Working in the 3rd Dimension

Carisa Swenson

2011-09-06T09:35:00.000-07:00

-by Ryan Friant

Since 2006, Carisa Swenson has been creating art dolls which have been exhibited in numerous galleries from New York City to Los Angeles, as well as published in Spectrum 17. She currently resides in New York.

W3D: Can you describe your working process from start to finish?

Generally, I start right in with sculpting the head, hands and feet of the doll; only once finished with sculpting and painting the head and limbs do I begin creating the armature. The armature consists of aluminum wire, with quilt batting wrapped around the wire to fill out the form. A layer of foss shape is then sewn on, which when heated (using a heat gun), provides greater stability and keeps all the batting in place. Usually at this point I have a pretty good idea as to what clothing the doll will be wearing, and swatches of fabric are cut out and pinned to the doll to get a sense of whether the colors and patterns will work or not. Once the clothing is finished, details are added, such as buttons, whiskers or hair.

W3D: What are the tools do you typically use in a piece?

Fingers, small paintbrushes, dental tools, needles.

W3D: How do you recharge your "creative battery"?

Whenever I need to fill the creative well, I head to the woods. It doesn't matter how long I escape for- it can be an hour long walk, or a day-long hike; any time spent away form the city and surrounded by trees helps to refresh and inspire. Wandering around museums, or used bookstores also helps. If none of those options are available, I'll settle for an hour or two of video games.

W3D: If you weren't an artist, what else could you see yourself pursueing?

Something in the field of ornithology, perhaps an avian biologist.

W3D: Do you have any advice for aspiring artists?

Don't be afraid of constructive criticism. Set aside time every day to practice or advance your craft. Even if you only have 15 minutes, MAKE TIME. Don't fall into the trap of thinking you'll only improve if you set aside huge swaths of time to devote to your art. Most likely those opportunities will be limited, so work with what you have. I often wake up early before heading to my day job just so I can squeeze in an hour or so of sculpting time, since I tend to be most productive in the morning hours. Knowing I have to stop at a certain time helps me focus on the task at hand.

W3D: What do you do with the sculptures you’ve created?

Many of my dolls are looking for good homes and are up for sale at galleries in Los Angeles, most notably Cactus Gallery and The Hive Gallery, as well as Dollirium Art Doll Emporium in Canada. Dolls which return to me from shows are carefully packed up in boxes and kept in safe places within our home. Ideally, the dolls would be on display, but I just haven’t found the perfect cabinet yet!

Working in the 3rd Dimension would like to thank Carisa for sharing her art with everyone. Below you can find a link to Carisa's website as well as a few of the galleries that she mentioned.

www.goblinfruitstudio.com, e-mail: info@goblinfruitstudio.com

Cactus Gallery

The Hive Gallery

Dollirium Art Doll Emporium

All images © Carisa Swenson 2011

The Tinkertown Museum

2011-08-23T20:29:00.000-07:00

-By Ryan Friant

My girlfriend and I have recently relocated to Albuquerque, NM and one stop that ranked high on our list of places to visit was the Tinkertown Museum in Sandia Park, NM. The museum is a collection of vibrant dioramas, often augmented with motor animated elements to further add to the fun of these densely packed scenes. Often times while visiting this site, I had the sense that this was the precursor to the "Eye Spy" book series. Admission is $3, which is absolutely worth it, and you will want to bring a handful of quarters for a few of the coin operated automata and the vintage carnival machines like automated fortune tellers and an Uncle Sam you can shake hands with (and then Uncle Sam judges your moral character).

Tinkertown was crafted, collected and assembled for over 40 years by mid-western artist Ross Ward. Ward was a self-taught artist who spent the majority of his career as a carnival painter and created the beginnings of Tinkertown in his spare time. Ross Ward was diagnosed with Alzheimer's Disease in February of 1998 at the age of 57. The Ward family continues to maintain Tinkertown in his memory and the museum is currently in its 21st season of operation.

You can visit the Tinkertown Museum online here.
All photos were taken by Ryan Friant and Jen G. Benson.

Jocelyn Marsh

2011-08-08T09:20:00.000-07:00

-By Ryan Friant

First off, I'd like to welcome everyone back to the Working in the 3rd Dimension blog. My name is Ryan Friant and I create dimensional illustrations under the alias of illworx. I will be helping Liz maintain the blog by co-curating the artists and features. I'd like to get right into it and kick things off with the haunting work of Jocelyn Marsh.

Jocelyn Marsh began her career in the arts with a bachelor’s degree in English Literature from Washing State University. From an early age she wrote fantastical fiction stories that eventually translated into mythical creatures and tales told through sculpture. In 2001, Marsh traveled from Southeast Asia to Western Europe and eventually settled down in Brussels, Belgium where she continued to write and collect discarded treasures. It was in Belgium that a taste for the macabre and a love of science and historical fictions took hold for Jocelyn and by the time she returned to Los Angeles in 2003, a serious study into assemblage art ensued with the small collection she had started abroad. For eight years Marsh has been collecting skeletons, vintage toys, and other oddities bringing them together to form creatures yet unseen to tell stories she once put down on the page. Marsh currently lives and works in Los Angeles.

W3D: How did you start working dimensionally?

I started working dimensionally by making dioramas with found objects. I was doing primarily landscapes that included animal figurines, old necklaces, fabric, old photographs, bones, teeth, and any number of odds and ends. Slowly, I started combining the found objects in such a way that they became more sculptural and finally, I found ways to create my own parts to take the place of found objects so that the creatures themselves were the primary focus of each piece.

W3D: Can you describe your working process from start to finish?

I usually start with an image or a single thought that I want to expand on. My second step is usually to do a character study and write out a narrative to bring the world I’m about to create to life on paper. I started out in the arts as a fiction writer and find myself drawing from that part of my life quite a bit. Once I have a plan, I start gathering all kinds of materials from paint, epoxy clay, hardware, and cast metal objects to fabrics and resins. I also spend a lot of early Sunday mornings at the flea markets of Los Angeles in search of interesting objects to cast and old picture frames. When I have what I need to get started, I start assembling. Depending on the project, this can mean having a soldering station going in one room while paint is drying outside and clay is curing in another room. By the end of the construction process, I like to have things very tied off and tied together. I tend to create narratives with each series of pieces that work together to tell a story.

W3D: What tools are typically used in your pieces?

I use anything I see in front of me to get the job done. Since I work at a fast pace and focus so intently on each piece, I often find myself unprepared when it comes time to do certain little tasks. For example, I’ll be holding a wing on which I’ve just applied a quick-drying adhesive without securing the body to its mechanical arm first. I end up just holding the body with a pair of pliers and waiting for the whole thing to set before I can position it properly. The process can become a game of Twister and is something I’m actually trying to improve. Typically though, I use Dremels, a Foredom flex shaft tool kit, homemade soldering tools, blow torches, glue guns, surgical tools, watchmaker’s tools, every kind of adhesive known to man, and a basic handyman’s tool kit. But honestly, my new favorite multi-purpose tool is the safety pin.

W3D: What do you do with the sculptures you’ve created?

There are a few different retail locations in Los Angeles that carry my work including Gold Bug, Beau & Aero, Dialect, and Gather. And, coming soon to New York City, Condor. My pieces can also be inquired about through jen@artduet.net. Sometimes though, if pieces are just coming from a show, or waiting to go to a show, they can be found pouring out of every room of my house.

W3D: If you weren’t an artist, what else could you see yourself pursuing?

Apart from being an artist, I have also been working on an artistic career in the film industry in Los Angeles for 8 years. So, simultaneously while I do this, I am always working toward production designing for some of the great macabre, quirky, stylized, enchanting directors of our time. My dream is that one day, all will flow together and I will get to bring some of my tiny worlds to life in a big way on the big screen.

We here at Working in the 3rd Dimension would like to thank Jocelyn for her time. Below you can find a link to Jocelyn's website as well as links to some of the retail outlets she mentioned.

www.jocelynmarsh.com,

jocelyn@jocelynmarsh.com

Gold Bug

Beau & Arrow

Dialect

All images © Jocelyn Marsh 2011

SORRY FOR THE SILENCE!

2010-08-07T07:26:00.000-07:00

This year has been incredibly busy with one tough deadline after the next. I apologize for not being able to post since February, but I've literally had no time. Now that things are a little calmer I'm going to try to get back in the swing of posting about great 3D artists and their news... so here's some news to start you off with: Back in early February I posted about Brixpix, an artist in Florida who works in 3D making really cool toys. He's having a show later this month so please check it out if you can!

Matei Apostolescu

2010-02-22T08:12:00.000-08:00

Meet Matei Apostolescu, an artist in Romania working dimensionally. Born in 1983 in Bucharest Romania, Matei is a self taught freelance illustrator and proud member of the DepthCore collective. He has worked for various clients and had exhibitions in London, Berlin, Bucharest, Istanbul.

How or why did you start working dimensionally?
I started as a kid, when i was about 6 i was making fleets of planes out of dirt because there was a terrible lack of toys in communist times. We had lots of fun with them because, unlike real toys, if you broke one it could easily be modeled into something new. I rediscovered modeling when a friend showed me polymer clay and what people were doing with it and since then i've been having lots of fun with this stuff.

What or who has influenced the way you work?
At the moment i try to translate characters from my illustrations to real life objects so my influences come mostly from illustrators, H.R Giger remains one of my favorite. He is an incredible painter/illustrator but an awesome sculptor too.

Please describe your working process.

I use polymer clay and it's pretty much about experimentation, right now i'm working on larger and more complex models. I use pressed aluminum sheets to created the skeleton and cover them in polymer clay, the rest is pretty much usual modeling :)

What do you enjoy most / least about working dimensionally?

Well, the fact that it really changes the way you draw and perceive illustration. I started working recently but I can feel it has a major impact in my drawn stuff, I draw more easy in a way. Perhaps an inconvenience is the fact that I now need to find a much larger space but apart from that I'm looking forward to creating more polymer clay toys.

