we’ll be distributed on the dvd which accompanies their printed magazine. It’s great news for Candy but even better for all our friends featured within the magazine, oh yeah it’s good for IDN too. In other news, this Autumn sees SweetTalks restart here in Ireland with the world’s leading talent like The Designers Republic, Swifty, Trevor Jackson, Pete Fowler, Dan Lish, Timothy Saccenti, Michael C. Place, etc. jetting in to give the brilliant locals a run for your money. We’re also flying out to Copenhagen in just a few weeks to do our first international edition with Daddy and Angry from Ireland and Plastic Kid and Spild Af Tid from Denmark, it’s going to rock! Rumours also abound of many other happenings and although I’m generally useless at keeping secrets me Mam has threatened me with an itchy shirt and plastic shoes if she even hears a peep from me... Right, back to business, introducing The Craft Issue, featuring some of the world’s leading talent that have a crafty edge to their work. Hopefully you’ll enjoy it as much as we do. Enjoy! Richard Seabrooke.

INTRO DUCTION . This page. ‘C is from Craft’ by Ingi Erlingsson.

CLICK THE LINKS ! Clicking on any weblink will now automatically launch your browser window. Candy must apologise for this very handy development, might aswell sing Johnny Cash to your credit card... “And it burns, burns, burns... etc...”

Here’s one for boys to drool over... http://www.dpmhi.com . http://www.highsnobiety.com . http://www.xlarge.com Here’s some for the girls... http://www.net-a-porter.com . http://www.debrarodman.com . http://www.liness.net Some for us all to go shopping... http://www.etsy.com . http://www.wesoldout.com . http://www.2ktshirts.com . http://shop.adorevintage.com . http://www.gamago.com

STAFF. CONTRIBUTORS. THANKS. SUPPORT.

Contributors.

Thanks.

-----------------------------------------------------------

Alastair Keady.

All at IDN, All the contributors (interviewers and interviewees), Nick Kelly, Michael & Nicky at Build, Timothy Saccenti, Blam at Blanka, Aiden at Image Now, Max & Lotje at Maxalot, Dan Willett, All the guys at Playbeast, Ian Anderson, Swifty, Trevor Jackson, Jon Averill, Eleanor McGuinness, Oisin at The Sugar Club, Brian Coldrick, Dan Lish, Merryl at Kidrobot, Simon Roche, Eamon Spelman, Tado, Jon Burgerman, Stefan at Neubau, Tim at Pixelcorps, Frankenstyles, All at Airside, Angry, DADDY / Warlords of Pez, All at Dynamo.

alastair@hexhibit.com

Brunella Cocchiglia brunella@lovelyproductions.com

Colin Farmer. colin@unthink.ie

Kate Butler. butlerkate@gmail.com

Desy Balmer. niceandnasty@eircom.net

Ross McDonnell. Staff.

information@rossmcd.com

----------------------------------------

Scott Burnett.

Richard Seabrooke. richard.seabrooke@dynamo.ie ----------------------------------------

Aidan Kelly. aidan@aidan-kelly.com ----------------------------------------

Asbestos. me@theartofasbestos.com ----------------------------------------

scott@angry-associates.com

Tado. mikeandkatie@tado.co.uk

Wes Trumble. wes.trumble@dynamo.ie -----------------------------------

BrenB. hello@brenb.net ----------------------------------------

Kevin Horan & Cameron Ross. kevin@newmedia.ie / cameron@newmedia.ie ----------------------------------------

Lucy Corscadden. lucy@meandeye.com ----------------------------------------

-------------------------------------

Postal address. Richard Seabrooke. c/o Dynamo, 5 Upper Ormond Quay, Dublin 7, Ireland. -------------------------------------

This page. â&#x20AC;&#x2DC;Joe Duffyâ&#x20AC;&#x2122; by BrenB.

-----------------------------------------------------------

FOR MORE INFORMATION VISIT HTTP://WWW.CANDYCULTURE.NET

- - ----------------------------- --

SWEETTALK vER:11. COPENHAGEN/DENMARK. 21st September 2006. - - ----------------------------- -FEATURING: ANGRY. DADDY. PLASTIC KID. SPILD AF TID.

CANDY IN ASSOCIATION WITH TIGER BEER, ABSOLUT VODKA, REPUBLIKKEN, FIELDMICE.IE & IDN PRESENT SWEETTALK 11. SPEAKERS:

ANGRY.(IRL) http://www.angryretail.com

DADDY.(IRL) http://www.teamdaddy.com

PLASTIC KID.(DEN) http://www.plastickid.dk

SPILD AF TID.(DEN) http://www.spildaftid.dk

DATE : THURSDAY SEPTEMBER 21ST 2006. VENUE : RUMMET IN REPUBLIKKEN, 24 VESTERBROGADE, COPENHAGEN. ADMISSION : 75 DKR. DOORS FROM 7PM. COMPLIMENTARY TIGER BEER RECEPTION AT 7PM. LIMITED EDITION PRINTED TREATS COURTESY OF KOPIENKOLDING.DK SweetTalk is supported in Copenhagen by Tiger Beer, Kopien, Republikken, Fieldmice.ie and our mums. Internationally it is supported by IDN, Blanka and GF Smith Paper and a love similar to that between a child and a small pet with a scratch on it’s foot.

CANDY IN ASSOCIATION WITH CORK DRY GIN, IDN & MCGOWANS DIGITAL PRINT PRESENT SWEETTALK 12. SPEAKERS:

PLAYBEAST.(UK)

PETE FOWLER / MARK JAMES / ROB MANLEY. http://www.playbeast.com / http://www.monsterism.net / http://www.akamushi.com / http://www.cardboy.tv

BRIAN COLDRICK.(IRL) http://www.briancoldrick.com

DAN LISH & (UK) DAN WILLETT. http://www.danlish.com

DATE : WEDNESDAY SEPTEMBER 27TH 2006. VENUE : THE SUGAR CLUB, LEESON STREET, DUBLIN. ADMISSION : 7 EURO. DOORS FROM 7PM. COMPLIMENTARY CORK DRY GIN RECEPTION FROM 7PM. LIMITED EDITION TREATS COURTESY OF McGOWANS DIGITAL PRINT. SweetTalk is supported in Ireland by IDI, ICAD, CreativeIreland and our mums. Internationally it is supported by IDN, Blanka & GF Smith Paper and a love similar to that between a typographer and Letraset™.

CANDY IN ASSOCIATION WITH CORK DRY GIN, IDN & MCGOWANS DIGITAL PRINT PRESENT SWEETTALK 13, A DUBLIN ELECTRONIC ARTS FESTIVAL SPECIAL. SPECIAL GUEST CURATOR:

DONAL DINEEN.

(IRL)

TODAY FM / NO DISCO. DATE : WEDNESDAY 25TH OCTOBER 2006. VENUE : THE SUGAR CLUB, LEESON STREET, DUBLIN. ADMISSION : 6 EURO. DOORS FROM 7PM.

SweetTalk is supported in Ireland by IDI, ICAD, CreativeIreland and our mums. Internationally it is supported by IDN, Blanka & GF Smith Paper and a love similar to that between Techno devotees and Moog™.

------------------------------------

Timothy Saccenti. -----------------------------------Mark Blamire/Blanka.

------------------------------------

Michael C. Place/Build.

------------------------------------

A Candy/Blanka/ImageNow One Exhibition Special Edition.

SweetTalkFourteen.

CANDY IN ASSOCIATION WITH CORK DRY GIN, IDN & MCGOWANS DIGITAL PRINT PRESENT SWEETTALK 14, A CANDY / BLANKA / IMAGENOW ‘ONE’ EXHIBITION EDITION. SPEAKERS:

MICHAEL C. PLACE/ (UK) BUILD. http://www.designbybuild.com

TIMOTHY SACCENTI.(USA) http://www.timothysaccenti.com

MARK BLAMIRE/ BLANKA.(UK) http://www.blanka.co.uk

DATE : WEDNESDAY 1ST NOVEMBER 2006. VENUE : THE SUGAR CLUB, LEESON STREET, DUBLIN. ADMISSION : 7 EURO. DOORS FROM 7PM. COMPLIMENTARY CORK DRY GIN RECEPTION FROM 7PM. LIMITED EDITION TREATS COURTESY OF McGOWANS DIGITAL PRINT. SweetTalk is supported in Ireland by IDI, ICAD, CreativeIreland and our mums. Internationally it is supported by IDN, Blanka & GF Smith Paper and a love similar to that between English oldies and Bill & Ben.

CANDY PRESENTS SWEETTALK 15. LIMERICK CITY. ANGRY. CONOR & DAVID. M&E.

CANDY PRESENT SWEETTALK 15. SPEAKERS:

ANGRY. CONOR (IRL) & DAVID. (IRL) M&E . (IRL)

http://www.angryretail.com

http://www.conoranddavid.com

http://www.me-me-me.se

DATE : WEDNESDAY NOVEMBER 15TH 2006. VENUE : THE TRINITY ROOMS, LIMERICK CITY. ADMISSION : 7 EURO. DOORS FROM 7PM. COMPLIMENTARY DRINKS RECEPTION FROM 7PM. LIMITED EDITION TREATS FOR EARLY ARRIVERS. SweetTalk is supported in Ireland by IDI, ICAD, CreativeIreland and our mums. Internationally it is supported by IDN, Blanka & GF Smith Paper and a love similar to that between Debbie McGee and Paul Daniels.

THE DESIGNERS REPUBLIC. SWIFTY.TREVOR JACKSON. PHO-KU SOUNDSYSTEM. JON AVERILL.SIMON JUDGE. JON BURGERMAN.BRENB. BRIAN COLDRICK.TADO. PIXELCORPS.ASBESTOS. 3 EXCLUSIVE EVENTS IN DUBLIN CITY THIS OCTOBER. PREPARED TO BE SHOCK’D!

POD ENTERTAINMENT IN ASSOCIATION WITH THE HEINEKEN GREEN SYNERGY FESTIVAL, SHOCK AND SUPPORTED BY CANDY PRESENTS...

3 NIGHTS OF EXCEPTIONAL EXCLUSIVE CREATIVITY. WEDNESDAY 4TH OCTOBER AT THE SUGAR CLUB. SHOCK’D! TALK WITH THE DESIGNERS REPUBLIC, TREVOR JACKSON AND SWIFTY.

ADMISSION 12 EURO AVAILABLE FROM HTTP://WWW.TICKETMASTER.IE NOW DOORS FROM 7PM / FIRST SPEAKER AT 8PM.

THURSDAY 5TH OCTOBER AT A SECRET LOCATION. SHOCK’D! CHAT. MEET ALL THE PARTICIPANTS. INFORMATION EXCLUSIVELY AT HTTP://WWW.CANDYCULTURE.NET

FRIDAY 6TH OCTOBER AT THE VILLAGE. SHOCK’D! CLUB WITH: TREVOR JACKSON (AKA PLAYGROUP) DJ SET. THE DESIGNERS REPUBLIC PHO-KU SOUNDSYSTEM. JON AVERILL (SHOCK’D). SIMON JUDGE (MONKEY TENNIS). VISUALS BY PIXELCORPS. VENUE CUSTOMISATION BY JON BURGERMAN (UK). TADO (UK). ASBESTOS (IRL). BRENB (IRL). BRIAN COLDRICK (IRL) AND MORE TBA. ADMISSION 10 EURO AVAILABLE FROM HTTP://WWW.TICKETMASTER.IE AND THE WAV BOX OFFICE NOW. DOORS FROM 11PM - LATE. FOR MORE UPDATED INFORMATION VISIT HTTP://WWW.STATEOFSHOCK.NET OR HTTP://WWW.CANDYCULTURE.NET

ALAN HYNES. Interviewee : Alan Hynes. --------------------------------------

Official site : http://www.alanhynes.com --------------------------------------

Interviewer : Richard Seabrooke.

One of the great things about starting this magazine and watching it grow is you get to realise how far people now travel from their native lands in pursuit of the dreams. These creative diaspora move across the earth in search of what will make them happy, where they can realise their aspirations, where they can influence, where they can belong.

One such person is Alan Hynes, a Dubliner, who now calls San Francisco home. Looking at his work however you'd never guess he was from anywhere in particular, his touch is quite unique. Add to this the lengths to which he goes with production after the design is done and you get the idea that you're dealing with a man very comfortable in his own skin, confident of his ability and determined in his execution. It doesn't really matter where he remains physically, through his work we can tell where his heart is.

Previous page. Naked Eyes gig poster. This page. The Tubes poster. The Black Halos poster.

How long have you been designing, how did you get into it? I started working professionally as a designer a little over 10 years ago but I got into it well before that, probably the way a lot of younger designers do being in awe of the graphics on things like skateboards or record covers and wanting to make my own. I was also lucky enough to have an art teacher in secondary school who had us screenprint some basic stuff one time and Iâ&#x20AC;&#x2122;ve loved the process ever since. Iâ&#x20AC;&#x2122;d scrounge some mesh from the artroom, design logos and print shirts for my friends with stencils cut out of newspaper. My mothers bathtub was the washout room.

Originally from Ireland but now working in San Francisco, why move? What do you think America has to offer over Ireland for someone looking to do the work you do? I got the green card in the lottery when i was about 18 or so and the stipulation was if i didn't use it It would expire after a year. You had to stay in America for five years before you could apply for dual citizenship, being younger (and wanting to get the hell away from Ireland) I figured It was only a short amount of time and and it would be worth it for the benefits of having both Irish and American passports in the future. The benefits of being in The US for me and the work I was looking to find are that things like designing skateboard graphics or working with bands doing posters or record covers would have been very much on the fringe in ireland - not many opportunities and even less money to be made. In America these types of things are almost mainstream at this stage and are recognised as legitimate fields to be working as a graphic designer in. There's a lot more freedom for creativity in terms of design and pushing the creativity boundaries is expected and necessary to compete. >>

This page. The Dickies Lucky Stiffs poster, ABC poster.

Do you think Ireland now compared to when you left has any more to offer you, would you consider moving back and saddling up on The Celtic Tiger? I go back to Dublin at least once every year and I’ve seen a fairly radical and rapid change over the past 10 years. Ireland is a different place and it’s exciting to think what it might have to offer now, I’ve seen a lot of smaller companies take a risk and prosper doing creative work so I definitely think acceptance is growing and opportunities opening for the type of work i like to do. What do you look forward to when you come home, surely it’s black pudding, Westlife, Pat Kenny, Tayto crisps, Riverdance, Daniel O’Donnell, Chocolate Kimberleys and Mammy hugs? Not really, something else? Tell us more... Well I actually prefer white pudding but I do like going back for many of those reasons. When you've been away for a while you start to appreciate a lot of things that irked you or you took for granted in the past. I like doing tourist type stuff when I return these days going to the gallerys or spending time on the Shannon, things i would have had no interest in doing when I was living there. My perspective has changed and I try to make the most of my time In Ireland, I love being in Dublin these days and its always great to see my family and friends.

I’ve been fortunate enough to see your work in real life and it’s exceptional! The detail and effort you put into the production of your work, especially those you silkscreen yourself, shows an interest in every element of your designs. Why do you feel so passionate about doing your work this way, surely you get more freetime if you gave it over to someone else? I sit at a computer for major portions of the day doing design and while its neccesary it can’t compete with actual hands on creation of a finished piece. I screenprint all my posters by hand and it's definitely a labour of love but I get to control and manipulate at every step of the process. That level of creativity and control is hard to find in a normal work environment so it creates a good balance with the constraints of my day job. I also like being able to utilise and practise traditional design skills like cutting rubylith for film and pushing ink through a screen to make an image. In an era of computer generated digital design There's something familiar and organic about a piece that was created by hand, it’s subtle but its there and to me that subtlety enhances my designs in ways It would be impossible to with a computer. As far as farming out my work - sure i'd have more freetime but I kind of like spending my freetime making posters and its also pretty satisfying to create a finished poster within a matter hours. >>

Previous page. Skateboard designs. Agent Orange event poster. This page. Fab Mab poster.

The people and things that inspire you are... Friends, Family, Ireland, America, Music, TV, Chermayeff, Chantry, Rand, Found Art, Screenprints, Boxing.

Speaking of music, what’s rocking your world at the moment? Always Thin Lizzy, lots of metal, Billy Bragg, Bob Mould.

When designing a gig poster does it help if you like the music of the band, is it harder when you don’t like them? Often I find It harder to design a poster when I like the band. I feel a little more pressure to represent them properly and imagery I associate with the band might not be totally appropriate, personal likes and dislikes come into play when trying to visually represent something that conjures emotions differently for people like music does. It also becomes easy to overthink a design when you have a lot of information about your subject matter.

The Big Creative Circus has rolled into town for one day and you’re smitten, so much so that you’ve decided to hop onboard and go join them. Only thing is you’re only allowed bring 5 things with you due to the space on the wagon. What do you bring? Why? My Ipod - because I like music, A scalpel - because I hate xacto’s, Christy Brown’s ‘My Left Foot’ - because I can read it over and over and eh, two bottles of Jameson to help me forget I’ve just joined a circus.

What is your process in working through a job, is it set in stone the way you work or does it vary job to job? Are you very careful in choosing the work you do? I approach all projects pretty much the same - initial brainstorming and a couple of different attempts before getting it right. I like my designs to have a strong concept first and the stylistic direction comes afterwards. In terms of poster design - I am careful in the jobs I take on, I design skateboards for my day job so There's a time constraint problem for other work, I also like to do posters for people and bands i like, rather than just take on any work that comes along. It’s more of a personal preference because music is involved.

This page. Bob Mould poster.

This page (from left). Two Gallants gig poster. Two Gallants release gig poster. The Cuts gig poster. Tommy Guerrero gig poster.

BASE. Interviewee : Base Design.

-------------------------------------------------

Official site : http://www.basedesign.com

------------------------------------------------Interviewer : Wes Trumble. wes.trumble@dynamo.ie

Yeah thereâ&#x20AC;&#x2122;s a lot of pages but in many other ways this issue stands as our most ambitious to date. Aswell as some of the best emerging talent we wanted to approach some of the leading lights who had a profound effect on us over the years. One such organisation is Base, whose rise and resonance Iâ&#x20AC;&#x2122;ve followed for many years now. Located in cities dotted around the globe their creative output is held together by the wish and intent on creating something unique, something exceptional, something like you've never seen before. Whether it's an identity for a fashion label or it's a bespoke magazine just done for the hell of it, everything Base does they do to the best of their ability. It's weird because even though every project that flies away from the Base nest is completely different, what holds it together is something untouchable, something ethereal. It's not just a creative thing, or a production thing, or a style thing, it reaches further than that to ensure that once you come into contact with it you'll never forget.

This page. Base for Kiki De Montparnasse.

What was the driving force behind the inception of Base and what were the teamâ&#x20AC;&#x2122;s influences at the time? The driving force was and is friendship. Our influences at the time ranged from design groups like Octavo to artists like Joseph Kosuth, with whom we had the opportunity to collaborate on one of our first books. When Base first came together in 1993 the economic climate in both the UK and Ireland was in recess and design for most businesses more or less fell off the agenda. Didn't the team at Base feel a great risk in starting a out in a new venture at this point in time or did a buoyant Belgian marketplace override any doubt? It never occurred to us to think about the economy. We never did a market study or anything; we just did what we thought we should be doing. And we happened to be in Belgium. At the time of your inception Antwerp was declared the cultural capital of Europe. Was this really a true reflection of arts and culture in Belgium at the time or were the arts in desperate need of a lift? Who if any were the key players in the design industry at this time? Antwerp was more specifically about fashion than about culture as a whole. And even then, there was a discrepancy between the media hype and the reality of what was happening there. Which isn't to say that it wasn't significant. And it was for that reason that our being from Belgium was a definite asset in opening the NYC office a few years later. Bruxelles had not been regarded as a creative arts capital since the days of the Art Nouveau, Surrealism and Tintin. Was it the intention of Base to sprinkle it's cultural pixie dust around and get things moving in design art and again in Belgium or did the true recognition for Base really only evolve retrospectively through the publication of your first book? Of course we were conscious of the Brussels arts legacy, but we didn't have any larger aspirations of changing the face of Belgian design beyond the work we were doing. Now, in fact, we've evolved to have offices in four other cities outside of Belgium, so at this point we don't even think of Base as a Belgian company.

