The idea started after seeing weeks of wildly colorful #CopicART tweets from graffiti artist NoverNYC. (Here’s a colorful Twitter gallery showcasing his recent work.)

We’ve got the whole crew sharing wisdom: NoverNYC, TESKoner, CortesNYC and Viper625.   

Viper625

1. How did you get started with art, who were your earliest inspirations for creating artwork?

Viper625: I got started sketching letters after seeing the fourth issue of 12OZ Prophet. I had always been interested in graffiti but really didn’t know how to start. That is when I began to practice calligraphy. From calligraphy I became familiar with letter structures and somehow it turned into graffiti. From then on it’s been letters, letters and more letters.

CortesNYC: I used to admire the art of Mode2, Seen, Simon Bisley, Giger, Dali, Diego Rivera. My art was also inspired a lot by musicians like Eric B and Rakim, Public Enemy, Cypress Hill, Nirvana, Smashing Pumpkins, all that early 90′s rap and rock.

TESKoner: I’ve been into art as long as I can remember, so I have no clue. Whatever it was, I’m glad it happened. As for early inspirations, the first thing that jumps to my head was reading about the Sistine Chapel paintings as a youth. That scale and scope of work floored me.

NoverNYC: I got started with art by drawing from comic books. Owning so many comic books, I was drawn to start drawing, myself. Besides comic books, I was always interested in graffiti. Coming from the Bronx, I was always inspired by graffiti. One person that inspired me to do graffiti was kase2, who lived in the same neighborhood, and I used to watch him paint all the time.

CortesNYC

2. Who inspires you now, how do you stay creative, what keeps you going?

Viper625: There are so many artists that inspire me. Graffiti artists all over, graphic designers, traditional artists – it’s difficult to name them all. I find a lot of inspiration in colorful nature photos and architecture. Nature is a great place to find effects for letters as well as fill color combos. I have been through different names looking for the letter sequence that I enjoy. I believe there can be a balance of crazy detailed letters and creative art. I try to keep moving and not be an artist that has the same style for 20 years LOL (not that there is anything wrong with that). That is what keeps me going.

CortesNYC: Nowadays, I’m inspired by movies, social media, and traveling. I’m very active on YouTube. My channel is a big part of my creative growth. I have a series called GraffTour that documents all my projects, traveling and painting in different states and countries. I have also gained an appreciation for music acts like Pearl Jam, Sadat-X and KRS who continue persevere even after the spotlight fades. Their careers demonstrate the importance of continuing to mature and inspire the next generations of artists.

TESKoner: There’s really too many to list. I feel creativity is nurtured by just sketching every day, and when your not sketching, thinking about sketching. staying in the grind whenever possible. As for keeping me going, its definitely my need to create a better piece than my last. Its such a great feeling when that is accomplished, at the same time, a crushing defeat when I fail. It’s a double edged sword mastered only with stubborn discipline.

NoverNYC: Right now I get my inspiration from so many peple, some are: Totem2, Daim, Peeta. I also gain inspiration from the other members of the group I’m a part of. They all do really amazing work. What keeps me going is how far I can take what I’m working on, what kind of effects I can create. When it comes to graffiti, it’s a form of art you can only get better at over time.

TESKoner

3. What role do black books play in your art making process?

Viper625: Black books/sketch books are the foundation of all my pieces. It is the place where I am able to experiment with styles and ideas that can later be turned into crazy pieces of art. Practice makes perfect.

CortesNYC: Black books are everything to me, they are where I found my creative voice. My father was an architect and he had markers at home, so I learned quickly to use them in black books. It’s where I document my feelings and inspirations. It’s a sacred creative space for me. Growin up sharing space all my life with my brother or roommates, I never had space to paint or create big projects. So, I knew I could escape into my black books and feel like I was communicating on a large scale with the world. No idea was too small or silly to be explored in my black books.

TESKoner: The book is the drafting table, the work out room and the think tank. Its a place to hone your ideas, create new style, develop existing style, and most importantly just to exercise your art.

NoverNYC: Black books are something to keep the edge going, a sketchbook to perfect my skill before I put it onto a wall.

4. Do you consider filled black books stand alone works of art, or part of a larger process?

Viper625: Black book pieces are definitely pieces of art, but they’re just practice for a larger creation.

CortesNYC: To me, black book artistry is it’s own genre. Just like custom airbrushing cars, If black book art is done right, it can leave a stronger impression than a polished canvas. Black books can communicate directly and intimately from author to reader in a way that public street art can’t. Nowadays, I approach my black books like a musician entering a recording studio, and I approach my graffiti walls like it’s a public concert. I don’t put one over the other, I need them both to continue growing as an artist. When I paint walls, I am fueled by the memory of the experience, sharing the time with my peers, the challenge of the scale and working with the environment. Black books are a technical exploration of my ideas. I am working alone, composing layouts, and storing my memories. My books are a resource I can always go back to and revisit easily, whenever I need inspiration.

TESKoner: Absolutely, it’s a work of art just to fill one if you ask me. That alone is an act of discipline – mainly because, by the time I’m nearing the end of a book, I usually dislike the work in front of it. For me, that makes it difficult to even continue the book, it’s easier to just get a new one. I had been writing for a good bit of time before I ever attempted to fill one book straight through.

NoverNYC: It isn’t only a filled sketchbook, but a blueprint to what we plan on doing. It’s also part of a bigger process because for most artists, it’s the foundation of most wall art, where a wall piece might start from.

NoverNYC

NoverNYC

5. Have you always been drawing in sketchbooks this way?

Viper625: Yes. Since I started drawing letters they’ve all gone in sketchbooks. It’s just the way it goes. I have had over twenty sketchbooks over the years. Some have been filled all the way while others have only had a couple of crazy 2-pagers. Most of them are out somewhere making their rounds.

CortesNYC: I have many types of black books, I have books filled with doodles and random notes, ideas, scribbles and tags. I have books in which I’ve forced myself to complete ideas and finish entire compositions, page for page. I have other books filled from front to back with life drawing and nude figure sessions all done in straight ink. I have other books that I carry with me on paint tours to have my peers sign and to take notes along my trip. I try to designate a task for each book in order to learn new skills and keep my inspirations organized.

TESKoner: I’ve been writing for 15 years, I’ve filled eight books completely.

NoverNYC: You get better as you progress. That said, I haven’t always worked on black books, but over the years I have filled some. I’ve also put a lot of work in other writers’ black books.

6. Do you do any planning sketches before you start hitting the books?

Viper625: When I start a sketch I use pencil. That allows me change lines as I please. Most of my sketches start as basic letters and I change/erase lines as needed. When I feel a piece is finished I start coloring and then ink it. My sketchbook has tons of messy sketches and notes in it sprinkled with crazy sharp colored pieces.

