If you could write up a list of the most influential figures in pop culture, celebrity portrait photographer ‘John Wright’ has most likely photographed them.

Michael Jackson,  Lady Gaga, Rhianna, Cheryl Cole, Muse, Ricky Gervais …I could go on.

His work has been published on the front of many, many magazine covers from around the world, and if you don’t think that you’ve seen his images… you’re probably wrong. You can see his iconic work at johnwrightphoto.com

I caught up with John at his studio in Hoxton and asked him a few questions about his work.

Special thanks to:

Annelise Sealy (interbang.co.uk)
Michael Stuart-Daley (michaelstuartdaley.com)

…and of course John Wright.

Cormac

I am delighted to share the work of Yusuke Nagano, a Japanese born Illustrator and Art Director who has lived and worked for much of his life in Sweden. He’s one of my favourite illustrators working today and I was fortunate to briefly speak with a busy Yusuke during his recent and very successful exhibition at the Motala Konsthall in Sweden.

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Thank so much for talking with us Yusuke, could you tell SickManSick briefly about the type of work that you do?

Many of my works are based on children, because children have had the most impact on me in my life.

Congratulations on your current exhibition at the ‘Motala Konsthall’, please could you tell us a bit about the work you are showing?

In my paintings, I portrayed dreams from my childhood, my memories and wondering about how the world would change and showed them at my current exhibition at Motala Konsthallen.  You can see my short film there as well.

You’ve mastered a variety of creative endeavors during your career. I know of your passion for drawing and I really admire the diversity within your studio and personal illustration work and also in particular how the energy is translated into your animation work.

Does this type of transition feel natural and what difficulties did you discover in this kind of process?

Through my long career as an illustrator, I have had contact with various kinds of people from different creative areas, which influenced my style of work.  I was affected by how musicians, designers and dancers around me felt and saw things.  I think that these various influences are reflected in my work.

We’d love to see your work here in London in the future, Thank you so much for taking the time to speak with us, we wish you all the very best,

Thank you Yusuke!

Japanese version

このたびはインタビューをお受けいただきましてありがとうございます。ではまず簡単に長野さんご自身について、そして長野さんの作品のタイプについてご紹介願います。

僕の作品の多くは子供が主体になっています。それは自分が生きていた中で、一番インパクトがあつたせいかっだったからです。

このたびの’Motala Konsthall’のご盛況、誠におめでとうございます。今回その展覧会ではどのような作品を展示されていらっしゃいますか？

Motala Kosthallen では、子供のころの思い出またその時、見た夢、それプラスこれからどんな形に世の中が変わっていくのだろうか、という疑問を絵にしたものを展示しました。それにShort Filmなどです。

私の知るうえで、長野さんは過去にさまざまな独創的な試みに精通されてこられました。
長野さんの絵画に対する情熱を存じ上げており、スタジオや個人のイラストレーションの作品の多様性、そしてまた特に例を挙げると、それらの努力がどのようにしてアニメーション作品へと変えられているかということについて大変敬服しています。

この様な変化は自然だとお感じになられますか、そしてこれらの過程でどの様な困難がみうけられましたか？

僕はイラストを長い間、描いていたのでいろいろな人たちと仕事をしての経験がたぶん生かされていると思います。僕にとって僕の周りにいる絵描き、音楽家、デザイナー、ダンサーなど彼らから物の見方、感じ方、心を動かされることがありそれが作品の方向性につながっている可能性があるとおもいます。

先生の作品をロンドンでお目にかかれることを楽しみにさせて頂いています。今回のインタビューをお受け下さりありがとうございます。先生のますますのご発展をお祈り申し上げます。

ありがとうございました

Thank you so much to Hitomi Sato for doing a great job with the translation work.

Please check out more of Yusuke’s work at www.yusuke.nagano.nu and you can also purchase a selection of his illustration work at www.then.se

Rich.

