Tell us a little about yourself. How and when did you decide to become an illustrator?

I don't think there was a specific moment. When you read something, certain images of what you read arise. When you draw, you can depict these images. When you love both reading and drawing, long thoughts do not arise. Everything is simple.

Do you have an art education, and do you think it is necessary for a successful career as an illustrator?

There is an education, several years at an art school (in a sculpture workshop) and six years at NAOMA, already on book graphics. How necessary it is is relative. Education gives practice, yes, but nothing stands in the way of a person when there is something for it will, study, for example, in law, and practice drawing in his free time.It also depends on yourself the artist, his style, I think. Not every drawing requires years of experience drawing naked grandfathers. But certain basics, such as composition, concepts of volume, light and shadow, are necessary.

Tell us about your first commercial project. What was it? How did everything go?

In general, the first project was wall painting. It was given quite easily, unusually, because the A3 format is too big for me, not that that several walls, but easy. Although the customer wanted, at a certain point, to convert grapes into apple trees.

The first book was an author's collection of poems. For the customer, the collection was also the first, the budget only allowed it black and white edition. So it was a small book with six (or seven?) black and white illustrations. But it was interesting because before that, at least one, but added color to the drawings.

Do you have a dream project? Something you wanted to work on more than anything?

Even two. The first is Brian Jakes' Redwall series. It tells about the medieval world in which instead knights and people in general —various forest animals. Omitting the fact that books are interesting in themselves, because in them everything is written - geography, characters, their beliefs and legends of the fictional world - these are books about a mouse in chain mail. AND with swords

The second series is "Chronicles of the Edge" by Chris Riddel and Paul Stewart. I am interested in the images - fantasy, whimsical. It concerns both a world in which there are aerial cities and pirate ships, and characters, very different and unique, not similar to each other and to their counterparts in other books of this genre.

What style do you work in? In what technique? What would you like to learn?

I'm not sure I can define any particular style. Closer and simpler is a realistic drawing, with a larger chi to a lesser degree of detail. I avoid using a large number of colors, "picturesque". Now, for the most part, everything I do it on a graphics tablet, in Photoshop. I would like to learn caricature, more "cartoon" drawing, as in Erze or Uderzo.

What place do dogs have in your life? Did it help you in illustrating Jack London's book The Call ancestors"?

Physically? Half of the pillow and good two-thirds of the bed. Actually, dogs are not so much dogs as friends. Woolen friends, which they make the host a "moderate" person, discipline (get up on time on weekends, in particular), teach responsibility. AND, yes, having your own four-legged friend helps in illustrating a book about dogs. First of all, there is always somewhere to spy proportions The "sign language" of dogs described in the book, their characteristic movements, behavior, and relationships are also understandable. When every day you walk with your dog, at least you understand what you are reading about and what you are drawing.

Who are your idols? Who do you focus on in your work?

There are no such idols. I prefer the works of European artists, in particular, comic book artists. Erge ("Tenten") and Albert Uderzo ("Asterix") are liked for their simplicity, ease, animation and, at the same time, a very expressive transfer of characters' images. Mobius, on the other hand, is realistic and diverse in spirit Bosch, creatures and landscapes. Hugo Pratt - for a certain strictness and minimalism of the drawing. From classical artists, I like them the works of the French engraver Gustave Doré, his ability to convey the play of light and shadow and a large number of details. But I can't say that I was consciously targeting anyone.

What would you be doing if not painting?

I would walk more with the dog, do more sports. Definitely. I don't even know. Drawing takes up most of my time time, so, honestly, I have no idea what could take this place on a permanent basis.

Describe your ideal day?

The day when it was possible to do/see/try something new. Or old, but something you don't do often. Shoot with a bow or a crossbow, ride a bike (just ride, somewhere in nature, and not drive to work and back home).