CortesNYC: I usually just hit the books straight up, sometimes straight with ink. Other times I sketch lightly with pencil and doodle quickly to come to a solid concept. I’ve even tried sketching with my eyes closed, just to jot down a messy idea. Afterwards, I can analyze the sketch strictly for the content, not how it looks. If the idea is still valid, I try to sketch it in a good book properly.

TESKoner: Sometimes I’ll get an idea when I don’t have access to my book, so I’ll start planning it in my head. But most of the time, the sketch evolves in the book.

NoverNYC: The sketches in the book are the planning process before I begin the real work on a wall, that’s where I see what colors work best, and try out new or different styles, such as 3D, wildstyle, or characters.

Viper625

7. Is there anything you’d like to say about the recent increase in awareness about street art?

Viper625: It’s great that street art is becoming more accepted by society as an art form. 

CortesNYC: I’m glad that Street art is becoming so popular, it’s a huge change from what I used to experience in the 90′s. I’ve had to get used to the spectators at walls, and the questions from fans. I was brought up in a world of graffiti that was very private and secluded.

TESKoner: It’s not going anywhere.

NoverNYC: It’s great that it’s being paid attention to on a regular basis worldwide. It’s being used by different high fashion designers, and that’s opening doors to all graffiti writers to use their art as a means to make a profit off of their own work, and gain a platform of respect as a widely accepted form of art.

CortesNYC

8. Anything you’d like to say to people who simply perceive street art as vandalism?

Viper625: Meh, good for them.

CortesNYC: I don’t understand how anyone in 2012 would not be aware of all the different types of Street Art/Graffiti. I feel that anyone who is against street art nowadays is just playing devil’s advocate to create controversy. In the 70′s-80′s, New York was truly covered in random graffiti art and other vandalism, and I understood why a spectator would be confused. But nowadays, most major cities have cleaned themselves up and graffiti art has found places to evolve with pop art, muralism & commercial illustration. Graffiti in 2012 looks NOTHING like the scrawled main streets of the 80′s.

TESKoner: Not particularly. People who have those feelings have their minds made up and I couldn’t care less to change it.

NoverNYC: For those who have that kind of opinion, I don’t have much to say. If it wasn’t for the vandalism that started out graffiti, it wouldn’t have reached the magnitude it’s at today, and I myself probably wouldn’t have had a part in it.

TESKoner

9. Do you ever consider your work to be at the cutting edge of typography?

Viper625: Not really. It is a passion, I’m not out to prove anything.

CortesNYC: Some of my graphic treatments and logo style treatments are definitely experimenting with typography. I’ve done lettering for rappers like Jeru The Damaja, Lords of the Underground, Mad Skillz, and Keith Murray. My graffiti letter forms are born out of organic handwriting styles. I mix tags, with serifs and Old English flares. I also warp the letter shapes to become more animated. My graffiti piecing style letters have been described as Metallica-esque because of the razor like tips and arrows.

TESKoner: I don’t consider my work to be the cutting edge of anything. I’m just a humble guy who has this fascination with letters, nothing more, nothing less.

NoverNYC: Yes, one of my main goals is to manipulate my tools of choice to create realistic scenes or effects like 3D, steel, water, rocks, metal, etc.

10. How can an untrained viewer learn to decipher some of the wilder letterforms?

Viper625: Most of the time “wildstyle” letters have more of an abstract letter structure. Sometimes they’re an “idea” of a letter. Try to look at the letter without all the add-ons if possible.

CortesNYC: Just like in any art genre, you have to first become familiar with the movement, and then with the artist’s individual contribution to it. Once you inquire about the artist’s name, then you can begin to find the letter forms. There is a misconception that graffiti is a hidden code. Graffiti is not supposed to be a trick. Graffiti is a genre of lettering, and once the viewer embraces the genre, and discovers the artist’s name and style, they can begin to decipher the letters and appreciate the craftsmanship. 

TESKoner: That can be difficult. Every style is different, some more legible than others. I suppose one way would be to acclimate yourself to the art form, perhaps starting a black book for writing graffiti yourself.

NoverNYC: From an untrained eye, it can be visible, for some people it isn’t. The best way to decipher what that work of art represents, you have to take in everything you’re looking at. Its colors, its shapes, the mood it puts you in, or what it makes you think of, as it would be with any other form of art. But it can be taught to be legible.

Nover NYC

11. Do you ever find yourself obsessing over letters, like bending and warping them in your mind?

Viper625: Yes. Before I start a sketch I imagine a basic letter in a way I haven’t done before. Slanted up, down, backwards, etc. Sometimes I get a headache before anything is on the page! I try not to use letters I have done before. Recreating letters will not get me anywhere. Sometimes the first part of the sketch is the most difficult.

CortesNYC: Only when I freestyle off the top of my head. That’s when I occupy my mind with the different letter movement to best fit and interlock the entire piece before even touching the paper or wall.

TESKoner: Frequently. That’s pretty close to what happens.

NoverNYC: Yes, all of the time, that is my goal, to create an individual style and call it my own. That is one of the main concepts of graffiti, to be known individually for our own craft, to bring something to the table.

12. Should people give graffiti writers respect from an artistic calligraphy and lettering design perspective?

Viper625: Of course. Graff artists are letter designers above anything else.

CortesNYC: I have personally applied a lot of the calligraphy and typography concepts that I’ve learned into my graffiti style. I feel non-graffiti artists see the craftsmanship and appreciate technical skill but don’t realize that most graff writers incorporate formal design principles fluidly into their street style. 

TESKoner: They’re really different processes, so that’s up to the beholder. Personally, I usually only hold the respect from other writers in any relevant regard.

NoverNYC: Of course, even if you don’t agree with the illegal aspect of graffiti it deserves its respect from all aspects of the lettering or calligraphy perspective.

CortesNYC Art

13. Do you ever consider graffiti writing to be contemporary calligraphy?

Viper625: That is what graffiti is all about – the letters.

CortesNYC: When it’s hand scrawled tags, I can definitely see the expressive nature of their calligraphy.

TESKoner: There are some similarities indeed, particularly in certain handstyles. However graffiti and contemporary calligraphy doesn’t seem like a reasonable comparison to me, just my opinion.

NoverNYC: It is already considered contemporary calligraphy, right now it’s being used in all forms of mainstream art and fashion, fonts being created to look like different types of graffiti styles.

14. What’s the future of graffiti, where is street art heading?

Viper625: I see street art getting more colorful and abstract. Styles will continue to evolve and become more technical. It would evolve a lot quicker if artists would get out of their comfort zones.