Matei Apostolescu

www.013a.com

mateiapostolescu@gmail.com

All images and content © Matei Apostolescu

Eric Lewis

2010-02-19T05:08:00.000-08:00

When was the last time you made art out of your garbage? My friend Eric Lewis, famous for his clever New Yorker cartoons, does just that!

"I was born and raised the son of two psychiatrists (kinda explains a lot?) in New Haven, CT. I have lived in NYC since my undergrad days at Columbia University. After that I went to film school, designed t-shirt graphics for a resortwear company, was a room-service waiter at a posh hotel, designed garden products for Martha Stewart, and finally went back to school for Industrial Design at RISD. I love Star Trek (The Original Series), the Grateful Dead, Barack Obama, and cats (I own two - Oliver & Daisy)."

How or why did you start working dimensionally?
Not sure when it started, but I should probably credit art teachers in kindergarten as well as my mom, who always encouraged my artistic endeavors. The above image is a recent drawing of a kindergarten art project that coincidentally involved using recycled products.

What or who has influenced the way you work?

Tibor Kalman, the late, great graphic designer was a huge influence on me - I had the pleasure of being his personal assistant for a summer. His best two lessons: 1. Simplify, simplify, simplify. Then, just when you think your design is as simple as it can possibly be, make it even one step MORE simple. 2. As a designer, look for opportunities with the minimum number of assholes between you and your audience/consumers.

Please describe your working process.

When I'm working with garbage, I will collect stuff even if I have no idea what to do with it. But I try to keep it on view in my apartment, and let its presence slowly inspire me. I kept a junk bicycle in my bedroom for several weeks before one day it dawned on me how to make it into a functional stool (image below). Besides that, I like to wait until a couple of days before something is due - deadlines really get my adrenaline and inspiration moving! :)

What do you enjoy most / least about working dimensionally?

I love it when my 3D creations work from several angles - i.e. a sculpture that one can walk 360 degress around and always find interesting. That's sometimes how I know whether a garbage flower will work or not - if I have to worry about which way the leaf is pointing, it's probably not such a great garbage flower to begin with. And I love forgetting all my troubles as I engage in an aesthetic/design exercise. Joy. Enjoy least?...hmmm - finding space in my apartment to build stuff - it's impossible! Guess I need a studio.

Eric Lewis - Garbage Flowers

ericlewis.com

garbageflowers.com

eric@garbageflowers.com

All images and content © Eric Lewis

Miss Pearl Grey

2010-02-12T05:41:00.000-08:00

Meet Miss Pearl Grey, an artist in the UK working in 3D!

"Hello! My name is Kellie, but you can call me Miss Pearl Grey, if you like."

How or why did you start working dimensionally?
I was always drawing and became very interested in making minatures as a child. My Grandfather built me a beautiful Doll's House that I was able to furnish with little objects I had made myself and people I crafted from pipe cleaners, cotton wool, tights and material. I eventually ran out of rooms for them all to live in, so it became more like a Hostel for tiny people!
I have a rather short attention span sometimes, so consequently I tend to ricochet back and forth between 2 and 3 dimensional illustrating when I temporarily tire of one or the other (it is usually on the break between each that my interest is reignited!).

What or who has influenced the way you work?
I am constantly in awe of the sheer talent out there! I have a wide range of inspirations which include (but are not limited to) Aardman, FaultyOptic, Red Nose Studio and Liz Lomax. I also consider myself very lucky to have a supportive cast of family and friends, who are invariably willing to endure my antisocial tendencies when working on new pieces.

Please describe your working process.
I always start with sketches. Each character is visualised on paper from a variety of angles in order to provide accurate viewpoints later on. Once I have started sculpting I find it very helpful to have my own drawings on the desk so that I can see exactly how much curve the chin needs, or where a particular wart should be. This said, however, my models are rarely the same as the initial sketch by the end!
I usually start with a wire or tin foil armature and build onto this with Super Sculpey. I fire the initial sculpt in the oven and then each subsequent layer is fixed with a very hot hairdryer (my models are usually small enough that this is sufficient). Occasionally I pad out some of the bulkier characters with upholstery wadding to save using so much Sculpey, these are just fixed with the hairdryer. I use children's plasticine modelling tools, scalpels and cocktail sticks to sculpt faces and details. Some of the features are just about being resourceful with materials. I am a bit of a hoarder so I tend to hang onto scraps of old material and things most people would throw away- I know they will come in handy sooner or later. I usually paint with acrylics but learned the hard way that you should always seal the paint with varnish (I use the Matte variety). Once the characters are ready I arrange the props and backgrounds accordingly and photograph, editing afterwards in Photoshop where necessary.

What do you the enjoy most / least about working dimensionally?
I would have to say that the most frustrating thing for me is overheating my models, burning them to a crisp when I wander off to make a cup of tea. When I overheat them they shatter a lot more easily and this can be very time consuming to fix! Materials can be very costly, too. But the overall satisfaction I get from seeing the final images and from other people's reactions makes it very rewarding. I am also a tremendous perfectionist, but I don't think that ever really leaves you.

Kellie Black
Pearl Grey Illustration
www.misspearlgrey.com
www.misspearlgrey.blogspot.com
All images and content © Miss Pearl Grey

Bent Objects by Terry Border

2010-02-03T08:37:00.000-08:00

The other day Chris Sickels of Red Nose Studio fame sent me a link to this amazing blog incase it might be of interest for the 3D blog... was it ever! I was blown away and immediately got to in touch with Terry Border of Bent Objects.

How did you start to work dimensionally?
I've always been more comfortable working in 3D. My drawing skills never get out of the realm of the doodle. I also like to tell the story of how I started working much larger, making mobiles and sculptures, and after I failed to sell several of them, I decided to start working smaller. As I started working smaller, I got more relaxed, and started to have more fun. My work really took off shortly afterward.

Who is your biggest influence?

Easily Alexander Calder. His early wire work is what I strive to match in joyfulness, and simplicity. I got to see the "Alexander Calder: The Paris Years" last summer, and could have died of happiness as I walked through and took it all in.

Could you describe your working process?

It depends. Sometimes I see an object, or think of a concept that is already fully formed, but that doesn't happen nearly as often as I would like. Usually I start with an object and try to anthropomorphize it. What kind of life would it lead? What things would it have in common with us? Hopes and dreams, fears and failures?

The next step is to probably make some wire arms and legs for it. It's funny, I started out doing everything in wire, but it's dwindled to mainly arms and legs at this point. If I need props, I gather those up. Sometimes I make the props, a lot of times I'll find them in my daughter's old Barbie accessories, or buy them from a miniature store- whatever is best.

The third step is deciding on the setting. Does the image need more than a seemless background?

Finally, I'll spend anywhere from half an hour to all day lighting the image. Sometimes I'll take 40 or 50 shots, making changes in posing, and lighting.

The real final step is after the shot is done, and I'm happy with it all, I have a nice cold beer or glass of wine.

What are you working on now?

My book "Bent Objects: The Secret Life of Everyday Things" came out in stores last October and seems to be doing well. I'm now keeping my blog fed, trying to find some more commercial work, and hoping and praying that I get another book deal going very soon!

Terry Border, Bent Objects

www.bentobjects.blogspot.com

bentobjects@gmail.com

All images and content © Terry Border

Brixpix

2010-02-01T04:42:00.000-08:00

Meet Brixpix, an artist in Florida who works in 3D!
"I started as one of 4 siblings, all dabbling in one type of art or another. Being the youngest it seemed like I was always competing in a land of superior artists. My father, too was a great painter and mentor. After graduating college in 1978 with a degree in Graphic Design, I moved to Los Angeles to seek my future in the arts. Somehow, I took a wrong turn and wound up in the customer service machine for a good 24 years. All major players: Xerox, Capital One, Time Warner. In 2004 I was rescued by Bic Graphic USA where I continue to work in the art department to this day. I have been a freelance illustrator, painter and toy designer. I have successfully shown at the Art Center of St Petersburg, Florida and currently show at both the Hard Rock Store in Tampa, Florida as well as the Creative Native Gallery in Tampa, Florida."

How or why did you start working dimensionally?
Back in 2006 a coworker of mine introduced me to munnys as a viable "canvas" and I quickly found the perfect meld of illustration and paint. I didn't have much experience with the new medium, but soon entered my 1st munny contest (Munnyshow2 at Uberbot Winter Park, Fl on 7/8/06). I came in second place out of 140 contestants. The experience reminded me of my artistic roots. I have to say there and then art was no longer a hobby. It became an obsession. In working hard and raising a family, you forget your roots. I rediscovered mine.

What or who has influenced the way you work?
I'd have to say that from an early age, I have been influenced by Robert Crumb, grand daddy of underground comics. Being born in the 50's I have a unique perspective of the art on and before that time. It was realistic, detailed, linear. I love the details in art. I don't care how long a piece takes to make. It's finished when it's finished. Crumb draws the way he sees. Carrying a sketch pad helps me stay tuned in to what I see, like a camera, but with a creative slant. Currently, I am influenced by modern heroes of the art world. Mark Ryden, Todd Schorr, Gary Baseman and Joe Ledbetter, to name a few.

Please describe your working process.
I like to grow as an artist. So the tools I use today may not necessarily be used on my art tomorrow. I am a big proponent of using 3D art objects that are cast aside at garage sales, giving them a second life. I love vinyl and resin and sculpey. I use prismacolor pencils and a set of Kohinoor rapidographs for inking. Using am angle grinder making wood sculptures lately. I also started painting Coke Cans in the hopes of creating a trend, making them collectable as opposed to recyclable. Portable art, art that can be carried with you, is another niche I am trying to create. No longer imprisoning art to the confines of 4 walls. Toys are the perfect vehicle to get art out. The designer toy market is over 10 years old. Still feels like it's in it's infancy as it has hardly hit the mainstream yet. It's an exciting time to work with other young designers and see their creativity shine.

What do you enjoy most / least about working dimensionally?
As a cartoonist/illustrator, I could only dream of my characters moving in a 3D world. Working dimensionally makes one think differently when approaching the medium. The personality of the character leaps off the toy. Vinyl can be expensive though. I megamunny can run you back $200.00. If designed properly, a good designer can sell the piece for over $1000.00. Urban toy designers started out getting little recognition. This is changing as some established artists are designing toys as a way for most people to afford their work.

