Interview with Mike Thompson

Best known for his portraits of entertainers and celebrities, Mike Thompson has built a name for himself in the world of art.  His paintings have been featured on television, and in print and web campaigns. Mike began his career working as both Designer and Art Director in the fashion industry.  After creating top selling designs for companies such as Timberland, Ecko and Nike, the artist left the corporate world to become a full-time illustrator.

Over the past decade, his artwork has been featured in magazines, video game covers, movie posters and toy packaging.  Some of his clients include: Marvel, Hasbro, Warner Bros, Dimension Films, and Cartoon Network.

One of Corel’s featured 'Painter Masters,' Mike has hosted several webinars for the company. His art and techniques have appeared in many international publications, as well as the books: Digital Collage and Painting, by Susan Ruddick Bloom, and Secrets of Corel Painter Experts, by Darryl Wise and Linda Hellfritsch.

1. Tell us about your work.

I am a professional illustrator. Over the past 15 years I’ve worked on pieces for the music, fashion, video game, television and movie industries.

2. What aspects of your childhood inspired your artistic creativity?

I grew up reading comics and watching cartoons, which proved to be a constant source of inspiration. I was always a big fan of music, especially hip-hop, so I started my career painting rappers for magazines. I am also a very big sci-fi and videogame nerd, so later I transitioned into package design for action figures, and console games.

3. Tell us about your artistic training, learning process, and particularly how your work evolved as a result of it.

Drawing and painting has pretty much been a constant for me since I was a child. I can’t really remember not doing it. So, naturally, I majored in graphic design in college. I am a fan of great art, so I look at other artists’ work to improve my own. I still use books, and tutorial videos, to learn new techniques. I am a big believer that you are never done learning. That and a desire to always improve is what motivate me.

4. Tell us about your various creative roles and any important lessons you learned.

Over the years I have been a staff artist, art director, creative director and consultant. I’ve enjoyed and learned a lot from each position. Most importantly, the more people you need to direct, the less time you have to create. I like to create.

5. What advice would you give to someone considering making a transition from traditional drawing and painting to digital?

Too many artists jump right into digital work with no foundation in traditional techniques. I think it is important to start with the basics before moving to digital work. Where should they start - what equipment and software do they need? Very simple; paper and pencil. Master that and your paintings will look infinitely better. As far as equipment for digital work, any PC with decent specs and enough memory will work. I would definitely suggest buying a drawing tablet, trying to paint with a mouse is not really an option.

6. Corel Painter is an integral tool in your most recent work. What is Corel Painter and how does it help you to create your stunning images?

Painter is a natural media painting application. It mimics traditional drawing and painting very convincingly. One thing I am not a fan of in digital painting is the traditional “digitally painted” look. I think leaving in brush strokes makes your work less sterile and far more interesting. I also use Photoshop, usually for its transformation tools and color correction.

7. Traditional artistic training or computer aptitude? What advice would you give to anyone considering a career in commercial illustration?

I believe you have to have some form of traditional training in order to succeed - even if you are learning from videos, books or online, that training is very important. Computer aptitude helps, but I know digital artists who know very little and are successful.

8. Your image of the Joker, as portrayed by Heath Ledger, is truly iconic. Tell us about it.

Thank you. I painted that piece for Warner Bros. around the time that the Dark Knight was released. It was used for promotion of the movie and is still one of my favourite pieces. That is one of those pieces of art I mentioned earlier where leaving in all the strokes added to the impact of the painting. Unfortunately, it is also one of my most bootlegged paintings, but I guess that just means people like it.

9. What do you find most rewarding in the creative process, and how do you overcome that which you find challenging?

The most rewarding part of the process to me is, stepping away from a finished painting and knowing I have accomplished what I set out to do. I’d like to say it happens more often than it does, but when you nail it on the first pass, I have to admit, it feels good. The challenging thing is going back to something that could be done better and reworking it. Over the years, it’s become less of a chore, or even an option. It doesn’t matter how much good work I’ve put out, the paintings people don’t forget are the ones that aren’t.

10. Tell us about your contributions to the Verizon Interactive Fan Wall at the Meadowlands Stadium in New Jersey.

That was a really fun project. The concept was pitched to me as kind of Tom Cruise in Minority Report. The ad agency had me paint full sized versions of the Verizon actors for a 10’ x 30’ wall. They then mounted three HD touch screen monitors vertically on rails in front of my painting. As you slide the monitor over my painting, it appears on the monitor then transitions from a black and white static image into a live action feed talking about the service. Very cool! As a tech nut, I was all over this project.