CortesNYC: I am guessing it will continue to gain mass appeal and become more corporate. I have never seen so many products and merchandise in the graffiti scene, as i do now. There are so many brands of paint and other vendors clinging on to street art. This new commercial environment is raising up a young crop of street artists that never experienced the old stigma of vandalism or gangs. So i’m looking forward to seeing what the next wave of artists bring to the movement.

TESKoner: (no comment)

NoverNYC: The future of graffiti is heading into becoming something more accepted, it’s heading in the right direction. I hope it opens more doors for graff writers to be able to express their work. I also hope that the future of graffiti is headed into a time where people with a prejudice against street art can understand it and business owners will be more open to having graffiti on more walls.

TESKOner

15. Why do you like using Copic markers in your black books?

Viper625: The rich colors, amount of colors available and they blend easily. Good solid color is what I look for. They are a great tool for any artist. Other markers don’t compare as far as quality.

CortesNYC: Copics tend to leave a smooth coat of rich color where other markers might streak. I love the variety of tones and tips. The brush tip is my favorite for fast marker comps. I’ve been slowly building up my set. I hope to have a complete set by the end of this year.

TESKoner: They’re the best markers I’ve run in to at this point. Refillable, excellent color choice, and the versatility of the brush tip is the icing on the cake. I also love the fact that their shape prevents them from rolling off my table. In short they’re the best, period.

NoverNYC: Out of all the markers I use, Copic markers give me the most control, I get the best effects and illusions out of them. They bleed the least from all the other brands I use. They also have the best color selection I’ve seen. Most of my greatest pieces have been done with Copic markers.

GWB on Tumblr

Find Viper625 here.
Find CortesNYC here, on Twitter and YouTube.
Find TESKoner here.
Find Nover NYC here and on Twitter.

Tell us about yourself!
I was born in Birmingham, England in 1971. Before immigrating to South Africa in 1983 I had travelled extensively across Europe with my family. In 1989 I completed a commercial matric at Joubert Park Tech with distinctions in fine art and then completed a diploma in interior design. In 1991 I started working for a commercial interior design company as a part of a young team of designers. I was responsible for my own projects, from conceptual design through to completion. Here I gained experience through working on diverse projects consisting of franchised restaurants, cinema complexes, theatres, car showrooms, commercial offices and boutiques in South Africa.

Towards the end of 1994 I moved to hotel design which consisted of larger hotel projects completed in groups as apposed to individuals being responsible solely for a project. I was mainly given the responsibility for conceptual and presentation work, and occasionally for the technical drawings and details when it came for my own areas within a project. However, on smaller projects such as commercial offices and hotel renovations my responsibilities would extend to the completion of the project. In 1996 I moved to Austria after being approached by a shoplifting company to set up a interior design department within their existing structure of 100 employees. During this time I developed and trained employees in aesthetically designed presentation layouts, elevations and perspectives. We specialized in hotel, resort, restaurant, health & spa design, casino and nightclubs. In 1998 we won our first European Design Competition, which was to design a 5 star luxury hotel in Bayern Germany.

After my contract was completed in 1999, I set up my own design agency in Austria, namely Paul Hill Designers. Besides having my own clients and projects in Germany, Italy, Poland and Austria, I assisted other interior design companies, architects and shopfitting companies with their concept designs.  Since relocating to South Africa in 2004 I have been working as a conceptual architectural illustrator on a contractual basis.

When did you first become interested in architectural design?
Funny enough, it was never my intention to get involved with architecture. I was one of those restless kids at high school, getting up to nonsense and not paying any attention to my education. I had to change schools on a regular basis until my parents had no other choice but to take me out of the normal academic structure and enroll me at art college. Art College was awesome. instead of maths, english, geography, biology etc, our subjects were drawing, charcoal, pastels, water colours, oil painting, silk screening, sculpture, fabric and jewelry design.  Even though I excelled in art, I had absolutely no idea how to earn money as an artist. I quite fancied woking in an advertising agency doing graphic design, but that was already becoming more and more computer-based, which didn’t appeal to me. I kind of stumbled upon interior design which gave me the opportunity to draw perspectives, build models, choose materials and work out details. Not many people wanted to do the perspectives and I soon found my niche. Becoming more involved in architectural design happened  out of necessity due to vague design briefs and ridiculous deadlines. It’s not like you can ask your client every 5 minutes “what’s supposed to happen there?”

What’s the best thing about your job?
To be honest, work is one of those things that most of us have to do. I can’t imagine what it must feel like having to do something day in and day out and not be passionate about it. Having a talent and being able to develop it every day is awesome. When I first got involved in architectural design, getting started with a new project seemed somewhat daunting, whereas nowadays the ideas start as soon as I put pen to paper. I thoroughly enjoy being involved in the conceptual phase of architectural design as my illustrations are used for the initial discussion phase with the client and to get the ball rolling. I also have the freedom to experiment with different rendering techniques, and get to experience a very fun part of architecture before budgets, materials and completion dates are put into place.

What’s the most challenging thing about your job?
The most challenging part of my job is letting go once I have handed over my idea and philosophy to the client. I have had to accept that my illustrations are used to sell an idea or concept which is not influenced by reality. However I am a firm believer that even though both good and bad design costs money, it is still possible to interpret a good idea and process it without exhausting the client’s resources.

Why did you choose Copic products for your illustrations?
My first experience with Copic markers was at art college. During our first year, one of the students in our class had somehow managed to get a freelance job rendering an interior perspective for a supermarket. With this, our lecturer decided that while helping our classmate it would be a good opportunity to show us various rendering techniques. Needless to say we were all fascinated. It was, however, only once I started my first job as a junior interior designer that I really got into using them. At the time most of the other employees showed more interest in designing as apposed to presentation, and this is where I found my niche. Over the years I became more and more involved in rendering plans, elevations, ceiling layouts and perspectives, until finally being responsible for design.

Do you prefer traditional media over digital?
It seems crazy that at the age of 40 I have started to appreciate what computers are capable of. I mean, it was only 6 months ago that I finally started creating an online portfolio and blog. Over 18 years of my illustrations are in other companies’ archives. I have to admit that even though I do my fair share of colour renderings, my favorite style of illustration is in black and white with Multiliners. It’s a strange phenomenon, but only once I have constructed the initial illustration do I know whether to render in colour or continue illustrating with lines. Funny as it may be, but the drawing lets me know how it wants to be completed. I have tried to ignore this, but never successfully.

I have a huge respect for digital illustrations, and have started to explore various rendering techniques in Photoshop over my hand drawn line work. The possibilities are endless and the end result quite unique. Recently I discovered Autodesk Sketchbook Copic Edition for Mac and was blown away with how realistic it renders, and will be trying this out in the near future.