Keith Thompson is a freelance artist whose work features in everything from books and magazines to film, tv and videogames. You really need to explore his website to understand how great this guy is- incredible concepts and ideas with awe-inspiring style and execution to each and every piece. I hope it’s clear to see why he is one of my favourite Illustrators working today. I was fortunate to catch up with Keith over a very busy new year…

SICKMANSICK: Hi Keith, thanks for joining us for an interview, what have you been working on recently? Would be interested to hear about your involvement with ‘Leviathan’ and the videogame, ‘Borderlands’.

Lately it’s all been Leviathan, specifically the second book Behemoth.
Anything to do with Borderlands is from over a year ago (which was late in the game’s development, since usually I’m involved right at the start.)  A lot of my work was on the core story.  A lot of that got shaved pretty thin, possibly to make time for the art direction revamp that occurred very late in development.

SICKMANSICK: Could you tell us a bit about working on Scott Westerfeld’s series ‘Leviathan’, how it came about and a bit about the process of producing the artwork for the story?

Scott dug me up while looking around for steampunk artwork.  From my perspective at the time, a lavish fully illustrated book mimicking those from the time in which it was set, sounded a little too good to be true.  Scott was awesome enough to really fight for the vision and managed to get it to happen.
The actual process of creating the book was extremely conducive for creating artwork, and work has been quiet and smooth.  In fact looking back on the complexities involved, especially in the early stages, shows what good luck was had.  The visual designs for the rest of the book were established very early on without the freedom of time to test them.  Since the books are being written as the artwork is created it’s also great that the two visions of the world of Leviathan are running parallel.

SICKMANSICK: I loved the ‘Leviathan’ advert which brings your illustrations to life by combining moving-image; could you tell us about how that was made and how much of your work is eventually realized in some form of moving-image? (View trailer here.)

The publisher, S&S, got Motherland (http://www.motherland.us/) to work that up.  I think everyone was definitely impressed with how it turned out.  Normally I would balk at someone chopping up my illustrations for a flash animation, but seeing those framed portraits emerge and fold open was really spot on.   Great sound work too, I love it when the sound work makes the hairs stand up on the back of my neck.

SICKMANSICK: You have a remarkable ability to create whole new worlds and characters, what is your usual approach in order to produce a selection of illustrated characters or environments? Where do you source such inspiration?

I love getting the opportunity to really be idle and explore things in my mind.  I’m able to conjure up such persistent and intricate places to explore that it’s been a big source of fun since I was very young.   I’m voracious for enjoying other people’s imagined worlds, and I spend as much of my spare time as possible doing that as well.  When I work I simply schedule time to pace around thinking about interesting parts of a world and all the little details that would be compelling.  The real trick is gently directing these worlds to overlap something I have to work on so I can call on them for inspiration.

SICKMANSICK: I am familiar with the great work of ‘Visual Futurist’ Syd Mead. He is renowned for his incredibly thorough approach to Concept Art and Image Making. Is this very thorough approach something you share with your work process or do you feel the image-making process shouldn’t need to go to such rigorous lengths to become ‘justifiable’?

It depends on the overall approach to a collective work.  It’s very rare that a rich background and highly realised technical foundation doesn’t contribute hugely to a project’s worth.
The danger with heavy research and technical thoroughness is a stiffness and constriction of the
evocative elements in a work.  It’s important that the work is fluid and visionary, and that the technical parts support this core vitality rather than impeding it.

SICKMANSICK: What is your background as an Illustrator?

In highshool I worked at an animation studio (this is where I picked up the habit of using animator’s pencils.) I also started freelancing as an independent artist.  I studied Illustration at Sheridan College and simply continued freelancing during and after.

SICKMANSICK: For many years now there has been ongoing debate about the boundaries of Graphic Design, Illustration and Fine Art becoming blurred and transgressed by many practitioners; is this something you can identify with or have you had a strong focus with your work from the outset?

While there are definitely different concerns and disciplines in those general categories, I’ve always viewed them as a collective group of skills an artist would usually be interested in.   While I completely understand specialists in those areas bemoaning the sloppiness that comes with blurring boundaries, I really view those skills as fundamental aesthetic traditions and foundations that can only benefit from being expanded into more areas (despite initial dilution.)

SICKMANSICK: As a professional Illustrator and doing what I assume you love for a living, how does Keith Thompson like to relax when not at the drawing board?

