We felt it would be nice to have a complementary section to the forums for articles, stories & resources. Sort of like a magazine section, a nicer way of publishing articles & showing what’s happening in the industry. Our focus will be on more extensive, informative articles so we wont be a daily updating, repost-blog. There are enough of these already. Rather we want to use it as a place to create new content and a place of inspiration and information for NZ CG artists.

This is a soft launch of sorts and as you can see we are still quite light on content. I.e. we have moved the previously published articles over from the forums. We have a bunch of ideas on things to post, more interviews, reviews, guest contributions, articles on CG issues etc. Let us know what you would like to see covered.

We also want you to get you involved and are keen to have contributors of articles. So get in touch if you have something you would like to write about.

The site has been several months in the making – designing, tweaking, coding and recoding. We have endeavored to keep it slick and clean and let the content be the focus. If you come across any bugs or broken bits let us know and we will try to fix them. We hope to build and improve the site over time (rudimentary coding-knowhow allowing).

Happy Browsing!

Early years

“I drew ever since I can remember. My parents say that when I was a kid they would leave me home alone with some pencils and loads of paper and when they’d come back I’d still be drawing. They must have saved some good cash on babysitters, I suppose. I doubt CIFS would allow such behaviour from NZ parents though haha. (I am Russian by the way and have spent my childhood years there and no, my parents were very good and loving parents.)” Anton’s parents encouraged him once it became obvious that he had a talent for drawing. “My mother is an art teacher so I was lucky to have a mentor by my side from an early age. She would set tasks for me every day in my early teens. That included sketches of people I’d see on the street, still-lives, etc. the usual grind. But it paid off in the end.”

Anton remembers one of the more notable experiences in his early art classes: “When I was about 14, the art teacher at my new school (I must have changed a hundred schools when I was a kid) really didn’t like me for the first couple of months. Most of the projects she set for us were very arts and craftsy. I remember I did a cut out star which wasn’t quite symmetrical, and I think that’s when she officially decided that I am her worst student. Couple of weeks or days later I went out and I did sketches of a statue in our town, it was a drawing project she set out for us. When she saw my drawing she said it was as if a 25 year old drew it, whatever that means! She was a little strange. But anyway, I was in her good books after that.”

Anton’s high school years were spent in South Africa, where he attended the National School of the Arts. “I specialized in drawing, sculpture, painting and design for a few years there. Then when we came to New Zealand I enrolled into Elam at Auckland Uni which I graduated from in 2000. Now I work at an illustration company called Watermark with plenty of talented illustrators who I learn from all the time. So, still learning.” Anton does not have a set art practice routine nowadays, but his job inherently keeps his art skills sharp. “I do work a lot, 10 hours a day and more (boring guy yea? haha), so as soon as I get free time I just want to get out of the office and go do some sports or visit my friends. I try to swim every day, so that helps.” His advice to young aspiring artists is to “just paint and paint and you’ll get better and better. Copy your favorite artists work because it will help you get into the mind of the artists that painted them. Copy for learning purposes obviously, I don’t mean to encourage plagiarism here! Experiment with new techniques, etc.”

Career
“When I was in my last year at Elam I went out and showed my portfolio to a number of publishing companies in Auckland. One company in particular – Macmillan publishers – was just starting up then and they were looking to establish some connections with local illustrators, so timing for me was pretty lucky there. I got so much work from them that I decided to ask my tutors if I could integrate that paid work into my end of year projects. So I killed two birds with one stone sort of speaking, got plenty of material for my end of year show and also got paid for it. I worked for Macmillan for another couple of years after that as well as other publishing companies in Auckland. During that time I did The Book Of Pacific Lullabies which won the Russell Clark Award in 2001. It was great because I could use that backing to get more high profile work. With it I approached a company I work with now – Watermark. I was surprised to discover that they have an agent in America – Deborah Wolfe, who I have heard of before and was preparing to approach but wasn’t sure how. So the Book of pacific Lullabies helped me to get into Watermark and get Deborah Wolfe to represent me in the US.”

Anton describes Watermark as a wonderful, inspiring place to work, and compares it to solitary freelancing – “I always liked the idea of working on my own, I think that illustrators are solitary beings by nature. But after working with Watermark that has changed, I’ve learned to love the studio environment. It’s a lot more dynamic, we all share our ideas and our clients, all learn from each other, all help each other out when we are stuck. It creates a wonderful environment for us all to grow as illustrators, as a community. It presents more opportunities to work on fun projects or to meet new people, etc. Also you treat your job much more seriously then if you are working from home. It sets clear boundaries between home and work, otherwise it’s too easy to blur those when you are working from home, too easy to slack off.”

