3rd Ward Member Goes From Big Bird To Big Time: Meet Illustrator and Caricaturist Cathy Nolan

Cathy Nolan and her showcase table at the Craft and Hobby Association Winter show.3rd Ward member Cathy Nolan made her first illustration when she was 18 months old. "Of course it was a bunch of scribbles and circles," she says. "I waddled up to my mother and my first words were 'Big Bird.' A million years later she still has that drawing!"

By eight she knew that she wanted to be a caricaturist. "As a kid growing up in the Chicagoland area my family would often go to Great America amusement park," she remembers. "When I first saw artists drawing people I was mesmerized. I couldn't get pulled away from watching the process of someone sitting there and getting drawn. My siblings had to drag me away from the caricature booth to ride the cool rides."

At 18 she turned pro. "I did my first county fair drawing people and made $1000 in five days," she says, "so I thought 'Hmmm... I could get used to this!'"

Nolan has been drawing ever since. Her caricatures allow her to engage and connect with her subjects in a unique way. "I love talking to people, putting them at ease to talk about themselves and their passions and then drawing them doing what they enjoy doing in life," she says. Hit the jump to read more about Nolan and see some of her work.

Nolan's career has naturally led to some fascinating experiences, such as her caricature of one Vietman veteran:

I was working at a county fair and he came up to my booth and told me his life story. He asked me to draw all of the aspects of himself with his different personalities.  I wasn't sure if he was schitzophrenic or crazy. I drew him in the middle of the page and drew all the different personalitlies around the main image. When I began to draw his evil crazy side, I was a little bit nervous while drawing him because I didn't want that particular personality to appear. He loved the drawing and later that day his wife came up to me to thank me. She said, "He has NEVER told anyone about his time in Vietnam and of his personality disorder! Great art!"

We often think of a caricaturist as someone that we'll only encounter on a stroll through Central Park, but many major clients have commissioned Nolan's work, from American Airlines and Citibank to Highlights for Children and the New York Rangers.

Working for Scholastic Media she also picked up valuable skills in licensing and product development. She teaches student illustration workshops and has presented her work in showcases such as the Brand Licensing Show in London and the Craft and Hobby Association Show in Anaheim, California. At 3rd Ward she's also honed her skills even further through Photoshop and Illustrator classes.

You can see Nolan's work in person at Connecticut Muffin (423 Myrtle Ave) in Clinton Hill. She'll be hosting a reception there on Friday, March 30 from 6:30-8pm.

"All are welcomed to attend!" she says. "If I'm feeling inspired, I might be drawing caricatures of those who attend too!"

Cathy Nolan with author Elizabeth Gilbert.

-- John Ruscher

Future Nostalgia with Illustrator Ryan Gillett

Ryan Gillett has a simple goal. "I want my illustrations to cheer people up," he says. Like the rest of his work, his latest project, a "Little Poster/Book" called "The French Alphabet," easily does just that. The illustrations are simple, but by no means simplistic. Gillett has a talent for mixing bright colors and stylistic forms with the typography of a bygone era that is as immediate as it is delightful. We wanted to know more about his approach (his accurate though exceptionally brief bio "I am a cheerful chap who loves to draw" left us wanting more) so we got in touch for a quick chat:

3rd Ward's Perrin Drumm: Have you always been drawing, or is this something you discovered later in life?

Ryan Gillett: The first experience of drawing that I can remember was at the age of seven when my dad drew an aeroplane, and since then I've always drawn. At first it was just random doodles and sketches, but as I got older I decided to take my drawing more seriously. I went to art college, and that's when I began to develop my own personal style of illustration. 

PD: How would you describe the style of your drawings?

RG: I don't like my drawings to be over complicated or fussy. Instead I like to draw cheerful things in a cheerful way, using bright, simple colours. Technically my drawings are created using pencil crayons and stippling brushes and put together in layers much like a screen print. 

PD: Tell us about the "Little Poster/book?" And why call it "The French Alphabet" if it's in English? 

RG: I knew I wanted to make a little screen printed book to send to people to promote my illustrations. I started doodling a few ideas and for some reason I thought the illustrations looked quite French. Because the colours are that of the French flag,  I decided to call that particular drawing "The French Alphabet."

PD: Can we buy it online?

RG: I made just fifty of these booklets as I wanted to send them to blogs (Ed. note: It worked!), to share some of my drawings. So no, I'm afraid they are not for sale. However, I hope to make some more screen printed booklets in the future to sell, so keep an eye out.

-- Perrin Drumm

Epic Ideas // Illustrator James Gulliver Hancock Hopes To Draw Every Building In New York

All the Buildings in New York - Mott St, by James Gulliver Hancock.

Brooklyn-based Australian illustrator James Gulliver Hancock loves drawing. He also loves buildings. It makes sense then, that he's taken on an epic project bringing those two passions together. The project's name, All the Buildings in New York, says it all. His goal is to draw all of the Big Apple's buildings. While that ambition might be as far-fetched as Sufjan Steven's Fifty States Project, Hancock has done quite a few, and you can browse them by location via this nifty Google map. Hit the jump below to watch a video interview about the project.

