Natalie Andrewson
I can’t say how happy I am to have Natalie be our inaugural illustration interview on Conjugate. I have been a long time fan and it’s been great seeing what she’s been up to (it’s A LOT!). From editorial illustrations with numerous publications, to picture books, to animation, Natalie is keeping her hands busy. Let’s get started.
On the subject of “Process”, there are some artists that identify their way of doing things by the tools they use and others who define themselves by the ideas they have. Do you see yourself in either camp? If so, which one?
I definitely feel I’m in both camps. While I’ve always had an interest in fantasy drawing and storytelling, I’ve also always been lured by various mediums and how easily I might be able to convey an idea with them. The past few years I’ve developed an obsession with Risograph (or Riso) printing for the way it makes images look like lithograph prints or vintage illustrated book plates. Working with the Riso means my digital work can be printed to look like I used traditional mediums to make it, which is very satisfying. Holding that physical print and enjoying all those rich colors up close excites me and acts as a source of inspiration as well. It’s also become a tool that reminds me to look back at my roots as an illustrator- to remember the joy I’d get from looking at old tri-chromatic book illustrations or comics that I used to pour over as a kid. Riso has definitely helped me find my personal voice so I feel like I can’t talk about the ideas in my work without acknowledging that Riso is half of my consideration now. That said, I do very much define my work now by the fantastical scenes I like to draw, too. I started a monthly Riso print subscription a few years ago to have an excuse to draw more fantasy scenes and now it’s become my entire portfolio.
You have numerous publications. Your latest, an adaptation of E.T.A Hoffmann’s “The Nutcracker and the Mouse King”, which you adapted and illustrated, is wonderful. Can you talk about what it was like to make space for source material within your own style of storytelling?
Thank you! It was a fun challenge to stay focused on my plans for the book while making sure to reference the source material appropriately, all while keeping fans of The Nutcracker story and ballet in the back of my head. I wanted to juggle them at the same time but that meant doing passes on thumbnailed sections with each perspective in mind. I didn’t want to lose sight of the big picture of The Nutcracker and get too wrapped up in my own style of storytelling, but it was important for me to make it uniquely my own. There have been so many great adaptations, so I was nervous about doing the story justice, but I just focused on the parts of the story that I could relate to and worked out from there. Marie’s struggle between reality and her imagination was that first spark that I found wanting to explore deeper and I think that’s what helped me keep this adaptation uniquely mine. Most adaptations focus on Christmas-time, the Nutcracker’s realm or the Mouse King, and while those were all still large elements of my story I really just wanted to zero-in on Marie and her relationships with the other characters when her imagination overtakes her world. My hope is that you can enjoy this Marie-centric retelling and find new ways to indulge in this version of The Nutcracker!
Your RISO art has always been some of my favorite of your works. I’m also a big fan of your color studies using the machine. They’re works of art on their own. Can you talk a little about how you came to use RISO? How did it impact the way you were already doing things?
Thanks, Eli! Sometimes Riso feels like a strange obsession, especially when I spend too much time pouring over the color studies. Testing the color and value combinations on the machine before making a final image is very satisfying to me, like mixing paint and creating a palette before tackling a painting. It’s very rewarding just to play with color and enjoy the textures of the Riso because of the way you can layer colors and opacity to make deep, rich hues.
I first started working with Riso because friends of mine had been using it to make mini comics and I loved the way it made their printed work look unique. I didn’t start mixing Riso colors like the palettes until I did the residency at the SVA RisoLAB. The RisoLAB provided a space and the resources for me to experiment freely and in an environment where I could be inspired by others making Riso next to me. I had time to really explore Riso as a medium instead of simply using as a means to an end for my mini comics.
Working with a Risograph has truly helped me have an artistic practice again, after years of doing client work and molding myself to an industry that would hire me. It reinvigorated what I love most about art making, which is improvisation and curiosity. I was working out problems and experimenting with ideas I hadn’t had the energy or time to before, and because I could sell the experiments when I was finished it meant I could continue that practice without too much financial strain. Basically, Riso gave me space to be an artist again.
