Steve Scott Illustrator
Steve Scott是一位来自伦敦的著名插画家和动画导演。他的作品以其独特的复古风格和现代幽默感而闻名，常常能够将日常生活中的平凡事物转化为引人入胜的故事。以下是关于Steve Scott的一些详细信息：
工作领域和风格
Steve Scott的工作涵盖了广泛的领域，包括为出版商和企业制作宣传海报和插图。他的作品风格独特，具有复古的表现形式和色彩，同时内容又常常带有“未来”感，这种结合使得他的作品非常适合“复古未来主义”的主题4。他的插画作品不仅色彩丰富、细节精致，而且富有节奏感和律动感，能够传递出直观的正能量6。
客户和合作
Steve Scott的客户名单十分显赫，包括了Apple、Disney、Adobe、Google、Volvo、Morgan Stanley、ITV、Washington Post、Wall St. Journal以及Led Zeppelin等国际知名品牌和公司2。此外，他的作品还曾在Pictoplasma Berlin Character Design festival、New York Guggenheim、BA British Animation awards等多个知名艺术节和展览上展出5。
个人简介
Steve Scott是一位自由插画师和动画家，他喜欢使用iPad进行创作，这使得他的作品具有独特的数字艺术风格。他的作品被描述为“机智、引人入胜、完全鼓舞人心且多样化的”5。除了商业项目，Steve Scott还计划在未来为孩子们创作一本书，并举办自己的个人展览6。
联系方式
如果您对Steve Scott的作品感兴趣，或者希望与他合作，可以通过以下方式联系他：
总结
Steve Scott是一位才华横溢的插画家和动画导演，他的作品以其独特的风格和深刻的内容赢得了广泛的认可和赞誉。无论是为大型企业提供视觉解决方案，还是通过个人项目表达创意，Steve Scott都展现出了卓越的艺术才能和无限的创造力。
以下为访谈内容
Welcome to Thunder Chunky Steve. You use colours and characters so well and you’re always hitting such a high quality consistency with your illustrations. Have you found that you are always striving to better the last project in your work?
欢迎来到 Thunder Chunky Steve。你很好地使用了颜色和字符，而且你总是能与你的插图保持如此高的质量一致性。你有没有发现你一直在努力改进你工作中的最后一个项目？
Thanks, that’s very flattering as I tend to see a thousand and one faults when I look at my own work. It’s only been in the last few years that I’ve been doing illustration as a full-time career. I can see my work has improved just by doing a lot of it… but also by having relatable imagery as apposed to the more psychedelic imagery I started out drawing.
谢谢，这非常令人高兴，因为当我审视自己的作品时，我往往会看到一千零一个错误。直到最近几年，我才开始将插画作为全职职业。我可以看到我的工作通过做很多事情就得到了改善……但也通过拥有与我开始绘制的更迷幻的图像相对应的相关图像。
What led to the voice you use? Did you have particular influences when you were growing up?
是什么导致了你使用的语音？在你成长的过程中，你有没有受到特别的影响？
Again I still feel like I’m developing… so I’m an omnivoracious consumer of imagery!
我仍然觉得自己在进步……所以我是一个杂食性的图像消费者！
A few years ago I was a bit stuck with illustration, trying to work out how to make a living at it. I was making a reasonably successful career as an animation director but I wanted to move into illustration.
几年前，我有点画困住了，试图弄清楚如何以此为生。作为一名动画导演，我的职业生涯相当成功，但我想进入插画领域。
I got some really good advice from Charlie Sells from Jelly, my agency in the UK. She talked about relatablity and accessibility and it really helped kickstart a proper career in illustration. It made me think more about how does this image relate to the viewer and what can they get out of it. In terms of relatability it’s the old ‘extra-ordinary from the ordinary’ idea. I’ve never formally studied illustration so this may seem obvious but it’s been really helpful to me and changes how I look at the world around me.
我从我在英国的代理机构 Jelly 的 Charlie Sells 那里得到了一些非常好的建议。她谈到了相关性和可访问性，这确实有助于开启适当的插画职业生涯。它让我更多地思考这张图片与观众的关系，以及他们能从中得到什么。就相关性而言，这是古老的 “非凡与平凡 ”的想法。我从未正式学习过插画，所以这似乎很明显，但它对我真的很有帮助，并改变了我看待周围世界的方式。
In terms of influences growing up, I grew up on Tintin comics… I was passed my uncle’s collection of 60s hardback Tintin comics and fell in love with the storytelling and style. It’s still something I look at. It’s had a big impact in terms of character design and colour choices. The super-flatness of it is very ingrained.