In the early days at Base did the team find it difficult to convince Belgian clients of the value of original creative design or did you set out with an agenda that would ensure an interesting and varied, open minded client list from the start and what was the approach? In the beginning, we did a little bit of everything to get going, but soon found a niche in the worlds of art, fashion, and luxury brands. People in those worlds quickly came to see what Base was doing, and then began coming to us. So there's never had to be too much convincing because our clients have been conscious of the value of our work, often before even working with us. As for the variety of our client list, we've never had a specific agenda, but have always simply taken jobs where we feel comfortable with the client and the project, and feel that we can create something worthwhile. The design scene in Belgium seems to be thriving with many young designers taking the bit between their teeth. Do you think this is a reaction to the old guard such as the Design Boards et al? Do you think Base has had a role to play in raising the profile of design and designers in Belgium? It's true; there are a lot of young, independent design personalities in Belgium now. Because Base started in Belgium, we may well have inspired or motivated younger designers to do their own thing. But we've never considered ourselves "Belgian design" per se; Base is more of an international platform for designers. Since Base began we've always had designers from around the world. The design work at Base is very distinctive in itâ&#x20AC;&#x2122;s application of strong and fresh use of typography and type appears to be at the core of most the work you do. Do you think thIs approach stems from the strong background you have in developing print related design projects when tackling the various design disciplines? Yes. Base started as a group of graphic designers, so type has always been a central consideration. In fact, we recently launched BaseLAB, a team that specialises in developing custom typefaces, and customising existing ones. But we also realise the importance of each of the componentsâ&#x20AC;&#x201D;the copy, the photography, the printing... >>

Previous page and this page. Base for Primavera Sound.

This page. Base for San Francisco Art Institute.

This page (top 3). Base for Bozar. This page (bottom 2). Base for Grand Palais.

Some of the work carried out for clients such as Bismarck and the recent 160 years of Loewe have a multi branded approach in the design which most companies both client and design side alike would never get to because of a structured approach. Is Base trying to pose new questions about what a brand can be is in 21st century? "Posing new questions about what a brand can be in the 21st century" may be a bit grandiose for what we're doing, but one thing we're convinced of is that there are other ways to identify a brand than just a logo. It could be a color, a typeface, a word... With Bismarck, a PR firm, the idea behind their visual identity is that they adopt the identities of their clients. So it's much more about an identifiable system than a logo. The work we did for Loewe combined all of the company's logos from its 160 years of existence into a pattern. This pattern can be used any number of ways, but is recognizable on its own. So again, it's a system. What we're interested in is how the elements making up any given identity interact, and what and how they communicate. It is a very rare gift for even the best design organisations to secure all aspects of a project from start to finish fuelled by a belief that exists even within the industry that no-one company can cross over into the multitude of design disciplines, but Base does this and does it brilliantly. Are your contemporaries missing a few tricks? What's the secret? It's probably not a secret, but what we try to do is keep the identity elements simple but recognizable. To create an open system so that anyone who plugs into it fits. If you keep it simple and focused the results are more likely to be coherent. Over the years Base seems to have continually grown its client list and expanded its design network from Belgium to Barcelona to New York and elsewhere. What key ingredient would you say has secured this level of growth and continued success? The key is the people and the relationships, both within Base, and with our clients.

Would you say that collaborative approaches have brought about the best results in your work? Yes, definitely. Both with clients and with outside collaborators. How important has the 'willingness to work anywhere' attitude been to Base? Very. It's a motivation to discover new cities and clients, and may even be more of a curiosity or desire than a willingness. Some of that may come from the fact that Base has always included people from all over the world. Do native Belgians actually buy BEople and do they understand what it is? Not any more! After seven issues, we decided to backburner BEople. Some Belgians are no doubt familiar with the magazine, but it received more attention in the larger world capitals—London, Paris, New York. Base has created rafts of amazing work, maybe too much to do justice in one tiny article. However, If you had to choose one project from the Base archive as the turning point for you and the team, what would it be and why was it so significant in propelling the now very visible profile of Base further? It's hard to pick a single project. There have been key jobs for Base as a whole—BEople, for instance—and certain jobs that have been turning points for each studio. In New York it was MoMA. Brussels, the Palais des BeauxArts. In Paris, the Grand Palais. In Spain, women'secret in Barcelona, and La Casa Encendida in Madrid. For BaseMOTION, it was the television network BeTV. Where is Base heading next? Japan? New Orleans? Iceland? What frontiers of design do you still have the desire and passion to cross? As usual, we don't have specific plans for expansion. Could be China; could be L.A. As for design frontiers, every day brings new questions, and we just try to keep the work fresh, both for ourselves and for the work itself. One thing we'd like to do more of is initiate our own projects—books, film, whatever—where we generate the idea and follow it through to completion. Which is a completely different exercise than responding to a client brief.

Previous page and this page. Base for womenâ&#x20AC;&#x2122;secret.

This page (left to right). Base for Kiki De Montparnasse. Base for Loewe.

Interviewee : Kjetil Wold of Bleed. ----------------------------------

Official site : http://www.bleed.no ----------------------------------

Interviewer : Richard Seabrooke.

HTTP://WWW. BLEED.NO For many years us Irish have held certain countries in very high esteem in terms of their design sensibilities and their legacies throughout the decades. Sure the english, the swiss, the dutch and the germans had it all but in recent times the scandinavians have been giving all these a good run for their money. You only had to survey the current scenes to be overwhelmed and impressed with the amount of brilliantly original work emanating from their.

One leading light within all this is Bleed, a young agency based in Oslo who are more than happy to take on someone twice their size, hell they'll even do it with one arm tied behind their back. Working for a wide range of clients Bleed's focus in on making anyone who trust them look good. Their work is daring, inventive, challenging yet always memorable. It's as if the client comes in with the standard brief and leaves a different person, their ability to engage their customers into a two-sided collaboration remains a testament to their ability and conviction in what they do. To me Bleed are one of the best agencies in the world because they challenge perceptions, not just of us but of the clients they work with and this must only be applauded.

When did you start Bleed? 01/06/2000. How did it happen, what were your reasons? We started to talk about joining forces out on the town, and we put together a group of 5 individuals with the same goals on creating something new and fresh, have fun and earn money while we where at it. It was important that we could start of with a mix of people with different skills but with the same vision. It originally started out with creating a design company in the advertising agency where i and Dag Solhaug (designer/partner) already was working. After launching the plans to the agency we quickly found out that we were better of on our own. The advertising agency does not exist anymore so i guess it was the right decision. What’s the Nordic creative scene like at the moment, any northern lights we should be looking out for? I think it looks good, we have some very talented people pushing design and illustration like Grandpeople and Yokoland, small agencies, collectives with a lot of will and experimental attitude. Norway says is pushing some new exiting product designs and artists like Kim Hiortøy Børre Sæthre, Bjarne Melgaard, Mattias Faldbakken, Arne & Carlos & Chris Reddy are doing amazing stuff. Who would you consider as inspirations and heroes in both your working and personal lives? At the office I'm surrounded with talented people who challenge and explore creativity. To be able to go to work and find inspiration is a gift. We also have Aris Theophilakis in our board and he is our mentor and inspiration source using his experience as a creative director in Springer&Jacoby (Amsterdam) and J. Walter Thompson (UK) to guide us in the right direction. Designers as Kusta Saaksi, K Maki and many others are also of course sources of inspiration and admiration. Personally my wife Ellen and my daughter Thea is my inspiration and heroins , Ellen make it possible for me to do what I love to do and I'm forever grateful for that. Thea represents joy and playfulness and reminds me that there are no rules to follow in life. >>

This page. ‘Going Underground’.

This page. Bleed various work.

The range and scope of your work is incredible, yet you maintain exceptional quality throughout. Why do you think it is important to work on a range of jobs, what does that bring to your studio over specialising in one area? I think the range is the key element to stay fresh, we are not looking for a strong overall signature on all of our work, we would like to focus on solving communication tasks for the client and then the signature should have some kind of professional edge within the clients segment. It can be direct or it can speak to you in a subtle way. Different clients have different needs and we are convinced that we can deliver challenging and edgy design on large assignments as well as on smaller ones. The combination of a strong concept presented with the right design solutions is always good and it also pushes the imagery and styles in different directions, this means you learn new stuff and you must always challenge yourselves, which is good and fun. Do you have a particular way by which you run a project to ensure you get the most creativity out of it, what’s the key to blowing your client away with your work? We have a set up of course, but it varies a lot from assignment to assignment, some are open for personal exploration and others starts with a creative phase where we analyze the communication needs for the client and have a work-shop where we look into the different aspects of the job. We have a rule though, our solutions should challenge the client and add the edge.

This page. Shnel & Melnychuck Choppers.

I see you are guided by 10 manifesto rules, do you hold these as gospel or are they open for interpretation and addition, such as Make more tea, Buy Birthday cakes when it isn’t someone’s birthday, etc.? No rules are indisputable and our rule is to question the rules, having a manifesto helps us focus on some important guidelines but also on the not so important, like make more tea, stop drinking coffee, comb your hair the opposite way, do not draw as your told, get drunk and see more art! Okay, I love what you do and I’ve decided to send in my cv for a job at Bleed, what do you look for in both the person and the cv to help me get my UK8 in the door? We are actually looking for a senior designer, so check out our ads on cpluv.com. But as a tip we are looking for dedication and the will to explore both in life and at work. Using these qualities to solve both artistic assignments and professional ones. Knowledge both in interactive media and traditional. We are looking for the combination art + industry, crazy + conceptual smartness and a hint of social intelligence always helps. >>

This page. Bleed bike for Alta.

The key things you look for when taking on a project? The will to challenge your competitors, lead not follow. Your favourite job is one which... Stands out from the segmented competitors, or just art, pushing a new expression . The worst client is one who... Believe they are willing to take chances until they have to face the facts and finds out they don’t believe in anything,and to top it of doesn’t have a clue why they argue about their favourite colour. The best collaboration you have yet to do? Creating a large art exhibition promoting a commercial brand with a sky high budget. A combination of graphic design, art implemented in a gallery or retail environment for a world wide client who are ready to challenge the big brands. I understand you’re soon opening a new shop concept called ‘One’, care to let us know what people can expect from it, what’s the focus going to be, who’s involved, where can we get our sticky mitts on some sweetness? The shop opened in May and focus on unique design products. All products in the shop are hand-picked by the designers at Bleed. The shop will have unique and exclusive products, and will have only one of each item for sale, hence the name One. If someone finds a product they really want, they have the opportunity to buy it before it is sold and replaced with a completely different item. One will carry products from a wide range of designers around the globe. Designers who produce prototypes and unique models will also be selling their work here. We want to promote new products and ideas, so if you have an exciting product that you want to share with us, you can send a photo and description to one@bleed.no. While the types of products in our store will vary over time, there will always be a unifying theme: excellent design. One is located at Bleed’s headquarters, Trondheimsveien 2, in Oslo’s Grünerlokka neighborhood. It is a beautiful location, with Bleed Design Studio working on the second floor. One will be a supplement to Bleed’s primary business of delivering design. >>

This page. Bleed for Diesel. Next page. Bleed for Arcaden Oslo.

This page. Bleed One shop, Oslo.

What’s rocking the Bleed stereo at the moment? A lot, different designers put on their i-pods and a lot of different music comes out, but right now Bonnie Prince Billy. Good Good Good Good

for for for for

working to... Clics’N’Cuts. brainstorming to... Nothing. chilling and chatting to... We work mainly ;) partying to... The Knife.

Do you bring the rules home? Yes, a lot of work is done from home office, and the quietness late night is always needed. What can we expect from Bleed in the future, what have you got up your sleeves? The goal is to maintain our focus on creating new concepts and designs for different clients adding new style but never the same, meaning you don’t know what to expect for the next thing, only maintaining excellent design. We also have some international client cases to watch out for so make sure to pop by our webpage. This page (left to right). T-shirt graphics, Fashion Architecture.

This page. Bleed various.

Next page. Bleed for Arcaden Oslo.

BrenB. Interviewee : BrenB.

------------------------------------

Official site : http://www.brenb.net ------------------------------------

Interviewer : Aidan Kelly. This page. ‘Josie’.

It’s a hard land, uneasy an uncompromising, demanding and dirty in everyway. It’s full of users, lovers and heavy breathers, even the girls we fancy are spittin’ on the side streets. It’s like everyone lost the plot, lost their way around, needing direction, a way forward. I could be wrong but it feels like a revolution is comin’ on. Some kind of change. Worse again the stories and legends are not what they used to be, it’s all got a sugary glaze to it and once upon a time days would pass by under the spells cast by native storytellers, real anecdotes and short jokes that made you laugh but unfortunately now we hardly stop in the street to greet people, never mind sit down and read a book. We dislike everything but want it all, we desperately need a hero. But it’s difficult to know who is and who isn’t the saviour. If you want to be saved that is! If it’s written down it must be true, yeah? Well he’s written it down over and over again and at long last people are beginning to read the writings on the wallpaper. BrenB is a soldier of sorts, fighting the good fight trying to help the change happen faster, his illustrations and scribes are a skilled version of the world dark and unreal, with an edge and sadness that realises more as the time passes, they are brutal too, honest and confront you in a lovely sense of humour and stark reminder of what it really is to be a loner, on the outskirts of a self consumed society. They stab you with ideas that defy a normal story, characters who are flawed in numerous ways but endearing nonetheless. The work is huge and colourful, strong and with force and remains with you like a good movie, yet amidst all this triumph there’s loss and longing. Reality and a reminder of what it’s actually like in the world.

I found a packet of biscuits down the back of the sofa, will I put the kettle on? Why don’t we leave the biscuits and tea for now as I still have some pills left from when I flew to my plastic surgeon in LA. I hate flying and my mum gives me pills to help my nerves, it’s her way of saying ‘I LOVE YOU!’ Actually when you were down the back of the sofa you didn’t find an old bottle of Poppers™ did you? So when do we start the interview? Hey that tape recorder isn’t on, is it? Who's your daddy [the most influential person to you]? Deep breath…Mum & Dad, me girlie, Harvey Pekar, Ben Katchor, R.Crumb, Merle Haggard, Woody Allen, Larry David, Ronnie Barker, Dave McKean, Wes Anderson, Paul Thomas Anderson, Judge Anderson PSI, Judge Judy, Mike McMahon, Kenny Dalglish & Da Boyz at CANDY and too many others to mention. I’m a bit of a sponge when it comes to work, I sit in my studio with one hand browsing websites, one hand flicking through my huge library of books and my other hand drawing pictures. What happened when you drew for the very first time... was there an explosion of sorts? The first time I remember drawing anything that got any notice was when I copied a picture the guy beside me in school was drawing. I suppose I would have been 8 or 9. It was a shop front with Christmas windows and he had the perspective all right, it looked cool. I sketched it quickly and handed it in before he had finished his and the teacher told the whole class how wonderful it was and gave me a prize. Of course this didn’t go down to well with my classmate who immediately sought to publicise this injustice. I laughed the accusation off explaining that I hadn’t meant to enter the drawing merely wanted to learn how to draw the perspective. I quite loudly (and with some tears I’m sure) refused to give him the prize though. After suffering this public humiliation my artwork became very secretive from then on. Although with hindsight this was a good thing, I won’t tell you what I spent my teen years drawing. Let’s just say it was before pornography was legal in Ireland.

Tell us about some of your work, the work you are happy with most? For about 2 years I worked in an internet café on O’Connell Street, which was great fun. There is something about helping young Spanish and Italian backpacking girls find there way around Dublin that was very satisfying. I was very good at it. The first proper (i.e. not self-published work) commission I got was from The Dubliner magazine about 4 years ago. It was for a series of comic strips that would be of interest to their ‘suave, sophisticated and urbane readership’. I didn’t know anyone who read the magazine so under pressure I came up with a series of biographies of Dublin characters. The first one featured Algy Bloom, a sanitation officer who removed chewing gum from the streets. 40 years ago fell in love with a girl he saw feeding pigeons but never saw her again. Today he still collects chewing gum but in her memory he moulds it into little pigeon feet to help the lame pigeons of Dublin. That was the first time I didn’t use myself as the basis of a story but still expressed a theme I had long been obsessed with. It was a real turning point. Being invited to submit work to the ZARJAZ exhibition, run by Playlounge in London last year. Seeing my work alongside original pages from 2000AD was pretty pants filling. It was cool seeing my album cover I did for Jerry Fish on posters all over the country too. >>

Previous page. ‘Crime’. This page. Shiznit comic book cover.

Next page. ‘School’.

This page (left to right). ‘Father for Justice’, ‘Kevin’ & ‘Crime 2’.

This page (left to right). ‘Real Dubliners’ & ‘Leo’.

If you get angry do you draw, what topics or issues make you tickety tick? I never vent my anger through drawing. I usually use my art as a way to express my other feelings that don’t get space in my non-drawing life. Im quite concerned with love and especially failed or sad relationships. I’m drawn towards the outskirts of society, to those disenfranchised and lost. I’m fascinated by eccentrics and those who don’t fit in. I then exploit them for my art of course but I suppose I feel like an outsider sometimes myself. I do get angry though, very angry, you wouldn’t like me when I get angry! Yeah, what annoys you most? When a client says they love your work and then ask you to draw in a completely different style. Not getting paid on time. Not getting paid enough. I hate the PR Industry! Property prices in Dublin. When they cut ads into movies on TV but it’s in the middle of a scene and when the break is over they don’t continue the interrupted scene, GRRR! The interior lighting in Fair City. Poor endings in books that you have spent a month reading. Bad corporate management. MYSPACE. That I didn’t go to New Zealand and work on Lord of The Rings in any capacity.

You think working as an illustrator is difficult to do in Ireland...? Eh, yeah, slightly! Well I find it difficult anyway, obviously there would be a few guys supporting themselves purely from illustration but not many. When I was only doing comics it was so hard to get any work published I had publish my own comics (Toenail Clippings 1-4 - ed) I thought I’d try Illustration as there must be more work in that (HA!) but it’s very difficult. Up until recently I had to work as a toilet attendant, you know supplying aftershave etc. The tips were good but I had to quit because I got an allergic reaction to the black make-up they made us wear. Generally speaking we have no magazine industry here to support editorial illustrations and those that do use either pay shit or don’t pay at all. It’s very frustrating sitting on the sidelines of this economic boom feeling like it’s still the eighties for illustrators. Our only option is to try and get work abroad. All aboard the coffin ships, me lads! >>

This page (left to right). Jesus Brady cover, Macbeth illustration.

This page. BrenB Tees.

This page. ‘Old Dublin by BrenB’, ‘When the wind blows’.

This page. ‘Sketches 2’ & ‘Night Life’.

This page. ‘French’ & ‘Pearl’.

This page. ‘Kick the cat’ & sketches.

Next page. ‘Chopper’ and ‘Helen’.

Who would you like to work with / favourite commission you would like? I’d love to work on a book with Mark Murphy Design. I’d love to do a line of Vinyl Toys. I’d love illustrate a Harvey Pekar comic strip. I’d love to be commissioned to do a New Yorker cover. I’d love to be commissioned to do any magazine cover. I’d love if I got commissioned to do regular work at a decent rate by open-minded and interesting clients. Is that too much to ask? Any new ideas you are having, life changing stuff please? I normally have my best ideas in bed. I keep a notebook, a pen, a torch and some snacks beside me and sometimes scribble for hours. At the moment I’m starting to work on a series of images collaborating with a great photographer that is making me think of my work in a different way. That’s exciting me a good bit but I’m keeping my girlfriend awake with my constant scratching. One of my latest ideas is to give up drawing and cartoons and other pen related stuff. That would be pretty life changing.

If you can't do drawing and cartoons and other pen and pencil related stuff, what would you do instead? Don’t get me wrong I love working alone in a little room under the stairs, scribbling pictures no one really looks at, getting paid hardly any money, getting no recognition, having no prospects. That’s all great for sure but sometimes you want a little what everyone else has. Some new clothes occasionally, maybe go out for dinner, meet friends for a drink, or maybe visit one of those midget brothels I keep hearing about, normal stuff you know? Does writing count as non-pen related? I suppose I could use a Dictaphone, couldn’t I? Or type into a computer. Well I’m writing a sitcom (well it’s a drama with some few ‘funny bit’) at the moment, so hopefully that will be bought. Anything in film would make me happy, as long as I had total creative control and be in charge of casting (or at least be able to sit in and watch casting!) A lot of my heroes are in Film and TV so that would be terrific. Maybe I’d stop watching so much if I was on it a bit more.