Brixpix
brixpix@tampabay.rr.com
brixpix.wordpress.com
All images and content © Brixpix

Danielle Buerli

2010-01-25T08:11:00.000-08:00

Danielle Buerli is an illustrator living and working in Los Angeles.

How or why did you start working dimensionally?

I have always loved to make things. I'd knit hats for everyone I knew. It was a way to relax between school assignments at art school. So then I came up with ways to incorporate making things for my assignments. Everyone was painting and sketching and I wanted to do that too but maybe knit a little bit on the side. And then it hit me I can.

What or who has influenced the way you work?

So many artists and they are are all so talented. I guess I just wanted it all and this was the best idea I could come up with to show that.

Please describe your working process.

I like to experiment with materials and see what happens. Sometimes something really great happens, other times it just goes to a box under the bed. But usually I will find a material I really want to use or have an idea for a character and see where it takes me. I try and slip some knitting in every time.

What do you the enjoy most / least about working dimensionally?

I get to try new things all the time. It never gets boring and every time you make something it is better than last. I guess that down side is time. There never seems enough of it to make everything you want.

Danielle Buerli
www.dbuerli.com
dbuerli@yahoo.com
All images and content © Danielle Buerli

Margaret Cusack

2010-01-22T08:22:00.000-08:00

Check out Margaret Cusack, an artist in Brooklyn who creates unique stitched artwork! Margaret told me, "Since I was a child, I have always enjoyed creating artwork. I had minimal art training in grammar school and high school, but was accepted at Pratt Institute and graduated in 1968 with a BFA cum laude degree in graphic design. In 1972, after working for four years as a designer/art director in advertising and publishing, I began exploring fabric collage--doing portraits, pillows and hangings. As an illustrator with an unusual technique, I had an agent for the first six years, However, since 1978, I have represented myself. My clients include AT&T, Aunt Millie's Spaghetti Sauce, Harcourt, Macmillan, Random House, Absolut Vodka, The Village Voice and Vanity Fair."

How or why did you start working dimensionally?
I have always been intrigued with dimensional artwork and I am delighted to have been able to create a career with my appliquéd, embroidered and soft sculpture artwork.

What or who has influenced the way you work?
I have always been interested in realism. Artists that have influenced me are: Norman Rockwell, Edward Hicks, Milton Glaser, Toulouse Lautrec, Edward Hopper, Grandma Moses, etc.

Please describe your working process.
With both my flat appliquéd artwork commissions and my dimensional soft sculptural images: I discuss the concepts and the project itself with the art director. Then I create pencil sketches and we discuss them. Once the sketch and the direction is chosen, I do a line drawing, which becomes my pattern.
For the flat appliquéd artwork: To show the juxtaposition of the fabrics, I create a "rough color paste-up" of the fabrics chosen for the image. I prepare the fabrics (ironing them and adhering iron-on "paper-backed fusible webbing" onto the back of the fabrics). I trace the outlines of the pattern's shapes onto the back of the fabrics. Then I cut out the shapes, peel off the paper backing and spray the back of the shapes with spray glue. Using the light box I position the fabric shapes onto a backing fabric and then iron them in place. I stitch them down with a zig zag stitch on my Bernina sewing machine. Usually, the image is stretched on canvas stretchers. Throughout this process, the art director can have input.

For the soft sculpture images like the "Bill Gates Voodoo Doll," I show sketches and fabric swatches to the client and then stitch the image and stuff it as needed. In some of the soft sculpture images, I include embroidery and or/other elements. All of these techniques are included in my book, "Picture Your World in Apppliqué". The photography is very important.

My flat stitched artwork is photographed either digitally or as an 8 x 10 chrome (usually by Gamma One Conversions in Manhattan. Their process captures all the detail of the fabrics' texture and yet their lighting technique does not create harsh or uneven shadows). I also work with my husband Frank Cusack and Brooklyn photographer, Michael Hnatov, who both shoot my dimensional images (soft sculpture, pillows, etc.) and some of my flat appliquéd artwork.

What do you the enjoy most / least about working dimensionally?
Most: I enjoy the challenge of working with fabric--its instant color, texture, pattern. In many cases, my fabrics connect the viewer to nostalgic moments in their past. I like the fact that dimensional artwork will stop the viewer for a moment longer than traditional illustration or computer art.
Least: Fabric can be quirky and difficult at times. And though most of the time I have enough of a chosen fabric, there is always the chance that, at midnight, I might run out of a particular fabric or thread color that is crucial to the project.

Margaret Cusack
cusackart@aol.com
www.MargaretCusack.com

124 Hoyt Street in Boerum Hill
Brooklyn, New York 11217-2215
phone: 718.237.0145
cell: 718.909.4402
fax: 718.237.0145

All images and content © Margaret Cusack

Jayme McGowan

2010-01-20T11:31:00.000-08:00

Jayme McGowan (aka Roadside Projects) is a freelance artist and 3D illustrator cited for her whimsical imagery and unique methods of working with cut paper. She is based in Sacramento, California.

How or why did you start working dimensionally?
I started working dimensionally during college, but separately from my studies. I went to a state school with a general studio art program where you had to take a certain number of classes in each department, learning a little bit of everything. But the focus was on “fine art” and sadly there was no room in the curriculum for traditional crafts like papercutting, and no illustration courses, so I’m self-taught in those areas. I started cutting paper while trying to quit smoking. I needed something to occupy my time (and bide my hands) and was looking for an art project where I could just sort of obsessively play with the materials. My earliest efforts were relief, on wood panels or mat board just as I continue to work today, but the imagery was more abstract and I was primarily focused on just finding different ways of laying down the paper. Most pieces were made from cut-up pages of old thrift store books. I found the construction method of cutting and gluing, cutting and gluing, over and over - requiring extended periods of focused concentration - to be pleasantly meditative. My very first instinct was to work dimensionally for some reason, maybe stemming from a love of dioramas/shadowboxes.

What or who has influenced the way you work?
In 2007 I saw a Joseph Cornell retrospective, a massive collection of 150 or so of his box constructions, at the SF MOMA right around the time I started working dimensionally. Those were a huge inspiration. I remember there was a quote in the exhibition catalog stating that it was his goal as an artist “to inspire others to pursue uplifting voyages into the imagination”. I just love that – it’s what I aspire to. As far as contemporary artists go, Chris Sickels of Red Nose Studio was one of the first 3d illustrators I discovered and still a favorite. Elsa Mora is an artist I just found fairly recently, who does a wide range of dimensional work, with paper, clay, and even plants - all of it amazing.

Please describe your working process.
I start with a sketch to get the basic composition down before I begin. Since there’s no going back after the paper is cut, this helps eliminate waste. Next, I spend some time sorting through materials (an ever-growing collection of new and re-purposed paper) to find the right palette for the piece. Having to decide on color at such an early stage is something that I’m still getting used to. There’s a lot of trial and error - making things, destroying them and starting over.
Everything I do is cut by hand with an X-acto knife and a few different sizes of scissors. I use a quick-drying glue to assemble the piece, building up layers slowly and adding dimension with handmade paper supports. My work tends to be pretty tiny and I often use tweezers to place the individual paper pieces.
When the dimensional cut paper work is done, I photograph it digitally and bring the image into Photoshop. I try to keep the digital manipulation to a minimum though, and all of the shadows in my images are actual cast shadows from the original photographs.

What do you enjoy most / least about working dimensionally?
Least: It’s really labor intensive! And I’m still at an early stage in my career where I haven’t quite figured out how to create the images as I envision them. I’ve got a lot to learn about photography, which is an (often frustrating) endeavor I hadn’t anticipated when I set out on this journey. I look forward to a day when it doesn’t take 200+ shots to get a usable image.
The only other downside I can think of is that storage is becoming a serious problem. No more throwing old work in a flat file.
Most: Working in 3d creates a unique look that can’t be achieved with drawing or painting (and working with just paper means much cheaper materials). Also, I’m constantly being challenged with new problems to solve, which keeps it interesting.

Being a self-taught illustrator, it is nice to be part of a smaller niche community of 3d artists; it’s made breaking into the field less intimidating and more welcoming. I also feel like there’s still a lot of territory left to be explored with dimensional illustration (as opposed to the feeling that “it’s all been done before”) and nothing beats that sense of discovery.

Jayme McGowan
www.roadsideprojects.com
www.roadsideprojects.blogspot.com
roadsideprojects@gmail.com
images and content © Jayme McGowan

Luís Ditter

2010-01-18T06:27:00.000-08:00

Meet Luis Ditter! Luis is a 3D artist living in Canoas City, in the Rio Grande do Sul State of Brazil. He is 40 years old and just in the beginning stages of his art career. In 2008, after 20 years working in another profession, he decided it was time to follow his heart and create life from his hands. He remembered the clay that he had loved as a child.

How or why did you start working dimensionally?
When I was younger I created my toys from clay... Superman, Ironman... all the heroes that I liked I sculpted and painted them for the joy of it. Actually, that was when I discovered polymer clay... it changed my life!

What or who has influenced the way you work?
My influences started as a kid with Disney magazines. Mickey and Donald were a part of me. Today, the artist that I identify with most is Liz Lomax.

Please describe your working process.
I begin with a sketch to draw out the idea and define the positions of the figure. I create the sculpture using Bozzi Polymer Clay, then I paint it with acrylics.

What do you enjoy the most/least about working dimensionally?
For me it is one of the best things in life! I love creating my own world, my own objects, animals and people.
Luis Ditter
luisditter@terra.com.br
www.lumaosdeouro.blogspot.com
http://www.orkut.com/Main#Profile?uid=1152485038196087653
all images and content © Luis Ditter

Karen Caldicott

2010-01-13T05:42:00.000-08:00

Karen Caldicott shares a recent interview with us.

You started out in the art world as an illustrator, how did you end up making plasticine sculptures?

