10 Questions with Emile Holmewood

With a meticulous and exacting process underlying his work, Emile Holmewood manages to traverse that fine line between graphic design and illustration; adding humour and play to commissions across advertising, editorial and branding. Unafraid to push a project to its limits, both stylistically and conceptually, this Kiwi born and Japan based illustrator draws from a vast font of inspiration. Beneficial Shock! and Holmewood sat down for a chat about creative freedom, professionalism and the seemingly unobtainable reach for imperfection.     

 

Could you define the approach or philosophy of your work? 

I guess my style's defined as 'Ligne Claire' - black outlines, flat colours, and minimal shading. My approach stems from my graphic design background; I'm generally working pretty zoomed in trying to get really clean curves and parallel lines. I live in Japan and lately have been really inspired by Showa-era toys and packaging. These days I'm often asking myself if something can be more toy-like, and, if I can make myself laugh - that's always good.

Which piece of work or project have you learned the most from and why?

I recently did a set of three wimmelbilder (ie isometric, Where's Wally style) illustrations for Ramp. The deadline was super tight (four weeks for all three, but over the Xmas period when people, and my kids were on holiday). On the call I was saying 'yes', but wondering how the hell I'd pull it off. In the end, I spent some time up-front creating a modular system; drawing smaller assets, creating libraries, and then putting them together like LEGO. The upshot of that, is you don't really go into the project knowing how its going to look, but instead keep on building with the time you've got. I find the process of 'not-knowing' a bit more exciting than methodically working on a rough sketch and refining it down to final.

Isometric wimmelbilder for Ramp

What skills do you think are needed of a good art director and how does it help to improve your work?

I think the best art directors I've worked with have cut a fine line between giving me freedom and honoring my style, while still maintaining control. They'll guide me to get the best work out of me. I'm pretty indecisive, and can also get stuck in my routine way of doing things. I love it when an AD say try this or try that - offering a new approach, but still working with my aesthetic.

How important is research to your work and why does it matter?

I'd say it's incredibly important, but then almost always neglected professionally. Not out of choice, but it feels like its been years since I've been given a decent timeframe to complete a piece of work - things tend to move so fast now; people want roughs in a day or two, final art a week later. On top of that, a lot of jobs seem to be partially resolved with mood-boards or *shudder* AI roughs. I've made peace with the fact that not all jobs need deep thinking, and I'll likely cherish the ones that do.

'...a lot of jobs seem to be partially resolved with mood-boards or *shudder* AI roughs. I've made peace with the fact that not all jobs need deep thinking, and I'll likely cherish the ones that do.'

 

Which illustrator alive or dead do you most admire and why? 

So hard to narrow things down to 'one'. Chris Ware was the biggest inspiration for me wanting to start illustration - his perfectionism, detail and timelessness is pretty awe-inspiring... I'm a big fan of UPA and the work of John Hubley. Japan-wise, Sugiura Shigeru is wild and I want his style to inform my work more. As mentioned before, I'm really inspired by old Japanese toy-packaging, where the illustrators are pretty nameless - so shout out to them too.

Healthcare Debugged

What is one part of your working process that you do well, something you could improve and something you wish you never had to do again?

I think my aforementioned wimmelbilder process is pretty tight, and I'm good at getting very clean curves and tangents. I wish I was less laboured and more satisfied with imperfection (I love it in others work - just not mine). I hate drawing hands, and its a real shame that AI is specially awful at that one thing too.

What is your favorite film poster and what film do you wish you could have done the poster for?

A Clockwork Orange. Especially the typography. I'd love to have done the poster for The Big Lebowski. Last issue I illustrated Wonderboys, and always feel the imagery for that movie didn't convey it all (looks like a rom-com - it's not!).

What film do you recommend to others most often and why?

Probably Punch-Drunk Love (2002); at the time Adam Sandler wasn't known for serious roles, and people would dismiss it, assuming is was just another Adam Sandler 'dumb comedy' Movie. That movie is such a gem, with a great soundtrack. It's no surprise, as its by PT Anderson. With animation, I often recommend Tekkon Kinkreet (2006) - because it flew under the radar too. It has a cult following and is getting a 4K re-release in some cinemas soon however, so let me recommend it to you now too!

 

What object from a film do you wish you could own and why? 

Not a single object, but The Dude's outfit (unwashed) and his rug (washed) from The Big Lebowski; Hairclip, glasses, robe, Jelly sandals.  Maybe just so I can say 'I own 'The Dude's' iconic outfit.' - but I also love Jeff Bridges, Coen Brothers and really love that movie.

© Polygram Filmed Entertainment / Working Title

The great film critic Roger Ebert described film as an 'empathy machine' suggesting it is a way for us to connect fully with lives and experiences of others that we will never ourselves live. With this in mind, what film have you watched that has had the greatest impact on you emotionally and tell us why if you can?

Well - emotionally, probably Isao Takahata's Grave of the Fireflies. I bought that movie in my early twenties, watched it once then never had the courage to watch it again. I'm a dad now, and living in Japan, so can only imagine it would be harder to watch as I'm a little more connected to the history. But I don't want to end on that note! So I think I'll pick Withnail & I - when watching that movie I feel broke, hungover and cold.

 

Emile illustrated and wrote a piece about Wonderboys in the Journeys and Destinations Issue. You can see more of his work at https://emile.work/