Working with Watermark takes a lot of stress out of promoting himself as a freelance illustrator. “They have already established a great client base here as well as overseas and they organize ways to promote us. We still go out to deliver our (Watermark) portfolio and talk to our clients face to face and invite them to our functions etc. Before I joined Watermark I had to do it all myself, print the portfolio, make it look presentable, make a bunch of appointments with publishing companies , go see them and keep my fingers crossed hoping for work, which does come to you if you see enough companies enough times. It’s always good to keep calling them after that from time to time though, just to remind them that you are there, otherwise they tend to forget about you.”

If you decide to go out on your own as a freelance illustrator, Anton has the following advice: “Be more persistent. Distribute your portfolios, send them little reminders or call them to see if they have any work for you and how they are doing. You definitely have to have a website too, no question about that, these days everyone expects you to have one. Also try to be as open to new projects as you can, and have a range of styles in your portfolio. I know some will tell that you need to stick to one and paint more and more of that. I agree with that to a degree. I am a believer in the fact that if there is talent in you it will only come out if you will be yourself, draw your own thing and stick with that. The only problem with that is that you might need to go on the dole if you decide to follow that path in NZ. Learning new things and working in slightly different styles will only broaden your horizons and give you an extra knowledge which you can apply to your own unique style if that’s what you want to achieve.”

Anton finds his work extremely rewarding, and takes great delight in seeing a finished job in its final context. “I remember I worked on a Vodafone campaign once. I did a series of artworks which were based around well known fairytales. These artworks would appear in airports, the slogan on each was ‘You are Never Far From Home‘ and featured the main character talking on a mobile phone. I remember coming back from Australia once I met some Brazilian tourists on the plane. When we got off in Auckland airport I remember looking at all the trolleys which had my art on them and saying, I did that. Then looking at the billboards and metrolites inside the airport, saying I did that. Then there was a huge one, a 30 meter billboard outside the airport , I have never seen my art being blown up that big before! It was Gulliver’s travels, it had a bunch of lilliputs tying Gulliver down. The tourists knew I drew that one too. They must have thought I was NZ’s only artist, you know how first impressions are. But anyway, it really felt like I came back home when I saw all that art around me. Another time was when we stopped at a little dairy on our snowboarding trip to Mt Ruapehu. There were only two two types of Bread on the shelf there and I did the illustrations for both of them! It’s a good feeling, there was a little bit of me, far away from home.”

Looking forward, Anton would like to be able to get to a point where he can exhibit his own work and be able to sustain a living by doing that. “But at the moment I am pretty happy doing whatever illustration comes my way. The projects I get are diverse enough to keep it all exciting. I wish kid’s books would have bigger budgets though, I would love to work on that sort of stuff.” Anton has tackled a multitude of subjects during his illustration career, and doesn’t have any set preferences as to what his favourite subject matter is. “I like to draw it all. Although I always have this desire to be able to portray the scenes from my dreams onto paper, I like the surreal and the weird in art. However I remember I got a job once where I had to do instructional illustration on how to use this new toothbrush they’ve created. It was so boring and so frustrating because the client kept coming back with all these changes, I still cringe when I think about it. I’ve decided after that project that I don’t like doing instructional illustration at all, haha.”

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Early years

Greg’s fascination with art began at a very young age, as he recalls: “My earliest memories are of drawing these huge battlefields filled with tanks, soldiers and explosions on A1 pieces of cardboard my Grandad would get me from the paper mill. He would bring me heaps of comics with the covers ripped off, dumped by magazine retailers. Mad magazines, Commando comics, Batman, Spiderman, and more pivotally for me 2000AD. I always drew, it’s just what I did. I never thought I’d do anything else but drive a tank or draw comics.”

The human figure has also featured in Greg’s art from the very beginning. This started off with drawing heaps of soldiers, fueled by his fascination with World War 2. “I still draw a lot of dudes with guns. That shit is just ingrained.” He also has an affinity towards portraying robots, and he finds that this serves as a helpful aid in understanding the human form. “I love drawing robots and ultimately, for me, that’s an exercise in drawing human form anyway. A robot to me is a caricature of a person, an attitude, or snapshot of some human attribute embodied by machinery. It’s a liberating way of drawing people. The fact that robots are supposed to be emotionless representations of humans makes it fun to play with any projected emotion or attitude that you put into it. That (excuse the rising art wankery) juxtaposition of concepts is appealing.”