I actually started out as a painter and sculptor, I received my BA in Fine Art from Hornsey school of art in North London. I did go on to study illustration at the Royal College, but those RCA years, great though they were, did nothing to develop me as a commercial artist. When I first moved to NY in the late 80’s, I made weird and whacky sculptures out of sponge and masking tape, I curated some group shows and lived in a bohemian rat infested Brooklyn loft. Eventually however I decided I had to adapt my work to be able to make a living and illustration was the answer. The model-making started as a personal project, my family members who were so many miles away from me back in England were my first subjects. I soon realized that this style could be used commercially. At that time as a young illustrator trying to make a name for my self (with seemingly constant reinvention) this was a logical step.

Do you know of any celebrities who have wanted to buy their plasticine representations? Or have you had any direct feedback from the subject of your art?

A few years ago New York magazine commissioned a bust of NY politician Elliot Spitzer who was running for governor at the time. I made a somewhat distinguished looking rendering of him and he did contact me via his campaign manager. It tuned out my price was too high for him. A few months later the then NY governor Spitzer was in the news again, this time referred to as client #9 in the infamous prostitution ring. So being the opportunist I am, I reworked his bust to fit the moment. The new version being an animated gif with a very red face. However this is not a rendering that he would like to have on his shelf, so I’m not expecting to hear from him again. Even though it turns out he’s now a neighbour of mine!

Why plasticine?

Its not just any plasticine, its Roma #1 .... soft enough but still great for working in fine detail. The fact that it doesn’t harden is also a big plus, I often end up reworking a model months later, this wouldn’t be possible with most other modeling clay. It also gives me the option of completely destroying a head and recycling it in to a different character. (though this isn’t often!)

What tools do you use?
A knife comes out for the dramatic cuts, other wise I have a set of wood modeling tools, and then last but not least is a little dose of spit to smooth and shine the surface.

The busts are made from plasticine, would you consider working with other materials? Ice? Metal? Soap?
I’ve been considering simple balsa wood. I’d also like to get my hands on some human or animal hair and a big box of dolls eyes, at the moment I use glass marbles and white paint, more realistic eyes would be great! Its been wonderful to see my models reproduced in bronze I’d like to see more of them taken to this level.

How do you begin the process?
Normally I do my own web searches on the subject. I need to find exactly the right reference material, I’m looking for something along the lines of a police mug shot, full profile, front face etc. As big a file as possible and no blurry snapshots please! An actual sitting with the person would be the best way to go but is usually not possible. The clay process is a rapid cutting away and building up. there's nothing precious about the beginning stage, this is the most enjoyable part in fact!

What's the oddest commission you've ever received?
Well I wouldn’t say this was really odd, but it was different for me.
Last year at the heart of the US elections I was asked by the Nation (A US left wing political mag) to make a cover lampooning the infamous Barry Blitt New Yorker cover.....You may remember it depicted the Obamas as terrorists in the white house, assault rifle and all. I decided the best way to approach this was to collage together two styles. The heads of Palin and McCain, (plus a moose head and rifle.) were made in clay, the background and bodies were drawn and all was put together in photoshop. The cover was well received if not as controversial as the original. The oddest “job” I ever had was "lambing" With absolutely no knowledge or experience I was given the task of looking after a couple dozen ewes. Being as though this took place in the depth of an upstate NY winter I unfortunately lost most of the baby lambs by virtue of them being frozen to the snow covered fields. Hellish!
Who or what are your influences?
I’m constantly stumbling upon artists on the web whos work is of interest and I admire, there's so much great stuff out there! I post the links to many of these artists on my blog “little clay bits”
Living in the country (the middle of nowhere) I’m able to clear my head with long walks, riding a bike or skiing (depending on the time of year) this is really beneficial to my sanity and can also help with straightening out work related problems. The occasional trip to the frenetic New York City is needed every now and then also.
Who would you like to model next?
Queen Elizabeth II. Maybe a series of tyrants, and I'd love to do some fashion spreads.
What's your personal favourite?
I love them all. They sit on shelf's surrounding me whilst I sleep, just quietly keeping an eye on me.
Karen Caldicott
karen@karencaldicott.com
karencaldicott.com
images and content © Karen Caldicott

Foxy windows & R.I.P. Gumby!

2010-01-11T10:46:00.000-08:00

There are a couple of things I wanted to share with you that I wasn't able to share whilst being away...

Before I left town I was slammed with work so I didn't get out at all, but luckily I have friends that do! My friend Michael De Brito (an incredible painter who was once my student- but I can't take any credit for his talents) sent me these pics of the holiday windows at Bergdorf-Goodman. They were done by the creators of "Fantastic Mr. Fox" and include the character puppets made by the UK’s acclaimed puppet makers, Ian MacKinnon and Peter Saunders...

... And sadly, last week we lost Art Clokey, the creator of Gumby. I used to watch this show when I was little and it inspired me to make 3D things!

Click here to read the NY Times obit for Art Clokey.
R.I.P. Art!

studio visit with Chris Walsh

2010-01-08T12:28:00.000-08:00

I have just returned from a month in the UK visiting family and friends. One of the highlights of my trip was meeting fellow sculptor Chris Walsh in his hometown of Liverpool! He shared his work and process info with us back in October so if you missed it, please click here. He was kind enough to share his time and work with me in person, so I wanted to pass it on to you.

Chris is insanely talented and extremely modest.... and his Amy Winehouse sculpture kicks ass!

It was a treat to see Chris's sculptures close up. They are so much bigger than I'd expected.

There's something amazing everywhere you turn. Hiding up on one of the shelves I saw Bill Shankly, a legend in Liverpool but if you don't follow football (as in soccer) then you may not be familiar with him.

Chris was commissioned to make Shankly for a client and then created a mould so he could cast several of them.

Chris taught himself how to do this by watching a mould making & casting workshop dvd. This process has always intrigued and terrified me at the same time. I don't know that I'm brave enough to try it but Chris made it look and sound so easy.

His cake toppers blew me away! He's working on one right now of a rock climbing couple.

Chris pulled out some sculptures that have been hiding away for too long, like this lovely lady who's a bit dusty but totally incredible...

...and this fascinating fella lurking in the corner.

The visit with Chris was so inspiring and fun. Thanks Chris for letting us into your world!

Natalie Russo

2010-01-06T04:21:00.000-08:00

Meet Natalie Russo, a 3D artist in New England.

"As a child my artwork often got me in trouble. I had a bad habit of rummaging through my family’s belongings for interesting fabrics and jewelry. Always looking for anything shiny or fuzzy that could be cut up and used for my own creations. I now spend my time rummaging through hardware and thrift shops and combing art stores endlessly."

How did you start working dimensionally?

As a child I had taken sculpture and ceramics classes. It wasn’t until college that I began to learn more traditional two dimensional styles. I was never totally satisfied with producing two dimensional artwork. I found it limiting. Instructors encouraged me to work out my illustrations in polymer clay. There was more freedom working with clay.

What or who has influenced the way you work?

My favorite children’s book illustrator is Nicoletta Ceccoli. I love her characters and concepts. Other illustrators whose work I enjoy include Raul Colon, Anita Kunz, and Yuko Shimizu. 3D Artists who have influenced my work include Chris Sickles, Jason Mecier and Liz Lomax.

Please describe your working process

Everything starts with a sketch and a color comp in Photoshop. Scene development starts with wire armatures, foil, polymer clay and acrylics, followed by building sets, placing characters and props, and photographing the scene. A final polish is done using Adobe Photoshop.

What do you enjoy the most / least about working dimensionally?

I love that there is an endless variety of materials available. I collect interesting objects such as copper pipes, buttons, and LED lights. I put them away until I find a special place for them in my work. There are so many options and so many ways to create special effects. I welcome and sometimes need challenges in my life and this medium certainly satisfies that. Working in the third dimension forces me to learn new ways of solving problems with every illustration. I’m constantly learning about new tools and new solutions. I love it!
Natalie Russo
603.770.8682

artist@natalierusso.com
www.natalierusso.com
images and content © Natalie Russo

Happy New Year!

2009-12-31T03:42:00.000-08:00

Sorry once again for the silence! I am away from my studio and have been for all of December. I haven't been able to post regularly about all the amazing artists working in 3D... but that will change next week when I am BACK! There will be a new post here on Wednesday.
All the best wishes for a happy & healthy NEW YEAR! xo

Sean Bixby

2009-12-10T04:10:00.000-08:00

Sean Bixby holds a BA in illustration from the Hartford Art School. He has enjoyed success with both his painting and sculpting. His painting landed him his first children’s book The Uncrossable Canyon with author James Dongweck of Golden Monkey Publishing. While his sculptures have been shown in multiple shows at the Society of Illustrators in NYC. He lives and works out of Merrimac, Massachusetts.

How or why did you start working dimensionally?
In college I did a lot of work from photo reference. I knew that my style ultimately came from inside my head and I wanted to start creating work in that style. My professor knew the benefits of drawing from reference and suggested that I sculpt the characters from my head and photograph them. When I showed him the sculptures he was impressed and introduced me to the world of 3D illustration and I have been sculpting since.

What or who has influenced the way you work?

I believe my style is the product of my fascination with Saturday morning cartoons and comic books as a child. I would spend hours in my room at night filling notebooks with my own cartoons and comics. These days I am influenced by other artist in all different genres of art. I am a history buff and enjoy visiting galleries and museums. I collect children’s books and recently been looking at a lot of work by Bill Peet.

Please describe your working process.

I usually start with the body of a figure. I create a wire armature and use super sculpey for the head and hands. I paint the head and hands with acrylic inks. The clothes are hand sewn. My most recent sculpture “Shiver me timber (the pirate)”, I stitched a wig and beard out of embroidery thread. My backgrounds are created from various items I find around the house and in craft stores. Finally, I photograph the illustrations digitally.

What do you enjoy the most / least about working dimensionally.

The thing I enjoy the most is the process which is always a learning experience and also the satisfaction that comes with the completion of a successful illustration. The thing I hate most is the hazards; burning myself on my toaster oven or stabbing myself with a sewing needle or x-acto knife (Ouch!).