This page (left to right). ‘Dance’ and various Jerry Fish & The Mudbug Club illustrations.

This page (left to right). Club flyers, ‘Therarpy’ & ‘Flight’.

This page. BrenB for Candyâ&#x20AC;&#x2122;s 50 by 50 project. BrenB for Candy SweetTalk.

BRIAN COLDRICK. It is another cold and wet day in Dublin. But as I walk around the South American Monkey House at the Zoo I realise Iâ&#x20AC;&#x2122;m accompanied by my own personal ray of sunshine in the form of Brian Coldrick. After a long enjoyable day of exchanging animal trivia and noting their feeding regimes, we retired to a secluded spot in the park to conduct this interview and drink cider until dark. Luckily I remembered to press record on my tape recorder at some stage? Interviewee : Brian Coldrick. ----------------------------------------------------

Official site : http://www.briancoldrick.com http://www.thetendertrio.net http://www.thevendingmachineproject.org ----------------------------------------------------

Interviewer : BrenB.

Previous page. Sloth game front. This page. ‘Panda’ & ‘Better Living’ from ‘The Tender Trio 2’. More information at http://www.thetendertrio.net

This page. Sloths & boardgame back design. Next page. Boardgame detail. Boardgame available exclusively through http://www.thevendingmachineproject.org

Trying to go off in as many tangents as possible, can you describe how you got to where you are right now, "career-wise" that is not like on a bus or by hitching a lift with a clown delivery man! Sniff, Sniff! Can you smell gas? I was always the kid who was good at drawing in school so I just kind of drifted towards art college. I went into N.C.A.D. with notions of doing Fine Art and becoming a painter, but I ended up doing Visual Communications, which thought me all about Macs and deadlines. It was great to get exposed to all the originality in the design world. Still, it was always drawing which I fell back on for a lot of projects. By the time I graduated I'd made up my mind to try and make my way as an illustrator; I hoped I could incorporate all the stuff I liked in art and design and avoid a nine to five lifestyle. A reliable income is not part of working freelance, but I always have the opportunity to approach jobs in a way I'll enjoy and most importantly it gives me the time to work on my own stuff on the side. Assuming you haven't already done it, what would be your dream project to work on? There's a long-planned, never-started epic comic that me and a friend have been talking about doing for years so I'd love to actually make it a reality. I'd also love to branch out more from straight illustration work, making toys or getting into animation and film. But if we're talking dream project, directing a massively over budget sci-fi flop would be fun, something along the lines of "King Kong... in Space!"

I once got arrested and sent to prison for 5 years for reading comics in school! Granted I wasn't a pupil, in fact it was an all-girls school, and I was naked and playing with myself (I was always a loner in school), but I thought the sentence was a bit harsh especially as I was always been told that "comics are for kids", aren't they? It's not that comics are for kids, it's just that they're for nerds like you and me, hooray! I remember 'reading' the Beano and the Dandy before I could read and I can safely say that comics thought me more than art college. It's a shame that they've never really shaken the low-art image; for me the creativity and skill to be found in comics is an equal to that in film or literature. That said, their underground status allows them to get away with bloody murder, so who cares. I recently considered moving to Roscommon, but then I visited it. For those readers unlucky enough not to live in Dublin, can you describe the art & design scene in this bustling metropolis, as you experience it? There's been a lot more going on in the city over the last few years. Whether it's exhibitions, magazines, comics, graffiti or Candy mag itself and the Sweet-talk series, it seems that not only are people motivated to start things off but that the audience for it is there too. All these things serve as an outlet for all the talent in the city and they cause people of similar interests to cross paths. It's great that so many are creating their own opportunities to get their own (and other's) work seen. >>

This page. Various characters. Next page. Various illustrations for Totally Dublin.

This page. Various character based illustrations.

You are walking through a forest when you come across a seriously injured deer. You approach the animal to see if it's still breathing and if there is any way to help. As you lean towards its face its whispers through the pain, “To save me you must never draw pictures again!” What would you choose as an alternative? Taxidermy. What is your favourite a. item of clothing, b. ice cream topping, c. ethnic musical instrument, d. dance move, e. method for staying awake all night? a. My trilby-like hat (bring back compulsory hats I say). b. Melted mars bars. c. The washboard. d. The robot, done badly but with the drunken confidence that I'm pulling it off. e. Booze or lady-friend, preferably both. Do you listen to music while you draw? Do you hum along, tap your toe? When you are concentrating do you stick your tongue out? Describe the Brian Coldrick work method! Humming, toe tapping and tongue sticking all play their part. Any method tends to vary from project to project. Finding something I get a kick out of is usually the first step, be it old computer games, Art Nouveau or Where's Wally. For example, the 'eye on dublin' illustrations for Totally Dublin magazine started with me marvelling at the detail and layout in illustrated Star Wars technical books. After that it's pencil and paper, and long hours in front of a computer screen. Do you have a pet Sloth? If not, would you like one? I have the sloth, though he is not so much a pet as a companion. He's closer in size to a small child than a pet. I made him for my girlfriend as a birthday present and he's become a minor celebrity. At the moment he is lying in my bed, the lazy blaggard. He's a bit of an alter ego for me, I'd been doodling him for a few years before he became a physical reality. A while back I actually ended up looking at the website for a Sloth sanctuary somewhere in Central America. It looked incredible, like a James Bond villain's Caribbean villa, but with sloths lazing around everywhere in wicker chairs. They're just one of the oddest creatures around, both in their look and in their lifestyle. It's safe to say I'm an admirer.

I’m a frequent user of the internet (of course I just access documentaries, religious services and current affairs). You ever hear of it? Life would be dull without the old interweb. Every piece of useless pop culture knowledge ever and infinite pornography. It's also handy for getting your work seen. And, vice versa, it's the best tool for checking out other people's work. I discovered so many great illustrator like James Jean and Tomer Hanuka through random browsing. Seeing the amazing work out there around the world really keeps you on your toes. I'm working on a project at the moment with a sculptor from the Caribbean, where I draw all the people I dislike and he sculpts Voodoo dolls of them, should be fun. What have you got coming down the line in the next while that we should keep an eye out for? The second issue of The Tender Trio is finally making it's way out into the city. It's a free mag of illustration work by Christian Reeves, Stephen 'Frankenstyles' Kelleher and myself. We'll have a bit of a launch midSeptember but if you don't get your hands on a copy you can still see all the work at http://www.thetendertrio.net I've got ten sloth based board games for sale as part of the Fringe Festival's Vending Machine Project (loads of work from loads of artists for sale in vending machines around the city starting 12th September). For more information see http://www.thevendingmachineproject.org I'll be talking awkwardly on stage for SweetTalk 7 in the Sugar Club on 27th September. Most importantly, I'll be breaking out the sewing machine again to make a limited run of some more sloths, so keep your eye's peeled. Kudos Candy!

This page. ‘Atomic’. Next page. ‘Midnight court’.

This page (left to right). ‘Plugs’, ‘Stoat’ & ‘The Boys’.

This page (left to right). ‘Kpbica’ & ‘Big, bad’.

This page (left to right). ‘Minghus’, The Tender Trio cover illustration & ‘Cosmo’.

This page (left to right). ‘Horse’, ‘Profile’, ‘Arches 1’ & ‘Punch’.

ANTI MAGAZINE ISSUE1:BORN NOW AVAILABLE TO DOWNLOAD AT http://www.revolverlover.net

BRIAN CRONIN. Interviewee : Brian Cronin. ----------------------------------------

Official site : http://www.briancronin.com ----------------------------------------

Interviewer : BrenB.

When I told my mum that I was going to interview Ireland’s Greatest Living Creative Export who has made it big in the good ol’ US of A she got very excited thinking it was Colin Farrell (I get my creativity from my Dad). In contrast my interviewee has made his mark without swearing at Award Shows, without having sex romps with prostitutes, without drinking gallons of Jack Daniels and smoking 80 cigarettes an hour, I presume anyway, I didn’t ask him! Ladies and gentlemen, behold the beautiful and delicate world of Brian Cronin.

Previous page. ‘BoyX’. This page. ‘Ghosts’.

Where I grew up in the Ghetto™, the laws of the streets dictated you had to be a member of one of the two major gangs. It was tough but you had to show your colours or you were as good as dead. Who did you choose, Tony Hart or Rolf Harris? And how do you think it effected your artistic growth? I was more of an "etch-a-sketch" kind a guy Mid-eighties Dublin is generally regarded as a golden period of opportunity for its citizens particularly those with a creative bent, why did you leave to go to New York? Ha Ha Ha Ha Ha Ha Ha Ha!! Good question! I was broke!

You have lived there for some years now, is it home or is there still a little bit of you pining for the motherland? Do you get Tayto airlifted in? Have you ever been mugged by Woody Allen? Unfortunately you have Starbucks we have Tayto! I left Ireland in 85 and went back to live in Dublin in the early 90's for two years but it just wouldn't stick second time round. So I shuffled off to Buffalo (NYC that is). I go back to Dublin a lot to catch up with family and friends and have managed to keep up with the most of the changes since I left, so it's never a real shock when I go back, the changes I see are for the better.

When I draw my pictures I prefer to squeeze into as tiny a space as I can and be very constricted in my movement, (it probably stems form being locked under the stairs as a child). Can you describe your workspace and how important it is to your working process? I used to lock myself under the stairs. My studio up state is in a large 18th century converted barn. The space has plenty of natural light which is what I like most. The main part of the painting studio has a large 12 x 12 foot sliding wooden door behind this is a wall of glass which let's in ton's of light when opened The studio it's self is divided into two spaces, library and materials in one half and a painting studio in the other the dividing space is storage and a slop sink. Although once I get into work they cross pollinate as I like to utilize the entire space so basically it becomes a big mess but when it's clean its kewl.

Colour is such an integral, and may I say beautifully executed, part of your work. Is it instinctive or do you have a copy of ‘How to use Colour in Contemporary Illustration in 3 Easy Steps’ book on your desk? Who and what inspires your use of colour? Cost! But seriously I have always tried to limit my palette, I like to hold back rather than lash on color for color sake. When I came to the states first there was a kind of back lash towards my use of minimum color as they were paying for full and that's what they wanted. The same thing could be said for filling up the piece with clutter too much stuff, i like to keep things to a minimum so the viewer can enjoy the space take a walk inside it light up a cigarette if they choose and absorb it. >>

Obviously there is a high level of draughtmanship in your drawing, is this the basis of good illustration or just your personal style? What about illustrators who draw like they can’t draw? Do you dig that? Or is it just a fad like Frisbee’s or Democracy? It could be “it’s not what you do but how you do it” OR “it’s not what you’re wearing when you do it" OR “it is what it is and draughtmanship helps". There is a subtle, delicate, refined and surreal wit in your work but if you saw someone slip on a banana skin would it raise a smile? What makes you laugh? Thank you! Norman Wisdom makes me laugh every time. Unfortunately it's near impossible to get to see much of his work as most are not on DVD, hey if anyone knows where I can get some let me know?

The ideas and precise execution of your work seems more inspired by HIGH rather than POP cultural references, whether that’s the paintings of Magritte or Japanese Prints, so what tickles your fancy art wise these days? Yes I agree I'm usually HIGH when I work. I was recently at a collection of works by Edward Hoppers at the Whitney and I was struck by his honesty (and it hurt). I am used to seeing his works as reproduction in books but seeing such an over view of his originals and how messy they were was inspirational. Not that I aspire to being messy or that I though he was messy what I mean is he knew what he was doing and just got it down, there was an immediacy to them even though the subject matter is very calm. I suppose his training as an illustrator thought him to work fast, unfortunately that’s all we have in common.

Without naming names have you any horror stories of clients who were obviously Satan worshippers? On the flip side if you’d prefer to stay positive, who have been absolute dreamboats to work for? hannah, fred, john, skip, robert, amid, erin, tom, victoria, rodrigo, emily, lee, bhairavi, cynthia, todd, hannu, david, susan, mike, kevin, hillary, christopher, gina, eric, robin, amyrobin, julie, sara, lisa, ++++++++++++ all dream boats. What should our discerning readers be watching out for in the next year from you? Any plans to come to visit the old Emerald Isle? I’m taking some time out from commissioned work to paint. I’m hoping to work on a body of work out side of the commission world and see what develops! I was in Ireland in the spring too bad we missed each other we could have shared some crisps and a pint or two, next time! What’s your number?

CHRISTOPHER LEE. Interviewee : Christopher Lee. -------------------------------------------

Official site : http://www.thebeastisback.com -------------------------------------------

Interviewer : Tado. mikeandkatie@tado.co.uk

With a new job with a top design / lifestyle magazine, international recognition as one of the most exciting new illustrators, and possibly the most adorable toy of 2006. Mr Chris Lee has been a very busy man!! Having collaborated with the mighty Tado earlier in the year on the incredible â&#x20AC;&#x2DC;Horror On Tourâ&#x20AC;&#x2122; show we managed to get them back together long enough to answer a few quick questions about his awesome work and what he's been up to...

This page (left to right). Urbanites & Christopher Lee for XBox.

Tell us about your new place! how are you finding LA? It must have been a very exciting move! how does it compare with back home? So far so good, but I have to admit, I was off to a rocky start for the first few weeks (as most moves go). I’m no expert yet on this town of palm trees, but I hate the traffic and the air quality! Ugh! There’s traffic here 24 hours a day it seems and what you think is “fog” in the distance is actually smog. It’s pretty digusting. Although there is a lot of creative opportunity out here, I really like the laid back nature of my hometown. I’m just not into the hustle and bustle of big City life. You recently started creative art direction for ‘Vapors’ magazine - this must be an awesome place for you to work! how are you finding the new job and have you met anyone famous yet?? Yes I love it! I have a lot of freedom and I’m in the process of reformatting the entire publication so that’s been a very exciting (and stressful) process all at the same time. Unforunately, I haven’t met anyone famous yet at the office…but I did get a pair of free jeans. Now that you're getting used to your routine, can you give us a brief summary of a day in the life of Mr. Christopher Lee? I wake up at 8:00am. Check my email. Take a shower. Pack my lunch for work. Do magazine art direction from 9:30ish to 6pm. Take the “shortcut” I found back home. Cook dinner (usually consisting of fish, rice and some vegetables). Check my email again. Work a bit on some of my backed up freelance work. Talk to my girlfriend and go to sleep. Any exciting personal projects coming up? It’s been fairly quiet on the front. Although, I’m looking forward to seeing my Holiday store concept be implemented at the Express Fashion stores this Christmas along with finishing up an illustration commission for a children’s book. Other than those things, I’m trying to focus more on my personal work and develop a new fun series of mini-prints with a really wacky theme about shops and shopkeepers. >>

This page. Christopher Lee vs Tado collaborative illustrations for the â&#x20AC;&#x2DC;Horror on Tourâ&#x20AC;&#x2122; exhibition 2006.

This page. Christopher Lee for XBox.

The mini prints sound very cool! are they purely self-initiated or is it a collaborative project with another artist or store? When you work on personal pieces, how do you approach them? do you have any tried and trusted techniques, or any amusing things you're itching to have a go at?? The decision to begin a mini-print series was essentially my answer to people who are running out of wall space for larger pieces and are looking for smaller more affordable pieces. The use of a “series” gives me a chance to make sure there is something for everyone’s personal taste. The series I’m currently working on is going to be a solo thing, but I’m definitely open to the idea of involving more artists down the line. Whenever I work on personal pieces, the process always starts with the research, research and more research! Haha! For example, for the “shop and shopkeepers” (unofficial title) series, I took a lot of pictures around town, picked color palettes, found textures I liked, etc. It’s all about taking what people are accustomed to seeing everyday and putting your own spin on it. My goal is to have people who are looking at a piece for the first time to find something they are drawn to that they may be familiar with, but just can’t put a finger on what that is. It’s ambiguity without getting too abstract. Outside of that deep visual philosophy, hahah, I just make sure I have a good time and provide fun imagery with strong emphasis on color theory. I am itching to do prints based on “landscapes” with each piece being something ridiculous like 9” x 30”. Maybe one day, when I no longer work a full-time job haha. Let’s talk about ‘The Urbanites’ - hows the project coming along? do you have any plans further than the toys for them such as animation work? when can we expect to get our greasy wee mitts on a set of the figures??? Mellow is finally going to be released in September (in a variety of flavors) along with Cleaubs (the radish farmer). They’ve been long overdue, so their release is definitely something I’m anxiously waiting to celebrate. I think I’ve been hounding Rich at Wheaty Wheat long enough haha. I’ve been working on an animation property revolving around the world of the Urbanites which has been in the process of pitching for over a year now, but that’s not really my focus for them. It was more of an unexpected surprise when the opportunity came forth.

Good to hear we're finally gonna be able to get some Mellow! How have you found the whole development process? Any funny tales to tell? I’m glad you asked about Mellow! Wheaty Wheat just got the first test shots of him along with the packaging mock-up yesterday and I have to admit, the quality and near-final product is well above my expectations! There were a couple of small paint and alignment tweaks that needed to be made, but other than that, the piece looks amazing! Unfortunately, I can’t share any of the test shot photos, but since the final retail version will be out shortly, you’ll just have to wait for those haha. The San Diego Comic Con has just happened - how did you find it this year?? Any comparisons to last years? What were the highlights for you and did you pick up anything special?? Three words for you… hot, humid and crowded! That crazy convention keeps getting larger and larger every year! Not to mention the record setting heat this year. I bought a lot of art prints and books from independent artists. If you want to discover something new and fresh, Comic Con’s small press section is where it’s at! The toy scene in general has undergone a lot of changes in the past couple of years. What do you think about the state of it and does it have any relation to the design world as a whole? I’ve been following the toy scene since Pete Fowler released his Monsterism Series 2 blind boxed figures (which was quite some time ago!) and I have seen a great shift in trends, attitudes and exposure level (on a global scale). The toy scene has definitely caught on as not only a the ultimate medium for artistic expression, but also as a strong vehicle for company branding, promotional material and marketing campaigns. I believe the popularity of the toy scene has a attracted the glances of high profile companies because let’s face it… their cool level is off the charts! Why should a company give away t-shirts and pens with their logo on it when they can have a custom Qee or Be@rbrick made for promotion? I also like seeing how companies are inviting major design studios & firms to do graphics for a lot of the platform toys. I think there is a massive pool of design talent out there that extends WAY beyond the realm of just the toy community and I’m happy to see some companies tapping into those resources. Imagine a platform figure series with invited guests like Scott Hansen (ISO50), Chuck Anderson and Hydro74… I get chills thinking about that possibility.

OK! Back on to Mr Chris Lee! Although you just recently graduated, you have already been involved in some pretty amazing projects - what have been the highlights for you so far? I have definitely been blessed over the years to work on a number of projects that I never dreamed that I would take part in. Hmm highlights? Definitely working with you guys on our collaboration show in Chicago, working with Lucas Licensing on the Star Wars style guide and getting a private tour of Skywalker Ranch (I’m a Star Wars fanatic!), my Computer Arts Project tutorial, The Urbanites vinyl toy line, and the Express Fashion holiday store concept I mentioned earlier. It’s been an amazing ride and I’ve never felt so humbled in such a short amount of time. >>

This page. Christopher Lee for Donâ&#x20AC;&#x2122;t Panic & Star Wars.

You have a lot of fans, especially in the UK! How does it feel to have such a devout following?? It’s very humbling, but at the same time it’s fun to chat it up about my projects or sometimes just complete nonsense! Hahah! There are no true ‘boundaries’ in this community. I feel like I’m on the same level as someone who isn’t necessarily IN the toy & art industry. People, fans, however you may label them, in the end, we all contribute together to keep this independent machine running. I love getting feedback from everyone as they both inspire me to push myself as well as help me come up with even more creative and ambitious projects. The part about having people who admire my work that humbles me the most is when individuals actually take time out of their own busy schedules to hand-make something (anything) or write a little note and send it to me in the mail. Cheers to you guys!

