July Print of the Month

07/05/17

The July Print of the Month is here! And it comes in three colors. There are 40 available only, all signed and dated. Once they are sold they are gone forever in these colors. So grab one while they are available!

A portion of the proceeds go to The Southern Poverty Law Center.

Thank you and happy Wednesday!

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Alice Stevenson: Ways to See Great Britain

06/30/17

I am so excited today to share with you an interview with Alice Stevenson. Alice is one of the most talented, dedicated, curious illustrators I know. I first met Alice several years ago when she came to stay in San Francisco, where I was living at the time. Hailing from London in the UK (where she has lived most of her life), she has just published a new book all about her home country called Ways to See Great Britain. The book is part visual adventure through her gorgeous country, and part Alice’s own personal exploration of parts unknown. That’s right, Alice traversed her country over the course of two years, and most of it for the first time, on public transportation and by foot, with the goal of getting to know the less common, less touristy parts of her country in more depth. And simultaneously she wrote and illustrated a book about it! Stunningly illustrated in Alice’s energetic, colorful style and written in Alice’s soothing voice, the book is both eye candy and inspiration for slowing down, looking at your surroundings and appreciating the unexpected. All the illustrations below are from this gorgeous new book.

And so without further ado, I present to you my  latest Interview with Someone I Admire — Alice Stevenson!

Lisa: Alice, tell us a little bit about your background, your story as an illustrator, and the kinds of things you work on as an illustrator.

Alice: I’ve been working as a freelance illustrator and surface pattern for a varied range of clients since 2005 when I graduated from the University of Brighton. I’ve illustrated many books and book covers including Maya Angelou’s autobiographies for Random House US and Carol Ann Duffy’s Collected Poems for Children for Faber & Faber. I’ve also been commissioned by a host of different editorial, advertising and packaging clients including Kellogg’s, Waitrose and Amy’s Kitchen. I’ve always had a lively personal drawing and painting practice alongside my commissioned work.

Lisa: This is your second book? Before we launch into Ways to See Great Britain, tell us briefly about your first book.

Alice: Ways to Walk in London is collection of reflective writings about my wanders around my home city, combined with illustrations inspired by my journeys. It’s a celebration of surprising corners of London and those fleeting moments of beauty you find when exploring a city on foot. I was initially approached by my publisher to create this book as so much of my personal output as an illustrator and artist is about drawing in response to my surroundings.

Lisa: How did Ways to See Great Britain come to be as the follow up to Ways to Walk London?

Alice: I grew up in London, and there is always a sense here of being quite cut off from the rest of the country. I’d always been aware that there was so much of the UK I’d never seen even though I’ve travelled widely overseas. I was interested in writing a travel book, which investigated the process of travel and my own reaction to different journeys and locations, so travelling around Britain seemed like a logical progression.

Lisa: It’s amazing how many places all over Great Britain you traveled!! How long did you spend traveling to create the content in the book? How did you decide what to explore in each region?

Alice: Yes, I look back at the book now and wonder how I managed it all! I spent just under two years doing trips for the book, and it was incredible. I’ve been much more sedentary this year and I really miss all the travelling, in particular the long train journeys. When I started the book, I wanted to restrict my travels to “in between places”: outskirts of towns, places that were a mixture of industrial and rural for example. But this felt a bit restrictive as I started making plans so I kept this in mind but gave myself permission to go wherever took my fancy, even if they didn’t fit into this sort of category. Really it was a mixture of places I’d always wanted to visit and places recommended to me. It ended up being quite an organic process. I’d often let whatever journey I’d just been on inform my future travel plans. For example, I fell in love with Liverpool Metropolitan Cathedral, which inspired me to visit the town of Harlow which had been designed by the same architect Frederick Gibberd, hundreds of miles away in Essex.

Lisa: The art in the book, which is gorgeous, is obviously driven by your experience in each place, and yet, the illustrations are not literal. They are more figurative, patterned illustrations on each place. Talk about your process for creating the illustrations in the book.

Alice: Thank you :). What I seek to capture in my illustrations is a sense of what I found visually interesting and engaging about a place. To me, the visual memory of a place more closely resembles an abstract pattern than a straightforward “scene” because its a combination of details and atmosphere. I take photos and create sketches (if possible) on my travels for reference, I then use these as the basis for creating some initial drawings which eventually develop into final pieces. The process is very intuitive, I try not to overthink what I create.  I found with some chapters that I’d see the artwork quite clearly in my mind’s eye, and in others, I would have to draw and experiment for a while until it became clear what the final outcome would be.