Sean Bixby

www.seanbixby.com
www.uncrossablecanyon.com

sean@seanbixby.com

images and content © Sean Bixby

back soon

2009-12-09T04:43:00.000-08:00

hi everyone! sorry for the silence and lack of routine posts about amazing artists working in 3 dimensions. I am away from my studio and only have periodic access to a computer... with not the best internet connection... so I will resume as soon as possible. Please stay tuned as I've lined up many more exciting artists to show you!

Sophy Tuttle

2009-12-02T05:45:00.000-08:00

Sophy Tuttle has been sculpting since her mum bought her some Sculpey to keep her busy at 6. Since then, her style has become a little bit more sophisticated, but she's still using the same materials. Currently, Sophy is living and working out of Baltimore, interning at Puppet Heap in Hoboken, NJ and dreaming of moving to Tuscany. She was most recently selected for the Society of Illustrators show in Los Angeles.

How did you start working dimensionally?
I took a class my freshman year at RISD called 3D Illustration. It opened my eyes to the fact that illustration didn't have to be just drawing or painting, and it was a big reason why I chose illustration as my major. I still work in 2D a lot, but more often than not a project just calls for a 3D solution, and it's fantastic to be able to do that.

What or who has influenced the way you work?
When I first started out, Red Nose Studios was a huge influence, as well as Dave McKean, the Brothers Quay, and Henry Moore. I also had a few very influential and helpful teachers... Melissa Ferreira, Jeff Hesser, Jon Foster, and Nick Jainschigg, to name a few. One other major influence is Julie Taymor, although it may not be very obvious in my work. When I need inspiration I go back and watch Titus or leaf through a book on her Lion King characters designs. Her creativity is incredible! The list goes on and I discover new artists that inspire me everyday.

What do you enjoy the most / least about working dimensionally?

I love the freedom to be able to play with layout, color, and focus in a way you really can't do with 2d illustration. Being able to move around my characters and view point is extremely helpful in deciding the look of the final illustration. I also love being able to build things with my hands, rather than on the computer, and have a final physical product. The downside, of course, is the time each piece takes to complete. The work usually takes much longer than a drawing, but you get the same deadline.

Please describe your working process.

I start out with many sketches and ideas, and then narrow them down to a solid concept. I do a very loose sketch of what I think the final will look like and then build from there. I like things to be lose and develop organically, rather than having everything totally planned out before completion. I generally work in either Super Sculpey or Paperclay.

Sophy Tuttle

www.sophytuttle.com

http://sophytuttle.blogspot.com

sophy.tuttle@yahoo.com

images and content © Sophy Tuttle

Revital Falke

2009-11-30T05:37:00.000-08:00

Meet Revital Falke, a 3D artist in Israel working mainly in plasticine and modeling clay. She is famous for sculpting the cast of the TV drama Lost and taking them to the beach to photograph them in Tel Aviv with two friends. Read the full story here.

How did you start working dimensionally?

I was actually always into modeling clay. When I studied at the best known art & design academy in Israel, Bezalel, the illustration teacher told me to forget about plasticine (modeling clay) - he said it's childish, cheap material, "not serious" - so I left it till I finished studying, when I could finally do whatever I want - and it was great! I enjoyed the freedom to work with it, and started sculpturing everything I saw..

I started creating modeling clay figurines of friends, and everyone was curious to see what would their "modeling clay version" look like.. so I started working with icons, characters that are all known, celebs - Madonna, Michael Jackson, Tarantino, and the best know project - the Lost TV show cast.. people were thrilled to see the known figures as modeling clay figurines, so I thought it can be a great weekly section in a magazine - the celebrity of the week - the modeling clay version..

Please describe your working process.

It starts with an idea and a sketch, and then I begin sculpting; a metal wire for the inner structure, then foil for the volume, and then the modeling clay I've mixed to the exact color I want. Then, the fun part begins and I start playing with positioning, backgrounds and angle to get one good shot that can be used as a illustration.

What do you enjoy the most / least about working dimensionally?

I think the options are endless, and mostly enjoy the playful aspect of my work - I can create some figurines and objects, take photos of them in so many ways, so many locations and even lightening style, and then exhibit them as sculpture art. The LOST project was first photographed on the beach, like the original location of the show, but later was presented in a wheelbarrow... and I can keep playing! nothing is taboo, and the photo has already been taken :)
See the full set of the Lost project photos here and also here!

Revital Falke

http://plastilinit.com/

http://lifebyplastilinit.blogspot.com/

revital.falke@gmail.com

phone: 972-54-750-0432

images and content © Revital Falke

Laura Meredith (aka Toasty Illustration)

2009-11-27T04:44:00.000-08:00

Meet Laura Meredith of Toasty Illustration. She's a 3D illustrator based in the UK and she told me...

"school and college art courses left me quite disillusioned with the concept of an art career so i had a break from doing any artwork for 4 years before enrolling on an art foundation diploma course on impulse when accompanying my friend to an open day in 2003. I intended to train as a tattooist and only applied to university as a back up idea. I accepted a place on the Illustration BA course at the university of Portsmouth where we were encouraged to find a way of working away from the traditional mediums of drawing and painting. I didn't branch out to 3d illustration until the middle of my second year and from then on i didn't look back. I graduated in 2008 and since then i have been published in several books and magazines and have participated in several group exhibitions in london, cardiff, winchester and portsmouth."

How did you start working dimensionally?

I think that i had always subconsciously yearned to create something sculptural and tactile, however i thought my career would be in drawing or painting until i discovered the potential of 3d illustration.

What or who has influenced the way you work?

when i first started Chris Sickles was definately a huge influence. since i started to research the medium my tastes have branched out to include sculptors and animators such as Ron Mueck, Suzie Templeton, Paul Berry, The Brothers Quay and Tim Burton. Individual pieces are mainly influenced by found materials or objects which can kickstart the direction of an illustration.

Please describe your working process.

I use super sculpey, wire, fabric, acrylic paints, glue and acrylic doll hair. I have recently experimented with enclosing my work in resin or jars and i love the idea of my models becoming jarred specimens.

What do you enjoy the most about working dimensionally?

I'm very impatient clumsy, and i have been known to ruin a piece in my eagerness to make the finishing touches! I also find that i have to use so many different tools and materials that anywhere i'm working immediately turns into a building site so i'm contantly having to tidy up after myself to avoid stepping in/on paint, needles or wire. What i enjoy most is the sense of accomplishment in creating miniature sets and characters, and the satisfaction when you can finally sit back and see that its coming together and that its the best thing you've made so far- Its great to know that there is always room to improve.

Laura Meredith (aka Toasty Illustration)

www.toastyillustration.com

lmeredith83@hotmail.co.uk

images and content © Laura Meredith (aka Toasty Illustration)

Richard Borge

2009-11-25T08:37:00.000-08:00

Check out Richard Borge, who combines his sculptures with digital photography and found objects. He works on primarily editorial, corporate/advertising illustration and music packaging (imaging and design). More recently he's been working on animation and motion graphics. Last but not least come his personal projects, which usually work their way into his commercial projects.

After graduating from Concordia College in Moorhead, MN, Borge went on to receive an M.F.A. from the University of Arizona in Tucson. He then took a full time position teaching illustration and design at Western Carolina University in NC. He moved to NYC in December 1994. He has taught part time at Rhode Island School of Design in Providence, RI and at The School of Visual Arts, NYC. Early in 2003 Borge taught two illustration workshops in Paris at Intuit Lab and Strate College Designers.

How did you start working dimensionally?

For a while, I was always trying to make things look dimension but was working flat. At some point I just started making things 3D and photographing them like that. I do like working with my hands and making objects/sculptures.

What or who has influenced the way you work?
I am influenced by things that are experimental, whether that be music or visual art.

Please describe your working process.
I always start with pencil in a sketchbook. A big part of what I do as an illustrator is come up with conceptual solutions. For me this is more important than whatever technique I end up using. That said, I use a combination of sculpted objects, found objects and textures, and heavy photoshop. I often times am buying more of my art supplies at the hardware store rather than the art store, and am always looking for interesting things that people discard.

What do you enjoy the most about working dimensionally?
I like working with my hands and making objects/sculptures. I also like to combine this with drawing and photoshop. I think a big part of it is just the tactile quality to working with 3D objects. I don't always like the room that all this stuff takes up when finished with the project.

Richard Borge
www.richardborge.com
images and content © Richard Borge

Jean-Marc Laroche

2009-11-23T06:09:00.000-08:00

Jean-Marc Laroche is a sculptor living near Paris. His influences include movies and comics. He has been creating sculptures professionally for over 20 years. His exhibit at the International Fantastic Film Festival helped to catapult his success. He is most famous for his Art Knives, selling them at American and European Knife Shows. After 12 years he wanted to change directions and make larger works. Today he is focusing on statues and would like to be represented by a Gallery in the US.

Title : Byakhee Knife

Inspired from HP a Lovecraft Story

Lenght : 17 inches

Media : Resin, Damascus Steel, Bronze

Title : Shaman

Dimensions : 23 X 23 X 39 inches

Media : Mixed

Title : Ecorché Mecanique

Height : 44 inches

Media : Resin and Steel

Title : Mecanic Book

13 X 12 inches

Media : Silver on Resin

Title : Spider Lamp

32 X 32 inches

media : Blowed Glass, Bones, Steel, Stones, Resin

Title : Reliquary Head

Height : 17 inches

Media: Bronze, Silver, Natural Quartz Cristal

Title : Venus

Height: 71 inches on stand

Media : Silver plated bronze

Jean-Marc Laroche

www.jmlaroche.com

jlaroche7@orange.fr

33.1.39.16.16.58

Paul Moldovanos, aka The Clayman

2009-11-20T08:53:00.000-08:00

The Clayman is a creator, an animation film-maker, cartoonist, sculptor, comedy writer and designer living in scenic Vancouver, BC. The Clayman is a self taught artist, and entrepreneur who began his cartooning career making polymer clay cartoon fridge magnets for family and friends. This led to a year long internship with a leading Canadian stop motion animation company, Bowes Productions, in the early 90's where, under the mentorship of David Bowes and Lisa Jane Gray, he fine tuned his skills and learned a great deal about traditional hand drawn, and hand sculpted animation. During this time, he participated in a number of productions including television commercials for Pharmasave, BCAA, Lotus Awards and Fuji TV Tongue Twister short films.