就成长过程中的影响而言，我是在丁丁漫画中长大的……我被我叔叔收藏的 60 年代精装丁丁漫画所吸引，并爱上了它的故事讲述和风格。它仍然是我关注的东西。它在角色设计和颜色选择方面产生了很大的影响。它的超平坦性是根深蒂固的。
I also really loved psychedelic design… so illustrators like Martin Sharp, Tadanori Yokoo, Heinz Edelmann’s designs for the yellow submarine. In the last 10 years or so I would say Yves Chaland’s work and that whole school of Atom Style that was around in the 80s has had a big impact. Ever Meulen’s approach to imagery is so inspiring and always makes me want to shake up my approach to composition. In terms of colour; the ever present Charlie Harper, Chris Ware & Frank Newbould are people I’m still learning from. More recently I’ve been looking at lots of Ukiyo-e and Shin Hanga work.
我也真的很喜欢迷幻设计……所以像 Martin Sharp、Tadanori Yokoo、Heinz Edelmann 这样的插画家为黄色潜水艇设计。在过去的 10 年左右的时间里，我想说 Yves Chaland 的工作以及 80 年代出现的整个 Atom Style 流派都产生了很大的影响。Ever Meulen 的意象处理方法非常鼓舞人心，总是让我想改变我的构图方法。在颜色方面;永远在场的Charlie Harper，Chris Ware和Frank Newbould都是我仍在学习的人。最近，我一直在看很多浮世绘和 Shin Hanga 的作品。
Did you always want to be an illustrator?
你一直想成为一名插画家吗？
Nope! When I was a kid I wanted to write James Bond novels, later it was to become a comic artist. In my 20s I wanted to make music and then I accidentally fell into animation while making a music video for my band. But illustration was always there as just something I did but seemed impossible to think of as a career until the last decade.
不！当我还是个孩子的时候，我想写詹姆斯·邦德小说，后来我打算成为一名漫画家。在我 20 多岁的时候，我想做音乐，然后在为我的乐队制作音乐视频时无意中迷上了动画。但插画一直都是我做过的事情，但直到最近十年才似乎不可能被视为一种职业。
You seem to do most of your work for editorial – was that a conscious choice or just where you naturally progressed to?
你似乎大部分工作都是为了编辑——这是有意识的选择，还是只是你自然而然地发展到的程度？
The last year has seen a lot of work for editorial but more by accident than design.
去年，我们做了很多编辑工作，但更多的是偶然，而不是设计。
I also do a fair bit of commercial work or otherwise I couldn’t do this full-time. I find that, apart from the U.S., editorial work is pretty badly paid… so I’m a bit choosy about taking on this type of work.
我也做过相当多的商业工作，否则我就不能全职做这些了。我发现，除了美国之外，编辑工作的报酬相当低……所以我对从事这种类型的工作有点挑剔。
I know you are agented and I know it’s always the holy grail for illustrators. Did you get agented quite early on in your career or did you have to find a consistent look before being signed up?
我知道你是代理，我知道这永远是插画家的圣杯。你是在职业生涯的早期就被代理过，还是在签约之前必须找到一个一致的形象？
I feel really lucky to have great agents. It’s been great for advice and help.
我真的很幸运，有很棒的经纪人。提供建议和帮助真是太好了。
I didn’t get signed up early in my career. There was at least 12-15 years of doing jobs in various creative industries before an agent got interested in my work. Also the fact that I moved from Sydney to London really helped me. My style has changed a lot over the years and I hope will continue to do so. When Jelly signed me up I was drawing giant psychedelic heads and now I’m in a totally different space and style. Luckily they stuck with me! I don’t know if there’s a rigid approach to having a creative career. For me it’s about feeling my way through this, responding to what life is throwing at me.
我没有在职业生涯的早期签约。在经纪人对我的工作感兴趣之前，我至少在各种创意行业工作了 12-15 年。此外，我从悉尼搬到伦敦的事实真的帮助了我。这些年来，我的风格发生了很大变化，我希望能继续这样做。当 Jelly 与我签约时，我正在画巨大的迷幻头像，现在我处于一个完全不同的空间和风格。幸运的是，他们一直陪伴着我！我不知道是否有一种严格的方法来从事创意事业。对我来说，这是关于感受自己的方式，回应生活给我带来的一切。
Do you find yourself creating personas for your scenes so they’re styled more naturally?
您是否发现自己正在为场景创建角色，以便它们更自然地设置样式？
It probably has a bit to do with my love of comics and working in animation. So you want to have a bit of a story in the imagery to help the eye navigate. Also I want the images to have some sort of emotion or humour. It’s not in every image but it’s something I think about.
这可能与我对漫画的热爱和从事动画工作有一点关系。因此，您希望在图像中加入一些故事，以帮助眼睛导航。此外，我希望这些图像具有某种情感或幽默感。它不是每张照片中都有，但这是我思考的事情。
What influences the colour choices in your work?
什么影响了您作品中的颜色选择？
Colour is a constant struggle with me. I probably should stick to the same colour palette and have a ‘brand’ identity. However when I colour an image I’m usually thinking how can I create the right mood for this particular piece. So this means each image I start from the ground up. It’s probably not the best approach. I also grew up on lots of psychedelic art so I tend to go for punchy choices. At the moment I want to add more of a sense of light so I’m looking at a lot of photography. The work of Henri Riviere and Kawase Hasui have been really inspiring and I would love to bring more of sense of atmosphere and mood that these works have.