11. You have worked on animated television series such as Green Lantern and Beware the Batman. You have also created posters and iconic images for the film industry. What aspirations, or reservations, do you have regarding the continuing application of your work to film and television?

My aspirations are to continue doing it as long as possible, hah. I am a tremendous comic fan, so working with DC and now Marvel has always been a dream of mine. I don’t really have any reservations, what is not to like about superheroes and movies? Working on the Guardians before the movie came out was fantastic, so I couldn’t be happier.

12. Tell us about your work exhibited at the Grammy Museum in Los Angeles.

I painted an illustration I called the 4 Elements. The concept was four legendary figures of hip-hop: a graffiti artist (Lady Pink), a break dancer (Crazy Legs), a turntablist (Grandmaster Flash) and a rapper (Jay Z). I chose to unify them with the colour orange. Since my origins were with hip-hop, this piece meant a lot to me.

13. What other interests do you have?

I’ve always been a big gamer, so in what little free time I have I’ll jump on one of my consoles or watch a movie.

14. Tell us a little about any good art you’ve seen recently or good books you’ve read.

I see fantastic art every day. Pinterest has proven to be both the best and worst thing ever. I spend way too much time there… “Do you like this awesome painting? Well here are a thousand more you might like!” I have to set limits or I will blow my entire day. The last book I read isn’t new, but it was awesome, Ready Player One. And, I just heard Spielberg will be directing the movie!

15. Where can we find you and your work?

Everywhere; but my site is a good start: www.miketartworks.com I have links to everything else from there.

Interview with Alan Tucker

Alan Tucker, author of A Measure of Disorder and A Cure for Chaos, is a dad, a graphic designer, and a soccer coach; mostly in that order. He's had a lifelong adoration of books, beginning with Encyclopedia Brown, progressing through Alan Dean Foster's Flinx, and continuing on with the likes of Jim Butcher, Rachel Caine and Naomi Novik, to name a few. Tucker's first book, A Measure of Disorder, has, "a dreamy, movie-like quality to it, which my mind effortlessly brought to life," according to a recent review from Squeaky Clean Reads. Austin at Reading Teen says about the second book in the series, A Cure for Chaos, "I really admire the genius of Mr. Tucker for creating this world that is so awesome and … well, believable." Describing his motivations, Alan says, "I wanted to write a book that I'd enjoy reading; one that I hoped my kids would enjoy too!"

1. Tell us about ‘A Measure of Disorder’.

The story is about an eighth grade science class that goes on a field trip into the forest near their hometown of Boise, Idaho. While there, they mysteriously fall asleep and find themselves in a new world they later discover is called Mother. Through their travels in trying to find a way home, they are transformed into people and creatures native to Mother, each presenting its own challenges of adjustment and acceptance.

2. Why did you write this book, and what do you hope to achieve with it?

I loved adventure stories as a kid. I particularly identified with Alan Dean Foster's Pip and Flinx books, which fostered a love of reading in me. I found myself with some extra time in the summer of 2009 when my daughters were away, visiting their mother, and I decided to use that time to develop a story idea I'd had kicking around in my mind for a while. At first, it was just a fun exercise for me, but as it progressed and I had a few people read it and tell me how much they enjoyed it, I decided to polish it up and see where it could go. When all was said and done, I just wanted to write something that my daughters would enjoy reading. It thrills me to no end that they do and that others have shared in that enjoyment.

3. Is there an underlying message in ‘A Measure of Disorder’?

There are several issues dealt with lightly in the book: pollution, stereotypes, and societal expectations. But, really the story is about growing up and all the adversity that our teenage years create. My main purpose in writing is to entertain, not educate or preach.

     

4. You are a graphics designer. Has this skill helped in the development of this work, and if so, how?

Being a graphics designer helped me more after I typed "The End," than before. My decision to self publish, largely came from my professional background. The eBook revolution we are currently in, was in its first phases of the royalty debates. I queried a handful of agents, but in my further research I realised it could take years, if ever, for my book to see the light of day through traditional means, so, why not use that time to see what I could do with it on my own? I did all of the formatting for eBook and print, and even did the cover artwork (to mixed reviews I have to admit). It was all a great learning experience and I'm so glad that I went that route.

