Where to start with talking about Aidan’s work? Just like it’s difficult to express to someone how good a film is when you’re telling them about it in a pub, it’s hard to convey the sheer brilliance of Aidan’s stories with words alone. Using predominantly colour pencil and soft artists materials, Aidan tells almost Chirs Ware-like stories of shyness, human behaviour and loveliness with some magic mixed in.
Like many others, her talents were picked up years ago by the illustration prophets that are Mould Map and published. Now with her new story The Blonde Girl circulating on the internet like nobody’s business, it’s time we asked her a few questions. Without further ado, please welcome Aidan Koch – one of the best illustrators I’ve come across in a long time.
Where do you work?
Well, I’m a bit of a nomad, so it’s kind of wherever I find space. Right now I’m subletting in New York from some artists who luckily have a huge work desk. Sometimes it’s kitchen tables though or out at parks or museums. I tend to collect content from all facets and then have large bursts of productivity when the situation is right or I have deadlines.
How does your working day start?
I pretty much cook breakfast every day and do my ‘internetting’ at my desk – blogging images, responding to emails, catching up on TV. I have a big ongoing list of priorities though be it shows, illustrations, or comics. I try to plug away at at least one thing a day and make progress – sometimes though simply making it to the post office is enough for one day!
How do you work and how has that changed?
Physically, I’ve had to learn to adapt to a constantly shifting environment. I have my key elements – computer, scanner, card stock, ruler, pencil, brushes, gouache, and color pencils. I can make just about anything I need with those tools – it’s just how things are right now. I suppose I’m on a bit of a quest of youth. Definitely it would be nice at times to have a real home base and studio, but for now, I think a lot of my work is being fuelled from this kind of movement through the world.
As far as content, I think I’ve been shifting towards a deeper abstraction in both form and symbolism. I think I used to base things more clearly on myself and since I’ve been making comics for so long, I’m getting drawn further into the idea of fiction. I’ve also been looking to classic painters like Degas and Matisse for painting and colour inspiration.
Where would we find you when you’re not at work?
Depends on what city I’m in. The MET is one of my most favorite places in the world certainly. There and the beach.
Would you intern for yourself?
Well, I work for myself for free most of the time, so yes! I’ve had people offer to intern for me, but I don’t have a real work space or even the time to figure out how I could make them the most useful. I’d probably just talk too much and try and cook them lunch and never get anything done. That sounds like fun though!
- Graphic designer Cecilia Serafini uses typography with vibrant panache
- London-based Osheyi Adebayo references his childhood in his retro graphic design
- Tristan Pigott paints “real contemporaries” in upcoming solo exhibition, Juicy Bits
- “The great thing about this book is you don’t have to read it”: sculptor Wilfrid Wood on his favourite books
- The return of the hovering art director: Nejc Prah visualises a day in the life of four art directors
- Hippolyte Cupillard’s film follows the dreamlike ascent of a mountain climber
- The return of the hovering art director: we asked comic artist Nadine Redlich to peer inside agency life
- Photographer Carlota Guerrero depicts the female body as a canvas for Apartamento (NSFW)
- After Disney, Nickelodeon and Cartoon Network, Miranda Tacchia’s characters found life on Instagram
- How to go freelance: need-to-know advice from creatives who made it
- YouTube releases its first own-brand font, YouTube Sans, inspired by the play button
- Photographer Raymond Rojas captures the “magic” in Disneyland Paris