What are you working on right now? Any personal projects?
This year has proven to be somewhat different from the previous years, in that I have become more and more involved in the urban development of projects instead of the artist’s impressions. So far this year I have been involved in various hotel and resort designs, nature reserves and mall designs throughout Southern and Central Africa. I have also assisted on the interior design concepts for hotels in Austria, Germany and Italy, as well as working on local landscaping projects.

Favorite band or musician at the moment?
I live for progressive trance and preferably not the commercial stuff. My favorite producers at the moment would have to be Markus Schulz, Lange, John OO Fleming, Above and Beyond, Kyau and Albert as well as Alex Smoke. On occasion I also enjoy Depeche Mode, U2, Linkin Park, Red Hot Chili Peppers and Foo Fighters. The list goes on.

Any words of advice for new artists?
Start your composition by breaking down each component into the primary shapes. As soon as you are happy that everything is where you want it to be, start adding detail into the individual components.

Always build your drawing up evenly and don’t be in a rush to overdevelop a particular part. Be patient. A lot of your ideas will come as you are weaving your way around the composition for the entire illustration.

Towards the end of the illustration it is easy to get a little restless, but this is where the difference between an awesome illustration and a normal drawing is most visible. Just remember to dot your I’s and cross your T’s… 

Find Paul on the web:
Portfolio: paulhillillustration.co.za
Facebook:  facebook.com/pages/Conceptual-Architectural-Illustrations
Twitter: twitter.com/PNHIllustration

When did you first become interested in architectural illustration?
I’ve always been interested in Industrial design, concept art and illustration. As a kid I was fascinated by the design work of Ralph Mcquarrie and Joe Johnston who, among other things, were the lead designers behind the original Star Wars movies. While in the Landscape Architecture program at the University of Oregon I found that I really enjoyed producing the Landscape and Architectural renderings that would accompany our design group’s final presentations.

Do you have any formal training?
I graduated from the Department of Landscape Architecture at the University of Oregon with a Bachelor’s degree in Landscape Architecture as well attended a couple of different design workshops over the years. But other than that I have had no formal training, just a lifelong love of drawing.

What’s a typical day at work like for you?
My typical day is split into two parts, the first I spend at the Landscape Architecture Firm of Cameron McCarthy here in Eugene Oregon, where I focus primarily on Landscape and Architectural illustrations for design concepts, proposals and promotional purposes. I also work from home as a Freelance Illustrator, where I focus on illustrations for books, graphic design and logo and character development.

Why did you choose Copic products for your illustrations?
I’ve used Copic products for years, they are fast and easy to use and the wide variety of colors allows for a fair amount of flexibility with regards to illustration. I use the Mulitiliners for the initial line and texture work and then follow up with sketch markers for color. I use a standard set of go-to sketch colors in virtually every rendering and then mix it up with different hues to help establish the overall drawing mood. When I am done working with the Copics I usually follow up with colored pencil to add an additional depth of color and texture.

Do you prefer traditional media over digital?
I feel both types of media have very important places within the design profession. Digital media is great for products that may require future revisions, I think for this reason it is a fantastic move that Sketchbook Pro came out with a Copic Color edition, I am now able to  utilize my traditional Copic color palette while having the streamlined flexibility of a digital tablet for quick edits. I still prefer the unpredictability that a hand rendered sketch produces where many times unintended mistakes create wonderful surprises that would not have happened in a controlled digital environment.

What’s the most challenging thing about architectural illustration?
One of the most challenging things about architectural illustration or illustration for that matter is allowing yourself to work outside of your comfort zone and push the boundaries of what you know especially within a time sensitive project deadline environment. It is really easy to rely on already proven illustration techniques in order to meet deadlines therefore missing potentially rewarding opportunities for growth.

What are you working on right now? Any personal projects?
At Cameron McCarthy I am working on a couple of concept illustrations for some local clients. I am personally working on illustrations for a children’s book by a local Author in Eugene as well as some animations and illustrations that will be self-published in the future.

What’s your favorite Copic color?
B60 – It’s a fantastic base color for sky and light shadows, it has essences of pinks and purples that become apparent when it is allowed to bleed out on a nice photocopy paper.

Any words of advice for new artists interested in pursuing architectural illustration?
Find illustrators whose renderings intrigue and inspire you and try to emulate their techniques as much as possible, it’s amazing what you will learn about them as well as yourself it will help you to find your own illustration style and technique.

Find Caleb on the web:
www.cameronmccarthy.com – architectural illustration
www.caleblaughlin.com – general illustration

Talented comic artist Todd Nauck will be hosting a special Q&A, signing and artist workshop event to celebrate his first art installation in an accredited museum, the Bakersfield Museum of Art. The exhibit opens February 4th. 

Todd Nauck has over 17 years experience in the comics industry. If you’re into comics, you’re probably familiar with his work for Image, DC and Marvel comics - Amazing Spider-Man, Friendly Neighborhood Spider-Man, Teen Titans Go, and Wild Guard, Young Justice and the Spidey and Obama teamup.

When he travels to comic shows and conventions each year, fans commission him to create artwork rendered in Copics.

Recently, we were lucky enough to chat with Todd on Twitter about his art making process, his Marvel Custom Solutions projects, and the artwork he created for Extreme Makeover: Home Edition, Lance Briggs (and others) for the NFL Superbowl, and ESPN.

We asked him to explain his unique creative process. His approach – which involves first defining the form in color – deviates from the more conventional approach of starting with pencils, following up with inks, then finally adding color. Seems that @RAHeight also likes working this way:

Judging from the dozen or more images he started posting, this method works very well for him. He chose the subjects from recommendations from his army of loyal Facebook and Twitter fans.

A few images unveiled during the conversation (see all of them, here):

During the Q&A session, Todd was answering questions from our audience. @Darksparkle asked about skin tone colors:

Next, @WorkingClassGMR asked:

Fellow Copic-loving artists @AH_AdamHughes, @CatStaggs and @MahmudAsrar each got shout outs for being inspirational Copic artists.

If you love comics, follow these great artists and let Todd know you enjoy his Copic sketch cards! He’s super interactive, and who knows – perhaps your suggestion will get chosen the next time the request lines are open…

On that note, what are your favorite comic titles? If you commissioned an original Todd Nauck Copic sketch, who would want him to draw? Let us know in the comments, below.

Todd Nauck online:
Website: The art of Todd Nauck
Facebook: Todd Nauck
Twitter: Todd Nauck

More information about the special Q&A, signing and artist workshop event at the Bakersfield Museum of Art.