Looking to the future, what would you like to achieve? Any dream projects or clients? I’d love to drop a visit to the UK! That’s one of my major goals for the time being. As far as dream projects, I’d love to do character branding for a large forward-thinking corporate campaign. As far as clients, I’d love to be a part of project with either MTV Asia/UK. Which Pantone colour is Mr. Christopher Lee? PMS 871 C. Because gold makes everything that much better. Coffee or tea? Definitely tea Cake or scone? Cake! And most importantly... Adidas, Nike or neither??????? Puma!

Who are your favourite artists / designers and why? Uhmm these two nuts named Mike & Katie… from oh yeah! Sheffield… or somewhere equally as nutty haha. Although I might be breaking the code of conduct for interviews, you guys definitely have been on the top of my list since I first came across your link on Design Is Kinky back in 2002. Ah the good times I spent rolling over your crazy “woowoowoo” sound bytes on your old site haha. Time well spent I say. I also admire the work of Amanda Visell and Lou Romano for their stunning use of color, texture and shape play. And I can’t forget I Love Dust, The Little Friends of Printmaking, Asterik Studios and the ultra talented team that comprise the KDU. To truly explain “why” I like these companies and individuals so much would require a ten page term paper haha, so I’ll just leave it as a list for now.

This page. Christopher Lee various.

This page (left to right). Christopher Lee toys, ‘Roomsa’ cover & ‘Mellow’s Last Flight’.

This page (left to right). Draft illustration, Christopher Lee for Disney & final illustration.

For many years now I've followed the rise and rise of Dalek, every year more astounding than the last on a seemingly unending upward journey. From his roots in art through to his dabblings in toy culture and a whole tonne besides his ability to maintain his overarching quality thoughout his incredible output in hugely inspirational and has caught the attention and respect of some of the world's leading creative curators aswell as his many fans and devotees. In his pieces his characters assume a life of their own, everything is integrated and thought through. They seem like they've got so much to say if only they could speak (we can but wish!!). Vivid colouring and pristine execution help to ensure you're completely sucked into his worlds and once you are you're there forever. Whether it's Spacebots taking over the world, IceBots chilling you out or anything else of his hand, Dalek makes sure he delivers consistently every time he puts his hand to anything. Exceptional.

DALEK. Interviewee : Dalek, AKA James Marshall.

-----------------------------------------------

Official site : http://www.dalekart.com http://www.apurgeofdissidents.com -----------------------------------------------

Interviewer : Richard Seabrooke.

How did you become an artist, surely the career guidance person didn’t even suggest it, you could have / should have been a lawyer or a postman no? It was pretty random... It just sort of happened... I was always into drawing and stuff... But wasn’t very serious about it... my plans were to get into politics... Behavioral science... those sorts of areas... The painting career just sort of came out of doing graffiti... And then doing canvases for friends... Some group shows and so on... It has just sort of grown of its own volition. As an artist what do you see as your ambitions with the work you produce? Just to make paintings and share my perspectives and life experiences with folks around the world... It’s a great way to conenct to like minded people... Also, to hopefully be able to make a sustainable living so i can make sure my kids have what they need for a good life.

Internationally renowned and respected and yet so accessible ,unless you’ve got a team of pa’s answering any mails i’ve sent you?! Do you think that your hands-on approach has helped you over the years or would you have preferred to have been a little less so, leaving people guess more and thus creating more of an enigma status? Well that’s certainly kind of you to say... Even if i could have a team of pa’s I don’t think i could relinquish the control... I get a little freaked out when i am not hands on with stuff... It’s the relationships and the interactions that help motivate me and push the work... And I have always been one of those folks that hates folks that try to be too cool for school... that elitist attitude is a serious problem... And reflects a bigger problem in the world today... I don’t think how i am with people affects the mystery around the work... I still don’t divulge much if anything about what’s going on in monkey world... Everything is working out lovely... To be honest i certainly couldn’t ask for a better set up.. >>

Previous page. ‘Feb panel 1’. This page (left to right). ‘Feb panel 12’, ‘Ice-Bot’ & ‘Feb panel 11’.

This page & upcoming pages. Dalek various art.

Who and what would you consider as influences in your life and work? Who would you consider as heroes? Oh... So many... Ever changing...

As far as what... Life in general... Humans... and all the funny things they do... It’s an endless supply of inspiration to watch what the human race is capable and incapable of.

In work... Everyone from Diego Rivera, Ray Johnson, Fernando Botero, Philip Guston to Barry McGee, Steve Powers, Ryan McGinness, The Clayton Bros., Tim Biskup, Gary Baseman, Jim Houser, The Simpsons, Walt disney and on and on and on....

And as for heroes... Ryan McGinness... He’s a great guy... Unbelievable person... and his wife Trish... It doesn’t get much better than them... Rich Jacobs... Rich Colman... Mike Giant... That’s a pretty long list as well... >>

In life.... My family... My folks... My wife Sarah... My 2 boys Shannon and James... My good friends...

This page. Dalek product & art.

The level of precision and craft in everything you do is exceptional in it’s execution. Ever get tempted to just let loose and colour outside the lines? Sometimes... And I have from time to time... But I like the methodical madness of keeping things clean... How, if at all, does your toy work differ from your art-based work? Is the process similar or do you consider it all the same, you’ve a task to do and you just get on with it? Its a pretty similar process... Different medium... I do most of the toy design on computer... But its given the same anal care that the paintings are. The greatest thing about working solo is... I get to do what i want... For the most part. The least enjoyable part is... Getting stressed over deadlines... Quality of work... You seem to enjoy the idea of space, it creeps into your Spacemonkey and Spacebot characters and there’s always plenty of rockets flying around in your artworks. What intrigues you som much about the idea of space, is earth too boring? Space is interesting in its vastness and its unknown possibilities... Some of the great things about science fiction and space stories... Anything can exist out there..and can be real... We have no way of knowing.....That’s pretty interesting to me...

Earth is great... More of the paintings are inspired by life events here on this planet.... It would actually be nice if the world were a little more boring.... Too many folks caught up in drama and turmoil.... Maybe i’m completely misreading but something I’ve been thinking about a lot recently has been the explosion in creative output for creative consumption. Whether it’s prints, art, toys, clothing, whatever it seems that people such as yourself can now maintain by selling to their peers without ever needing client work. Working this way i just wonder how you ensure you constantly evolve your work, receive constructive criticism and maintain the quality, you must have people close to you that act as a soundboard for the work you do or are you incredibly tough on yourself? Yeah... It’s been a massive explosion... Its fun to create product... It’s a way to get art into places you couldn’t before... And give kids alternative inspiration... Affordable art. For me its a secondary thing though... The paintings... the ideas come first... If something comes out of that that makes sense for product... Then it’s all good... It’s just a natural extension i think... I bounce ideas off friends some times... But it’s mostly me editing myself. You are happiest when you are... Hanging out with my family... Or working in the studio.

I see you’re appearing at this year’s Pictoplasma event in Berlin. Can you give us an idea of what we can expect from you and what you’re looking forward to doing and seeing at the festival? Yeah..i don’t know if i am going yet or not... Still up in the air... Just for scheduling reasons... I don’t know what i’ll be showing either... Depends on whether we can get this animation project finished up that we are working on... http://www.apurgeofdissidents.com The soundtrack to your life at the moment? Npr. Cnn... The Hammer Bros... Bones Brigade... Future plans for dalek look like you’re going to... Eat breakfast and do some painting...

Previous page & this page. Various Dalek art.

DAVID CLEARY.

David Cleary defies gravity mid conversation. It’s happened to me on only two occasions during two conversations, once on the pathway around Wexford Street in Dublin near the infamous Whelans and the other was inside a pirate radio station on the northside. What’s even more interesting to me is that he doesn’t even know it’s happening to him whilst it’s happening, he physically lifts from the pathway only an inch or two as he reveals his tales of the day and winds you into his story of the world, but he actually does it and is unaware of it occuring. Ask him and he'll deny it to the ground, but I've seen it and I believe it to be the truth. It must be recorded for time honoured memorial that this work is happening and that it may change in a small way but hopefully in a large way, the view you have on whats around you.

Previous page. ‘The Last Border’. This page. ‘Insect 1’.

Simple things make a difficult world bearable, and the photographs of David Cleary’s world are a testament to that life we seem to ignore or not notice. Like daydreams and occasionally nightmares they easily drift into view and frighten us sideways. Landscapes, flowerings and small creatures tell a story of the world going by but luckily caught in a split second so you can have your second chance. You have a second occurance of the truth of things, leaves and water, corners of flowers, skies that fade and send us asleep. Sun and moon, night and days, worn tracks and the end of the way. The end of the day and a final word on a life less ordinary, more gorgeous than ever before.

Interviewee : David Cleary. -------------------------------------------

Official site : http://www.davidclearyart.com -------------------------------------------

Interviewer : Aidan Kelly.

Left. ‘The Rising Water’.

Right. ‘The Moon In The River’. ‘The Mystery Pool’.

Left to right. ‘The Night Path 3’, ‘The Night Path 6’ & ‘The Night Path 1’.

This page. ‘The traditional source of The Boyne (exterior)’.

Top. ‘Station 137’. Bottom. ‘Nightgarden 1’.

Who are you, what do you stand for? i am david cleary, artist, and i stand for the revelation and redress of beauty, and the clarity of antianthropocentrism. Is it fair to say you're a photographer or a fine artist, there seems to be something else going on in the work, what is it? the activity of photography, to my current mind, is a truer witness to the nature of light. i see the act of drawing, painting, sculpting, as having more of a subjective view on the incidental patterns of nature. in drawing the artist makes many more decisions on the form of the depiction being rendered, small acts of opinion drive every movement of the wrist. i see the instant of capturing the image before the camera as a blanker, more surface act. the notion of this 'instant' image is also a quality that differs. the automatic act of the shutter is to create a picture across the whole picture plane simultaneously. a drawing is a dynamic mapping of the pictures surface, the hand travelling the length and breadth of the picture plane, over a duration of time, often over several sessions. i am not championing one process of depiction over the other, merely distinguishing their qualities. drawing is a sturdy ship for voyages to the interior. for the work i have been doing over the last few years though photography has been my principle medium of choice to say what i have to say, to show what i see and wish to share. i wish to intrude as little on the passage of the light from the subject to the viewer of the artwork. my activity comes in the form of what i notice, what i wish to depict. i wish to draw sight to the innumerable and mundane acts of assertion that grow on every surface. i want to use the plain eye of the camera to remember the wee magic of real. art is intent, not the medium by which the intention is communicated. What influences you day to day, people, places or objects? minutiae, traces and sight. plain places, common and alive, left alone or corner busy. i read patterns that appear in the work, and use this topography to find the works meaning. the work rarely stems from insight directly, rather insight is harvested from the work. i keep notebooks, drawings, diagrams, writings and plans, but rarely do these theories breath practice, they remain retarded by the incidental creative act. of course my aesthetic ballast is formed from a lifetime of dwell, but i don't find myself conceiving works before i see them. increasingly i realise that what i am been drawn to is the common, away from spectacle and its narrow tradition, whilst, in tension, remaining loyal to arts function as a source for the advent of beauty.

The work seems filmic or musical in attitude. Is film an influence in your work? much of what interests me is to capture the light when it is surrounded by darkness, and also places where non human lives exist and assert amongst the paths and hubs of human lives. these two elements combine in the shadows and illuminations of the town night. these manmade shafts and clouds of light and dark form a chaotic ambiance of theatre, or its sibling cinema, within the town space. i am using the night as an environment of meaning, a place where wider life returns and red-animates, a place of re-balance. married to this is the cinematic drama of the artificial lights, drenches of phosphorous orange and blades of porchlight. also the activity of the flickering eye interests me. much of my work is built up of several photographs mixed into one picture, to recreate the way the eye scans, registering distance and detail over a duration of time, albeit not empirically but rather by virtue of what i remember, and chose to remember, from the time of capturing the image, at the stage when i create the 'collage' of the finished artwork. this roving active viewpoint, employed to capture a duration of the subjects existence, and the living shifts that occur in that duration, is reflected in cinemas principle activity; moving pictures, depicting time and space photographically. to this end i share several formal modes/ devices with the look of cinema, an elongated framing, the shifting viewpoint, hard edges of light and dark, but films never enter my mind when i am making the work and i certainly don't intend to create 'cinematic' images. also, cinemas most enduring and exhalted concern is relationships between people. my work is not at all concerned with this subject. i love watching films, and my favourite filmworks are generally works of artistry and visual potency rather than character pieces, but their direct influence on my work is not obvious to me, nor something i cultivate.

3 objects you could never do without... the act of photography, literally 'writing with light' is to record a view of a subject through the process of detailing how much light the subject reflects, or radiates. i am increasingly drawn to photographing the absence of light. it’s a condition of age i think to realise as you grow older that no-one really understands who's driving the boat, or where the boat is going, or even why it's a boat.

Can you talk to us about themes in the work, you seem to like all God’s creatures and great creations? god? fuck off. antianthropocentrism through the act of creativity. diaspora and entropy. our borders and paths through grass, stages of growth, origin, flow and dissipation. lots of stuff. i don't wish to be too specific about thematic contexts in the work, as a principal aesthetic i apply to the work is its validity by virtue of having its own visual potency and mystery, devoid of explanation or subtext. if the work has integrity it should engage the viewer without any subtitles.

What are you working on, anything we should know about? i’m working on a series of drawings called 'the invisible mountain' which are a break from my recent work in that they are dealing with the internal topography of the human, the roads between the heart and the mind, an area i spend a lot of time traversing but don't usually create work about.outside of that i am mainly just maintaining my gallery website, adding new works and dealing with people who want my work. thankfully since it went online in july there i've been kept busy. i add works as soon as i they have been completed so its a living project. i make work all the time.

What annoys you? basalt. First photograph you ever saw? Why do you remember it? i believe in the functioning power of the artwork. the miracle battery. a potent and true artwork need merely exist in a room to operate. the artwork need only be sighted to effect its use. pictures use magic to benefit humans, and yet can co-exist with an elevator or a dinner table. in doing so they retain forces of positive influence in the mainstream of human life, forces of incredible relative potency, considering the artworks are mere manipulations of rendered shape, line and colour. the fact that pigment on a wall hung rectangle can have such a alchemical ability to speak to the soul never ceases to amaze me. How do you feel about photography as an art form, would you agree that the general public have less respect for photography than before? with the work i am creating at the moment, my interest is logging a view of the subject i am witness to. a faithful recording of what i saw, using the lens as the sustaining eye. i don’t know how the general public feel about most issues. i tried to find out, but in doing so i discovered that the general public don't exist as a unified group.

Previous page. ‘Above Upon Below 5’. Top. ‘Bloodpath 1’. Bottom. ‘The true source of The Boyne’.

This page (left to right). ‘Boyneflow tryptic’, ‘Bloodpath 1 (detail)’ & ‘Nightgarden 1 (detail)’.

This page. ‘The History Bend’. Next page. ‘Fallen Rose’.

Previous page. ‘Christmas Day 2005’. This page (top to bottom). ‘Forest Apparition 2’ & ‘Fire As Hope 4’.

DEBBIE PAUL. Interviewee : Debbie Paul. -------------------------------------------

Official site : http://www.debbiepaul.com -------------------------------------------

Interviewer : Brunella Cocchiglia. brunella@lovelyproductions.com

Debbie Paul is a maker and designer of contemporary jewellery. From first glance it's obvious that Debbie's attention to detail is impeccable, although she loves working with precious stones it's deciding what to do with a big chunk of metal that really excites Debbie, so I wasn't surprised to learn her background is in sculpture. Working with both gold and silver she moulds metals into the most exquisite and delicate forms. Taking her inspiration from nature and itâ&#x20AC;&#x2122;s organic shapes, every earring, bracelet, necklace, hairpin and brooch are created with great artistry and precision design. For Debbie, the process of jewellery making starts with observation. Concept and design are integral to Debbie's work. She begins by extracting curves and shapes from her surrounding environment and then translates these abstract forms into designs. Then comes the real challenge, turning her two dimensional designs into three-dimensional jewellery. The techniques involved in jewellery making can certainly be classified as a craft and Debbie's skill and precision in metal work comes from years of experience and experimenting. However, jewellery is also a darling of the fashion world, where style and individuality is everything. It is in this area that Debbie's work really stands out from the rest. Debbie insures her work's uniqueness by hand making everything, customizing and designing specially commissioned pieces. Debbie has been producing yearly collections since 1999 and has accumulated a beautiful portfolio of work. I met up with her in her studio while she was forging a new design for an upcoming exhibition at the Hunt Museum, Limerick.

What strikes me about your work is that many of your pieces have an organic feel to them. Where do you take your inspiration from and what influences your designs? In particular, the 'boned bracelet' and your distinctive head pieces. My inspiration mainly comes from nature, natural forms, textures, colouration and experimentation. It is also influenced by different cultures and travels. For example the boned bracelet is inspired by the African culture and their tribal adornment. I like to work the metal and see how you can push its limitations. The Lily pad head piece, is an abstracted design of a lily pad with all its roots swirling under the water. These wires or 'roots' as such, then weave through the hair. With this piece I wanted to give people an alternative to the tiara, hat or feathers that you see everywhere. What kind of jewellery do you make? I have four main collections called Disc, Hoop, Vine and Seaweed, along with one off pieces such as unique engagement or wedding rings. I try to add a new collection each year and update the other ranges with small additions. The one off pieces are on going and are pure inspiration and fun! I understand you work on your designs from concept straight through to production. It is this personal attention that seems to give your pieces their individuality and sculptural quality. How important is each stage of the creative process and which do you enjoy the most? Each stage is equally important. Technique and inspiration, one cannot live without the other. I enjoy constantly moving backwards and forwards between drawing and experimenting with the metal to achieve the look I'm searching for. I would always have an idea in my head about where I want to go but sometimes through experimenting you can be taken down a completely different path. I love this because it keeps my work spontaneous and fresh.

What materials do you most like to work with and what are some techniques that you use? The techniques I use the most are the traditional techniques of hand forging, hammering and raising, which is really working with the metal to change its shape. I use a lot of finishing techniques also and for this I work a lot with patinas and different alloys of metal. Hinge making is another technique I like to use. Instead of buying a pre-made hinge that may have no relevance to the fluidity or aesthetics of my piece, I like to make my own catches. This way the catch becomes part of the design. When I make a necklace or a bracelet I always set myself the challenge of making the catch disappear into the piece. When choosing the materials for my designs I always have in mind wearability. Jewellery has to be comfortable and to me it's important that the wearer enjoys the piece. In my jewellery I use silver, gold, platinum, precious and semi precious stones. As jewellery making is very labour intensive, the materials I use help to reflect the preciousness of the pieces I create. It's normally in the larger sculptural pieces or awards that I use glass, bronze and steel. I am always open to using new materials to convey my ideas. Picking up new techniques is an on going process, learning and moving in different directions. Do you tailor your designs to meet your client's needs or work on any special commissions? Yes! I stay true to my designs but I also take my clients ideas on board. People normally come to me because they like what they've seen. They might like one aspect of one piece and one of another so I create something new for them. I love this interaction with my clients, it brings you in directions that you might not necessarily go. Sometimes clients have specific requests; maybe they have a stone, which they want included in a piece, or I add some elements to reflect their characteristic, or they want a piece that is silver and gold to be altered to all silver. These are all things that help make a piece of jewellery unique. >>

Apart from jewellery making what other art forms are you interested in? I love sculpture, really I see it as an extension of jewellery, just a bit bigger! One of my favourite sculptors would be Naum Gabo, his use of line and form is truly inspiring. Picasso's versatility was also brilliant. I love good furniture design, architecture and of course the dramatics of fashion. Do you find Irish people are adventurous in their style and choice of jewellery? I think they are becoming more adventurous. There was a time when everything was about brand names to let everybody know how wealthy you are but now people want something more individual. They like their jewellery to be distinctive and reflect their personality. Is the Irish Crafts Industry a competitive one? Competitive, yes but people are too introverted. A lot of Irish craftspeople are not aware of the global market or trends in fashion. They tend to stick with one design for many years making the craft scene a bit stale. So you would prefer to be known as a designer than a 'craftsperson'? Yes but it makes me sound like I only design, I don't make. I am known as a jewellery designer and maker but I am also a gold and silversmith. I could also describe myself as a small scale sculptor, or indeed a crafts person. I just don't fall into one box. I believe that most creative people's interests span across a range of different areas and I think this is what keeps your work fresh and innovative. Craft has a very traditional background in Ireland and while the Bronze Age produced some beautiful work, some of the work that followed this time was purely functional, quite often beautifully made but not always accompanied by strong design. These days however there is a turn of focus in Ireland, encouraged and promoted by projects such as, Portfolio (Crafts Council of Ireland). This is a CD Directory showcasing Ireland's leading fine craft designers to buyers, collectors and architects. This project has an international panel where Irish participants are selected on their ability to compete in the international market in both areas of skill and design. It's important to be involved in projects like this, where you have to submit new designs each year and be competitive in the global market.