Here's Hancock's explanation of how All the Buildings in New York got started, from an interview with CasaSugar:

I'd been doing this series of drawings where I capture a cliché of each city I'd visit; you can see the other ones on my website. So when I moved to New York, it was natural to do one here. However, moving to this great city, I was a little overwhelmed, so this became a special one.

It was interesting, because when I moved here it was like moving to a familiar place. Being originally from Australia, I'd seen so many pop culture images of New York that I almost didn't believe it was real. When I arrived, it had this kind of movie set-like mystique, so the blog was a conscious decision to try and tackle that, to make connections to my new home through drawing. And it's worked, through sitting down and taking in different places through the city, I've made new connections, planted markers of familiarity for myself within its structure and its reality, almost to the point that the buildings become little friends everywhere.

That sense of fascination and connection with his surroundings is what we love about Hancock's work. His project doesn't come across as a gimmick or contrivance, but a genuine glimpse of what it's like to discover the city. That's probably a familiar feeling for anyone who's moved to the New York, as is another moment that Hancock describes in that CasaSugar interview:

Sometimes in Summer, crossing one of the bridges, I've found myself with an uninterrupted view of the city, and I get heart palpitations, worrying that I may not be able to draw it all. I am a really focused person and it almost stresses me out the volume of buildings! But I hope to be here for a while, so we'll see!

Want to make sure Hancock gets to your building before he's old and gray? No problem: Commission the NYC building of your choice via his website.

And now for that video interview with Hancock, by Marisa Guzman-Aloia:

-- John Ruscher

Visual Science // An Animated Look At The Divided Brain

Today we bring you another great video from RSA Animate, the same folks that turned Sir Ken Robinson's "Changing Education Paradigms" into a mind-blowing animation. This time they've taken up their pens to illustrate "The Divided Brain," a lecture by psychiatrist Iain McGilchrist, author of The Master and His Emissary: The Divided Brain and the Making of the Western World.

McGilchrist explores how the common perception of the brain being divided into to halves, with the left handling logic, reason and language and the right taking care of emotion, visual imagery and creativity, doesn't tell the whole story. The brain is indeed "profoundly divided," he says, and has become more so as humans have evolved, but the major difference between the two hemispheres is the right's capacity for broad sustainable awareness and the left's narrow focus and attention to detail, both of which are needed for reason and imagination.

An imbalance between these two hemispheres, with the left's "what" taking precedence over the right's "how", can be found at the root many problems in contemporary society, McGilchrist says, driving things home with a killer Einstein quote.

Hit play and give both sides of your brain a little exercise:

-- John Ruscher

TEACHER FEATURE // Grace Bello Interviews Illustrator Yuko Shimizu for The Atlantic

We've highlighted 3rd Ward fiction teacher Grace Bello and her sidesplitting creative writing a few times, including pieces published by McSweeney's and Splitsider and adapted for the stage by Lively Productions. Now we're excited to point you towards her fascinating interview with Japanese artist and illustrator Yuko Shimizu for The Atlantic.

Bello talks with Shimizu, whose work has appeared in the New Yorker, Playboy, Rolling Stone and many other publications,  about everything from the Internet and animation to her favorite illustrators and her habit of listening to WNYC while she works.

Here's Shimizu's take on trends, along with some helpful advice for aspiring artists and illustrators:

What's an art or illustration trend that you wish would go away? 

Whatever is a trend, I wish it would go away. There's always something that's very popular right now, at this moment. And a lot of people go, "Oh my God, there's a goldmine out there!" and they try to do it. And a lot of people's work starts to look the same. And those people might get work at that point, but then the trend goes away, and then the next thing comes along, and you're not in fashion anymore. I feel it's a bit sad to chase the trend -- any trend. Especially for young people who want to be illustrators, I hope they just do their own things and do not chase the trend.

Read the whole interview here.

For more of Bello's recent work we highly recommend her excellent series of interviews with comedy writers Patricia Marx, Merrill Markoe and Margaret Sanger for The Hairpin. For more of Shimizu's work, check out her website or her recent book for Gestalten.

-- John Ruscher

ROBOT HEART STORIES // Designers And Illustrators: Tap Into Your Inner Child

Illustrators and designers: Want to bring a child's imagination to life? If so, check out Robot Heart Stories, an exciting experiential learning project that brings together visual artists with 40 fifth-grade students from Montreal and Los Angeles.

Conceived by filmmaker, storyteller and experience designer Lance Weiler and creative producer Janine Saunders, Robot Heart Stories centers around a robot who's crash landed in Montreal and needs to reach Los Angeles to catch a rocket back to her home planet. The students are responsible for the storyline, using their imaginations to chart the robot's journey across North America. The designers get to depict those stories using photographs taken by the project's organizers at different places along the robot's path.

If you'd like to take part, all you have to do is pick one of the students' stories, download the associated photo, create a design inspired by the story and upload your final creation. For more details check out the FAQ. You've got until November 17 to submit your work.

Your submission will be featured on the Robot Heart Stories website and considered for a coffee table book, with all proceeds going to creative writing programs in public schools.

OK, now get cracking on those designs.

Because, really, how can anyone turn down this little guy to the right?

-- John Ruscher