颜色是我一直在与色彩的斗争。我可能应该坚持相同的调色板并拥有“品牌”身份。然而，当我给图像上色时，我通常会想如何为这件特定的作品创造合适的氛围。所以这意味着每张图片都是从头开始的。这可能不是最好的方法。我也是在很多迷幻艺术中长大的，所以我倾向于选择有力的选择。目前我想添加更多的光线感，所以我正在研究很多摄影作品。Henri Riviere 和 Kawase Hasui 的作品真的很鼓舞人心，我很想带来这些作品所具有的更多氛围和情绪。
Your work for Racing Post is beautiful and shows how well you fill a scene and for it to work – was this a challenge for you?
你为 Racing Post 所做的工作很漂亮，展示了你如何填充一个场景并使其发挥作用——这对你来说是一个挑战吗？
Oh sheesh, thank you, yes that was a hard one to pull off. I’m not sure I entirely got that one right though. I now have a better idea of how I would construct a crowd scene. It’s about shaping a crowd into clusters and shapes that let your eye navigate the image. With the main image I wanted the eye to be drawn to the man on the chair. So you use shapes of bodies, legs and poses to point towards him… hopefully.
哦，嘿嘿，谢谢你，是的，这很难实现。不过，我不确定我是否完全正确。现在，我对如何构建人群场景有了更好的了解。它是关于将人群塑造成集群和形状，让您的眼睛在图像中导航。在主图中，我希望将目光吸引到坐在椅子上的男人身上。所以你用身体、腿和姿势的形状来指向他……希望。
How did you go about planning such an ambitious set of illustrations?
您是如何规划这样一组雄心勃勃的插图的？
Hmm… it all starts with lots of scribbling that gradually over a few rounds tightens up. So a lot is gut feeling and a hell of a lot of revisions.
嗯。。。这一切都始于大量的涂鸦，经过几轮涂鸦后逐渐收紧。所以很多是直觉和大量的修改。
You’ve also done a lot of illustrations that combine different scenes into one large setting – again was that something you used to solve an idea or something requested?
你还做了很多插图，将不同的场景组合成一个大的场景——同样，这是你用来解决一个想法还是要求的东西？
I think this came out of my love of Ever Meulen. He uses the pictorial image in such an interesting way. He’s not trying to draw a realistic scene but seeing the drawing as lines on paper. If you see the image like this then shapes can start to interact in fascinating and unexpected ways. I started out trying something like that as an experiment and for some reason this got some nice reactions from clients and has led to more of this work. I guess the thing to learn is that if you want clients to hire you to draw ‘x’ you better be drawing ‘x’…
我认为这是出于我对 Ever Meulen 的热爱。他以如此有趣的方式使用图像。他不是想画一个逼真的场景，而是把画看作是纸上的线条。如果您看到这样的图像，那么形状可以开始以迷人和意想不到的方式进行交互。我开始尝试这样的事情作为实验，出于某种原因，这得到了客户的一些好评，并导致了更多的这项工作。我想要学的是，如果你想让客户雇佣你画 ‘x’，你最好画 ‘x’……
Is there an area you’ve not worked in yet that you would like to? Any illustrator goals?
有没有你还没有工作过的领域是你想要的？有什么插画家的目标吗？
Probably it would be to do some illustrated books. The idea of developing something over a book length is very appealing. I’ve got a few ideas kicking around but I need to see if they have legs.
可能是做一些插图书。在一本书的长度上开发一些东西的想法非常有吸引力。我有一些想法，但我需要看看它们是否有腿。
You seem to be very busy most of the time. I know recently you had to work whilst battling the flu – I know its not always possible but how important is it to try and take the time to relax and recharge – how do you like to unwind after a busy illustrative day?
你似乎大部分时间都很忙。我知道最近你不得不在与流感作斗争的同时工作——我知道这并不总是可能的，但尝试花时间放松和充电是多么重要——在忙碌的一天之后，你喜欢如何放松？
This is a trick I would love to learn! I know I’m very eager to take a break and try out some new things. I managed to grab a week just before Christmas but it wasn’t enough. The plan this year is to turn a few things down and try and get more time to develop and think about what I’m doing. I love being an illustrator but naturally clients tend to give you work based on your portfolio. If you want to try something new you really need to give yourself the time to do it.
这是我很想学习的技巧！我知道我非常渴望休息一下，尝试一些新事物。我在圣诞节前设法抓住了一个星期，但这还不够。今年的计划是拒绝一些事情，尝试获得更多时间来发展和思考我正在做的事情。我喜欢成为一名插画师，但客户自然会根据您的作品集给您提供作品。如果你想尝试新事物，你真的需要给自己时间去做。