Lisa: The book is explicitly not a travel guide. So talk about how you envision or hope people to use the book to explore Great Britain?

Alice: I would be delighted if people wanted to follow in my footsteps after reading my book and I hope that it gives people ideas for travels around the UK, but just as much I would love to inspire readers to engage with their surroundings in a meaningful way wherever they go in the world. I also am a passionate advocate of armchair travel, so I like the idea of my book mentally transporting readers from wherever they are in the world to Liverpool in December, or the mud flats of North Norfolk even if they never actually use it in a practical way.
Lisa: Because you don’t drive a car, you walked or took public transport everywhere you visited and wrote about in the book. What was that experience like for you? Was it difficult to get to some regions or places you wanted to see without a car or did you manage to get people to drive you? How did you manage your expectations on your journey when you were at the mercy of your feet and other modes of transport that you didn’t have control over?
Alice: Having never driven, I’m fairly used to managing without a car. I’m honestly never happier than when I’m on a train, and I also really enjoy taking little local buses, they provide excellent people watching opportunities. On certain journeys I managed to rope long suffering friends and family into chauffeuring me around — for example, in Northern Ireland which would have been very tricky on public transport. On the whole I prefer travelling without a car as it limits your options in a good way, as I think too much choice when travelling can be overwhelming. For example, when I was staying in Patterdale in The Lake District with my mum, we didn’t have a car and we spent our two days there just exploring the immediate footpaths around Lake Ullstwater, which were absolutely stunning. If we’d had a car we’d have probably spent the time driving around trying to see as many places as possible, which I find can be a bit draining and unrewarding. Plus if you’re not driving it means you can go to the pub!
Lisa: Was there a spot or region you visited for the first time that really blew your mind? If so, what was that and why?
Alice: I was very taken by Hull. It is often unfairly dismissed as being a bit of a rough place but I was delighted by it. It has the most amazing grand Victorian buildings, a fascinating maritime history and excellent pubs. People are extremely friendly there and I just felt it had one of the loveliest atmospheres of any city I’ve ever been too.
Lisa: Did you stumble on anything by chance that you hadn’t planned on that made it into the book?
Alice: Yes! On the grounds of Castle Crom near Enniskillen in Northern Ireland, we discovered these astounding ancient yew trees that created an amazing arboreal palace world when you stepped under their outer canopy. It was like nothing I’d ever seen before. I wrote about this experience in the book and it is probably one of the best surprise discoveries I’ve ever maddwhilst travelling. I think it’s these moments that make travel worth doing.
Lisa: What are you working on now?
Alice: In terms of books: “Ways to See Great Britain” was such a mammoth undertaking so I’m allowing myself to take some time this year to regroup and work out what the next big writing project will be. Alongside working on illustration commissions I’m enjoying playing around with some personal art and writing projects and seeing how things develop.
Lisa: Where can people find you online?
You can find out about my books and look at my illustration portfolio at www.alicestevenson.com. Signed copies of my books and prints can be found on my online shop at alicestevo.bigcartel.com. You can follow me on Instagram,Twitter and Pinterest at @alicestevo and at Facebook at https://www.facebook.com/alicestevo/
Lisa: Thank you, Alice! And folks, you can purchase the book here, along with many other beautiful things by Alice!
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New Podcast: Etsy Success

06/29/17

Friends, I’m so excited to share with you a podcast I recently recorded with Julie Schneider over at Etsy for the Etsy Success Podcast. We talk about how I’ve tackled the challenges of imposter syndrome, risk-taking, burnout, and building a online following. Take a listen here.

CATEGORIES: Podcasts
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New Podcast: Raise Your Hand Say Yes

06/19/17

I’m on Tiffany Han’s podcast Raise Your Hand, Say Yes in which I talk about burnout, the anxiety I had as a result, my slow recovery from it, and my meditation practice, which has been life-changing. You can take a listen here. Enjoy!

CATEGORIES: Podcasts
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Bridget Watson Payne: Part Two

06/08/17

You may remember a few weeks ago, I posted the first part in my two-part interview with author, artist and editor extraordinaire, Bridget Watson Payne, about her recently released book, The Secret Art of Being a Grown Up. If you haven’t seen that book yet or read that interview, head over here to take a look. The Secret Art of Being a Grown Up is one of my favorite books of the year.

Bridget’s second book, How Art Can Make You Happy, was also just released. And guess what? It’s also one of my favorite books of the year! Part of why I divided this interview with Bridget into two parts is because both of her recently published books are really, really entertaining, sensitive and, most importantly, useful.