I’m not great at relaxing these days.  I relax well when I really sink into sources of inspiration.  Just finished up the game Demon’s Souls which was unbelievably wonderful.  Anything that conjures up a really evocative atmosphere is something I love to lose myself in (books, music, games.)

SICKMANSICK: Who/What would be your dream client/project to work on?

Anything that gives me the opportunity to produce the most evocative work I can, unfettered from fiddling.  I’m really not picky on the details as long as the finished thing at the end is something I can then go and truly experience first hand.

SICKMANSICK: What does 2010 hold for Keith Thompson?

Not sure, I try to flow organically through what I do artistically at the moment.  Should be making some public appearance finally; things like Comic Con.

Thanks Rich!

-Keith Thompson

SICKMANSICK: Keith, Thankyou very much.

Check out Keith’s website www.keiththompsonart.com

Rich.

Skrilla is a Midlands-based Graphic Designer from the UK. He is well known for his atmospheric and striking album artwork as used on the ‘Adulthood’ Soundtrack and he has attracted the attention of many important Producers, Rappers and Emcee’s (Papoose, Million Dan, 10Shott, Joe Budden…his list of clients is endless) over recent years.

A big inspiration of mine, SICKMANSICK were fortunate to catch up with the man himself…

SICKMANSICK: Hi Skrilla, thanks very much for taking the time out for a chat, what have you been up to recently?

No problem and I appreciate the opportunity. It’s busy as ever over here working on various projects, one of which is the new Sean P mixtape, Kimbo Price which is pretty exciting!

SICKMANSICK: What is your background as a Designer and what have been the major influences on your work?

I did the usual route and began at college before going on to university studying design which gave me a pretty good understanding of the subject. It wasn’t until near the end of my time at university I began getting a few clients which made me consider starting up as a freelance designer. I Think my first design job was the P-Cutta Street Wars 12 cover.

As for my influences, I’ve always loved looking at the artwork that came along with a CD while bumping the music so it’s always something I wanted to be involved in. Then when I discovered mixtapes I saw all these exciting new designs such as those early dipset mixtapes, that were creating these crazy scenes that really appealed to me. I knew I had to have a go myself.

SICKMANSICK: Your aesthetic has become popular for Album Artwork and Mixtape Covers, how did you get into specializing in this market?

I love music, hip hop in particular so I always wanted to be involved in it somehow, so I just gravitated towards that particular field. It’s just something I wanted to do so I went for it, I’m a firm believer that you can become anything you want to if you have the talent and drive.

SICKMANSICK: I noticed you have connections with a lot of American rappers as well as much of the UK underground and hip-hop scene, how did this come about?

The Internet is really the key to that, making the world a much smaller place it’s now possible to contact just about anyone around the world. In fact, thinking about how different it would have been 10 years ago I don’t think any of what I have achieved would have been possible back then.

My first major client was probably my boy Tricksta from Wolftown who really put me on in the UK scene and also gave me a few good connections overseas to get started with. From there it’s just been a gradual case of acquiring new clients from word of mouth and putting my work out there. Being consistent and trustworthy to your customers goes a long way in business.

SICKMANSICK: I feel you have an unmistakable design style and I notice you are very clever with both photo manipulation and type; how do you usually approach the design process for a new Album or Mixtape Cover?

I would say the main factor is the title or concept of the mixtape or album. Once I have that I can let my imagination do the work and start to think about a scenario or scene I can paint to put across this idea. It’s a very fulfilling experience to go from the idea in your head to the finished product on the screen. It’s also key to have a good imagination rather than everything looking the same time after time.

Of course a nice library of stock images helps and if your in the mixtape game you should really have a good collection of magazines at your disposal because you never know if your gonna be able to find a particular image online. It’s also good to start looking at EVERYTHING in terms of “can I use that in my work?” and building a collection of things you can look at for inspiration.

I don’t really use any gimmicks or special plug’ins although I always get asked what effect I’m using to get a particular look on my covers. The only thing I can say is it’s a combination of lighting, the right blending of colours and experience.