Daniel Govar is an extremely talented illustrator with an impressive roster of clients, including DC Comics, Nike, Marriott and various U.S. sports teams. In addition to illustrating nearly 15 books, his work has been seen in worldwide publications such as Entertainment Weekly and TV Guide. Read on to learn more about Daniel, his work, and his love of Copics:

Tell us about yourself!
Originally I am from Arkansas, but I was an army brat and we moved all over – Hawaii, Canada, Oklahoma, and finally here in Maryland. I think at some point I’ve been to or lived in every state in the US save Alaska. I got my degree in Imaging and Digital Art from University of Maryland, Baltimore County, and was introduced to the wide world of digital art forms there, studying animation (both traditional and 3D), video development and editing, and interactivity and web programming. It was a pretty all-encompassing major and one they’ve since dissolved and broken into individual focuses. Personally I like the rounded approach and appreciate the education in knowing how all the pieces fit together. My personal interests were initially in interactivity and it’s possibilities, and I would always put my illustrations (of which I had very little formal training save figure studies and a few paintings classes here and there) into anything I created. I got a job out of school creating educational programs for children – an Astronomy program, a History program, and a program on Ancient Greece – all filled with illustrations and animations.

Do you prefer traditional or digital media?
I use both and find that when they work in harmony my work looks best. My DC comic series AZURE was done entirely digitally. From beginning to end I used Photoshop to create every page. It was only when I started going to conventions that I saw the folly in this as a comic creator – there is a huge market in original art that you lose when you work digital-only. I now do most of my color work in Photoshop, and do most of my black and white and grayscale work in traditional medias – Primarily using Copics for the traditional work with a few India ink washes for added textures.

What other mediums do you work in?
My weapons of choice have evolved over the years but it depends on what the project requires. I think I am most comfortable with pen and ink (Copics), markers, watercolor, and digital mediums. I have done large scale oil paintings, and sculpt from time to time as well, though these days the demands for my time are spread between paid art, friends and family, and my dog.

What is the toughest part of comic storytelling?
I would have to say each part of the process has it’s challenges. Comics is a hugely social industry and many people go into making most comics. Learning to work with others and to be able to articulate in words what you aim to convey in illustrations is one of the most useful aspects of making comics. Many people you must work with will not be artists, and you will need to be able to explain or understand what they are trying to explain with words and then translate that into imagery. The best way to learn is to sit down and make a comic. Start small and work your way up to something larger.

Personal Site: http://www.danielgovar.com
DeviantArt: http://saulone.deviantart.com
Facebook: http://www.facebook.com/pages/Daniel-Govar/139723602709280
Tumblr: http://saulone.tumblr.com
Twitter: http://twitter.com/saulone

Tools used: Ballpoint pen, Photoshop, scanned paper textures

Allison Strom is a talented illustrator whose latest work can be seen in Vera Greentea’s independent comic Recipes for the Dead: Issue 2. Read on to learn how she incorporates Copics into her process and find out where you may be able to meet her in person:

Tell us about yourself!
I was born in New Orleans. I was probably drawing at the time, and then just sort of kept at it for going on 25 years. I think when I was growing up I wanted to do covers for fantasy novels like the ones my older sister and my dad read – Like the ones with big elaborate dragons and explosions and battleships and stuff. That was basically my entire impression of illustration until I started going to school at MCAD.

Do you have any formal art training?
I’m currently pursuing a degree in Illustration at the Minneapolis College of Art and Design, but I’ve also been working as a freelance illustrator since before I enrolled back in 2007. It’s slow going! But both are excellent teachers, and although learning to find a balance between them is rough, it’s been worth the stress so far. Being at MCAD has been like learning how to speak after years of thinking I already knew how, and I love seeing how my experiences at school translate into my work outside of class.

When did you first become interested in creating comics?


To be totally honest, I thought I’d finally scared myself away from it. I always liked the idea of drawing comics, but it wasn’t until I took Jim Keefe’s Intro Comics class that I really started to find my footing with creating them. From there, it sat in the back of my mind until I got the script from Vera for Recipes for the Dead. Then it basically took over my brain.

Tools used: Pencil, Copic Multiliner, Copic Sketch markers, Photoshop

What’s the most challenging thing about working on a comic series?


I like to be able to spend eons lovingly tailoring a piece of work. But with comics, that’s got to be the entire book, not any individual panel. It’s so hard for me to let a drawing go and just move on to the next!

The comic you’re collaborating with Vera Greentea on, Recipes for the Dead, raised over $9,000 on Kickstarter – more than quadruple the fundraising goal. How did it feel to have such a positive response to the project?


It would almost be scary, except it’s completely wonderful. It makes me hate the fact that I’m not more experienced, because I want this to be the best thing I’ve ever made.

Do you prefer traditional or digital media?
I spent a lot of time as a primarily digital artist working in Photoshop, but I was starting to feel like I spent all my life in front of a monitor. Nowadays, I like using digital media to enhance a foundation drawing or coloring made with traditional media. I love to work out of my sketchpad for as much of a piece as I can get away with. I use pencil mostly, but also pens, ink, watercolor, charcoal, pastels, colored pencils; it’s always switching around. I think that’s what I like the best about making art: You can always find another way to do something, or undo something, in a worst-case scenario.

Describe how you incorporate Copics into your work:
I use Copics to add tone and texture to my inks before they go to color. Sometimes I use warm grays to set the temperature of the light throughout the scene, that way the shaded picture doesn’t come out looking “shiny”. I’ll go through after that with cool grays to work up shadows and depth, and maybe to describe form here and there. Finally, I use Photoshop to add color and maybe a few more textures, if I feel like there’s a space that needs a little roughing up. I try not to let this part overpower the drawing underneath, and to keep it so that the finished piece still keeps all of the expression and liveliness of the scanned original. It is always tempting to just fix a picture to death!

Tools used: Pencil, Copic Multiliner, Copic Sketch markers, Photoshop

What are you working on right now? Any personal projects?
I love making storyboard animatics. I feel like it’s a medium stuck between comic and animation, and it’s extremely expressive. I’m currently poking at an idea for a short project about a ghost who lives in an abandoned lighthouse. It’s not getting finished any time soon with my current workloads, but it’s something I enjoy coming back to whenever I can find time. It’s not really for anything special either. I just think its important to have something like that, where there’s no pressure and you can just enjoy it no matter how long it takes to pan out.

Aside from that, I’m always working on new artwork to sell at Anime Conventions I attend. It’s fun designing buttons and posters of my characters from various stories I’ve got no idea how I’ll ever write. I love them anyway.

Tools used: Pencil, ballpoint pen, Photoshop

Any exhibitions or shows coming up?
I’m going to be at Anime Detour and Animinneapolis this year, both in Minneapolis MN. I’m also trying to get into A-kon in Dallas TX, and Mecha Con in New Orleans LA, but we’ll see what happens!

