Describe your illustration style in ten words or less.
Experimental and dependent on the subject, narrative and intended emotion.
What items are an essential part of your creative space?
Laptop, Wifi, tablet, mints, music or podcast, lollies or bread, paper, pencil, kneadable eraser, handheld vacuum, alcohol wipes, desk, computer chair, lavender oil, an empty container and a Rubik's Cube.
Do you have a favourite artistic medium?
It depends on the project.
If I'm doing a physical painting on an object, wall or canvas, I lean towards pencil and acrylic paint.
If I'm doing a physical illustration on paper, I prefer coloured pencils, alcohol markers, pencil, white pen, fine liner, watercolour or gouache.
For sketches or monochromatic drawings, I like pencils in different grades (2 B, HB etc.), a blender, kneadable eraser.
With book covers or illustrations, I use pencil and colour digitally with a tablet.
For sculpture, I use air dry clay or 2-part free-form epoxy.
Name three artists whose work inspires you.
- Classical: Michelangelo Caravaggio, Rembrandt Rijn, John Singer Sargent
- Post- to Modern Art: Vincent Van Gogh, Zdzisław Beksiński, Edgar Degas
- Book illustration: Rovina Cai, Matt Ottley, Shaun Tan
- Film: David Fincher, Hayao Miyazaki, Asghar Farhadi
Late 19th to Mid-20th Century
Though it was a period of global conflict and radical political/social shift, much like the present, it was a transformative time. In terms of art, it would’ve been incredible to be alive during the roaring 20s, where architecture, furnishings, tiles and dishes were all highly ornamental and decorative as a symbol of wealth and a blend of aesthetics. In addition, art movements shifted from Impressionism towards Expressionism, Surrealism and Art Deco. Then, how that all dramatically turned to minimalist, brutalist or functionally “bland” due to industrialisation; a reflection of post-war economics and struggles after the Great Depression.
It was an especially exciting time for cinema too, where motion pictures had narrative innovation and evolved from the silent era to technicolour to WW2 cinema, then to Hollywood’s golden age and rise of television.
Who or what inspired you to become an illustrator?
I think it’s the opposite – it was more of a rebellion during my youth against everyone around me who didn’t want me to pursue art. That's made me gravitate towards it. As a child, I’d hide art supplies in areas I was sent to when I got punished. I’d always doodle on the back of my homework and on my skin, and I'd often deface the daily newspapers. Illustrating, for me, was more escapism and compulsion, although it slowly evolved into passion and ambition.
It wasn't really until I started learning about the Impressionists and their breakaway from the Classicalists or the Renaissance period that I realised there is a deep history and a lot more to the art form than I imagined.
I'm a reluctant reader too, so I tended to be drawn to books with pictures in them. When I was growing up, my parents didn’t read bedtime stories, so there were nights I’d copy the illustrations from picture books on a separate piece of paper until I fell asleep.
As an illustrator, I'm always thinking about children potentially growing up with these books and finding some magic, escapism and solace - and a hug - during their childhood.
Share a photo of your creative workspace or part of the area where you work most often? Talk us through it.
I don’t have a “creative workspace” as I live in a small apartment, and the one space is utilised for multiple activities. Essentially, I work and then put everything away every day so that the space can be used as a dining table or office desk.
... and my trinket cabinet of precious things collected over time.
I love inscriptions from strangers to another and the ageing, smell and texture of old books. They have so much sentimental value and I love making up stories about where the book has been before it ended up with me.
What is your favourite part of the illustration process?
Research! I learn so much during this process and I get to live in so many dream states of different possibilities and uncertainty of what the finished beast will look like.
What advice would you give to an aspiring illustrator?
Always believe in yourself and rather than comparing yourself to others, use them or their work as a point of reference and motivation. The only person you should be comparing yourself to is you a year ago versus now and where you want to be.
Take what others share online with a grain of salt; there are no shortcuts but a lot of hard work, progress by small, achievable steps and unfortunately, luck.
Share a photo of your creative workspace or part of the area where you work most often? Talk us through it.
I don’t have a “creative workspace” as I live in a small apartment, and the one space is utilised for multiple activities. Essentially, I work and then put everything away every day so that the space can be used as a dining table or office desk.
However, I’d like to share my bookshelves ... and my trinket cabinet of precious things collected over time.
... and my trinket cabinet of precious things collected over time.
I love inscriptions from strangers to another and the ageing, smell and texture of old books. They have so much sentimental value and I love making up stories about where the book has been before it ended up with me.
One of my favourite items is a 1945 copy of The Little Prince that I found in a second-hand bookstore for $1.
What is your favourite part of the illustration process?
Research! I learn so much during this process and I get to live in so many dream states of different possibilities and uncertainty of what the finished beast will look like.
What advice would you give to an aspiring illustrator?
Always believe in yourself and rather than comparing yourself to others, use them or their work as a point of reference and motivation. The only person you should be comparing yourself to is you a year ago versus now and where you want to be.
Take what others share online with a grain of salt; there are no shortcuts but a lot of hard work, progress by small, achievable steps and unfortunately, luck.
Like the majority of artists, because art is so subjective, you’re bound to be overwhelmed by rejection. Always remember that it only takes one yes. When you make it one day, you’ll miss the times of the journey and struggle, so enjoy it while you’re still on the way there.
Tamlyn Teow is a traditional and digital artist based in Sydney. She has worked on various film/TV productions, the David Jones Christmas Windows (Elizabeth Street) and freelance commissions. Tamlyn has illustrated picture books, designed book covers and illustrated chapter books for young adults.
Tamlyn Teow is a traditional and digital artist based in Sydney. She has worked on various film/TV productions, the David Jones Christmas Windows (Elizabeth Street) and freelance commissions. Tamlyn has illustrated picture books, designed book covers and illustrated chapter books for young adults.
Browsing Tamlyn's website is like an indulgent afternoon stroll through an art gallery - you must visit it. If you want to find out more about her innovative author-illustrated book, SoXiety (pictured above), go here. And, as always, you'll want to follow Tamlyn on Instagram to get the latest on what she's up to.