How did you start working dimensionally?
I dabbled in sculpture for as long as I can remember, actually my high school ceramics class was the only 'A' grade I ever received. In my early twenties I was mis-diagnosed and had surgery on my right hand. In the process some nerve endings were severed leaving my right hand partially numb to this day. During my post-op physio therapy, it was suggested that I pick up some clay to get the muscles in my hand working. It has been a few years since I last sculpted at this point, but when I picked it up again, sculpting felt easier on my hand than drawing, the rest is history ;O)

What or who has influenced the way you work?

My first clay animation mentors were Lisa Jane Gray and David Bowes with whom I apprenticed for a year in my late 20's. They taught me a great deal in a short time then moved away from the small island town where I lived. The internet had just started which was the perfect way to get my early works out to a global audience. Some 10+ years later, Lisa Jane and I reconnected and I was fortunate enough to work with my mentor again for the past year. Sadly, Lisa Jane Gray passed away a couple months ago but her lessons, inspiration and love for the craft will live on forever in my heart, and in all future works. (I was given all her sculpting tools which I will always treasure!)

What do you enjoy the most / least about working dimensionally?
I enjoy the creative process most, and although the final art is very satisfying, I am quickly moving onto to the next piece to tap again into the creative 'zone'. All sense of time is lost, almost a Zen like meditative space, similar to what the Tibetan monks must experience when spending days and days making colorful mandalas. The part of the process I enjoy least is dealing with clients who do not value what we do and only seek to get the lowest price.

Please describe your working process.
Different processes for different projects. Commercial projects generally begin with conceptual sketches which are the translated into clay illustrations. Personal projects begin with a hand twisted wire armature, coated with polymer clay, baked , painted and photographed. If the sculpts are for stop motion animation puppets, the process involves making molds, pouring silicon rubber over a steel ball and socket, flexible armature.

Paul Moldovanos aka The Clayman

www.theclayman.com

paul@theclayman.com

604-916-0966

David O'Keefe

2009-11-18T07:10:00.000-08:00

Raised on Hollywood, sports and rock and roll music, David O’Keefe has an acute awareness for the images and personalities that have colored the lives of his generation. He just sees things differently – more intensely, edgier, somewhat more perspicuous than the average spectator. The pop culture icons that we idolize, glamorize and glorify, O’Keefe visualizes for us in all their humanness as well as their stardom. An editorial illustrator for over 25 years, O’Keefe began his art career at The Tampa Tribune as a promotion artist, dabbled in editorial cartooning under mentor, Wayne Stayskal, and spent several years as the Special Projects Illustrator for the newsroom.

His sardonic caricatures and humorous illustrations also appeared on the covers of Sports Illustrated, Sports Illustrated for Kids, Mad Magazine, The Village Voice and within the pages of TIME. His advertising clients include Coca-Cola, WaffleHouse, Fuji and SunCom Communications. In 2007, David left his day job to pursue his passion of painting and sculpting pop culture icons. O’Keefe’s work is transformative, capturing not just the likeness of his subjects, but their personalities as well. He has recently released an epic depiction of the characters from The Godfather and of the entire I Love Lucy cast. His company, David O’Keefe Studios distributes his work through galleries across the country and in Europe. David O’Keefe Studios also operates a solo gallery on St. Armand’s Circle in Sarasota, Florida. O’Keefe’s work has won numerous awards from such organizations as The Society of Illustrators (NY and LA), American Illustration, Communication Arts, National Headliner Awards, Dimensional Illustrators, and the Society of News Design. He considers himself blessed to pursue his dream and finds great joy in his work and in his family. O’Keefe currently resides in the Tampa Bay Area with his wife, Janice and their four children.

How did you start working dimensionally?
I started working dimensionally back in the mid-1980s, creating larger than life paper mache sculptures of the likes of President Ronald Reagan and the then undefeated boxer, Mike Tyson. I've always had a passion for caricature and working dimensionally seemed like a natural progression. I experimented with other sculpting mediums, including plaster of Paris for a Billy Joel bust (Mozart style). This is my first sculpted illustration to win an award and bring me national recognition as an illustrator.
In order to create dimensional illustrations for editorial deadlines, I had to work faster and smarter. About this time, a friend introduced me to super sculpey polymer clay. My first big break came from TIME Magazine and art director Ken Smith. Their first commission of me was an illustration about AT&T layoffs. Unfortunately, the art was killed after completion ("too harsh") and I was crushed, but Smith soon gave me another chance to humorize "Mad Cow" disease and British Prime Minister John Major.
In the early 1990s, there was no affordable digital camera, photo imaging software, or the internet. I would get an assignment from TIME on Monday, fax sketches to the art director the same day and usually get a final sketch approval by Tuesday evening or Wednesday morning. Then I would sculpt like mad to the camera's eye only (leaving back sides unfinished,) paint a background or build a set, have my photographer come to my studio Thursday night and shoot a large film slide for the highest resolution. A courier would pick up the finished slide early Friday morning at my home outside Tampa to take back to NYC to meet TIME's Friday 8 pm deadline. What a rush! Literally.

What or who has influenced the way you work?
Aside from the old master painter Peter Paul Rubens, people who have inspired me over the years include the incredibly talented illustrators Ronald Searle, Carl Giles, Carter Goodrich, Edward Sorel, Sempe, Peter de Seve and sculptors Damon Bard and Michael Defeo. I have had the pleasure to work with outstanding art directors like Ken Smith (TIME), Minh Uong (The Village Voice) and my Tampa Tribune AD, Pat Mitchell. All have had a huge impact on my career.

What do you enjoy the most / least about working dimensionally?
As editorial budgets got slashed, it just didn't pay to continue doing editorial assignments. A perfectionist, I became increasingly more dissatisfied with the quality of my work on such short deadlines. I really wanted to sculpt for more than just a photograph - to finish all sides and truly capture the essence of my subject's personality. Today I do a lot of oil painting and work on smaller, finished sculptures. I like to incorporate realistic details such as human hair wigs, doll eyes, moles, wrinkles, and clothing.

Please describe your working process.
Before I start any sculpture, I first come up with the concept and initial sketch of the person(s) I am going to sculpt. Then I study videos and photos of the subject from all sides. Video is especially important in capturing a person’s mannerisms and nuances. I then study the source images side by side, and then amalgamate the person’s likeness into my own style. I won’t start sculpting until I have sketches from all sides. Today, I photograph my own work with a digital SLR camera.

David O'Keefe Studios
2310 W. State St.
Tampa FL 33609
(813)254-5056
www.davidokeefe.com
images and content © David O'Keefe

Paul Harding

2009-11-16T04:27:00.000-08:00

Let's play with the insanely talented Paul Harding!

After graduating from Syracuse Universtity (Illustration) in 1998 Paul moved to NYC and began a career in multi-media design. Soon after, he began sculpting and working for various toy companies. Nearly ten years later he continues to work for companies such as DC Comics, Hasbro Toys, and Marvel Entertainment making statues and action-figures.

How did you start working dimensionally?
I began working dimensionally in an effort to impress a newly-formed contact in the toy industry. This was my first real experience with someone who was responsible for the things that gave me the most pleasure as a child-- action-figures. The rare, beautiful sculpt on a toy would immediately become a favorite posession and the not-so-rare awful sculpt always haunted me.

Please describe your working process.
In terms of my medium of choice, I use a wax-like clay called castilene to rough out sculpts. Then I mold them and cast in my own version of "hasbro" wax to finish. Other than that, just a bunch of small tools do the job... oh yeah, and a digital waxer to drip on wax and carve away.

What do you enjoy the most about working dimensionally?
What I most enjoy about 3 dimensions is that I can see all angles to a subject. With 2d art the subject is limited to one heartless angle. It can seem more difficult to achieve the results that I originally had in mind.

Paul Harding
paul@hardingdesigns.com
www.hardingdesigns.com
www.hardingstudios.blogspot.com
images and content © Paul Harding

Irma Gruenholz

2009-11-13T07:58:00.000-08:00

I know I had said Fridays would be a day to reflect on dimensional artists from the past, but I have SO many current artists to post about that I just can't wait another day. Check out the amazing Irma!
Irma Gruenholz is an illustrator in Spain who specializes in clay and other materials.

How did you start working dimensionally?
I started about 12 year ago without too much asking myself what I was doing. I started experimenting with different techniques to illustrate and I felt very comfortable working with clay, I liked the possibility of this material to work directly on the volume and colour. Gradually, other materials have been introduced, I love experimenting with all kinds of elements and textures.

What or who has influenced the way you work?
My references are quite diverse, I find it quite difficult to say who influenced me most. Some of the illustrators that I admire are: Mattotti, Baudoin, Shaun Tan, Maurice Sendak, Christian Voltz and Ana Juan. I also love the stop motion animations of Svankmajer and Tim Burton. But mostly I am excited to see up and coming new artists, it inspires me to work on new experimental pieces.

Please describe your working process.
First I read the brief carefully and I emphasize what I consider most important, in a second reading I point out the first ideas. Then I look for documentation on the subject if that is required. After gathering all the information I start to develop concepts and specify the materials that I will use. I make a sketch, it is very schematic drawing to help me direct the illustration and from here I begin to model. Once the sculpture is completed I take a photo to send it to the client and once approved we make the final photo in the studio.

What do you enjoy the most / least about working dimensionally?
In this work there is no monotony, each project is different and I enjoy the challenge of finding the best way to communicate concepts with images.
I love being able to experiment with different materials and playing with the interaction between them.
The only disadvantage I see to work in three dimensions is the amount of space each piece takes up. Archiving the finished sculptures ends up being a real problem.