Find Allison on the web:
Portfolio: http://shirotsuki.deviantart.com/
Tumblr: http://alliebirdseed.tumblr.com/
Twitter: http://twitter.com/clearblueNEL

Tess Fowler is a California-based comic book illustrator. Her work includes a handful of books for Zenescope, including issues of the Charmed series, and a number of sketch card jobs for properties such as Marvel, Lord of the Rings, and Indiana Jones. In addition she publishes a web comic at www.borisandcharlie.com, and creates portrait and pin up commissions in Copic marker and ink.

Tell us about yourself!
I was born and raised in Northern California’s Silicon Valley. I have no formal art training. They tried to put me in art classes in junior high and high school but I either flunked out of them for disobeying directions, or begged until they switched me to drama classes.

Are you self taught?
The comic book community is small and close knit. There is always someone to offer tips or tricks for improvement. I’ve been tutored by some very lovely pros along the way.

When did you first become interested in creating comics?
From the time I was very small I made my own comics. I folded up stacks of paper and bound them with the traditional three staples. I had my own system for this where I tore apart a cardboard box and laid out my books flat, then opened the stapler and placed it over the fold line, followed by slamming my hand down to make the staple puncture the entire stack. Then I folded all the staples down with a butter knife. While other kids were outside enjoying the sunshine, or playing video games with their friends, I was sitting alone with a pile of markers making picture stories. I took my art very seriously even as a kid because I always felt like I had to be ready for the day I’d make real comics.

What’s the most challenging thing about working on a comic series?
Definitely deadlines. I like to add a lot of detail into my work and that’s just not feasible when a book needs to hit the shelves by a certain date. That’s why I started my own web comic, so I could have an outlet for my love of detail. It’s made me ten times faster.

And the best thing about working on comics?
The best part of working on comics will always be the work itself, for me. The act of creating a visual story onto a once blank sheet of paper is a magical experience that is hard to describe. But aside from that I have to say I really adore the fans. I’ve met such unbelievably wonderful people in this line of work.

Do you prefer traditional or digital media?
I do everything traditionally, except for scanning of course. All of my commissions and pin ups are done in Copic markers and Multiliners. For me there is nothing that can replace the feeling of paper beneath my fingers as I create my art.

What are you working on right now? Any personal projects?
I’m currently working on Charmed for Zenescope Entertainment, which is my fifth project for the company.  And I’m inking the entire book in Copic multiliners. I also have my own web comic called Boris and Charlie which is also inked with multiliners. It’s about a little eight year old girl who lives with a giant closet monster and a talking cat.

How long have you been using Copic products? How did you first learn about them?
I first discovered Copic products back in 2006 when I was working a comic book convention and saw them on another artist’s table. After experimenting with them myself that following winter I never turned back. They replaced every other product for me because of their versatility.

What’s your favorite Copic product and why?
I can’t live without my Copic sketch markers. The brush tip and square tip in the same marker give me a greater ability to play with effects, especially in portraiture. Blending and layering is made easy because the color flow is so smooth.

What advice would you give to girls interested in pursuing a career in the comic book industry?
Follow your heart, listen to your gut…and carry a really big stick.

Find Tess on the web:
www.tessfowler.com
Check out Tess’s web comic at www.borisandcharlie.com
Become a fan on Facebook!

Abdul H Rashid is a talented comic artist whose work is featured in the NEW-GEN series distributed by Marvel Comics. Read on to learn more about his work and love for Copics!

Who are some of your favorite artists/creators? 
I think you’ll hear these names come up from most of us in the industry that grew up with their art and innovative creativity in the late 80′s and thru the 90′s…Jim Lee, Todd McFarlane, Frank Miller, and (the late) Dwayne McDuffie. For varied reasons, each of these artists/creators has made it a point to develop established and creator-owned projects that have major influences in the industry. It’s my turn now. lol

When did you first become interested in creating comics?
I’ve always loved how art can tell a story, but not until reading ”The Dark Knight Returns” by Frank Miller, and “Watchmen” by Alan Moore, did I really consider venturing (seriously) into the arena of creating comics. The story telling and flow, both visually and literary, were done so well that it was one of those “ah-ha” moments for me that had me saying…”I want to do that when I grow up!” The idea of developing a product that allows for readers/viewers to have fun and escape from the “real world”, even for a brief moment, was and is something very important to me.

What’s it like having Mark Hamill on board as a Creative Consultant at NEW-GEN?
Very, very surreal!!! He and I sat next to each other during the NEW-GEN NYC Comic Con panel addressing the attendees for the announcement of the movie and the current comic storyline. There were well over 1000-plus people there, and I was simply more caught up with the fact that I was sitting next to such an iconic figure in the industry like Mr. Hamill. I’m significantly inspired by the level of professionalism projected by Mr. Hamill as well as the way he interacted with the fans during the Con…which is something that I intend to make a part of my growth in the industry. I think that the NEW-GEN project can only benefit greatly from having such input and experience infused in it coming from such a resource. I am more than excited to see things develop into film and projects beyond. I see NEW-GEN being something that many people won’t expect and will be pleasantly surprised with.

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What’s the most challenging thing about working on a comic series? 
My situation is a bit more unique than most artists as I have had the opportunity to help with the evolution of the project from a wider creative position. Developing both the visual and written content has been EXTREMELY fun and a great learning tool for the other projects that I am working on now and in the future. The biggest challenge that most artist would probably say…in general…is time. There is NEVER enough. Sometimes, I find myself wishing for 48-hour days during the times I’m creating.

Do you prefer traditional or digital media?
I actually favor both…and utilize them in regards to specific stages of the creative process. I love the traditional pencil and inks for the actual illustrations. Something about the “hands on” dynamic of that process via the “old school” tools is really fun to me. From the digital side…the colors that come from some of the software that’s out today (when used by a solid pro) are SO vibrant and amazing to bringing the black/white inks to life. I’m definitely a proponent for both.

What are you working on right now? Any personal projects?
I’m working on a few projects for the coming year. Of course, I will be working closely with APNG Enterprises on the NEW-GEN franchise as we wrap up the current storyline New Dawn that explains the origin of the main “super-dude” of the series, as well as the developments for the feature film going into production.

In regards to personal projects…I am developing a project line of new series and characters coming out of my studio, AHR Visions. It will generate a variety of series that will crossover to various multi-media as they evolve. The flagship titles are The 8 (Centered around a society of super-powered immortals engaged in an underground war unknown to the rest of the world), The Black Rose (Imagine Batman merging with the gangster movie King of New York), ReBirth (Sci-Fi anthology series in the spirit of Ghost in a Shell and Akira), Lady Skorn (The studio’s premiere female hero) and a few other projects, beginning summer 2012! I am very excited and anxious to be contributing new ideas into the industry. I’m hoping the fans really enjoy them all.