You recently received an award at the Eigse 2006 Carlow Arts Festival for 'Craft Work of Outstanding Merit'. Are you involved in any other shows or special events that are coming up? Well most recently I was part of the National Crafts Competition in the R.D.S. The exhibition was called Objects of Desire and showcased the top fine craft designers in Ireland. You have to go through a couple of different judging panels so I was very happy to get through. I will be exhibiting a glass and bronze piece in Sculpture in Context at the Botanic Gardens, Dublin (Sept 7th- Oct 20th). It's the largest outdoor exhibition in Ireland where exhibitors are asked to draw inspiration from the beautiful surroundings of the gardens and place their work in site-specific areas throughout the garden. I have also been asked to exhibit at The Collectors Exhibition in the Hunt Museum, Limerick (Nov 16th- Dec 6th). John and Gertrude Hunt have a breathtaking collection of European and Irish art and antiquities. Participants are asked to select a section of the museum to draw their inspiration from. I submitted a range of work inspired by the costume section. Check the collection out at www.huntmuseum.com I will also have work in this year's Collectors Exhibition in the Kilkenny National Craft Gallery (Nov 24th- Jan 6th). The work here is based on the exhibitor's own inspiration, a collection of one off and limited edition work. Where can I get my hands on a Debbie Paul Design? At my studio! I'm situated in Temple Lane Studios where I have a lovely bright studio overlooking Cecelia Street. You can also find my work at the Eblana Gallery, Baggot St. DesignYard, Cows Lane and Red Aesthetic, Kilkenny, KB Gallery, Spain, Silverado, U.S.A, and Luft, Australia.

DESIGN PEOPLE. Interviewee : Design People. -----------------------------------------------

Official site : http://www.designpeople.net http://www.thepeopleshop.com http://www.peoplelovemachines.com -----------------------------------------------

Interviewer : Richard Seabrooke.

The more times I produce Candy the more I realise that certain things I used to consider as integral to success aren’t necessarily the way I thought. Scale isn’t important, accessibility is. Quantity of work isn’t the key, it’s quality and intent that shine through. Ambition will get you certain places but sheer hard work and belief will ensure you make your mark on this world of ours. Design People are 2 people working out of Madrid in Spain with their sights firmly set on worldwide fame. What’s more, with their work ranging from the delicate illustration through to heavily typographic and photographic trickery their armery is as strong as an armadillo’s. Prepare to be seduced.

How long has Design People been around? Design People were founded in 2004. We were in the scene of graphic design since 1991. How would you define your style and approach? We work on details that may exist around the general concept that is used to rule the composition, so our approach is completely unique and rarely the same in every single new piece, this way we can be always exciting and unexpected! Did you both study design or illustration at college or did you get into it another way? We did not graduated from a Design School. Maria studied Fashion Design and Illustration and whilst I studied Architecture and Marketing/Advertising. We turned into graphic design because we really love it and we were looking for a way to be intimate and personal with our ideas, and so we swerved into the graphic design field. What’s the Madrid and Spanish creative scene like at the moment? We're not really interested in Madrid or Spanish creative scene and we certainly don't like Spanish commercial scene if I could add. So, I can say this with out a doubt; we don't know what's the scene like at the moment, and I'd like it to stay this way; it keeps us free from these trends, etc. Who's inspiring you the most these days? We don't like the inspiration concept. People use that word instead of copying to feel authentic. We love a lot of people around the world and we enjoy discovering coincidences in the design process and the likes. The major inspiration comes from our state of mind and nature environment whenever we can escape from Madrid, with a sufficient mix of nature and technology. You seem to take on a lot of different types of work rather than just specialising in one facet of design. What do you find most appealing about this way of working? The most appealing thing in this type of work is the freedom that we work so closely to.

Your work is beautiful in it’s texture and detail; it’s very delicately put together leaving lots of room for the compositions to breathe. You must be very lucky in the types of work you take on where your client trusts you to do your style, how do you deal with people who ask you to modify your designs looking to fill up blank spaces, maybe that never happens? We always try to make good commercial work using our personal style but we keep the extreme layouts or concepts far from our clients. We hate the way that we have to deal with creating from a solid brief which leaves us no freedom, but sometimes it is well executed and so therefore we accept the outcome. When you take on a project do you have a way by which you get it done, do you work in isolation or do you encourage collaboration? We never encourage collaboration unless if we really do need it to achieve such result. Do you approach every type of job the same, regardless of what it is, or do you modify your way of working dependent on the project you’re doing? For a commercial work, usually – we receive a brief first so we don't have to discover the required inspiration/motivation needed to get the project off the ground since it is given already, in the brief. But we always bear the fact of that we want to keep all of our creations personal and intimate, even with commercial works. What would you consider are the most important things to do when answering a brief? All that matters are the truth. So be always honest in your response to any brief. When did The People Shop open for business? It opened up for business in the year of 2004. What can people expect to be able to buy there? Personal works including T-shirts, posters and drawings is available in our current catalogue. Many more coming soon! What music has you all excited at the moment? LFO, The Neon Judgement, The Orb, Alien Sex Fiend, Skinny Puppy (of course), Kraftwerk, Goldfrapp, Boards Of Canada, Aimless Device, Pink Turns Blue, Moev, Finitribe, Lassigue Bendthaus, Psyche, DAF, Severed Heads, Underworld, Warp recs. and much more… What can we expect from you guys in the coming year? You can tell us, we won't tell a soul! We've just installed Logic Audio, so go figure! Hehe.

DOPEPOPE. Interviewee : Joe Lucchese / aka DopePope. -------------------------------------------

Official site : http://www.dopepope.com -------------------------------------------

Interviewer : Richard Seabrooke.

DopePope has been on the Candy radar for quite a while now courtesy of one Michael C. Place. so we thought we’d finally reserve some much deserved space to showcase the work of one Joe Lucchese. Based in NYC you’d be forgiven for thinking that his work is some of the first signs that people are communicating from the future. Digital compositions are crafted from everyday items and rendered morphing into other, more detached, elements. Branded with futuristic typography the result looking like something straight out the mind of a crazy scientist ready to unleash his fury on an unknowing world. Incredibly unique and sometimes utterly terrifying DopePope’s creations are a visual treat which keep you guessing as to what’s next.

Previous page. ‘Wormhead’

This page. ‘Eaterheads’.

This page (left to right). ‘Cartons’ & ‘Hopper’.

This page (top to bottom). ‘v3’, ‘White Face’ & ‘White Heads’.

This page (left to right). ‘Trilla’, ‘Truce Biker’, ‘Saur’ & ‘Truce Kids’.

This page (left to right). ‘Eaterarm’, ‘BTBTB Cover’ & ‘Eater’. Next page. metalMAN’.

How long have you been illustrating? How did you get into it? Since I can remember. I used to draw on the inside covers of library books. My Mom used to get in trouble for it. I was always drawing some kind of dinosaur or monster. I've been freelancing professionally for quite some time. I'd say since 1995. I always felt driven to be in an artistic field. I never could pin point exactly where I'd land, however. At different points of my life I wanted to be in different areas of the scene, ranging from creature making and special effect make up, to comic book illustration, to fashion illustrator. Now, I'm sort of doing it all in a weird way. How would you define your style and what do you see as your aim when producing a piece both for you and the viewer? My style at first glance, when you look through several images I've done, you'll notice is all over the place. My executions range from the bold and very graphic to insanely detailed illlustrations, to bizarre hybrids of photography, illustration and typography. It's easy to dismiss as a chaotic body of work, yet underneath it all they root into the same foundation of thought. Most of my ideas are what carry from one image to the next. I often tamper with the same concepts, just in entirely different ways. I am certainly driven by the darker side, yet always incorporate bright color and humor to offset the whole idea. I really enjoy having people view the work and not entirely understand what it is they are feeling at first. That's what I aim for most of the time. Who and what inspires you? I'm thoroughly influenced by an ever-growing list of artists that do amazing work. I've certainly felt my interests evolve in the past few years. What I once felt strongly about then has shifted, and newer, simpler works seem to be alluring me. I've taken an interest in photography more and more lately. I've certainly always had that interest, and have incorporated it into my work often, but simple, serendipitous imagery seems to be winning my attention. There's a ghost of an experience in the shot. You can feel it.

But when it comes to certain illustrators or artist working now, I'll have to briefly list JuanDoe, James Jean, Gez Fry, Kim Tae Hyung, Katsuya Terada, John Jay, to name a few. These are illustrators doing wonderful things right now. I can list hundreds more. I recently made the acquaintance of 'Build', Michael C Place, and was touched by his humility and down to earth manner. His work always inspires in me a respect for those that can wield the most basic of shapes in such ways as to astound and mesmerize. I was expecting to tremble before him, and he made me feel very comfortable. It's quite easy to meet someone who's work you admire and respect only to find out they are total assholes. I'm happy to be proven wrong about such things. Also, I have to add, Patrick O'Brien, Transfatty is a huge inspiration to me as he deals with ALS, a disease of terminal proportions, with humor and dignity and will not let it destroy his creativity and all that entails. Much respect to him and his family. In your work you constantly explore the concept of the future. What is it about the time ahead of us over now that you find so intriging? It stems from my interests. I'm a science fiction fan through and through. Always have been. I'm not sure why but anything that doesn't exist yet, futuristic so to speak, can't be rejected in theory. You can't say, that doesn't look like that, or, the color is wrong. It doesn't exist yet. Nonsense and chaos seem to create their own reason for being when you utilize them in imagery with a futuristic theme. Or is that the other way around? I have to admit, I'm a little disappointed with 'the future' these days. It's 2006, where the hell are the hover cars and teleporters. iPods just aren't cutting it for me. >>

This page (left to right). ‘Diabetique’ & ‘Milkism’.

This page (left to right). ‘Bulb Squid’ & ‘Bulbhead’. Next page. ‘Centipede’.

How do you normally work a project, do you prefer to craft something on your own or is it a more collaborative process? Naturally I tend to think my idea is always best. But I'm aware it isn't... always. I do think I work well collaboratively. I often illustrate around the photography of Timothy Saccenti when we are lucky enough to work together on a project. We've done some fantastic stuff in the past together. Often being a huge undertaking, from set building, to prop making, to lighting, photography, retouching, then the illustration and effects. As a freelance illustrator I don't often get to do that. It's usually a one man show. But I'll always jump at the chance to do those giant collaborative efforts. Luckily, my position at Q Studios Inc, in NYC, as a retoucher lets me live in a land between photography and illustration, and in doing so I've created a style and techniques essential to assisting each. You’re also into the use of typography within your compositions, what’s the reasoning behind this, what do you think it adds over leaving it bare? It's all very experimental with me. I mentioned earlier that I had felt a shift of interests in recent years. This interest in typography and logo work is fairly new to me. I've never really studied it as much as I've drawn from models and life, but it seems to flow naturally. I love typography. I love adding logos and typographical decals and flair through out my illustrations. As design filler, as the main focus, to convey the point of the image, or just to add to the weirdness of something, it's all interesting. I've always had a problem leaving anything bare. It's like those library books when I was 2. There was no need for the inner cover to be bare!

What do you look for in a project before you take it on? The creative challenge. If it's going to take me where I haven't been. If I have an influx of creativity from it's brainstorming. If the project almost needs me to happen. It's a long shot, but when it happens it's wonderful. If there's none of that spark, then I need to at least feel I'm toning my creative muscle somehow with it, as an exercise. We don't always get to pick our projects. It doesn't mean we get to do them half assed. What’s the creative scene like in NYC at the moment, seems very interesting and firing on all cylinders or am I wrong? Who’s work is blowing you away at the moment (fashion / design / art / etc.)? Blowing me away at the moment: Timothy Saccenti's photgraphy and video work. Juan Doe, illustrator of X-Men covers and all kinds of fantastic imagery. John Jay, a fashion illustrator that has a very old school line, Build, for constantly getting me to appreciate simplicity. Chris Cunningham for always making me watch in awe, as I say to my self, 'he must be reading my mind'. Ron English always seems to create images that speak to me. A slew of amazing concept and character artists. There's too many more to list.

The ultimate collaboration you have yet to do? I'd love to see my character design brought to life in either an animated feature, or the ideas behind them realized in film. It's an undertaking I couldn't possibly do alone, nor want to. I'd love a collaborative effort involving all those that I trust and respect. What’s rocking the DopePopeSoundsystem at the moment? Honestly, I'm sadly bored at the moment with the music scene. I'm not much of a musical person, and my tastes vary. I do really enjoy Boards of Canada and Christ. Melodic, electronic and ambient music in general really does it for me. But I've played out my entire collection to the point of boredom having worked many a late night on projects, and I'm in desperate need of new music! Any suggestions??? What does the future hold for DopePope? I'm finding my interests flow towards motion graphics and 3d artwork. So far I've been very print oriented. The single image. I'm ready to explode on the scene with motion. I'd also love to produce my own toy. It's beyond cliche at this point, but the kid inside me won't let go of the idea. And... a book is on the way!

This page (left to right). ‘Assmouth’, ‘Smurfians’ & ‘metalMAN 3’.

GISÈLE SCANLON. Interviewee : Gisèle Scanlon. ---------------------------------------------

Official site : http://www.thegoddessguide.com ---------------------------------------------

Interviewer : Richard Seabrooke.

In this life we got to make the most of it when you can. Problem is though that sometimes when you even want to live the highlife you haven’t a breeze as to where to start. Enter Gisèle Scanlon, who for the last 4 years has been truffle hunting the world over for the very best information on everything to do with what girls need to know. The fruits of this labour are about to drop in the form of ‘The Goddess Guide’, probably the most detailed encyclopedia for girls to make the most of the world around them. Ranging from the finest luxury items to rare finds right through to keeping you kitchen odour free the scope of this book is immense and better still, rather than relying on her own observations solely she’s recruited some of the world’s leading creative luminaries to add more to the already brimming tome. From a creative perspective too though she’s divorced herself from the standardised “design-by-numbers” so many other authors and imprints adopt and gone gung-ho and brought her goddesses and their world’s alive in multicoloured textured detail that’s almost touchable. As the handbook for any female trying to hunt out the very best though this is quite the opposite.

You've had good fortune as a writer, a classic success story. Was there ever a point where your folks thought you'd end up homeless on Dublin's mean streets? Well, I paid my dues. I started writing (well scrawling) back in the days when the re-recordable cassette tape was the future. Born on a farm I was a little loner from the age of four and made my own world with lambs, puppies, hens and our sheepdog Dinky as friends. We'd plan huge adventures down the fields and my survival kit for a day's scouting hasn't changed much since thenmy tools of choice are still a notebook, a pen and a huge bag (leather now cardboard then) to collect things in. And sustenanceâ&#x20AC;Ś. crisps and chocolate (cheese and onion Tayto and Cadbury's Dairy milk eaten at the same time brings back the taste of those summer field trips! Yummy! ). I remember that I was always losing my copy so Dad came up with a neat plan. He put a hole through the corner of my copy book (one that had intense blue lines, none of your grey lined muck!) and then he'd thread a thick piece of waxed string through it for me and around the clip of my pen and hang the lot around my neck. I only ever used the 4Colour Bic Biro because with one click you could write and scrawl in green, red, blue or black. MacNerd or what? Of course, not for one minute did it occur to any of us that I might accidentally choke if I got caught in a bush or hang myself until dead while half way up a tree. I did fall off a tree once, but I didn't choke, I landed square in a huge pile of cowshit and it got all over my copy so I ran up to the farmyard to and washed it off. As the stains left the paper I realize that cowshit when mixed with water turns paper brown green and horseshit when mixed with water turns paper orangey green. When I arrived in Dublin to go to college I really didn't know of anyone who found those facts in anyway interesting except the poet Seamus Heaney who talks about cowshit in his poetry all the time, so I went to study English in UCD to learn how to write properly about shit like him.

Is it hard for new writer to work their way up now? Well, people coming up now have several new avenues to express themselves. MySpace, Flicker, bloogingâ&#x20AC;Ś where were all of these in 1994 when I was starting out? Nowhere! I remember having to research everything via the locals in a city when I arrived there or trawling galleries and exhibitions or from the catwalk shows which I covered for magazines and newspapers. Information is much more immediate now and young writers are free to experiment more, they've more time. And there are so many magazines now that will accommodate them. When I started out you really only had the Holy Trinity of Vogue, Elle and Marie Claire that everyone aspired to write for, then there was i-D and The Face which I collected religiously. Now there are so many good international niche magazines that cater to individual tastes and interests, we're living in the age of minorities, of divided tribes, of cults which multiply like so many fragmented markets. Even pop music which addresses itself to a mass public is changing. Nothing could be simpler than downloading an mp3 to your computer, it takes a few seconds for three minutes of music, but it also allows unsigned groups to benefit from worldwide distribution. It's the same with magazines, that why a PDF mag like Candy has the United Colors effect. No longer does one invent an image and hope the masses identify, instead one offers a collection, a delectable selection which each tribe can pick up and make its own. Thanks to technology we're all equal now, young and old. We all get to salivate on a regular basis over creativity without having to travel as much. Do you travel much? Yes, I spend a lot of time in London and will be working out of New York in 2007 for months to honour my American publishing contract. To stay fresh I need to be on the go all the time. I don't want to look back with regret when I'm older that there were places that I should have visited and didn't when I had the chance. I have a thing for Paris, Tokyo and New York right now, but I love coming home to Dublin to gather my thoughts and translate my sketching and notes into a manageable system.

Do you ever crash and burn from exhaustion? All the time, but you just have to pick yourself up and get on with it don't you? There was one evening in the last week of sending the book for printing and I was putting together a spread on cooking the perfect steak in the Goddess Guide. Artist, Lisa Stickley had screen printed a table cloth with a plate for me and I couldn't for the life of me figure out how to display a steak on this background without making it look terrible. My mind went blank for a whole day-it lasted six or seven hours. I was mentally exhausted but Peter arrived back from the photography studio and snapped me out of it. He searched the house for something red and arrived downstairs with a red velvet vintage dress of mine. He chopped it up and made a steak from it with bits of felt around the edges for fat. He even left the care label on which really cheered me up because the page was about cooking a steak from rare to well done. With that problem solved, I was back on track. I get burn out two or three times a year like this, but a few days rest and a good book usually sorts it out. Do you recharge by using personal work? No. All of the work I do is personal. I rarely have to work to a brief for anything anymore as I set the subject matter myself so I regard all my projects as personal, the buck stops with me, especially with books because you're name is down as the author. When I'm traveling I take lots of snapshots of things that will probably never make any printed collections, but I catalogue them anyway as cultural references, these are a sort of time out. Sometimes I don't even look through the camera, I just want to capture a moment in time. Martin Parr talked about that when I interviewed him for the book, he comes from the train of thought that mistakes are beautiful. Zach Gold on the other hand concentrates on composition. Peter who did all the photography for The Goddess Guide does a bit of both. >>

What do you make of the power of big brands in fashion publishing curently? That's what thrilling about your downloadable PDF mag Richard and my book to an extent. Candy and The Goddess Guide can get away from huge corporate politics and broadcast to the world. Print magazines are stuck with rules, it's all about the advertising. If you ask about it, they smooth over it, but I've been present on fashion shoots in New York where a Prada skirt is used above a young designer because they book tons of ads. I felt I had to be honest in the book, give an unbiased opinion, my personal recommendations on places and people. I only accepted my publishers advance when my agent had ironed out this out in the contract and we were allowed total creative freedom. Regardless of a book deal or not I would still be trying to get my message out there probably online. My life is dedicated to sharing honest, well researched opinion and information, it's never been about making money, I just want to make fun imagery people will see and offer them information presented in an interactive way. It needs to be hands-on for me all the time, I love doing the projects myself, constantly pushing fun into the mainstream without having to compromise my integrity.