Irma Gruenholz
mail@deplastilina.com
www.deplastilina.com
iirma.blogspot.com
www.flickr.com/iirma
images and content © Irma Gruenholz

Andy Hixon

2009-11-11T05:24:00.000-08:00

Check out Andy Hixon from Manchester, UK! He weaves his images together beautifully using a combination of sculpture, mixed media and digital manipulation.

How did you start working dimensionally?
To start out with when I was studying Illustration several years ago the course I was on was heavily graphic design based, I initially wanted to work in paint and Photography just to be doing something a little different. I had all these great ideas in my head of what I wanted to achieve with my work and what I wanted the final piece of work to look like and what actually came out at the end resembled nothing of what I had originally intended. I felt like I wanted more control over the work I was producing at the time. From this I started experimenting in the Darkroom I really had no idea what I was doing, overexposing 3d objects on photo paper etc just experimenting really and steadily learning more about photography/lighting etc. Then the sculpture aspect came into play, along with that and the photography just clicked for me I guess.

What or who has influenced the way you work?
Initially I was a huge fan of the work of Henry Moore I used to go to the Yorkshire Sculpture Garden quite a bit that contains a lot of his work , I thought ’I want to do that ’ ( but smaller, less highbrow and not in a muddy field). Looking at his work along with Illustrators such as Dave Mckean and Jordin Isip helped shape the way I work today.

Please describe your working process.
Sketch, ball of clay or Polymer or Placticine for animation, model, dry, photograph, Photoshop- in that order. Although I have just began working using 3D Software such as Zbrush & Mudbox which I have found to be really interesting and gives some fantastic results. The sculptures I produce in clay are modelled in detail only on the side that is being photographed they are never a ‘complete sculpture’ and often get thrown away when I am finished.

What do you enjoy the most / least about working dimensionally?
The photography aspect in many ways I feel is just as important as the sculpture aspect especially if the work is in an Illustrative context .I feel that sometimes a camera really distorts the 3d objects hence having to take hundreds of photos with different lighting settings till I get the right one. Other than that it is a very enjoyable way to work in a style that really not too many illustrators are doing right now.

Check out Andy's stop-motion music video for the band Woven!

Andy Hixon
www.andyhixon.com
www.andyhixon.blogspot.com
www.myspace.com/andyhixonart
images and content © Andy Hixon

Jon Knox

2009-11-09T06:52:00.000-08:00

Hello, Brute is the creative work of Jon Knox, a designer/illustrator/artist based in Portland. He was born and raised in North Carolina, and lived in Perth (Australia) for the better part of 2006. He graduated with a bachelor's degree in graphic design from the College of Design at NC State, but spent his free time screenprinting, drawing, and painting. He lived and developed his work in San Francisco in 2008, then moved to Portland where his studio is currently located. His current work focuses on an all-boy crew who are often stuck somewhere between the best and worst moments of their lives. Jon's work has been exhibited around the globe, including solo exhibitions in Chicago and Seattle. One of his latest projects is a series of hand cast resin toys produced in limited editions.

How did you start working dimensionally?
I was in college in 2005 when a professor of mine introduced me to artist toys. I had played around with the idea of branding my portfolio and trying to find an artistic direction, much to the chagrin of most of my teachers. I didn't really know what I was doing, but I felt a huge sense of freedom working without someone breathing down my neck for process sketches and type studies. I really hated staring at a computer screen all day while my brain and butt went numb.
Aside from screen printing and illustration, I spent a lot of time painting on factory-made vinyl toys, but in the end wanted to work on a more detailed surface. A friend of mine coaxed me into learning how to make molds from my own sculptures, so I spent about a year learning and experimenting with sculpting and casting. Once I finished my first toy, I sold the first edition online. The toys have been pretty popular, so due to the amount of interest in them, I began working on them more and more. Now I find myself working on toy projects a majority of the time.

What or who has influenced the way you work?
It changes all the time. I'm sort of a fashion junkie and find inspiration in the clothes people wear, whether they're in vogue or not. I find beauty in people's quirks and insecurities. So when I'm designing the characters, their clothes, color schemes, and imperfections are the quintessence of who they are. As far as the way I work, I went to school for graphic design and it would be tough to say I didn't pick up a lot of habits from working in shared workspaces for 4 years. I am really messy and my studio is a wreck 99% of the time. I am one of those crazy people that feels comforted by clutter and I think my work is a reflection of my mess of ideas.

Please describe your working process.
I try and keep my process loose. Particularly when working in 3D, I don't like sketching and measuring. I like when the proportions are a little off and the sculpture is smattered with fingerprints. I hand make all of my toys and I think leaving the mistakes in them leaves more of my personality in there. I think people relate to it. I start with a wire armature and sculpt onto it with polymer clay. Once my clay figure is sculpted and cured, I make a silicone mold from it. From that mold I cast multiples using polyurethane resin. Those duplicates are then sanded, primed, painted, and varnished – all by hand in my studio.

What do you enjoy the most / least about working dimensionally?

Most: I have complete control from start to finish and there's a lot more room for experimentation.

Least: It's really messy and I think the chemicals are corroding my lungs.

Jon Knox
jonknox@hellobrute.com
www.hellobrute.com
http://hellobrute.com/blog/
images and content © Jon Knox / Hello, Brute™

David O'Keefe

2009-11-06T13:43:00.000-08:00

Originally I had reserved Fridays for looking back at dimensional artists from the past, but I had to post this article after I read it in the Herald Tribune. David O'Keefe has always been an inspiration to me and a wonderful friend since I met him. I'll be posting his work and his interview answers in the coming weeks but for now, enjoy this article by Billy Cox, photos by E. Skylar Litherland.

Laid-off Tampa newspaper artist reinvents himself

By Billy Cox
When editorial cartoonist David O'Keefe got his pink slip from the Tampa Tribune it almost took his breath away.

He'd spent 27 years at the Trib, the first 10 driving trucks as he waited for a newsroom opening. Once inside the art department his flair for compressing politicians, entertainers and athletes into wicked clay sculptures and caricatures found a national audience. The likes of Time, Sports Illustrated, and Mad magazines showcased his work. His footing seemed secure.
"There's just no Plan B. It was gonna be this or nothing," recalls O'Keefe. "Or maybe a sign painter."
Then, two years ago, the Trib announced its first round of layoffs. O'Keefe's talents became a luxury item. In the blink of an eye, this middle-aged father of four with a penchant for elasticizing reality found himself in the midst of his own horrid cliche, a regular Wile E. Coyote in mid-air atop a fizzled Acme rocket.

But instead of whistling into the floor of the Grand Canyon in a poof of dust, O'Keefe has apparently landed on his feet -- at 12 North Boulevard of the Presidents, next to Columbia Restaurant on St. Armands Circle. The resurrection is under way at the newly relocated Wall Art Gallery, a collaboration between O'Keefe and Wall Art owners Chris Cinelli and Robb Makin. The energy on O'Keefe's end comes from business manager Wayne Curtiss, convinced that "David is just on the edge of really taking off."
The most ostentatious show of faith is O'Keefe's "The Godfather," the studio's visual centerpiece featuring the major goons and brains behind the Corleone family. Sticker price: $90,000.

If that sounds like a lot, consider that O'Keefe recently completed a "Caddyshack" assemblage (Bill Murray, Rodney Dangerfield, Ted Knight, etc.) for a commission well into five figures. His patron is Steve Garske, the Par Aide golf mogul from St. Paul, Minn.
But Curtiss says the real magnet will likely be the more accessible inventory. O'Keefe's artwork has been transferred onto puzzles, T-shirts, and even Studio wine labels. "The Godfather," for instance, is pasted on bottles of "Horse Head Red."
"There isn't a person who comes in that doesn't leave with a smile," says Curtiss. "We want them to be able to take something home."
Meanwhile, back in Brandon, far from the business he admits to knowing zilch about, O'Keefe looks like a goofy character emerging from one of his own paintings.
Please click HERE to read the rest of the article!

Red Nose Studio

2009-11-04T03:31:00.000-08:00

Chris Sickels welcomes us into the amazing world of Red Nose Studio. His illustrations appear in advertising, magazines, books, newspapers, packaging, character development and animation. His work has been honored by virtually every award institution or annual.

How did you start working dimensionally?
While finishing college, I saw some puppet performances by Mark Fox that were full of movement, lighting, sounds, smells, textures, and when i would go back to the studio to paint, myself and fellow painters would talk about how after seeing one of those performances, working on a painting seemed so still and dead. Eventually I started trying to create puppets of my characters. This is how I got hooked on building things, it all tied back to the toys I tried to make as a kid. So over time while I was illustrating as a painter I continuously worked on building puppets and trying to find a way to use them in my illustrations and after about 3-4 years of trial and mostly error, I was able to have an art director that had enough confidence in my work that she was willing to give the 3D work a shot.

What or who has influenced the way you work?

While working as an art handler at the Contemporary Art Center in Cincinnati in the late nineties, I helped install an exhibit of Tim Hawkinson's work, meeting somebody like him and seeing how he manipulates materials and constructs his sculptures, really opened my eyes to how someone can create things beyond just oil and canvas. The list of influences runs on and on from Dave McKean and his 'Mr. Punch' graphic novel, the stop-motion work of the Quay Brothers, Nick Park, the puppet performances of Mark Fox, Eric Sanko, and seeing the footage of Alexander Calder performing his Circus. The most important influence on the way I work is my growing up and working on a small family farm, I was taught how to use what you have on hand to fix/solve the situation that arises. Watching my Grandfather, who able to fix just about anything with a pair of pliers and some wire. To this day, wire is is the core of all my figures.

Please describe your working process.

Sketching , Sketching and more drawing, this is where it all starts. Once a drawing can successfully convey the concept, everything gets built from there. Often I do some very rough watercolor studies and dig thru drawers of fabric to establish a palette. The camera angle/ viewpoint is kept in the forefront of the building process, so things can be created efficiently, much like a stage or movie set. The facial expressions of the characters play a large role in my images, so considerable attention is put on the sculpting of the figures and the rest of the environment is built as it needs to be to help direct the viewer through the composition. Lighting the set and adjustments to the camera angle and figure position are made up until the final shot. It usually takes at least 100 test shots throughout the process until everything seems to fall into place.