Greg’s early sources of inspiration continue to influence him to this very day. Dinosaurs, tanks and robots still dominate his art, although he says that maybe curvy women feature a little more nowadays than when he was a boy.

Apart from high school, a year in a grossly unsuitable polytech commercial art course and a failed half year in fine arts at Wanganui, Greg has not had any formal art training. However, an early start combined with childhood sources of inspiration and years of solid drawing have brought him up to the level that he is at today. “Draw all the time, get a Wacom tablet and Photoshop (or a pencil and paper) and draw all the time. It just takes perseverance, as corny as it sounds, to get the skills – the rest is imagination. Draw lots of crazy shit.”

Career
“I Spent many years on the dole, from my late teens until my mid to late twenties, getting hassled by the welfare people continuously. During that time I played in metal and punk bands, travelled a lot around Aotearoa, drew a lot, but probably focused more on music. Drawing was fun but I never thought to use it as a career at the time. I decided to grow up a little and get a day job, that lasted a few years and I decided to give illustration a stab, I had done a few small jobs, and thought drawing for kid’s books would be fun, so I approached Learning Media. I got fobbed off for a year or more, but eventually got a start and ended up doing more than 30 books for them. Some full books, mostly little stories in books with multiple stories. I still do jobs for them now and then, but don’t really have the spare time to take them on. I had an epiphany one day and thought, ‘why the fuck don’t you send a folio to Weta Workshop?’ Luckily Richard liked my moxie and gave me a job and I now work fulltime as a concept designer. I’ve been doing that for five years or so.”

Greg’s time at Weta Workshop has undoubtedly been the best part of his career, as this is where he had the opportunity to participate in his most favourite projects to date. “Working on King Kong was a major for me. I love illustrating Dinosaurs, It was what I was mainly drawing before I was employed at Weta Workshop. So, as a commercial job, that was a real high point. Drawing T-rexes and Triceratops all day for months on end, awesome. What a nerd. We created a book off the back of that called The World of Kong: A Natural History of Skull Island which used a lot of this concept work, plus I got to do many, many more illustrations. That was great too, although it was a difficult time, and really had it’s ups and downs emotionally. Overall it was a great thing to achieve, so I was really fucking proud to be a part of it. One thing I never thought about before working at Weta was the thrill you get when your drawings come to life, either as a prop, a prosthetic, an environment or a creature (CG or practical). It’s pretty fucking cool to see.”

More recently, Greg has just finished work on Doctor Grordbort’s Contrapulatronic Dingus Directory which he wrote and illustrated at the Workshop. Greg describes it as “massively satisfying to complete. It’s part catalogue of bizarre science fiction Ray guns/contraptions and part comic book. I modeled it after the Sears and Roebucks catalogues of the early 20th century” The initial idea for the Raygun pieces stemmed from a series of acrylic paintings on canvas that Greg did at home. These paintings were subsequently pitched to Richard Taylor of Weta Worshop, who was searching for ideas for possible collectables. “He loved them and wanted to push Weta’s own original ideas, so we’ve made them, and they kick arse. I pitched that we make them as real metal replicas, like antiques of old firearms. It’s freaking cool to pick these things up, they just look and feel real, that’s an amazing thing, to go from something that was simply a painting to a solid tangible object.” Doctor Grordbort’s Contrapulatronic Dingus Directory will hopefully be published shortly.

The evolution of Greg’s illustration and concept art career has exposed him to both to the world of freelancing and the studio environment. Greg explains: “Freelancing is scary in that the work can dry up at any time, but working from home is awesome. I love the freedom. On the other hand, working at a studio, like Weta Workshop, where you are surrounded by stupidly creative people with world-class skill, different techniques etc. is invaluable. It can sometimes be hard to concentrate, but any way that you can work where you can feed off friends and fellow artists is going to have a really positive affect on your work. In the end, they both have great advantages, I really look forward to working alone as much as I appreciate working with others.”

While not everyone will land a gig with Weta Workshop, Greg notes the importance of the internet as a promotional tool for young New Zealand-based illustrators who are just starting out: “There aren’t a lot of jobs in this industry locally, so as far as finding a position at a place like Weta, it’s difficult. But with the internet, as shit as it is in Aotearoa at the moment, it’s entirely possible to work as a freelancer or even better drive and create your own projects, then deliver that content, whether it be TV, film, Videogames, internet cartoons or comics, whatever, to the world.”

With regards to possible future work: “I love doing film work, having a director with great and ambitious vision like Peter Jackson or Neill Blomkamp is fantastic. But ultimately I enjoy creating my own worlds and this is something I’ll be focusing more on.”

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