When did you decide you wanted to write a book? What's 'The Goddess Guide' about? Mmmmmm! About two years ago I was sitting in an apartment in Barcelona and Peter and I were just chatting. I was telling him how I'd found this beautiful carousel in Geneva at the top of a very steep hill and clung onto one of the plastic horses for ages as the rain poured down outside around us. The man operating it was so kind to me, I just wanted to tell everybody about him and the perfect chocolate shop in Paris and the good sushi in London and the great guide in Marrakech. I wanted to display the information in full colour like my scrapbook style notebooks and that's when Peter suggested I just find a way to do it like write a bookâ&#x20AC;Ś

How do you get your content? Notebooks packed full of restaurant receipts, Polaroids, tips from locals, nights out with friends bumping into people. Everywhere reallyâ&#x20AC;Ś Writing is a passport. I'm allowed into certain situations because I'm a writer. Artists and influencers co-operate with me because I have an exchange. I treat them all the same though from Tracey Emin to some guy who hasn't a bean and paints the town red at night with stencils they're equally important to me because the both approach society from a different perspective. I respect both because not listening to one side of the story means you give and unbiased misinformed opinion to the mainstream reader.

Did you collaborate with other designers for the book? No, but Peter my boyfriend is a graphic designer and photographer and the other half of our design duo. He shots all of the photographs as we traveled around together which we used in the collages and designed the flocked cover and laid out all of the text. Thomas Ball another photographer shot the pages after they were collaged and by the end of the project we regarded him as part of the family too. We had tons of advice about different fonts, etc. from another very close friend of ours who is a bit of a design genius in his own right, so all in all help came in many different and subtle ways.

As the project evolved I sent out a set of questions to contributors about their favourite smell, taste etc. This is one of my favourite parts of the book, the personal little bits that each contributor took the time to think about. I still get excited reading these answers and my new year's resolution for Jan 2007 is to read all of the contributors' favourite books thay've named.

At what point during the project did you decide you wanted to illustrate it yourself, surely you could have got some high profile illustrator to give it their usual lick of paint? I have been drawing since I was tiny but never showed anyone my stuff. I had worked mainly as a writer, radio producer, TV presenting, but I gravitated towards art director on fashion shoots as time went on in magazines and newspapers. I was afraid to show anyone my doodles as I thought they looked a bit gangly. Then as the book progressed I met different women who reminded me of certain tribes with different values and I based my six Goddesses types on these. This made it easier to draw them as each Goddess had a little character type. The Home Goddess fro example is based on Pearl Lowe she's a really lovely, lovely person and is such a talented designer. She buys lace panels at Portobello market, dyes them and makes them into the most beautiful curtains and now she has this really hot range of black lace dresses coming out this season in London. As a kind of homage to her craft I made a little lace dress for the Home Goddess on the intro page. The Urban Goddess is based on Tracey Emin; loves her parties, city chick, streety. The Sex Goddess on Serena Rees of Agent Provocateur. I created a separate identity and look for each of the six Goddesses characters (Home, Sex, Office, Luxurious, Earth, Urban) and just practiced my ass off to get them to look wanton and engaging. Jaysus it took me months to learn how to draw proper hands and fingers (they're the hardest). Bit by bit they began to take shape and day by day each of their little faces developed until I got to a point where I was convinced by the little character looking out of the page at me. They are there as a device to pose questions throughout the book and I always like them to make eye contact with the reader. >>

In your illustration you seem to thoroughly enjoy and investigate every medium in order to produce the perfect composition. Do you think this is a result of being self thought (and hence knowing no rules) or is it something else? Aaaaam, I'll be totally honest with you here. I knew nothing two years ago, I'm not kidding! Don't get me wrong I knew how to appreciate art but I just didn't have a clue how to create it. I knew what I wanted the book to look like, but I didn't have a clue how to get there. Apart from drawing, everything else was new and fresh and there's that nerdy thing that I'm obsessed with; searching for the right pens for a full year to fill in the hair of the Goddesses (seriously when E*Face (D*Face's wife) finally introduced me to Rotring pens it was like love at first sight-they give really nice lines). As for art school stuff, goodnight! I still haven't a clue. I took about six classes to learn how to etch to create a cracked wall print to use as the backdrop for the Barcelona travel pages and that's about it. The rest is all homemade experiments and advice from Street artists. One of the most amazing things I learnt was from Peter on the day of the bathroom pages shoot. I wanted suds pouring out of the sink onto the floor with a little rubber ducky floating on it. Peter found after testing a gazillion shampoos that Head & Shoulders gave the thickest foam. It's things like that that made the whole process just great fun and memorable.

What do you think that your approach and control of all the various facets brought to the project over farming it out to others to complete? I spent days on single pages, chin stroaking and trying to bring something new to every bit of the work. If it were produced inhouse in a publishers or farmed out I wouldn't have had that luxury. What designer would have the patience or the time? It took me a full week to put together four spreads on handbags alone. Toward the end of the project (the last three months) Peter joined me in the studio and started to bring spreads which I'd hand made out to the photographer to be photographed. The photographer would then send the files to Peter and he'd lay the text over them. Again very time consuming.

Even for pages like the New York pages where we've used an arial shot which Peter took of a street crossing from the roof of the Soho Grand Hotel in New York we had to have it developed large enough for me to lay out all of our receipts and smaller pictures onto it in a big collage before it was shipped back out of the studio to be photographed again so that every single page matched in colour and texture. He came home one evening and I was stitching streets onto a piece of felt the shape of Manhattan. I though it was a great idea at the time (but we laughed when it was photographed because it looked like a big flaccid penisâ&#x20AC;Ś). It took a full week to make because I was obsessed at getting the streets both geographically right and exactly to scale. See it's at this level of obsession that you start to get cross-eyed and RSI sets in-achy arms and legs from sitting for hours and hours. I know it all sounds a bit mental when you're self taught, but I wanted to do everything myself because I'm hopeless at verbalizing what I want the end product to look like. We laughed for ages at that big felt willy down the middle of p154-155 and the man on the top right hand corner of the street talking into a mobile telling his friends that a lady crossing the road was about to be attacked by a giant box of Chamber's Hotel matches !

Do you think your physical location has a bearing on how you feel about things? Do you think the book would have turned out differently had you written it in NYC or London or home in Kerry? I physically wrote the book in Dublin, however all of the research I had to travel to New York, London and Kerry to complete. We work in three phases: The first phase is running around the place doing interviews, checking out information, making notes, taking photographs, this is the research phase and we love it. It takes tons of planning thought especially for sections of the book like when D*Face, Asbestos, Mysterious Al, E*Face, Peter and myself headed up to the Ice Hotel in Sweden to catalogue these Street Artists sculpting huge blocks of ice into sculptures. The timing had to be right so that the weather conditions were suitable for work and cold enough so that the work would remain frozen solid until the following spring. It was an idea we had to draw a correlation between Street Art in cities and Street Art made form Ice left to battle the elements in the Artic. This trip was the last trip we took before phase two because it took the most planning to get everything right. Then it's onto the second phase, which I find the most difficult. The actual typing out of all of my handwritten notes and making sense of the doodles is excruciatingly slow and sometimes my patience is tested. Everything has to be checked over and over again and it's a slog and it takes place at home in Dublin. I have a great motto for this bit of the project 'Get up and turn up at your computer every day.' Some days I just didn't feel like doing anything, but you have to because you shoulder all of the responsibility of how the book will look and read at the end of the day. Every day is valuable when you're up against a publisher's deadline so no days off, because the text has to be in to be edited and spell checked etc. Phase three is the design. We love this phase to bits because it means we both get to play around with it, like Peter spent a week quizzing me about my favourite things (even in bed at night, he was mumbling something about teapots and flamingos.) Then he came up with this cover design which is so lush it's amazing. One go and we got it passed (never happens you know, they always want like five or six covers), but he had this idea that we should have it flocked. It took Harper Collins four months to find a printer that could do it for us. They're amazing publishers, very supportive and trusting of us. I also feel that everyone I was working with treated us with a sort of respect that because we were Irish we were meant to be bright and knowledgeable and eclectic. Yes, living in Dublin is a huge advantage, it allows me to come home and roost and weight things up after all of the research and travel. >>

As a nation, are Irish people very stylish? If so how would you define our style, if not why do you think we lack that special something? Irish people are very special in many ways; very creative, great story tellers and individual dressers. Pale skin and freckles is huge right now so we're lucky that we have a head start there. As for style and fashion most of us have access to everything that say a British, French or Italian shopper has so we're the same, really. In every nation you have those savvy gals and boys who look good in anything because they've got great bods and super faces and bone structure. Regardless, stand outside any secondary school and watch a group of young girls and how they customize a very bland school uniform and you'll realize quickly that the Irish have a lot of individual style. Overall as a nation we're pretty damn clever, funny and creative-that's a lot sexier than having the latest threads! Who was the biggest diva? Hands down, Miss Piggy.

Who was the most interesting, y'know, just was so much more than you ever thought they'd be? Heston Blumenthal, the man has the mind of a proper genius. He is so far ahead in his thinking that it's like visiting Willy Wonka's factory when you go to his laboratory in Bray in Berkshire. His got a string of Michelin stars and he's selftaught. His Dad took him to France as a kid and after eating at a really special restaurant he swore to himself that he would some day be a chef and own his own restaurant. He took a job as a dept collector for years while he saved up money so that he could afford to go to France on wine and foodie trips. He longed to be a professional chef and taught himself to cook by buying French cookbooks and translating them into English so that he could make the recipes. He did this time and time again and ended up having perfect French as a result. He sold his car to set up his first restaurant and has devoted his life to the science of food. He's really, really something special and one of the most unassuming people you could ever meet in your life-every Monday night his treat is a takeaway curry with his wife and kids at home. I met him purely by accident in Marrakech when he cooked for a group of writers from around the world. The mash and duck he had cooked made me cry because it reminded me of the mash my Granny made for me shortly before she died, she used loads of butter and milk. I ran into the kitchen with two bottles of Heineken to ask who'd made the mash and the unforgettable chocolate popping cake for desert and Heston Blumenthal stuck his hand out and introduced himself. We've remained firm friends since and he gave me some beautiful recipes for the book including his perfect mash and chocolate popping cake recipe. He's astonishingly talented and I'm in no doubt that he will some day win a Nobel prize for his scientific research into food and taste. >>

If you were to give 5 tips to all aspiring goddesses in their pursuit of individuality what would they be? Be yourself (except when you go home to your parents). Be proud of the accent you were born with (even if like me you sound unusual). Never be afraid to carve your own niche (but never pronounce it Nietszhe like the US). Don't ever believe what you see in magazine shoots (they're styled and air brushed to death to make even the roughest celebs look great).. Enjoy your food, starving to look like somebody in Hollywood is not cool. Do you get frustrated when people rip you off? No, not at all. It's the sincerest form of flattery. It means you've done something desirable, something that someone else feels is good enough to imitate. Have you started work on 'The Goddess Guide 2' yet, what can we look forward to in that... Yes loads of trips planned for 2007. I'm working on the over all structure at the moment and then once that's cracked it's Hi Ho Hi Ho it's off to work we goâ&#x20AC;Ś abroad for long stints of research and then home to roost and write. Oh and I want to learn to paint with oils and practice my sketching for four or five hours every day as well, the more you practice the better you understand composition and I'd like more raw pen illustrations in the next volume. The Goddess Guide (Harper Collins) is published on September 18th and available absolutely everywhere. Me feels a Christmas stocking filler coming on!!

Interviewee : House Industries. -------------------------------------------

Official site : http://www.houseindustries.com http://www.house33.com -------------------------------------------

Interviewer : Richard Seabrooke.

Although originally heralded for their breathtaking typography, House Industries have in recent years been flexing the creative muscle in many other design related areas. From bespoke furniture through art all the way to high-end clothing, both for themselves and with collaborations with people like Agent Provocateur, these guys give us completely original every time they put pen to paper.

Previous page. House metal type. This page. House type sketches. Next page. House map.

Typography still remains a very strong component of the House look, as does their exceptional illustrative techniques coupled with their almost childlike enthusiasm for all around them. In all their work they are dedicated to celebrating their inspirations and paying fair homage to them both verbally but in the detailed executions which have now become synonymous with them. House, music for the eyes.

This page (left to right). ‘Roth Pile-up’, ‘Jackfink’ & Roth poster.

How long has House Industries existed? How did it come about? We have been around since 1993. It came about from Andy Cruz and I tired of doing work for other people and wanting to do our own thing. How many of you work in House Industries, what do you think are the attributes you look for in someone who’s looking to join? Right now there's nine of us. It's hard to say what we look for in a person and it's tough for us to hire. They have to move to Delaware, which is an immediate stumbling block. Big egos, loners and artistes usually don't get along to well here, so that puts a big limitation as well. Maybe someone who has good fundamental skills, a little talent and a willingness to learn how to do things our way. What were your ambitions when starting out? What did you hope to do or achieve through your work? How has it worked out for you? We just wanted to do things that we'd be proud to hang on the wall. I think we've achieved that to a certain extent by making good choices early on and sticking to our guns when projects did not go our way.

The breadth of your output is extraordinary, from typefaces to clothing to homewares to prints and beyond. Do you find that no matter what work you take on you have a similar method or is everything very much done in a “start from scratch, see how we can push it” kind of way? Every project is different. Some start with a clean slate. Others start with great historical reference. Neutraface is a good example. There was an existing aesthetic there that we were able to build on and produce something unique. Ed Benguiat drew Benguiat Newlock in the 1970s, but we applied Ken's unique drawing skills with Tal Lemings understanding of OpenType features to make an interlocking typeface that really works. Nobody had ever done that before. Who would you consider as influences and heroes? We don't even know many of our heroes. They are the unsung and unnamed graphic artist from whom we gather much of our influence. It's been an education for us tracking down the history of Photo-Lettering and getting in touch with some of those original artists. We're glad that by purchasing that collection that we'll have the opportunity to credit some of those folks for their work. >>

For me House Industries are one of only a handful of people who have brought about a renaissance in typography. The level of craft, the stories behind the fonts, the influences, the sheer originality and attention to perfection is incredible. What is it about typography that you like so much? Typography is a central means of communication. It's also a great pillar to build our products around. So many of our stimuli are broadcasted from type and lettering, whether it be signs, movie logos, product packaging and a host of other media. Designing commercial fonts for public consumption you must see them used all over. Is it strange to see your work being used by other people in ways that you probably never imagined, any stories or images of times you’ve seen them used out of context or badly? It used to be, but 15 years after getting excited about seeing an ink blotter font (Rougfhouse) drawn by Andy Cruz in about 10 minutes being used on a major campaign for Saab and in the first Green Day album liner notes, we're kind of numb to it. Illustration is also something you seem to relish using throughout your work. What is about this over say photography that you feel adds to your work? We create a lot of the things we do in a make-believe world that's so much easier to represent with illustration. Making ourselves GI-Joe like characters or Las Vegas casino executives takes on a more surreal look and feel when it's painted or drawn in brush and ink.

What’s rocking the House Industries soundsystem at the moment? Literally, it's dead quiet in here. This is a real blue-collar operation... people come in, do their thing and leave at the end of the day to pursue other interests. It's the only way to stay sharp. Your favourite collaboration up to now... It's hard to say. Working with Simon "Barnzley" Armitage on the House33 stuff is always interesting. He has some incredible ideas. From a typographic standpoint, working with Ed Benguiat and other PhotoLettering luminaries The most amazing collaboration you have yet to do... Who knows...we have some pretty amazing stuff coming down the pike. Tal Lemings Burbank, fonts with Tim Biskup, the Alexander Girard Collection. Another commercial outlet you’re responsible for is House33. What’s that all about then? House33 is a creative muse and an excuse to do more three dimensional stuff. We're trying to make a go at it as a real clothing company, but we've been mucking it up pretty good so far. What does the future hold for House Industries? Hopefully more of the same. We just try to always do the next thing a little better, learn from the last project and reinvest that knowledge to move us forward.

This page (left to right). Shag illustration, House logo, Cetine work & artist proofs.

This page (left to right). Neutra chair, House font packaging, Shag sculpture, House catalogue cover & House Industries book sleeve.

This page. House Luxury work. Next page. House33 metal logo.

Previous page. House33 logos. This page. House33 Arborist shoes & umbrellas. Next page. House33 apparel & details. Final page. House33 for Agent Provocateur.

IAN FRANCIS. Interviewee : Ian Francis. ------------------------------------

Official site : http://www.ifsra.co.uk ------------------------------------

Interviewer : Richard Seabrooke.

Welcome to the wonderful world of Ian Francis. During your visit ensure you are seduced by the incredible compositions, engaged by the absolute originality of his work and lose yourself in the lusciousness of the final paintings. Ianâ&#x20AC;&#x2122;s world is open to all who want to see the world a little differently, more intriguing, more inquisitory, more interested. Make sure you enjoy your stay, be sure to close the gate on your way out. All work featured in this article has been done by Ian Francis.

Quick, I haven't got much time, a dog has run away with my sandwich and I'm starvingâ&#x20AC;Ś Can you explain your work and method, looks very complicated? My work is a mix of painting, drawing and photography, layered together and heavily edited in photoshop. I start by making a rough sketch from photos, scraps of drawings etc. in photoshop or a sketchbook, and try and come up with a title at the same time â&#x20AC;&#x201C; the title's help focus the work. I then draw and paint parts of the picture â&#x20AC;&#x201C; people, objects, textures etc. I try and play around with the materials, think about what's appropriate to use for what I'm drawing and how it'll all fit together. After that I scan all the paintings/drawings and textures, and start layering them together, using a graphics tablet and a whole range of different tools. I worry when I talk about liking to use a computer, because I'm not a big fan of a lot of digital work I don't like using things like filters and gradient fills that give a 'computer done' finish, because they look the same regardless of who does them, they don't have the hand-made quality.