So I’m back to interview Bridget a second time about How Art Can Make You Happy. To learn more about Bridget, how we know each other (she’s an important person in my life) and her first book, head over here to our first interview. Then come back to this post to read on.

Without further ado, I present to you: Bridget Watson Payne, back to talk about How Art Can Make You Happy.

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Lisa: This book resonated with me on so many levels, and I’m curious to hear in your own words — why a book about how art can make you happy?

Bridget: I found myself having so many conversations with people—friends, colleagues, at parties, over coffee—where, when the subject of art came up, folks would all of a sudden start to express so much guilt and anxiety. Maybe it’s because of my job title? Maybe you imagine that if you’re talking to someone whose job is “Senior Art Editor” that must mean that this person you’re talking to is super-duper knowledgeable about art, makes it out to every big art show and every cool obscure art show, and is looking down on you because of stuff you don’t know or stuff you didn’t go see. But that couldn’t be farther from the truth! I wanted to wave my arms and shout—no, no, no! Art shouldn’t make you feel crummy and guilty! Art should bring joy into your life! Art should make you happy! So then I realized maybe I should write a book about that.

Lisa: As someone who came to a profession as an artist later in life — and with no formal training or connections to the “mysterious art world,” I remember feeling completely terrified when I first started out that I would be found out for being a fraud and that there was some secret society who would certainly kick me out. I have my own theories, but why do you think we have gotten to this place as a society where we are so intimated by not just art but “the art world”?

Bridget: I think it’s kind of this cultural myth. I mean, yes, sure, there are a few snobby jerks out there who like to use their knowledge to shut others out or make them feel small. But for the most part, it’s a fiction. You can walk into a museum on the free day, or into an art gallery on any day, and look at the art there. No one is going to stop you. The art world isn’t actually shutting us out, we’re shutting ourselves out with this cultural story that says, oh, art’s not for normal people art’s only for fancy people. Nonsense! Art is for everyone. Art is for you and for me and for you and for you and for you. That’s not to say that the story isn’t a real and powerful thing in itself—it comes out of some pretty deep-seated societal issues we have around class and culture and intellect and education—and it’s not always easy to throw off that kind of cultural baggage. But we are right to work to try and do so.

Lisa: I also think our perceptions about art are changing because of the internet and because museums, in order to stay relevant, are making great efforts to make art accessible to everyone. Art in all of its forms is becoming more mainstream, and our conception of what is art is also broadening. Art is for everyone, and art can be anything. To be clear, some people (mostly inside “the art world”) find this shift offensive. Why does your book argue this is a good thing?

Bridget: I am 100% egalitarian when it comes to art. Everyone should be invited to the art party. If they’re not then, what? You’re making art some sort of rarefied insider-y thing on a mountain top and keeping this source of joy out of people’s grasp? That’s insane. I really have a hard time believing that we’re still having these conversations about what is and is not art in this day and age—but I know it’s true, we are. Every time I go to a museum show about the work of a fashion designer—which, let’s be clear, have been some of the best exhibitions out there in recent years!—I overhear all these conversations debating whether fashion is art and should it be shown in museums and blah blah blah. And I’m like, seriously? Are we still seriously having this debate in the year 2017? More art—a broader more inclusive definition of art—and art accessible to more people—is only ever a good thing. We would never say movies or music or books or ice cream or vegetables or pillows or bicycles are only for a few special people, so why on earth would we say that about art, this amazing huge source of inspiration, empathy, and joy?

Lisa: When I walk into a museum, despite the genre or period or artist, I am often overcome with emotion. I have been known to cry or to feel overwhelmed, and not in a negative or positive way. I am simply moved. Sometimes I find myself rushing through because the feelings are so intense. I’ve heard a handful of other people talk about this same experience. Why is this happening this happening to me?

Bridget: You are letting art do to you exactly what art does, if we let it. Art is a powerful engine of emotion. When I say art makes you “happy” I don’t mean happy like skipping around in a field of daisies eating bonbons, I mean happy on a deep and profound level. Happy like moved. Happy like awake. Some art is deeply unpleasant—it can shake you up, upset you, outrage you—but those strong emotions can also lead to this kind of deep happiness I’m talking about. If we really let art in, if we open our eyes and let it do it’s number on us, the natural result is feeling. Not every time, of course—some art works for some of us and not for others—that’s why learning to trust your own taste is so important, you have to find the art you like so you can find the art that moves you. Because feeling that feeling of feeling feels good.