5. Of the characters you’ve created, do you have a favourite? If so, why this particular character?

Oh gosh! I can't really pick a favourite. They are all different and, because I write the stories from different characters' perspectives, I get to explore many of them deeper than if the story was told from just one point of view.

6. How is writing fantasy different from writing other genres?

Fantasy is nice because the canvas is completely blank to begin with and you can paint whatever you wish upon it. The trick is, once you've established the ground rules for your world, you have to remain consistent or the readers will pick up on it and quickly lose interest. Just because you have magic in your world doesn't mean anything goes. You still need to create laws that govern your world and remain true to them. 

7. What did you find most rewarding in the writing process?

Typing, "The End!" Seriously, it was an amazing moment to realise I'd finished the whole thing, from beginning to end. Then, the harder part started: rewrites! 

8. What did you find most challenging, and how did you overcome it?

Finding a balance between things that I wanted to explore as a writer, and keeping the story moving at an appropriate pace. It took several months of editing, and suggestions from other writers in critique groups, to figure out where that balance might be.

9. What have you done to promote and market your books, and what advice would you give to other authors?

Even though I've been in the advertising industry for many years, I'm still a novice at selling books. I've gotten the book reviewed on a few blogs, done a handful of interviews, and a number of giveaways, with mixed success. At the moment, my advice for others is what I try to remind myself every day: write! Lots of folks write a book, throw it on the web and expect people to beat down their door to get it. It doesn't work that way. It really helps to have a catalogue of work in your arsenal, rather than just a "one off." I'm hard at work on the third book in the series now, called Mother's Heart. 

10. Who, do you imagine, would be your ideal reader?

Anyone who enjoys fun, fantasy and adventure. 

11. What advice would you give to help others build the confidence required to write their first book?

Write about something you know and love. And don't worry about what you're going to do with it after it’s finished. Write simply for the enjoyment of it. 

12. Would you like to see your book adapted for the screen? If so, do you have any aspirations, or reservations, regarding this?

I see scenes in my head like I would watch them in a movie or television show; so yes, I'd love to have that happen someday. Of course I'd hope it were done well; but honestly, it would just be amazing to see the stories on screen. 

13. Tell us a little about a good science fiction or fantasy book you’ve read recently.

Oh, where to start? I read a great deal. I've really enjoyed Jim Butcher's Dresden Files books and he has a new one just coming out that I'm anxious to read. I just read Foster's Flinx Transcendent, the final story in the Pip and Flinx series and that really took me back to my boyhood days. I've also read Simon Green's Eddie Drood series recently and enjoyed those as well. 

14. What are you doing now?

Besides answering interview questions?  I'm working on the third book in the Mother-Earth series, called Mother's Heart. My goal is to have it available some time by the end of the year. I'm also in the beginning stages of ghost writing an historical fiction for a client of mine, as well as making notes on another sci-fi fantasy project that's been running around in my head for a while. 

15. Describe ‘A Measure of Disorder’ in one sentence.

A group of eighth grade students travel to another world, to find out who, and what, they really are. 

16. Where can we find you and your book?

The best place to start is at my Official Site. There you can find maps of the world, read reviews, watch book trailers and read my blog, which I don't post to as often as I should! I also have author pages on Amazon, Smashwords and Goodreads.

Interview with Munich Syndrome (David Roundsley)

David Roundsley is a musican and graphic designer who lives in the San Francisco Bay area of California. He started writing and recording under the name ‘Munich Syndrome’ in the late 80s, and released Munich Syndrome’s debut album in 2006. He has also been a creator of web and graphic design for the past 15 years and is currently writing a book detailing his search for his birth parents.

1. How and why did you choose the name ‘Munich Syndrome’?

I went with a friend to see the indi sci-fi movie ‘Android’ when it first came out. The main character is a loveable but flawed android named Max. Max has an affection for listening to music broadcasts from Earth. One night, Max overhears that he is to be decomissioned with his parts used for a new and improved android. Sad, but resigned to his fate, he listens to his last broadcast from Earth to hear that the androids in the city of Munich have risen up against their masters, wanting to be more than part of the machine. They were exhibiting signs of  ‘Munich Syndrome’. This lodged in my brain and four years later when I started writing and doing my first four-track demos,‘Munich Syndrome’ was the only name that really came to me and felt right.