What’s your favorite Copic product and why?
Not to sound too much like a commercial, but I am a huge fan of the Multiliner pens. When inking, it is SO IMPORTANT to have a strong presentation of line boldness and sharpness. The Copic Multiliners are surprisingly precise in application. I find them to be a very comfortable and enjoyable brand of pen to utilize…especially for the amount of drawing I do. Having a tool that is just fun to use is pivotal to the creative process.

Favorite band or musician at the moment?
I’m more of an “Old School” music fan. My taste varies from Public Enemy to Wu-Tang as far as Hip-Hop. I dig Rob Zombie to Rage Against the Machine. I’m into everything really…hip-hop, rock, R&B, classical. Well, I can’t do pop-rock or country. I struggle with those two. (lol)

Any words of advice for new artists? 
Practice, practice, and practice some more. Keep focused and stay targeted to your objective. You’ll get rejections, but keep learning from them. Make your own way and demand for the attention through your talent and professionalism. And be more than just “an artist”, be an all-around total-package. Illustrate, write, contribute to project development and creation…be able to do it all. BUT, be sure all you do is solid!

Find Rashid on the web:
AHR Visions
Visit APNG Enterprises for all things related to the NEW-GEN franchise and the developments of the current comic story arc and feature film.

Where are you from originally?
I grew up in Roeland Park, Kansas, which is a little suburb of Kansas City. Then I moved to Lawrence, KS for college, which is about 45 minutes away. And I never left! (except when I went to school in France for a year.)

Tell us a bit about your life and growing up, and when art became an important part of it:
I remember art always being in my life, and always making things as a kid. My Mom sewed all of our clothes, and my Dad was a stone mason. So doing things with my hands and being creative came naturally. I also had a great-uncle who was a printer, and gave me lots of pads of paper to draw on.

Traci used the Copic Airbrush System to create these journal pages.

What is your earliest memory of drawing or creating art?
I remember when I was in kindergarten, my teacher made comments on my drawings that I colored things the wrong colors and didn’t stay in the lines. I guess that hasn’t changed. I still have a little clay statue that I made as a kid of my dog (but it looks more like a cat).

What inspires you to create?
I think for me, I just have this feeling inside that I have to do it. And I’m happier when I’mdoing something creative, whether it’s taking pictures, or slapping some paint into my journal. And the more creative things I do, the more I’m inspired to create.

In what kind of environments have you learned about or “trained” in art?
I took all kinds of art classes in junior high and high school, including photography, printmaking, weaving and ceramics. Then in college I majored in graphic design. For my junior year of college, I went to la Villa Arson art school in Nice, France. But aside from that, I do a lot of experimenting on my own.

You’ve said you like finding the extraordinary in the ordinary. What are a couple of your best extraordinary finds or creations from ordinary things?
Some of my best “finds” I’ve used as printing or stamping tools. My first book, “Print & Stamp Lab” has a lot of these finds in them–such as using those oval and round corn cushions (for corns and bunions on your feet) to print with. And my favorite is using flip flops as printing blocks. Not only can you stamp the textured sole, but they can also be used as moldable foam to make your own stamps.

If you were stranded on an island, and all your basic needs were being met.  What three additional items would want to have? Tell us why, or explain what you would do with them:
Only three? My art journal, a Pentel Pocket Brush pen, and my bag of Copic sketch markers. (But I’d sneak in some glitter glue, too.) With the markers and brush pen, I could write and draw in my journal. Then I’d glitz it up with the glitter glue. I guess I’d have to apply it with my fingers, but I’m okay with that. I’d love to have a camera with me on that island, but then I’d either need some film and a photo lab, or my laptop & printer.

What’s your favorite part about being an artist?
That I get to make stuff! I get to do what I love for a living. I’m also never bored because I have so many different creative things I like doing. I also love experimenting with new materials and seeing what I can do with them.

What is the worst part about being an artist?
The financial part of it. Making a living as an artist is not easy. But I can’t imagine doing anything else.

How did you develop your particular art style?
Hmm, well that’s a tough one. I guess it evolved over time, and keeps evolving. I like to work intuitively, just doing what feels right, and working without laboring over decisions on what I’m doing.

Can you briefly describe your process?
When it comes to working in my art journal, I usually first apply a thin layer of gesso. Then I start layering on collage and paint. While I’m doing that, I start adding some text, stamping or writing a headline of sorts of what I’m journaling about. Then I get into more details with handwriting. I add photos, stamp with rubber stamps, and draw on the page with different coloring media. I basically work on the page until there’s no more room left to add anything. I don’t have a set way of working really. I do all of those things, but not in any certain order.

Do you wake up in the morning and know whether or not you’re going to have particularly creative or artistic day? What are the signs?
Not really. But I pretty much work all the time. I do start almost every day off by walking my dog through the cemetery that’s across the street from my house. I usually take my iPod Touch with me to take pictures. It’s a good way to start the day. I often get great ideas or problem-solve while I’m walking my dog.

Tell us more about working with layers (you mention them in your artist statement):
I find I like to use layering in all of the different media that I work in. In photography, I like to take pictures that use reflections or double-exposures, layering different images, color and textures on top of each other to create a new image. When I dye spinning fiber and yarn, I layer colors in the dye pot to get a rich, multi-colored effect. An0d when working in my journal, I apply thin layers of paint and collage, adding and subtracting as I work, revealing what’s underneath a layer while creating another one.

When and how did you start using Copic markers?
Some years ago I was teaching at an art event in a hotel that had a “store” set up near the classrooms. I think that was the first time I saw a Copic Sketch marker. I liked the size of it and bought one to try it out. I was hooked! In my journals, I often draw outlined letters for my “headlines.” I like to use the Copic Markers to color in the letters.

What motivated you to use them?
Since I work in layers, I like to use permanent pens, markers & stamp pads. That way if I’ve done some work and decide to apply another layer of paint or a wash of color on top of it, I can do it without things running or bleeding. Since Copic markers are permanent, they work great for my style of working. I also love using the Copic Airbrush System with stencils to create backgrounds or borders in my artwork. I probably mainly use the brush side of the sketch markers. I like to color things in with them. The size makes it go fast!

Who are some of your favorite artists?
The main one who comes to mind is Hundertwasser. I love his sense of color and organic shapes in his drawings. As far as journals go, Dan Eldon and Peter Beard. I love that they use their photographs in their journals and also rework them to create a new piece of artwork, which is something I like to do too. I’m also drawn to outsider artists.