SICKMANSICK: Do you see yourself pushing your design work in new directions in the future?

I’m hoping too. I kinda just take things one day at a time right now and it’s going pretty well so far.

SICKMANSICK: Nowadays it seems your typical Graphic Designer isn’t just a designer in its traditional namesake; many are also involved in Illustration, Fine Art or other creative practices, is this something you also share?

Not really. I find a lot of designers who do that never really master any field in particular so at the moment I’m just trying to be great at what I do. I look at it similar to the music game where you have emcess and producers. You rarely find an artist who excells at both lyrics and production and so you have great producers like Dre and  Timbaland who have ghostwriters when they need to rap because they are not lyricists, they specialize in making music. And similarly you have emcees who try to produce but never really create anything incredible beat wise. Sometimes it’s best to stick to one thing and master that.

SICKMANSICK: When not working on a design project what do you enjoy doing?

I’m a big fan of movies which can be very inspirational for ideas. I also enjoy reading/researching about this crazy world we live in but it’s very hard to switch off from this job. You can be out having a drink and then a good piece of design catches your eye and your thinking about work again!

SICKMANSICK: If you could have a dream design project to work on or a dream client who/what would it be?

I’d love to work for one of the big record companies or even get into the movie poster industry. That would be exciting.

SICKMANSICK: I will leave these final words to you…

Shout out to all my customers of course! And go to www.skrilla.co.uk to check out my work. Thanks to sickmansick for the interview.

Rich.

Hugely talented professional photographer ‘Perou’ kindly agreed to answer a few questions for SICKMANSICK.

To see his work please visit perou.co.uk

You’ve just been in Milan. How was it, and what were you up to out there? 
“I love italy: I love italian food so I’m always happy to shoot there. I was shooting ‘Andrei Shevchenko’ the footballer, for a reebok campaign. And eating well.”

Do you find that there is a slight difference in approach to ideas for shoots between English, European and American clients/celebrities or are you given 100% creative input most of the time?
“Kind of depends who I’m shooting for.
European clients want something different to american clients and I generally have no idea what japanese clients want (it seems to change). The amount of creative control I have varies from job to job: sometimes people employ me for my ideas as much as my ability to put those ideas into a photo.”
sometimes people (advertising people) come with a drawing and say ‘can you do this?’.”

I get the impression (through your website) that your vision of the photography industry’s future seems quite bleak. In your opinion, what is hurting it and how is this affecting the professional photographers?
“When photography first came out people said it would be the end of painting. It wasn’t, but painting became an art form: the day to day making of images was taken over by photography.

When digital came out people said it would be the end of film but really silver halide photography lives on: more as an art form or craft: the day to day capturing of images is done digitally: passport photos, wedding photos, holiday photos etc… the amateur market which drives the industry in bulk form is digital now.

I’ve been saying for a long while that the ‘decisive moment’ in photography will end soon.
and certainly now, still photography will be replaced by moving capture: video.
the latest cover of esquire in the states which features meagen fox was shot on a ‘red’ HD video camera and a still was pulled from the 25fps (?) that were shot. The quality is ALMOST there now. Trying to capture something a freeze it in a split second will go art just like film and painting went before it.

This isn’t necessarily a bleak thing, just something to be aware of.Things move so quickly it’s hard to remain relevant and contemporary. Everything in life seems so transitory these days: people want everything NOW and get bored of it immediately and want the NEXT thing.

There are too many people calling themselves photographers. People think that just because they have a digital camera and the easy ability to take correctly exposed, in focus pictures that is all there is to it. Then also there are too many colleges with assholes teaching people how to take pictures and become photographers when they know there aren’t jobs for those people to do when they graduate, this should be stopped immediately. It’s wrong.

…and as magazines fold under the pressure of the internet and the way media is evolving, there are even less jobs. The industry IS imploding. It is imperative for ‘us’ to understand how to make money in new media and through the internet. If you can crack that, you’ll survive.

…or just shoot for pleasure and yourself and don’t worry about it.”