Lisa: Why should people prioritize seeing and engaging with art (even if it is intimidating or even overwhelming at first?)

Bridget: I argue in my book that art wakes us up to three profound realities: the reality of the world, the reality of others, and the reality of ourselves. As humans, we tend to be blinkered to the wonder of the world around us—we have to be or we’d be overstimulated all the time. We tend to be self-centered and have a hard time really truly believing that other people are just as real as we are. We tend to get caught up in the mundane day-to-day and disconcert from our own capacity for deep feeling, thought, and pleasure. When we prioritize making time to engage with art, we are prioritizing being our best and our happiest selves. And sure that’s a payoff worth facing down intimidation or overwhelm for.

Lisa: There is a whole section in the book about looking at art without leaving your house. This is important for people who are curious but don’t live in an area with galleries or museums (of which there are vast swaths across the world). What are some of the things you suggest in the book about how those folks can engage with art?

Bridget: Yes. If we’re going to say art is for everyone (and we are!) then we have to get really clear about the fact that not everyone lives near museums and art galleries. Luckily, there are lots of ways that art can come to us. We can order affordable art online and hang it on the walls of our homes. We can pull those art books someone gave us as gifts off the bookshelf or coffee table and actually look through them, slowly and carefully. And then, biggest of all, there is the internet. Going online is your gateway to accessing an almost infinite amount of art. Try art blogs (a few of my favorites are The Jealous Curator and Booooooom), art websites (I adore Artsy.net), and the amazing thing nowadays is that more and more museums are digitizing their entire collections. You can actually see way more art on the website of the Met than you can if you actually go to New York now.

Lisa: When you can, though, why is it different or special or important to go look at art in person? What changes?

Bridget: There’s something magical about seeing art in person. In the same way that seeing a live performance is very different from watching a recording, there is something visceral and immediate about being in the same space with the actual physical object that the artist created with their own hands. Because, let’s not forget, art is a physical experience. You feel it in your body. And you see things in such a different way when you stand in front of them, in person. Not just that you see more details—the individual brush-strokes in a painting, for instance—though there is that; but you actually see the original in a different way than you see the reproduction. Take Impressionism, for example. We’ve all seen certain Impressionist masterpieces, Monet’s waterlilies, say, reproduced so many times—on posters and coffee mugs and mouse pads and in the dentist’s waiting room—that we can hardly see it any more at all. It’s become this boring accustomed decorative background that our eyes and brains tune out or gloss over. But when you’re lucky enough to see it in person, it hits you. The size of it, the scale, the brushwork—but beyond all that: the living magic of it. Suddenly you realize how insanely revolutionary it was, at a time when people wore top hats and corsets, to paint what things felt like instead of how they literally looked. The audacity of it! Wham!

Lisa: I have been a professional artist for ten years, and I am just getting comfortable talking about and having opinions about art for the first time in my life. Why is talking about and having opinions about art so intimidating for so many people? And how can we move on from that fear?

Bridget: Frankly, we’re afraid of looking stupid. We think people are going to judge us for our lack of knowledge, or for having “bad taste” or something. And, yes, overcoming those sorts of fears can be hard. But also? Overcoming those sorts of fears is the real and proper work of our lives as adult human beings. Worrying about what people will think of us holds us back in nearly every arena of human endeavor. And like most things, the way to get good at something—in this case talking about art—is to practice. Start out with someone you trust. I recommend finding a friend to go on art dates with—go to a museum or on a mural walk together and talk about what you see. What do you like? Dislike? Why? Once you get comfortable with your friend, move on to chatting with others. Art is a great topic of conversation for social situations—it gets you away from boring small talk and onto something really interesting. And a great way to get to know people is by finding out about the art they like (and you may discover some new artists this way as well). People worry that others may know way more than art than they do—but it’s usually not the case. The one thing others may have mastered is name-dropping. If you learn the names of your favorite artists then you, too, can drop names into the conversation and start to feel more and more competent and knowledgeable.

Lisa: What was your favorite part of writing How Art Can Make you Happy?

Bridget: It was so much fun to be a writer! Because I’m a book editor by profession, I’m so used to being on the other side of the editor/author relationship. It was awesome and exciting to get to take my editor hat off and just concentrate on writing the very best book I could. And I got to work with a great editor of my own—Christina Amini. I felt like the whole experience gave me a deeper appreciation both of what editors do and what authors do.

Lisa: In one line, describe one message you hope people hold with them after reading it.

Bridget: Art is magic, and it’s for everyone.

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