You’ve published two books and have numerous online tutorials. Tell us a bit about them:
My first book is “Print & Stamp Lab.” It’s a DIY book that shows you how to make 52 different stamps and printing tools from things around the house, or from things that are normally used for other purposes (like flip flops and corn cushions that I mentioned earlier.) My second book is “The Art Journal Workshop.” It gives basic information on different mixed-media materials that can be used in art journaling, then has 20 different journaling exercises. I’m known for my “raw journaling,” so the exercises in this book go beyond the surface and into deeper self-exploration through journaling. It also comes with a DVD that has 6 videos of me creating some of the journal pages in time-lapse photography. Right now, I’m working on a kid’s book called “Print It!” It’s a short book for a British publisher that has 12 projects for kids to make They learn how to make the stamping or printing tool, and make a project that uses it at the same time. That book will be out in 2012. Aside from those books, I’ve got online videos such as me creating a journal page, how to mount rubber stamps, how to use henna stencils in an art journal using both paint and the Copic Airbrush System, and how to make moldable foam stamps, and some others. They are all on my blog at http://www.TraciBunkers.com/blog.

Tell us about your 30 Days of Journaling project:
Last winter I needed something to get me going. I felt like I wasn’t doing anything creative just for me and wanted to change that. So I decided to do 30 days of carving, where I carved a stamp and blogged about it everyday for 30 days. I also did a sketch or drawing and posted it too. I got such a great response and enjoyed doing something creative everyday, that I wanted to do 30 days of something else. Bianca Mandity, inspired by my 30 days of carving, told me she was going to do 30 days of journaling. I decided to do it too. So everyday for 30 days, we both worked in our journals and blogged about it. Normally I do a journal page from start to finish in one sitting, but didn’t have time to do that everyday for this. So I set a time limit of a half hour, and whatever I got done in that time was what I did for the day. Then the next day, I’d finish what I had worked on the day before, or start a new journal page. Before this experience, there were times I just didn’t work in my journal because I felt I didn’t have enough time for a whole journal page. This showed me a new way of working and that I could work in my journal in small amounts of time. It also showed me that I could follow through with a commitment like that! Since then, I’ve done two rounds of “30 Days of Get Your Art On” where I just did some sort of art every day and posted it on my blog. And in December I did “30 Days of Drawing.” Check out my blog to see all of those.

Watch Traci use Copic Sketch markers and the Copic Airbrush System in an art journal:

Find Traci on the web:
Website
Blog
Etsy Shop

Tell us about yourself!
I was born in a town called Victoriaville (Québec/Canada) from a Belgian mom and a Canadian dad. My mom is an artist and she initiated my three brothers and I to drawing, pastels, collage, acrylic and oil painting. I also learned piano at an early age and this strong connection with music, especially classical, is an extra filter. It makes me draw and see things with musical sensibility.

I studied Sciences, French literature and History and graduated with honors from University of Montreal. I did all sorts of jobs: interpreter, journalism, pianist, public relations, fund raising, teaching French and scuba. I had the chance to do this in Montreal and abroad: Brazil, England, Turkey and the Caribbean.

Now, let’s talk about chance, faith and dreams. When I moved to Los Angeles I met my husband. Having a life partner that believes in my art was a drastic turn in my career. I started doing drawings incorporating intricate fabrics. One day, I entered a beautiful stationery store in Coronal del Mar and the owner, Harriet, saw these pieces and suggested me to send them to Constance Kay inc. Tip number one: Always have sample of your art on you, even in micro version! The rest is history as they say. Constance Kay has been an incredible mentor and guide for my art. My greeting cards are now sold in Japan, England, Switzerland and across U.S.A. It is a great joy to see my work transcend languages and cultures around the world. For my illustration work, another great luck struck me. My illustrations were hanging on the walls of my friend Virginia. Tip number two: be surrounded by friends that believe in you and give them your art pieces. A common friend who owns a beautiful agency in Venice California, Nouvelle Vague LA, saw my pieces and took me on board. Tip number three: get an agent. Sandrine gave me great visibility and opportunities.

What is your earliest memory of drawing or making art?
My earliest memory is probably throwing spaghetti on the walls with my brothers. Very modern. Or shall I say: A classic. Every kid draws. I did the same thing but because my mom was an artist I had tutorials, tools and even early critic! I remember drawing a lot of 18th century dresses, princesses and birds. Every year, at an early age, I was making a different Christmas card for each member of my family. I got good at cartooning and using humor to share my love. Humor is my favorite way of communicating.

What are your biggest sources of inspiration?
People. The best designs I did where initially created for someone. It’s easy to make something beautiful and inspiring when it is led by love. My inspiration is deeply shaped by my gratefulness for life, nature, hiking, scuba diving, yoga, colors, fashion, witnessing kindness between people, and finally but not the least, by my family and my friends.

Describe your creative process:
Everything starts with a coffee at 7am every morning. Routine and discipline are my golden keys. It’s all about ideas and concepts. These are the most important things for an illustrator. When I work on a project, I brainstorm and cartoon all my ideas. Illustration on the drawing table is most of my work: Hands on work, old fashion. Then the best ones are turn into final pieces. For the greeting cards, they’re all handmade so there is a craftsmanship part to my work that I really enjoy. I am some sort of art engineer that finds the right material to make the concept look flawless.

Has your illustration process changed over time?
I stick to a routine but how I do my illustrations have changed. Using Copic markers for instance was a drastic change. I first bought few colors to integrate them in my work and two weeks later I had a vast range of colors. It speeds up my work, adding precision and vibrant colors while offering transparency. The requests for my clients make me evolve as an artist because it brings me to work on different topics using broader styles. I have learned to create more elaborate pieces as opposite to my initial minimalist style.

Why do you choose to use Copic markers for your illustrations?
What’s not to love about Copic? We are a lot of fans out there! Copic offers so many transparent and gorgeous colors. They are durable, precise and easy to find. They are easy to work with and integrate to any pieces I work on. They also accelerate my creative process because I can quickly lay colors on my drafts. It does not blurry or mess up the fine details of my illustrations. I love their design, the way they lay in my hands. I use them for touch up on fabrics and papers. I also work with watercolors and ink but I would say that using Copic now covers 60-70% of my illustration work. I have YR00 Pink Powder for breakfast, lunch and dinner. I use this color a lot. It saves me so much time with my skin tones. I am grateful for such a great tool and our Copic community.

What are you working on right now?
I am working on Valentines cards design for Constance Kay inc. It’s all pink, bubbly, kinky, colorful and funny. For Nouvelle Vague LA, I am working on London 2012 Olympics and a series of illustrations filled with words for advertising and tourism projects.

Any words of advice for new artists?
See my tips above! Stick with people that love your work and support you. Maira Kalman gave me a great advice one day, with that same question: “Get deadlines!” That’ll make your work clearer, vibrant and more precise. Be prolific! Be inspired, loved and know that you are doing the right thing just right now, as you are.

Find Gigi on the web:

For greeting cards:
Constance Kay

For illustrations:
Nouvelle Vague LA
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