How has the way clients approach photographers (and vice versa) changed since you first started, and do you think that there will be another shift soon? 
“People phone me or email me or my agent. It’s been this way for a while…don’t know how that would/could change? I advertise myself online and on television now which I didn’t used to. Guess that’s a different way for me to hit clients. I still meet a lot of mine at parties though, best to meet a prospective client socially and ‘off duty’.”

You use both film and digital equipment, do many of your peers still refuse to use digital, if so, have they found that it has lost them a lot of business or are many of them big enough for this not to be too much of a concern?
“Most of my peers shoot digital and film. Nobody exclusively shoots one of the other: it would limit you.
right tool for the right job.”

Did you always know that you had what it took to become professional, or did it take a while for you to make the jump from semi-serious amatuer/hobbist to pro, I heard that you entertained the idea of being a missionary or a truck driver?
“People often ask me what was my big break in this business. There has never been one: it’s always been a long hard slog to the middle. It was very gradual: after a while I came off the dole…then I came off housing support…then I had enough money to start thinking about paying TAX…then I was earning enough that I had to be VAT registered.

There have been moments of self realisation: like one Monday morning in a limo through downtown tokyo heading towards a studio to photograph a major japanese pop star, listening to ‘song 2’ by blur and feeling so excited, thinking ‘I’m not on holiday: this is what I do for a living: it’s Monday morning and I’m going to work’.

I had another of these moments driving down sunset blvd (in LA) at sunset recently.
what I do for a living can’t really be defined as a job: it’s a lifestyle…that I’m very happy to be living.”

Who did you look up to when you were younger, both in the world of photography and just generally?
“Photographers: our lodger jeremy who wanted to be a fleet street photo journalist but smoke too much weed: used to dev films in the shower-room. brian griffin. anton corjbin. Don mc cullin. Helmut newton.”

I understand that your first commissioned work was to photograph someone’s dying mother, that’s sounds like a very intense first project; what was the nature of the work like?
“It was a friend’s mother who was dying of cancer: she wanted to leave her son a beautiful portrait which he could remember her by. Unfortunately I wasn’t a good photographer and I was using some very hard tungsten ‘studio’ lights.

I don’t have a copy of the photo but I’m certain it was a flattering picture. I could do so much better now.”

What area would you advise photographers who want to turn pro to start out in; Editorial, Freelance, Apprenticeships or is it simply work, work, work in any of those areas?
“Photograph everything all the time: live and breathe photography: if you want to succeed, it has to be your passion.If you can, assist a ‘big’ photographer: this acts like an accelerated learning curve.”

You’ve met a lot of interesting people over the years, I understand that you’re good friend’s with Marilyn Manson, is there anyone else that you keep in touch, and perhaps catch a beer, with after shooting them (so to speak)?
“Cider.
Or champagne.
Or sometimes girly cocktails.

I’ve become friends with a lot of the people I have photographed.
but I don’t keep a list of my celebrity chums.”

You’re obviously a very busy man but when you have a spare moment, other than photography what do you find yourself doing?
“Grass cutting.
Drinking cider.
Raising sons.
Eating Italian food.
Possibly in that order although sometimes I combine some of these.”

You broke your neck from a very early age, how did this happen?
“Some bastard 4yr old pushed me off a 6ft high wall I was skillfully running along.”

You’ve definitely got a unique dress sense, did you manage to get some stuff off Vivienne Westwood when you did a shoot for one of her clothing ranges?
“I have a ‘normal’ sized wardrobe full of westwood clothes and shoes.
My wife got a few pieces and so did my first assistant, frances.”

Have your sons shown an interest in what you do?
“Yes.

Not surprising really: Maximum used to do puzzles on the floor of the studio while I was photographing people like Dita von Teese. Temporarily, I don’t have a studio at home, but I have a gallery and we alternate shows of my work and my sons both take GREAT pictures but I don’t want them to be photographers…i want them to be divorce attorneys.”

Although your online gallery is extremely intimidating in terms of who you’ve shot, who would be your dream client?
“God.
Or the Devil.

Reckon they’d both have a few good stories to tell…”

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SICKMANSICK would like to thank Perou for his time and thoughts.

Cormac.