It always amazes me how your work conjures the feeling of discovery and exploration. Could you talk a little about your influences (artists, stories, movies, anything really)?
Ahh, thank you, I’m glad you feel this way about my work because I do try hard to keep a sense of adventure in my drawings, in both theme and practice! Before coming up with a concept for a piece I start with a process that’s improvisational and exploratory because it’s what ultimately keeps me motivated while drawing. I don’t ever know what the final image is really going to look like when I start so I like to play while I build a drawing, too. It helps keep the image alive and fun to draw, and hopefully fun to look at too! I especially enjoy adding random characters and making characters react to elements spontaneously, which gives them some life and depth in a way that can be surprising. Sometimes the image just builds itself and I find meaning in it while on that journey.
I also love adding themes of adventure and exploration in my work. Some of my favorite stories are Treasure Island and Indiana Jones and adventure-fantasy stories of epic quests. A lot of my art inspiration comes from artists who draw a lot of adventure-fantasy themes as well. Mike Mignola, Alan Lee and Brian Froud are a few, I also love the classic storybook images of Edmund Dulac and Arthur Rackham. I find myself always trying to draw from childhood favorites when in doubt about a new piece, there’s seemingly endless inspiration there for me.
You’ve thrived in animation, editorial illustration, and comics. Many entertainment fields are going through an upheaval when it comes to gender dynamics and equality. Is there anything you would say to young women entering those fields? Or to women thinking of leaving those fields because of unfair treatment and harassment?
This is a tough one. I’ve experienced sexism wherever I go, no matter what. Sometimes situations are worse than others but it does happen in any industry. I’ve had my ideas not taken seriously while men do the same and find praise, I have found I’ve been paid significantly less than men in the same stages of their career and I know I haven’t been included because I just didn’t fit a mold that would be easy to include. To anyone entering these fields I would first say sometimes it’s not easy and sometimes it’s not fun, but there are groups here where I’ve felt really valued for my work and who I have found safety and comfort in. There’s definitely an upheaval right now and I have seen nothing but care and compassion from the vast majority of artists and art directors I engage with.
That said, it can be very traumatic to experience sexism or any discrimination and I would understand if someone decided to leave because of the treatment they received. I’d just hope they know how much their voice matters here. Different perspectives are so desperately needed in creative industries and a child seeing your work could change how they see the world. I think there’s freedom in this industry where there might not be in others, too, like self published and crowd funded work. I like using Patreon because it means I’m able to work on projects I traditionally can’t find funding for, because my audience supports me. There are so many outlets where we can share our creative work now, it’s just finding where you feel safest is the hard part.
I’d also want to share that there is support here, within the industry. There are some bad actors but I’ve also found that there are also incredible mentors and people looking out for one another. Don’t hesitate to reach out to your favorite artists and or peers for help in a tough or confusing situation. We’re all in this fight for a more well rounded and diverse creative field together, and most of your peers want you to stay and thrive.
What do you feel has been your most significant professional accomplishment?
I think every new job or opportunity has felt like my next most significant accomplishment when it comes along haha. I’m not sure I can say what’s been the best, because everything has been exciting in its own ways, opening up new opportunities for me where I still can’t untangle their impact on my career. I just wrapped up work as a character designer for a new animated show and I really loved doing that, and honestly since it was my latest project I still feel it's been the highlight of my career. I loved getting to make The Nutcracker and the Mouse King and still can’t believe I completed a whole graphic novel full of drawings. I also still can’t believe I have an agent who’s asking me for pitches so I can finally write my own stories, her support and care has always been what grounds me when I'm stretching myself thin, I still consider it a significant accomplishment that she sought me out for what I love to do. Hmmm....I have to say though, I think my biggest professional accomplishment has been starting up my Patreon. The work I’ve created from my monthly Riso print subscription has been the most fulfilling work I've made and I wouldn’t have gotten most of the work I enjoy now if I hadn’t invested in that first.
Natalie, thank you so much for doing this and indulging my questions. I can’t wait to see what’s next for you!
Please visit Natalie’s Patreon where you can learn more about her art and ways to support her newest works.