![]() I think partially because I had come across the thinking that digital art was somehow less “special” or has less soul than traditionally created media. That feeling is so rare for me, but its worth chasing.ĭo you have any tips or lightbulb moments about working with texture that you’d like to share?Īt some point I decided I wanted my illustration to look like it had actually been printed, rather than just being entirely digital. So I’m chasing that feeling of looking at something and feeling like its perfect and you couldn’t change a thing. Not to say I think it’s terrible, but I'm often feeling like it could be better. As far as what keeps me going now, I would say it’s being not completely happy with my work much of the time. That's special because not everybody has that ability. ![]() That may not necessarily show in my work now, but I think at an early age it showed me that through illustration you could create entire worlds and basically show people what you are picturing in your mind. In early high school I was obsessed with Japanese graphic novels-“Akira” especially-so I would say Katsuhiro Otomo has been a big influence on me for a long time. Who’s work inspired you early on and who or what inspires you to keep going now? THAT FEELING IS SO RARE FOR ME, BUT ITS WORTH CHASING." "I’M CHASING THAT FEELING OF LOOKING AT SOMETHING AND FEELING LIKE ITS PERFECT AND YOU COULDN’T CHANGE A THING. That way you’re much more likely to be getting started on the right foot. I think also making sure to have as much reference material as possible at your disposal helps. I think being a night owl helps, so I stay up as late as I need to till the roughs or final art look as best as possible. Do you have a strategy for producing high quality work on such notoriously short deadlines? You’ve done a lot of great editorial work over the years. Which can make for some interesting plate spinning sometimes! Then from that first day that an illustration job came in (a children's book for the educational market) I've made sure to almost never turn down any work. I guess I just figured it was best to try and make my “personal projects” look like actual projects so that I seemed as professional as possible. I think I did the same for a book cover and paper coaster as well from memory. So I designed an illustration to go on a paper cup and then printed it off and wrapped it around a Slurpee cup and took a few photos of it. When I first started putting a portfolio of work together, I tried to give the impression of having already got work. How important were personal projects and low budget yet interesting briefs to the development of your career? Such as a motorcycle motor that is just a weird mess of pipes and fins, to me it stands out like a sore thumb. I know with motorcycles or even bicycles, if I see an illustration created by someone unfamiliar with the technical aspects, it shows. But I do think that working on illustrations that are connected to your hobbies and interests, makes it easier to create accurate illustrations. Ultimately I’m enthusiastic to illustrate anything that I think will make for a good illustration in the end. How important is it to seek out clients that align with your hobbies and interests outside of illustration? You do a lot of work with various custom motorcycle brands and publications. So I set about the tedious process of trying to get Photoshop to do what I wanted it to. It was through deliberate experimentation, with a very specific look in mind. How did you learn to use texture in your work? Was it through deliberate experimentation or happy accidents? ![]() Initially I wanted it so that when a person saw my work they couldn’t tell if it was from now or actually from the 40s and 50s. ![]() I started using more texture when I started to want to have a strong vintage feel to my work. What drew you to start using texture in your work? Was it there from day one or has your use of texture evolved over time? My educational background is in graphic design, and I've been working as an illustrator for the last 14 years. Im 39 years old and live in Brisbane, Australia. Motorcycle enthusiast and illustrator Adam Nickel, combines texture, craft and old fashioned perseverance to transport his work back to the 1950's Interview byįirst of all, can you give us a little background on you and your work?
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