2. Tell us about your latest album, ‘Electronic Ecstasy’.

‘Electronic Ecstasy’ is a continuation/evolution from ‘Electro Pop’. I became more comfortable with the vocoder and wanted to push further into exploring melodicism and harmonies with this release. This also opened the door to revisiting a couple of songs written a while back that I felt needed a more melodic approach than I was able to muster previously.  While keeping the overall sound anchored in a classic analog synth style and ‘electronic’, I also wanted to counterbalance that with lyrics exploring a range of emotions.

3. Why did you choose to create this album, and what do you hope to give to your listeners?

Growing up I was a loner and albums and books were my lifeline and showed me there was a world out there that I could connect and identify with. This album, along with my previous efforts, are my attempt to connect with others and add to a global dialog.

4. Is there an underlying theme or message in your work?

What I would hope comes through is for anyone to be true to themselves and express themselves as openly and honestly as possible.

5. You are also a professional graphic and web designer. Has this helped you with your career in music, and if so, how?

The short answer would be: ‘yes’. I had always played music as a child and tried, off and on over the years, to get a band together (with no success), but never really considered music a possibility. I experimented with early sequencers (with a lot of outboard gear and a very early generation computer; the lag time gave everything an out-of-sync feel that wasn’t acceptable) and four-track recorders; but what I heard in my head and what I was rendering weren’t matching up. My ‘aha’ moment came when I started working first with ProTools and then moved on to Logic where I had a visual representaion for the music.

6. Of music you’ve created, do you have a favourite? If so, why this particular work?

I will have to say Electro Pop is probably my favorite creation (so far). It was the point where I took my sound experiments and refined them into more coherent pop songs. There was more intent and focus on this effort.

7. How is creating electronic music different from creating acoustic forms?

I’d say the difference is the variety of sounds available. When playing an acoustic piano, or other instrument, I’m already at a very well travelled starting point. When I play around with weird noises, sounds or patches, suddenly I’m in a totally different world, and this suggests new paths and ways to progress that I probably wouldn’t have discovered in an acoustic framework.

8. What do you find most rewarding in the creative process?

Dragging anything over the finish line. Seeing a finished product is immensely rewarding.

9. What do you find most challenging in the creative process, and how did you overcome it?

The hardest part for me is making that leap from a glimmer of an idea and moving it forward into something with more form and function. Sadly, I don’t always overcome this. My notes, and my head, are litered with millions of unfinished ideas. Sadly too, the time I get my best ideas for lyrics are just as I drift off; and more often than not I opt for a good nights sleep vs. waking myself up to memorialize those thoughts.

10. What have you done to promote and market your music, and what advice would you give to other artists?

Not really having any budget for promotion I’ve gone the D.I.Y. approach down the line. Being a graphics web designer, doing my own website was the first order of business. I also joined every and any music or social network website. I do try to make sure my songs are available on as many services as possible and hope they’ll get exposure and attention through people discovering them organically.

11. Who, do you imagine, would be your ideal listener?

I’m not sure there’s an ‘ideal’ listener, but in looking at the metrics provided by the various sites I’m on, my typical listener is male, between 18-30 and they’re probably into sci-fi and fantasy. 

12. What advice would you give to help others build the confidence required to produce electronic music?

This was a big challenge for me as none of my friends or family are, or were, into electronic music, so I really didn’t have a sounding board. About the time I had a group of songs I felt comfortable with, I used GarageBand as a way to get feedback. Some of it was quite harsh, but there were valid comments that I looked at and utilized to improve in the performance and production areas. I think putting music out there and getting the feedback is the best thing. There will always be haters, but I consider myself lucky that I’ve had some very encouraging responses.

13. What aspirations, or reservations, do you have regarding your music being used in film and television?

I do think some of my work would be very applicable to film, TV or commercials. I’m very open to it being used whereever.

14. Tell us a little about any good electronic music you’ve heard recently.

John Foxx and the Maths is one that really jumped out at me, as well as DJ Hell’s Teufelswerk. One release that totally surprised me is the production work on the new Britney Spears album, ‘Femme Fatale.’ They pushed, pulled, tweaked and reconstructed her voice into a futuristic fembot. My favorite tracks are the four bonus tracks on the deluxe version. Total guilty pleasure.

15. Describe ‘Electronic Ecstasy’ in one sentence.

Future-retro electo pop with an emphasis on melody.

16. Where can we find you and your work?

CD Baby, iTunes, Amazon MP3 and most of the major subscription services.

Links:

www.munichsyndrome.com

www.dbrdesign.com

www.syndromesounds.com