What is it about mixed media that you like over say using one particular medium? It's something I really got into when I was about 16-17. Up until then I was into making pictures look really finished, doing realistic copies of photographs in pencil, that kind of thing. I started to hate how tight my work was, and I found working with a range of different media forced me away from that, and gave me a chance to play around in a much looser way, using whatever worked best for what I was trying to capture. It's developed over the years to the point where I couldn't imagine doing it any other way. I love playing around trying to get things to work alongside each other, and trying to find the best way to get an idea across. At the moment I'm trying to get good pictures of ink that's still wet and flowing on to a computer to use as water in an image, I tried wrapping it in clingfilm then scanning it but you get the glare reflection off the scanner's light. I probably just need to learn to photograph it well close up. >>

What influences the content of your work? What do you hope viewers take away from it? The content's a reaction to the images I see every day on the news and on the web. I love trawling through the internet, looking at the mix of different photos people choose to put out there â&#x20AC;&#x201C; news reports from disaster areas and war zones, famous people, porn, the minor details of people's lives. I'm fascinated by how all these images sit side by side to create a view of the world. I guess it's kind of an obvious point, but I'm always struck by the way you see all these different things through the same screen, I feel like it creates a relationship between them even if there's no obvious link. As for what people take from it â&#x20AC;&#x201C; personally, I prefer artwork that raises questions about an issue, rather than work which states strongly how someone feels about something. I try and do work about issues I'm obsessed with, but have at least some mixed feelings about. I'd really like it if the images I make struck a chord with people, captured something of what it's like to be around these days, and maybe made them think about what it's like living now. Who would define as heroes or inspirational to you? My main one's probably Hunter S. Thompson for the way he managed to combine a feeling of apocalyptic despair, a strong sense of personal and political ethics, a wicked sense of humour and lust for life. Until he killed himself, of course. You seem to like the idea of bringing stories to life through multiple canvases rather than standalone pieces. What do you like about this approach as opposed to rendering one solitary scene? That's a really good question, I'd not really thought about it like that before. I think it's probably because I'm interested in the way all these images and ideas fit together to form a particular view of the world. Yeah, I guess I subconsciously think about all these things happening alongside each other, or sequentially. The life of many solo creatives is quite an solitary one, especially when going about their work. Do you like to work like this, or is it a complete social free-for-all when you pick up tools? I'm really solitary at the moment when it comes to actually doing work, I tend to work best locked in my room at 2am with my headphones on. I'm actually getting to the stage now though where I think I'd like to do some work in a studio with some other people, it's something I miss from university sometimes. >>

Does music feature in the background when you work? If so, what gets you creating? I love music but I'm not very knowledgeable about it, a lot of my friends are far more into it than I am so I tend to listen to things they suggest or pick up stuff through art websites etc. These past few days I've been listening to Electrelane, GY!BE, Islands, Carla Bozulich, Sleater Kinney, Martina Topley-Bird and the Lost Highway soundtrack. The dog who robbed my sandwich has come back and robbed your paintbox! You no longer can be an artist, what do you think you'd become? Why? A photographer, but I guess that's not really playing the game… anything so long as I didn't get stuck doing the kind of low-level office work I do at the moment. I think I'd like to be a scientist, working in some remote area, although I probably don't have the brain for it… when I was a kid I wanted to be a marine biologist. The ultimate commission you have yet to be offered… I'd love to be offered $20,000 to do an art book called "Avril's adventures in Wonderland". It'd be about Avril Lavigne going on a journey of sexual, cultural, political and personal discovery through a dreamworld inspired by modern media. Hell, I'll probably do that for free. Judging from the quality and amount of your work you've surely had many a big exhibition. Any chance any of our readers will be able to see them in the flesh soon? I've not actually exhibited my work anywhere so far. I don't want to come across as altruistic or precious about my work, I'd definitely like to do some gallery work etc. in the future, it's just at the moment I tend to get really into sitting in my room doing the actual work and forget to get around to sending it off to people. What are your other future plans, where are you and your work going? Can we come? If the Avril Lavigne idea works out I'm probably going to court, so you're welcome to come whether it's just for moral support or to contribute legal fees. I think I'm going to be part of the BMG Annual group show at BLK/MRKT Gallery in L.A. in January, and I might have a small part in a show at 111 Minna gallery in San Francisco in December. I should hopefully be doing a solo show at the OKOK gallery in Seattle in August next year. I'd like to get something sorted out in the UK too at some point, it'd be easier to get to…

INGI ERLINGSSON. Interviewee : Ingi Erlingsson.

-----------------------------------------------

Official site : http://www.ingierlingsson.com http://www.ilovedust.com

-----------------------------------------------

Interviewer : Richard Seabrooke.

Ingi Erlingsson hails from Iceland (the country, not the supermarket) but now works for the lovely folks at ILoveDust (previously featured in Candy, go hunting) aswell as doing his own self-motivated projects. Rumour has it that he works so hard as he’s a soap opera addict, one Monday triple header of Eastenders and Corrie are enough to have him rumouring and gossiping to all and sundry for weeks. We’re glad someone’s looking out for him, ushering him from the big bad box in his sitting room, as due to this cultural cold turkey Ingi rocks his various illustrative styles for all kinds of different peeps. Who knows whether he’ll ever be able to have both the successful illustrative lifestyle coupled with a healthy appreciation of Weatherfield and Albert Square, for now we’re glad he’s hooked on the former...

Previous page. ‘Biker’.

This page (left to right). ‘Rock N Roll’, ‘Autumn’, ‘Broadcast 2’ & ‘Woodsuch’.

How long have you been illustrating, how did you get into it? I guess I'd still be considered pretty new to the game. I've been illustrating for about 3 years now and about a year professionally, but I've been drawing and painting for as long as I can remember. I'm not sure exactly how I got into it really, I'd be lying if I said that I'd always wanted to be an illustrator. Basically I used to spend most of my time doing graffiti. If I wasn't painting I was sketching and if I wasn't sketching I was reading graffiti mags. Eventually after doing a foundation course in art on a year out before university I started designing layouts for a graffiti website called http://www.hurtyoubad.com. They started off based around html coding and I was kind of experimenting with a lot of the functions and such, but eventually they became more and more illustrative. By the time I started my graphic design BA course I'd done around 40-50 of these layouts most of which contained some sort of illustrated element. Then in the first year of my degree I did a module with John McFaul and Richard May, both of Black Convoy fame and so on. The module was about doing a series of editorial illustrations and although I wasn't all that hyped about it to start off with I got more and more into it and eventually I went all out on it. After that I got a lot of really good feedback from Richard and John, which I guess inspired me to keep going and I haven't really looked back since then. It's funny because I work in the same studio as John McFaul now, it's funny how things work out.

If you werenâ&#x20AC;&#x2122;t an illustrator what would you be? I think I'd definitely still be in some form of creative industry. I used to dabble in music when I was younger but I'd more than likely be doing either graphic design or motion graphics. I worked in New York with brothers Brian and Brad Palmer in their studio, Surround, for a few months at the end of last year doing motion stuff. We were doing a lot of stuff for comedy central and a couple of things for Playboy. In the end when I approached my graduation it was a bit of a toss-up between motion and illustration and in the end I went for illustration. But I still try to do as much motion stuff as I can so we'll see where that goes in the future.

How would you define your style? Eeek, tough one! I guess I'd say my style is a kind of mishmash of things based on real life situations, people and objects mixed with all the silly the stuff floating around in my head. I kind of drift between creating semi-realistic scenarios and abstract compositions but I don't really have any preference. But generally my stuff has a sort of vector/photo/textured look but I try to keep it as flexible and loose as I can, just to keep myself entertained. >>

Previous page (left to right). ‘City life’, ‘Holiday In’ & ‘Smoker 2’. This page (left to right). ‘59ers’, ‘Sym Death’ & ‘Comp 1’.

This page (left to right). ‘Talk About It’, ‘Video Scene’, ‘Uzi’, ‘Ihatecricket’ & ‘Geeky’.

Although born in Iceland you decided to move to the UK and at the moment you work for the mighty ILoveDust (who were also featured in a previous Candy). What were your reasons for leaving Iceland? My initial reason for leaving Iceland, surprisingly, had nothing to with working with ILoveDust, although I'm sure if that had been the situation I would have done it without a doubt! I originally moved over in 1999 with my parents, determined to go back within 6 months, but I ended up staying in the end. Now I've been here for 7 years and I couldn't be happier, I doubt I would have had the chance to do a lot of the things I've done if I was still in Iceland.

This page. ‘Brendan Benson’.

Do you feel location affects the quality and scope of the work you do? Oh yeah definitely. I'm not sure whether the location determines the exact look of what I'm doing, but new locations and nice environments always give me a huge boost of motivation. In a way you could say I've become addicted to changing my environment, I worked out recently that I've lived in around 20 different houses in eight cities/towns in three different countries, not bad for a 24-year old. There's just something about a new place that gives me that extra bit of inspiration and burst of ideas. New computers and desktop wallpapers can sometimes have the same effect on me though. At the moment our studio at work is in this beautiful little village called Emsworth near Portsmouth. Our building sits on a pond and the ocean is only a few yards away, it's amazing, so I guess some swans and boats can be expected in my work in the near future! What’s the Icelandic creative scene like at the moment, who’s rocking Reykjavik? To be honest I've never been all that connected with what's going on in the Reykjavik scene. I've tried to keep up with it over the years, but it's easier said than done when I only spend about two weeks a year over there. A lot of my old friends have gone into design though so It's always nice to see their work. But of course there are a few names that manage to stand out regardless of the distance, Siggi Eggertson for one has an amazing illustration style and The Naked Ape clothing label has some amazing design. Foodwise Iceland is quite different to European food and it’s quite expensive. What English culinary delights (food and drink) have caught your fancy since arriving? What would you rather do without? You know I've never really been a big fan of Icelandic food, but it's always a great talking point, haha! They´ve got some weird stuff over there! Apart from the seafood which I quite like there´s a whole load of traditional stuff I´d rather not be in the same room as, including pickled sheep's testicles, rotten shark, whale meat and so on. I think it was the day I walked in on my dad sawing a sheep´s head in half in the kitchen sink that I decided it wasn´t for me, ewwww gross! In terms of English food there isn´t really much there I really eat either. I like a Sunday roast every now and then but bangers and mash, fish and chips, cornish pasties, sausage rolls and the like aren't really my cup of tea. >>

This page. Ingi Various.

This page (left to right). ‘Sunshine Girl’ Hollywould’ & ‘Lollipop’. Next page. Ingi for Computer Arts magazine.

What other creatives do you admire? Good lord there's so many! Pretty much anyone that has managed to inspire me or made me laugh/think/ cry/feel sick etc. I'm constantly inspired by film, music, advertising, illustration, fine art and so on, it's always nice to be touched by the genres outside your own field. But in terms of designers and illustrators there's a few names that stand out in my mind: ILoveDust of course, because they're really great guys (and pets) and they're freaking awesome at what they do, John McFaul, Richard May, Andy Potts, Miles Donovan, Chuck Anderson, Nigel Dennis, Pietari Posti, Hugh Frost, Pete Hughes, Surround, Peter Saville, Tyler Stout, the list goes on... Who, what and where inspires you? Pretty much everything and everyone inspires me. I think my biggest inspiration has to be music though. There's hardly a moment of the day I'm not listening to something. Also the people around me and my experiences, memories and feelings inspire me a lot. The perfect client is one who... ...lets me do whatever I want and pays a lot!! haha, no not really, I guess the best clients are the ones that are genuinely happy with the result they get. There's always going to be people that are difficult to please but there's no feeling like the one when someone is happy with what you've done especially if you feel the same way. The perfect job is one that... ...forces me to push my creative boundaries and leaves me with an end product that I'm really happy with. Getting it right the first time around is always nice too. The ultimate job or collaboration you have yet to do... My ultimate job would be to redesign the Coke bottles, but that's because I've been addicted to the stuff for as long as I can remember more than anything else. Directing a music video for Wolf Parade would also be awesome. Have you any plans to bring your work out on the road and maybe do an exhibition or something? At the moment all I've got planned in the near future is to focus on getting as much work done as possible. I've only recently graduated so I've been involved in a few shows like D&AD New Blood and so on, but there's no solid plans for any other shows yet. I've always wanted to do some sort of show involving some illustrations on walls, combining my illustration and graffiti work, so that's something to think about for the future.

Whatâ&#x20AC;&#x2122;s rocking the Ingi / ILoveDust soundsystem at the moment? A hell of a lot of stuff!! It's usually Mark that's in charge of the tunes and they usually go down pretty well with everyone. If it's rock, pop or hiphop and it's good he's probably playing it. But if I'm in control it's mostly stuff like Wolf Parade, Sufjan Stevens, The Blackouts, The Living Blue, Rilo Kiley, Metric, The Shins, Modest Mouse, Ugly Casanova, Magnolia Electric Co., Cold War Kids, Broken Social Scene, Cat Power, De La Soul, Mc Paul Barman, Madlib, Jaylib and so on. What are your future plans, what can we expect to see? In terms of plans for the future I guess I'm probably going to be focusing on establishing myself properly as an illustrator. At the moment I'm pretty new to the 9-5 world so it can sometimes be a struggle to both be working and freelancing, but I've got a lot better at balancing it and things are starting to get really fun now. I think I just really want to spread out a bit and get involved in some interesting projects and really try to push myself. I count myself really lucky to be in the position that I am and I want to take full advantage of being involved in so many exciting jobs and hopefully you will see me constantly pushing my own boundaries.

KAM TANG.

Before being the artist he is now we believe that Kam Tang, in a previous life, was a trained calligraphy warrior master, resident at the court of the Ming Dynasty. It was his delicate lines that adorned pages and illustrated scrolls of stories of long-fought battles between The Ming and the Mongols. But now that we think about it, Mr. Tang would maybe disagree with this over-exaggerated version of his history. Nonetheless the intricate detail that Kam exacts in his work is stealth-like and worthy of a grand master from any era. With precision rarely seen, so much depth is evident and not just in work for himself but high end clients seem to be happy to stand in line for the chance to have his work framing theirs. Big clients from the likes of Wallpaper*, Chemical Brothers and Gnarls Barkley. But the work is more than name dropping association, it’s overbearing with character and heavy with depth that is a hard art to crack. There must be more to this artist than meets the eye, there are hard-to-embrace themes of the world with it’s highs and lows, commentary on changes we face, who we really are and where we seem to be going. Previous page. 'Flow' wallpaper design for Maxalot. http://www.maxalot.com This page and next. Images from Big Active book ‘Head, Heart and Hips: The Big Active Book of Sex’. © Big Active.

How long have you been illustrating? How'd you get into it? Since childhood but not until college did I start to knuckle down and take it a little more seriously. I grew up with Jack Kirby and Tex Avery and Disney but never wanted to be a comic artist or animator, they gave me a huge amount of pleasure. What would you say are the main aspects of your work that set you apart? Maybe attention to detail and the way I see and interpret things I guess. What do you see as your ambition when you produce an image. What do you want to get out of the process, what do you hope people viewing it will get out of it? That it has the power to make some kind of impression on the viewer. The first time i came across you and your work was back in the 90's when you did work for Arena magazine? Since then I've followed with great interest as you've gained incredible exposure simply due to the incredible breadth of output you seem to get through. When taking on a job do you have a particular process which you apply or is each project a start from scratch? The execution is often determined by the job itself although all jobs start with pen and paper. The magazine work from Arena was a great way to get noticed after leaving college, the deadlines were tight and the money poor but I learnt a lot from those days and am grateful for the breaks.

What would you say are the 5 tips you'd give to anyone starting out looking to make it? Be persistent and be yourself (and maintain a good degree of hygiene). The level of detail in your work is awe-inspiring, how do you know when to stop and the piece is done? The detailing is important to me but there for a reason, I don't like detail for detail sake so the piece looks busy. I work up to the last minute to get as much done as I can but sometimes there simply aren't enough hours in the day so you have to anticipate what is achievable within the parameters of the job. Are you as detailed and meticulous in all other facets of your life? Any strange habits? Not really, I am a little obsessive at times. Do you get frustrated when you see information graphics done poorly, ever tempted to do the safety cards for airlines? Not frustrated more depressed (more so if I was up for the same job). The System D approach is something to fall back when needed but strictly for emergencies. What are the favourite types of projects you like to take on? Those that are personal, where you are learning and taking your work into new areas. >> This page. Wallpaper* magazine cover. Next page. Royal College of Art illustration for prospectus. Art direction: Graphic Thought Facility. Produced Mac free, just plain old pen and paper!

This page (top left to right). Gnarls Barkley 'St. Elsewhere' LP. Gnarls Barkley 'Crazy' single. Two Culture Clash ' Two Culture Clash' LP Art direction: Tom Hingston Studio. Kahimi Karie 'Journey to the Centre of Me'. This page (bottom line left to right). Athlete 'Vehicles & Animals' LP. Art direction: Blue Source. Manic Street Preachers 'Let Robeson Sing' single image. Art direction: Farrow Design. Morning Runner 'Wilderness is Paradise Now' LP. Art direction: Tappin Gofton. Next page. 1000% Be@rbrick design. ÂŠ Medicom Toy Corporation, Japan.

This page. Chemical Brothers â&#x20AC;&#x2DC;Push The Buttonâ&#x20AC;&#x2122; album and singles campaign. Art direction: Tappin Gofton

What do you think to the current mood in magazines at the moment? (Are people worried they'll go under like The Face, does creativity ensure you stand out, do people feel their too throwaway, does an editor / art director make a magazine or is it the staff, etc.?) What are there key things to remember in order to not alone survive but to thrive? The efficacy of the internet has undoubtedly unnerved magazine industry in all areas of cost, distribution and immediacy, you only need to see the blogs on the internet to see what the physical publishing is up against in. Competition is good and respite for the trees is no bad thing either. Your style of work is contantly evolving and morphing yet your execution is consistently incredible. Is a new technique something you premeditate and hone to perfection prior to unleashing or is it far more immediate, like you're unveiling your intrigue and experimentations as soon as they unfold? Experimentation is fundamental to what I do, I wish I could take more time out to try new things as it is not always possible to do so with commissions. I wish clients would have more faith but it is a big ask Who and what inspires you? Who would you consider as heroes? Inspiration comes from everything if look and think hard enough.

Favourite job so far? Why? No favourites, though I am rather fond of the Design Museum work. The ultimate project you have yet to do? Why? I'd like get paid out to tinker about. What you got on the stereo at the moment? Dylan, Yeah Yeah Yeahs, Cosi Fan Tutte Music to work to... Radio 4, Coltrane. Music to fight to... I try to avoid conflict if necessary. When you don't have to work you're happiest most when you're... Out and about. The future for Kam Tang will consist of... I don't want to make God laughâ&#x20AC;Ś

Previous page. Shawn Lee 'Monkey Boy' album cover. Art Direction: Blue Source. This page (left to right). Versus Exhibition, Japan 2002. 'Alice' (main work) images from the 'Looking Glass' series. Client: Design Museum Art direction: Graphic Thought Facility. Designer of the Year exhibition mural.

This page (left to right). ‘Haigh’, ‘Sheep in bonnet’, ‘Humpty’ & ‘Garden of live flowers’.

SLATER,

LUKE SLATER. Interviewee : Luke Slater.

-----------------------------------------

Official site : http://www.lukeslater.com http://www.lukeslater.de http://www.the-7th-plain.com http://www.mote-evolver.com

-----------------------------------------

Interviewer : Desy Balmer. http://www.niceandnasty.net

2006... 2006 has been a watershed for the visionary Luke Slater. First and foremost 2006 saw the return of his Planetary Assault Systems project after an eight year hibernation and the launch of his own imprint Mote-Evolver. Now don't misconstrue this absence as testament to Slater being off the radar as he wasn't. For 15 years Luke Slater has been pivotal to electronic music the world over. In particular he was a commando in the UK techno vanguard. Alongside Dave Angel, Colin Dale, Colin Favor, Black Dog and Carl Cox, Slater was responsible for some of the UK's finest moments in techno and without fear of contradiction I contend he helped forge techno as a viable genre not only in Britain but the world over through a steady stream of quality releases on D-Jax, Peacefrog, GPR and Nova-Mute. Remixing the likes of Madonna and getting all MTV video star with the LP releases of Wireless and Alright on top. Oh yeah and constantly DJing two-to-three nights per week from Leeds to Tokyo and everywhere in-between.

The biography of his official website states that: â&#x20AC;&#x153;Slater has always sought out the extreme often melding influences and styles into furious and unique sound that has seen him acclaimed as one of the pioneers of British technoâ&#x20AC;?. Personally I have always found Slater's acclaim or association with British scene to be imbalanced. Fair enough he is British but his sound always seemed to be more European, a la Belgium and Frankfurt and the traditional hubs, Detroit and Chicago, USA. Whilst Dave Angel was influenced by Jazz and hardcore; Carl Cox by rave and ecstasy-fuelled hands-in-the-air piano technotrance; and, The Black Dog by the bleeps and bloops of Sheffield, Slater understood and loved the future funk of Juan Atkins, the hi-tech soul of Derrick May and style and adventure of Renat and Sabine of R&S records.

I am not for one moment considering that Slater is peerless of that his sounds detune the melody of Dave Angel; his DJing is better than Cox; or his club-inspired hits more valuable than experiments by Black Dog. Each to their own and all that, but the sheer fact that the aforementioned people all exist within the same realm or in this case genre, techno, testifies to the rich nature of the genre itself and the limitless potential of music and machines whilst rightly placing Slater among the pioneers, the legends where he truly belongs. I welcome the return of Planetary Assault systems and 7th Plain, if not for the quality dance music then to occupy him enough and hinder the release of more vocal-electro-pop that may have placed Slater among indie-kids and muso's and earned him a few quid really didn't hit the same high standards that earned him the right to do so. >>

>> Why did Luke Slater become Luke Slater, as opposed to 7th Plain or Morganistic? It was the right time. I was doing so much stuff, for so many labels - DJAX, Peace Frog, and GPR - all at the same time. And the only way to do it was to use different names, because a label takes the name, and you can't use it, for a certain amount of time. So that was a way around it. You've always been seen as an innovator when it comes to your productions and your style of DJing, where do you think techno as a genre is headed, what is the sound of tomorrow? I think the biggest hurdle is convincing patrons of the UK that Techno does not always sound like a banging piece of shite or a trance number remake of the Korgis. Techno extends far far far into the bowels of electronic music now. Techno is the essence of electronic dance and listening music, not the type I've always tried to push that in my music and DJ sets without being pretentious because I also like to have fun in what I do. Its a way of thinking and moving for me. And it has to have the funk to it.