What do you enjoy the most / least about working dimensionally?

MOST: Visual problem solving, coming up with concepts, the ideas. Being able to work in all facets of art- drawing, sculpting, painting, building sets, making props, costumes, photography, and lighting to create my own little worlds. LEAST: Not sure, probably space constraints, and the fact that I think I am on am mission to find the most difficult way to create illustrations.

Red Nose Studio has been featured in Communication Arts, HOW, Print, Creativity and 3x3 Magazine, as well as in a number of art and design books including Taschen’s Illustration Now!. He has twice been honored with the Carol Anthony Grand Prize award from the Society of Illustrators 3-D Salon. Two of his short films, The Red Thread Project and Innards, were selected to screen at the 2005 and 2006 Los Angeles International Short Film Festival. He authored and illustrated The Look Book, and has illustrated the children's book Here Comes The Garbage Barge that will released in February 2010.

Red Nose Studio aka Chris Sickels
chris@rednosestudio.com
www.rednosestudio.com
images and content © Red Nose Studio
for commissions, please contact:

Magnet Reps || Artist Representatives
1-866-390-5656, art@magnetreps.com
www.magnetreps.com

Bill Nelson

2009-11-02T04:04:00.000-08:00

Feast your eyes on Bill Nelson, an internationally known illustrator, sculptor and ventriloquist figure maker living in North Carolina.
His one-of-a-kind figures and automata have made their way into the private collections of Demi Moore, Whoopi Goldberg, David Copperfield, Bruce Willis and Richard Simmons among others. His illustration clients include Columbia Pictures, Sony, Reebok, Estee Lauder, Time, The New Yorker and more. Read more about Bill's extensive career here.

How did you start working dimensionally?
Well, I've been sculpting since 1985 and took an interest in creating dimensional "Pushed Portraits", as I like to call them, about a year ago. It seemed like the influx of computer-generated illustration was putting an end to my career as a 2D illustrator and it was either start sculpting recognizable characters or become a WALMART greeter!

What or who has influenced the way you work?
The SPITTING IMAGE team of Roger Fluck and Peter Law did it for me. I'd never seen anything like their work before and I wanted to be them! However, the next best thing was to continue being me, and teaching myself the art of caricature in the round.

What materials do you use?
First of all I use nothing but SUPER SCULPEY, (never to be confused with that horrible regular Sculpey... that stuff is "mean-spirited and cruel!") I use the most realistic glass eyes I can find and I use wigs or used toupees, or, in some cases, I'll sculpt the hair, but rarely.

I paint/tint their faces using chalk pastels and apply them with a soft-bristled brush, much the same way a woman applies blush. Done right, it can look like airbrush.
When possible, I use old dentures but the heads would need to be near human-size to do this and most of the heads I sculpt are about 8" or 9". The Julia Roberts piece has real dentures even though her head is only about 7.5"

Bill Nelson
nelson_studios@hotmail.com
www.billnelsonstudios.com
images and content © Bill Nelson

Niki de Saint Phalle

2009-10-30T09:58:00.000-07:00

I thought I'd make Friday a day for posting about an artist from the past who has created dimensional work. Here is a personal favourite of mine, Niki de Saint Phalle, who had a huge influence on me from the moment I learned about her in foundation year art history class at Parsons (thanks to Sharyn Finnegan!). Niki made me think that bigger things were possible.

The following excerpt is taken from http://www.oneroom.org

Niki de Saint Phalle was born in 1930 in France. She began producing her first paintings in 1950. This led to assemblages in plaster and her "shooting paintings". These pictures were plaster with containers of paint beneath the surface which would explode when shot with a pistol. More sculptural assemblages followed and in 1965, de Saint Phalle created her first "Nana". These large, voluptuous and brightly painted female figures were made originally in papier mâché and later in polyester.

De Saint Phalle has designed stage sets and costumes, created movies, graphic work, chairs and a sculptural playground. One of her large works includes a giant Nana that can be entered by walking through the vagina. In additon, she and her son produced a book for children about AIDS and she even has her own perfume.

A part of her most ambitious work is pictured here, the Tarot Garden, a sculpture park in Tuscany. The Wheel of Fortune in the water was created by her husband, Jean Tinguely. The Tarot Garden features mirrors, glass and ceramic mosaics. De Saint Phalle had never used these materials before and they show the influence that Antonio Gaudí had on her work. This park contains Nana-like figures as well as the "skinnies" which proceeded them. Serpents, fountains and sculptures you can walk into are often a part of her work. They appear here on a grand scale. There is a fun, theme park quality to the place with its bright colors and sensual rounded forms covered with elaborate surface designs. A relation to "outsider " art such as the Watts Towers can also be seen in this playful portrayal of the arcana of the Tarot deck.

Jessica Fortner

2009-10-28T06:57:00.000-07:00

Check out Jessica Fortner, an illustrator who lives and works in Toronto, Canada. Her artistic method and medium can be described as sculptural photo-illustration. She constructs characters and sets, stages them and photographs the scenes to produce the final illustration. Her work offers a unique aesthetic, sense of humour, and approach to visual storytelling.

How did you start working dimensionally?

What I love about being a sculptural illustrator is the freedom to incorporate many different elements. Often illustrators draw or compile images in photoshop to create an image, but because there are still so few sculptural illustrators there are still many different avenues to explore. You can get a very unique look and feel that often can't be found in drawn images.

What or who has influenced the way you work?

These days, with access to the internet, there are so many things to find inspiration in. There are so many fantastic artists, designers and illustrators out there it's hard not to be influenced. Some of the artists that I admire are: Tara McPherson, Elizabeth McGrath, Chris Ryniak, Mars-1 and Kathie Olivas to name a few. The list could on forever. It was my introduction to Chris Sickles' (from Red Nose Studios) work that made me realize that I could put all the things that I love into an image.

Please describe your working process?

I start by making a sketch. In the sketch I try to work out composition, mood and perspective, especially if I will be compositing the image in Photoshop (which I sometimes do). I often like to keep my characters posable to be able to try a variety of poses when composing an illustration. That's why I tend to sculpt the head, hands, feet, and other extremities in clay while keeping the joints bare. The body is built on a flexible aluminum wire, then various fabrics and stuffings are used to fill out the body without making it too rigid to pose. I use a variety of materials in my illustrations to create textures and a realism that I can't achieve just by sculpting. It helps give a natural feel to the pieces.

What do you enjoy the most / least about working dimensionally?

Mostly I love being able to mix up many mediums/techniques in a single project. Because of the way that I choose to illustrate ideas, it is important for me to have a wide range of skills; from drawing to sculpting, sewing, pattern-making, photography and digital media (programs such as photoshop/illustrator). I need to know the capabilities of many materials in order to achieve the look that I want. This has it's disadvantages but it also makes every illustration new and keeps me excited about the process. I'm constantly learning new things.

Jessica Fortner
Sculpture and Illustration
info@jessicafortner.com
www.jessicafortner.com
images and content © Jessica Fortner

Chris Walsh

2009-10-26T07:45:00.000-07:00

Meet Chris Walsh, a sculptor and 3D illustrator based in the UK.

How did you start working dimensionally?
Before deciding that I wanted to be an Illustrator I studied on various art and design courses during college and tried so many different ways of making images, but I didn't really like any of them. I became fascinated with stop motion animation around the same time, I loved the figures and props and wanted to try making them myself, which I did for a short time and it felt like a very natural way for me to work.
Despite my love of 2 dimensional illustration I've never been very good at it, so when I got to doing my diploma in Graphic Design and Illustration I struggled to compete with the other students. I was looking through a book full of stills from various stop motion movies and shorts one day and realized that they looked great as stand alone images, and I had the crazy idea that rather than draw- I could sculpt and make everything in the scene and photograph it. I did, and everyone seemed to like it, even me.

What or who has influenced the way you work?
Again I think that my under-developed drawing skills come into play here. I've always found it tough to visualize a 3d object in 2d, and I found it especially difficult to convincingly light a scene in 2d. When I first started doing this I was a huge Tim Burton fan (I still am) and I loved the way he used lighting to make a scene so atmospheric. I started to experiment with lighting a lot in my earlier work and it became the thing I enjoyed most about working this way. 'Vincent' and 'The Nightmare Before Christmas' were certainly my biggest influences when I started off. Many years later I discovered David O'Keefe and Liz Lomax and they became a massive influence on me, and trying to keep my style unique and different from theirs certainly has an effect on how I work.

Please describe your working process.
I'll usually have a pretty strong idea in my head of what I want to begin with, I'll do some rough pen sketches on layout paper to figure out the composition I like best, and make some individual sketches of anything that might be a problem to build in 3d, then I'll try to figure out a way of doing it. I like to rough everything in first, so I'll rough out any characters in clay, and put together a very crude version of the set using cardboard, sometimes I'll use existing models as placemakers and photograph this rough version. I'll put it into photoshop and sketch over things, colour parts in etc and just see how it works as an image. I may have to move bits around or totally re-think parts of it. Once I'm happy that the image will work I begin to replace all of the crude cardboard parts with better parts one at a time, until the set is finished and painted. I light it and sometimes take hundreds of photos with different lighting variations and slightly different camera angles, by which time it's usually 4am and I fall asleep. The next day I spend picking the best ones before I crop them and make some slight enhancements in photoshop.

What do you enjoy the most / least about working dimensionally?
Well the things I like the least are the time it takes to produce a piece, the amount of space each piece takes up, and the mess it makes, oh and the cost of all the materials. But what I enjoy the most is having quite a unique style that I love working in, and seeing that other people are enjoying my work.

* Chris is currently accepting commissions for custom made cake toppers and figurines for weddings and other special occasions, pieces can vary in size from 51/2" toppers to 10" centre piece figures and anything in between. They are hand crafted using polymer clay on top of a small wire armature, and then airbrushed using acrylic paint. Feel free to email Chris (chris@chriswalshart.com) for further ordering information, and check out the new website coming later in the year at www.chriswalshart.com

images and content © Chris Walsh