Describe your style of music? Electro-tech Describe your influences? When I first heard electro in England, it was the first type of music, that was dance music that wasn't a song. It had to do with rhythm, and noise. It wasn't pop music. There wasn't anything like it at the time. You had stuff like Northern Soul, but that was still soul; it wasn't electronic When I heard electronic music, that was it. And I haven't changed, at all, since then. Those factors that I liked about electronic music, is why I'm doing it now.

How and why did you get into music? It sounds a bit clichĂŠ but I'll be absolutely honest with you. It was just love of music. I know, but, even when I was just a small kid, I was into music in a strange way. We had this piano in my house and I used to have piano lessons when I was a kid, and I got really bored of those lessons. I started thinking, why am I doing this? I don't really want to learn these pieces of music; I don't really like what I'm playing. I started doing this thing, where I'd take the piano apart. And, my dad had this like old reel to reel. It's really old, and, when you recorded on it, it sounded really kind of warbly, so I used to take the piano apart and sort of detune - there's three strings for each note - some of the strings. So you get a real fat sort of honky tonk sound. I used to like to record that, and overdub it with any old shit. That's how I grew up. What instrument came next? The Roland TR-808. I was in a band when I was 13. I was the drummer. I don't know why I was doing it, actually. But what I do remember was the keyboardist had an 808 - and a Prophet V synth. We were at one of these band practices, and he didn't come. So I had to use 808 for the drums, and I played bits on the synth. He just never turned up to get his gear, and I've still got his 808. It coincided with the time electro first hit England and my life totally changed. What have been the most helpful innovations in production technology and equipment in recent years? Computers!

The first people to do it for me would be Captain Rock, an electro thing. It was two brothers, called the Elene brothers on a label called NIA, from New York. They wrote tons of shit, under different names. This is where I got into this thing that made people release stuff; the same people, creating different pseudonyms for what they were doing. And people like Marly Marl. He's one of the original hip hop dudes, man. His beats were so raw, unproduced, and rough. Around 1987 I went to meet this bloke down in a club in London, who was setting up a label. We wanted to put stuff out; it was a club called the Sound Shaft which was mixed with a gay club called Heaven. I walked in there and there was this DJ in there, whose name was Steve Bell; it wasn't actually a gay night, I think it was a mixed / gay night. He was mixing records; it was cool, man. I thought That would be me. So I made some [mix tapes], gave it to the blokes around the club, and I ended up playing down there every week for a year. You see, at that time, there were so many clubs with DJ's, who were talking between the records. There was a lot of kind of Luther Vandross shit going about, and that kind of soul stuff. It was a bit like "Okay, everybody - the next one's coming up here, and I hope you enjoy it." It was all a bit like that, flashy and nice. I just couldn't stand it. >>

>> Why did you decided to set up Mote-Evolver? I started to think about the concept of a label and I decided to embrace the internet as a central point for the label to simply release some Planetary Assault Systems tracks. Are Demos welcome? If demo's come my way and I like them I could release them but this is not essentially something I am pursuing. Mote-Evolver represents the digital era of distribution, but you intend on releasing limited vinyl, why? Vinyl is just a form of media of course, but unlike other forms it has a club history so long that manipulating vinyl and working with it in a club works. I myself play a mixture of vinyl and CD's. Vinyl also sounds great in a club and I still like to see the disc spinning on the turntable. Mote-evolver releases are limited to vinyl, which itself is limited and downloads, which I think people will burn onto CD or whatever they want; however, iPod Djing should be confined to weddings . Describe the debut release from the label â&#x20AC;&#x2DC;Deep Heat Volume 1â&#x20AC;&#x2122;. What kind of vibe did you want to create with this offering? Is it a new direction for you? The first Planeary release I see as a continuation form where I left of with the Atomic Funkster album and the Drone sector from a few years ago but updated to where I wanted it today. From this point I can move forward with it. The last two Planetary albums were minimal in nature and I wanted to move this forward slowly without loosing the vibe that is planetary. They would never forgive me. Essentially planetary music is always just grooves and recorded in one session without edits. I'm also working on the new 7thplain album which a movement of is incorporated into the Staats Berlin Ballet show with the Berghain Club in Berlin next year as well as some new Luke Slater tracks.

As an artist is commercial success important to you or are you happy once you're feeling the music yourself? I've never been able to guage or anticipate commercial success in what I do. It just happens sometimes or doesn't but its not the reason I write or perform. I like being on the road doing gigs or in the studio writing. I like putting what I do into a concept. Anne Savage has been getting a bit of stick in the dance music press recently for moving away from the harder sounds she's associated with and introducing a funkier break beat sound to her sets

Thanks to Jonas Stone at EPM & Judith at Connected.

What's your take on genre hopping DJs? Good thing? Yeah good, throw the dice. we should all throw them more often. I think people can tell when a DJ is playing something cos they are into it and when they are just doing it because they feel they have to. Do you still roller skate? Yeah, well I'm either doing gigs or in the studio or do a bit of rollerskating. I haven't had time to do anything else. I don't rollerblade - I skate. The blades don't look quite as cool.

Speaking with Slater it was nice to hear wisdom from a man who has literally been there and done it via techno. Regardless to big budgets, PR machines ready and willing to drive you and a global audience, Slater gives the impression of someone still as excited, still as hungry and still willing to get his hands dirty to take his music and art to where it must go, where it belongs. His journey started off in his bedroom and the underground clubs of London and the orbital raves of the M25 in the late 1980s, early 1990s; however, his success never took him to the Hollywood Hills nor did it allow his fame to expand greater than his artistic goal. Still travelling he flies through the inner space of the listener and the cyber space of the fan. I am not sure if he even knows where he's going but he is definitely invited us to come along and you can bet when we get there it will be fun, because beyond all the pretentious art-wank of intelligent techno and electronica Slater does one thing really well and that is create music to enjoy - shaking your ass or your brain he, as a DJ anyway, knows how to make you dance. Today he sounds confident, excited rather than nervous, determined and he seems perfectly situated, hopefully financially secure enough to really push his art, explore his art and himself as an artist and not worry about the business side of things, or at least the controlled business of working for a label. If for no other reason he knows that if his new path is the wrong route there are many who would welcome him back into their fold. More importantly he knows that he can adapt and overcome via creation. The music industry is changing and Slater is changing with it, a wee bit at a time, are you?

m&e.

How rare is good lovin'? First thing in the morning and last thing at night, that someone very special who smiles and returns the favour every time. It's because above all the arguments and the cost of modern living itâ&#x20AC;&#x2122;s they at the end of a good and terrible day who love you the most. Matthew and Emelie are so obviously in love, so much so that if a little film was made about this love we would all go and see it. Instead of that other crap... Unfortunately for us though there's no movie about M&E but there is a great deal of art for us to see instead. A long list of great and wonderous art on the right arm written in permanent markers of lovely colours just to remind us in case we neglect. Music is a good start with M&E, photos and all sorts of collaborative works, did someone just whisper The Redneck Manifesto? Great storming ideas with and for friends and peers alike that lines up like a movement of artistic merit all itâ&#x20AC;&#x2122;s own, In no small way have they stolen the hearts of cynics and begrudgers and rightly so. They have turned them on their heels with the loveliest work and said to each other in front of the telly with tea "Told you so". But equally so there's a bunch of us giggling in the corner to ourselves, knowing full well after the laughter subsides that this revolutionâ&#x20AC;&#x2122;s been a long time coming, so without further ado, let us introduce some of our leading torch bearers. Ladies and gentlemen, we give you M&E.

Interviewee : Matthew & Emelie. ------------------------------------------------

Official site : http://www.me-me-me.se http://www.theredneckmanifesto.com http://www.myspace.com/songreen ------------------------------------------------

Interviewer : Richard Seabrooke.

First things first, who and what is M&E? M&E are Matthew Bolger and Emelie Lidström. M&E has only come into existence during the last year although the collaboration between its parts can be traced back to 2002. So young with such amazing work for so many interesting people. What’s your favourite type of work to do or is very project interesting to you? M: So far we have been working almost entirely with printed design for music. We’ve been lucky in that respect since we are both huge music fans and feel this area provides us with a greater creative freedom. Our clients come to us because they like our work and feel they can trust us to run with ideas that might be a little strange. This is our favorite type of person to work with and the projects that result from these relationships have an energy and an air of freedom which we feel design is all about. E: But in theory it could as well be something else than music as long as the project led somewhere different or was based on something interesting. What do you reckon are the most important things to remember when solving a brief? M: Briefs are a set of guidelines, which the client has laid out to help steer the designer in the right direction. Sometimes you may not agree with this direction but that’s just part of your role as a designer. Briefs vary as much as the clients themselves. Sometimes you can feel extremely confined by both the brief and the client and other times the relationship can be an extremely enjoyable one. Clients are just people like anyone else, you don’t become friends with everyone you meet, sometime you might not even like them but this can not get in the way of the goal of the project. The biggest and hardest thing to do as a designer is not to be selfish. If you feel passionately about what you do, it’s very hard to take criticism sometimes. This is of course the same in all other areas of art and design but as a designer you have to let go a little. You could feel like you are writing your Bohemian Rhapsody and the clients suggestions are chopping it up into a jingle for toothpaste. Sell that toothpaste!

When you’ve got a project do you prefer to work away and then reveal or do you prefer a more collaborative approach with your client? What do you prefer about your preferred way? E: Definitely to work away and then reveal, so you can do something you are really happy with before you show it. The chances are otherwise that things can get shot down before they got a chance to grow up and turn into something nice just because they looked weird as young. But we are trying to get better at showing stuff as we go along. Dare to bare! It also depends on the client and the idea. The more the client is involved in the initial idea the more you have to show along the way of course. And the better you know the client the more they trust you to work away. Matthew, you’re from Ireland but Emelie, you’re from Sweden. Have you ever toyed with the idea of upping sticks and moving somewhere else or do you think Dublin satisfies all your creative needs? E: We think about it often and we have been close but every time we are ready to go something nice crops up here that makes us think “Ah, we will stay for a little longer...” M: We met here and have many friends, family and working relationships with people in Ireland so moving away would kind of feel like starting over again. We need a change of scenery but are very happy living here and with our creative lives, although we always feel like we could be doing more. Our dream would be to get M&E to such a level so it didn’t matter where we lived. >>

Intro page. The Redneck Manifesto ‘Seven Stabs’ cd design. Previous page. The Redneck Manifesto gig poster. This page. Jape gig poster.

The level of thought and detail into which you go within your ideas and execution is extraordinary. For both of you your creativity isn’t simply flat graphics on pages is it, you’re always bringing a handmade organic element into your work. Why do you feel it’s important to go that step further in your output, surely you’d be in bed far earlier if you didn’t? M: We want to work as hard on a record cover as the artist worked on the music. The detail and pain staking construction of text and props reflects the lengthy process of writing, recording, mixing and mastering of a record. Records can take years to write so we feel rushing a cover takes away from the music’s importance.

The most time consuming cover we have worked on so far would have to have been The Monkeys in the Zoo Have More Fun Than Me by Jape. We created the back titles by constructing a white monolith from wood and bringing it into the lemur cage in Dublin Zoo. We cut all the titles out of the wood and created an object which the lemurs could interact with. At this time we wanted to use as little Photoshop as possible by building sets, environments and text, placing them into the frame and photographing them. The negative that came back was the final cover. E: Also, it adds an excitement to the making of things if there is an element of surprise or unpredictability, like the balloons at the TRM cover that were impossible to direct or the uncertainty of how the monkeys would react to our props. I also think it stems from a wish to somehow merge photography and graphics a bit more.

What would you consider to be career highlights so far? E: We would have to say SweetTalk because it gave great feedback and also because it forced us to bring together everything we had done so far and explain to ourselves how and why we did it which was... revealing. Also, some highlights are the memories of absurd situations we have found ourselves in while working on projects.

Matthew, being a member of hugely successful Dublin band The Redneck Manifesto, what is it about this outlet that you really enjoy over say your design and illustration work? Are the methods of creating something similar in any way or is it the fact that they’re so different the attraction? M: It’s hard to say. I feel as passionately about my design work as about what I contribute to the band. Although there is a physical rush you get from playing live and with my friends, on a mental level I feel as satisfied when I’ve created a solid piece of design as I do after I’ve played a good gig or written a song. The reaction from the audience is direct and instant when we play live with the band, so you know what they are thinking. There’s a delayed reaction to design work so it takes a little longer to hear what people thought of your work. >>

This page. The Redneck Manifesto ‘Seven Stabs’ cover design.

This page. ‘Proper Order 3’.

Speaking of music, what’s got your body rocking these days? Also, what’s keeps you chilled? M&E: Daniel Johnston, Daft Punk, The Knife, M 83, Jeans Team, Kraftwerk, Ariel Pink, Velvet Underground, The Notwist, Phoenix, Yo La Tengo, Sebastian Tellier and Bob Hund. This page. M&E for Somadrome.

It’s Friday night, there’s nothing on telly and you’ve just remembered there’s a Twister set up in the loft. While Matthew climbs up to get it Emelie calls some creative luminaries from all over the world... Who would you invite around to have a game of Twister but also to thank for being so inspirational? Some may be dead but that shouldn’t stop you calling! M&E: We’d probably have to split them up into different themed teams. On the design team would be Laurent Fetis, MM Paris, Faktor and Michel Gondry. On the photography team would be Hellen Van Meene, Anders Petersen, Hannah Starkey and Diane Arbus. You did your first SweetTalk event in Dublin a couple of months back and rumour has it you may be doing another one in Limerick in the Autumn. How did you find it, were you nervous? E: It felt like we were going to swim with sharks. M: The exit was too close to the stage for comfort. The ultimate collaboration you have yet to be asked to take part in... M: We feel the collaboration between the two of us has only just begun. Its about as ultimate as you can get at the moment. E: It’s not that specific who we would like to collaborate with now, its more about a wish to work in other materials and formats, like textiles for example, and expand our practices to other areas like animation and film. Anything upcoming you’d like to tell the world about? M&E: Yes. The SweetTalk in Limerick which we look forward to. And hopefully our website will finally be in working order by the time you read this.

This page (left to right). David Kitt. M&E for Jape.

This page (left to right). MJEX illustration & The Redneck Manifesto free EP cover design.

MATTHEW MOORE.

Interviewee : Matthew Moore. ----------------------------------------------

Official site : http://www.moorephotographs.com ----------------------------------------------

Interviewer : Aidan Kelly.

Rarely from the states of Americana are there glimpses of light, but when they appear it is a definite bright light that shines. More often than not in my humble opinion the best of American photography has always sided on the meek who inherit the earth, the long standing, the long sufferers, give us your tired unwashed and hungry. The black and whites of the great seep back into vision and initially I thought of Arbus, Doisneau and even Dorothea Lange. Matthew Moore a young American photographer born in Detroit is on the verge of being cited alongside these names like there’s no tommorow. It’s easy to say this is good and this is even better, surely it’s harder to be critical of a person’s life and soul work that lays before you but we can’t about Moore’s work. It could be flawless but it’s too early to say that just yet. He’s been discovered early and if the projects like ‘The Michigan Avenue Project” and “People who changed the world” series are a starter to go by then it would be advisible to keep an eye on this young man for any developments. The work is far too honest about how the world really is and these photographs tell truths that annoy and stagger something to note in a world of opposites. All work featured in this article done by Matthew Moore.

As an American are you conscious of opinions or misconceptions about your country, would it directly influence the work you do? I could write for hours on this topic. I am an American and as a well traveled American I am very aware of the opinions that people around the world hold about this country. And I know that while it is very popular to be anti-American not everyone is. Just like not everyone in my country hates the French. All I can say is that if I would judge and entire country based on the actions of their politicians then I would pretty much hate the whole world. Somehow politicians seem to get into office and then do things which really don't reflect the thoughts and feelings of the people who put them there. It’s a strange thing. All I know is that I believe most Americans are truly good and caring people who do not think that the world revolves around this country. As far as my photography goes I try to keep the two things separate. What equipment are you using? I use a Lica M6 and I have a Nikon SLR for situations when I need to know exactly what is going to be in the frame. Usually one camera has color film and one has b&w. I do some architectural photography as well for which I use a 4x5 camera and color slide film and I really enjoy that slower process as well. Favourite photos you’ve seen that have changed your life... Lots of photographs have changed my life but I really love well done photo books. Robert Frank's ‘The Americans’ is about as perfect as a photo book can be. I also love Sylvia Plachy’s ‘Unguided Tour’ and Bruce Davidson’s ‘Subway’. >> Are you actually from Michigan, how long have you been a photographer and what started you? I was born in Detroit and have lived in Atlanta, Florida and the Czech Republic but I always seem to come back to Detroit. I guess it’s my nature to keep changing the scenery around me. I got into photography because I felt like as long as I had a camera I would never be bored again because I could always go out and look for pictures. Of course now I know it’s not that easy but I am truly blessed to have a passion in life.

Would you agree, and especially in your case, that “you are where you’re from” in that the work seems to reflect real life in America at the moment? If my work reflects real life in America then I suppose I have accomplished my goal of giving people a window into another time and place. That said if I was to go and take pictures in Prague I would hope that the pictures reflect what life is like in the Czech Republic at that moment. In other words I think a photographer should have the ability to let go of one’s origin and be able to reflect the culture around them. Part of the beautiful thing about being a photographer is being able to put yourself into other people’s shoes.

One of the photographs on your website features a father figure measuring a baby, it’s a very striking shot. Can you explain what’s going on, where it was taken? This picture was taken in Romania while I was there to document an organization which is working with orphans and trying to replace orphanages with foster homes and other types of living spaces. The child in the picture is being measured so that the agency can monitor its growth and ensure that the child is healthy enough for adoption. It is one of my all time favorite photos. What new projects and ideas are you working on, can you tell us about them? At the moment I am really focused on finishing up the Michigan Avenue Project so I can shop it to some publishers. I really feel it has a great chance at becoming a book. Other than that I can tell you that I have been paying a lot of attention to church signs and text-in-image. One day I saw this hooker standing under a church sign which read “God allows U-turns”. I stopped and tried to take the picture but the hooker was not in to having her picture taken. Anyway since then I have been paying a lot of attention to text in the world around us. Can you talk about the “People who changed the world” idea? Who’s up next, what where your reasons for the idea? "People who change the world" is really more like "People who have changed my life". It is a book project that may take my whole life but it is a damn good excuse to go meet all of the people who I think are truly amazing. It all started with a letter to Allen Ginsberg who called me at home at one in the morning after reading my letter At the time I met with him I barely knew how to hold a camera and he was like setting my f-stop for me and everything. Once the meeting was over I said to myself why not try this again. But I can say that I am very picky about who I try to meet. I'm not looking to hang with famous people. I just like being in the presence of individuals who have had a profound influence on man-kind.

Who’s next? Well, I'm working on a few but I would hate to jinx it. Three objects you could not do without. As a photographer I am kind of a minimalist. Of course I love my Lica because that thing never lets me down. I suppose my dark-room is essential as well because that is where I go when I need to recharge my mental batteries. The one thing I hate to admit I need is a reliable car because not only do I love a good road trip but that is really how I find many of my pictures. Do you think your photography changes the way people think, good or bad? Would you be lost without that idea? Pictures can raise awareness, pictures can help raise money, pictures can inspire. Do my picture change the way people think? I really don’t think so. A lot of change has been created by pictures. They say that picture of the child running naked through the street helped end the Vietnam War. But I’m not that type of photographer. What I do hope is that I can inspire some people in their own art work and I have been told that I have. As a photography teacher I have had some students tell me that I have changed the direction of their life. That is pretty powerful stuff. I can only hope that it pays off.

“FUCK CRAFT” AIDAN KELLY

LOCK UP YOUR CREDIT CARDS! CANDY, THE GIRLPOWERSHOPPING ISSUE, IS UP NEXT! SUBSCRIBE AT HTTP://WWW.CANDYCULTURE.NET FOR UPDATES AND MORE INFORMATION.