point101 hahnemuhle giclee print

Interview with Ryadraws

Ryadraws is a London based digital artist, currently exhibiting at Rivington Studios as part of The Anti Trump Art Show. 


Tell us about your upcoming exhibition as part of Creative Debuts Anti Trump art show

The exhibition will focus on our depictions of America’s celebrity in chief, Trump!  

There was an open call put out a couple of months ago, and I was one of the artists selected to exhibit on the 12th of July.


How strongly do you feel about social art as a young practicing artist?

Day by day we are continually being presented with distractions, and we forget what is going on around us. The issues that deserve our attention. Social art is a way for us to be informed by pretty pictures.


Where do you envision your work belonging? 

Magazines but mainly in galleries. We have gotten to a point where digital art is becoming more widely accepted and galleries treat digital art like you would any traditional painting.


How would you describe your techniques?

I replicate my traditional drawing process but in a digital space. Most of my work will start off with a pencil sketch on paper, and then I will scan the image in and render digitally.

I layer my images metaphorically, and bury meaning within to be discovered, and when possible add an Adrinka symbol if it matches the artwork.

The Adrinka’s are Ghanaian symbols of the Ashanti that represent thoughts and I use them in my work to further explain my ideas.  


Would you call yourself more of a traditional artist?

No, a lot of my work is digital, and there is no physical output until printed. Digital art has made my process more straightforward, I don’t have to think about being extra careful while drawing to make sure I don’t smudge the page etc.

Painting and sculptures are on my radar to explore, and I do write from time to time - I doubt I will ever share them though.


point101 hahnemuhle giclee print

What type of paper do you think works best with your printed artwork?

Hahnemuhle German Etching is literally the only thing I print on and gives me the desired visual. I can’t get enough of the grain and paper texture.


When you aren’t producing art, what do you like to do?

Sleeping, watching TV shows and I play games from time to time. I’m currently playing Zelda: Breathe of the wild. I set myself a project often just so I don’t get burnt out from drawing. At the moment, I’m teaching myself UI/UX and animation.

The usual stuff, reading and hanging out with friends.


Is there anything that particularly influences your projects or inspires you? 

Everything around me. Unfortunately, a lot of what fuels my practise tends to be the negatives. I’ll flip it and show my outlook on the topic.


Any more exciting projects on the horizon?

I will be illustrating a children’s book focusing on Ghanaian lore. Also on the horizon is a billboard illustration which will be a painting focusing on social commentary. I have a few ideas floating around on what I’m going to paint.



Ryadraws and The Anti Trump Art Show

The Anti Trump Art Show promotion with Ryadraws' artwork

The Anti Trump Art Show promotion with Ryadraws' artwork


"In response to Donald’s Trump’s planned visit to London on 13th July, Creative Debuts have joined forces with over 50 artists to show their collective disdain of the, ‘dangerous racism, sexism and narcissism that flow daily from the White House,’ through a unique art exhibition.
The exhibition celebrates a specially curated range of contemporary artwork including photography, sculpture, craft, fine art, and film whilst raising money for End Violence Against Women"-Creative Debuts 2018

See more of Ryadraws' work here.

Check out Creative Debuts.

point101 hahnemuhle giclee print

An interview with Daniel Roozendaal

We were very intrigued when we first printed Daniel's work at Point101 and, curious to learn how these artworks came to be, we contacted him to find out.

Daniel is represented by George Grace Represents, a digital illustration agency working with commercial artists who specialise in CGI, typography and animation.


How did you come to be represented by George Grace

DR:  A few months ago my work went alright, but was still looking for representation for quite a while. Next to my work within The Netherlands, I felt my illustrations and portraits could also work internationally, but I didn’t have the connections for that or know the right people. I then saw George Grace coming by on social media, and with the limited roster of artists and quality work, his agency appealed to me. I decided to send him an email, and I got a positive reply from George. From there on we started our collaboration.


What is your preferred medium?

DR: My preferred medium is pen, Adobe Illustrator and Adobe Photoshop. I actually wasn’t very fond of working digitally for a long time, but since a few years I’ve been experiencing the advantages of it, and I couldn’t do without it anymore. However, the last few months an urge for painting/drawing started growing, so I might pick that up again!


You have a very particular style, how did you develop this?

DR:  When I just finished art school in 2009 I had a very diverse style, actually, it couldn’t really be described as one style. I did everything from painting to drawing to collages etc. After a while I realised my work was too diverse for commercial use (this being the path I wanted to follow), potential clients wouldn’t really know what to expect if they would ask me for a job. So I consciously decided to take my work more in one particular direction. 

I liked the contrast of raw and blunt painted shapes, and delicate and realistic pencil drawings on top of that, so that’s what I did for a while. However, after some time I came to the conclusion that the realistic drawing was too time consuming; it didn’t work well in commercial jobs. I then started to look for simplification, dropping the realistic drawing and developing the work built up out of just the (organic) shapes. That’s when my work started to look like the way it looks now. From that point on I started fine-tuning this way of working. I started drawing shapes on printed photo images, scanning them and editing them digitally, creating layers of those shapes on top of each other. Later on I added more geometrical shapes, creating a contrast between organic and geometrical shapes.


Why do you choose the subjects that you do?

DR:  Subjects are mostly chosen due to a certain brief, but obviously I have a preference for portraits. I find the organic shapes that can be found in a human face very interesting, and I think my style works best when depicting those shapes.


When you aren’t producing art, what do you like to do?

DR: Kind of cliché, but just the usual. Hanging with friends, being bored, drinking a beer, waiting for public transport, going to a party, cleaning my house, watching pointless shows on television, being massaged, clipping my toe nails and eating tasteless food.


Find more of his work here

Follow him on Instagram.

Learn more about George Grace Represents.

AuthorNazy Raouf

Justin Yockney is a photographer based in Bristol, his first exhibition opens at Walcot Chapel Gallery in Bath on Monday 27th November.  It is an opportunity to see work spanning the last 10 years covering a range of key themes that have evolved for the photographer during that time.

I asked him to tell me more about his work and the upcoming exhibition, "In ordinary and forgotten places, I photograph landscapes I find interesting and surreal, that reflect the odd way we leave our mark on our surroundings.

The landscapes, stripped of all people, show only the consequence of our presence. The idea that the subject matter is being seen for the first time, with nothing to add context or comfort, appeals to me. Taken out of context, the intention is that these scenes from everyday life, present something that is unfamiliar, alien, surprising even"

Does his art school training in Sculpture influence his work? 

"Most of the images have, set within them, objects or buildings that I treat as pre-existing sculptural content. When I find an interesting combination of place, atmosphere and sculptural elements, then I have found the kind of landscape I seek to photograph.

The work on show explores things we take for granted, what we perceive as familiar and attempts to display something extraordinary, that is quite unlike the world we think we live in"

How, i wondered, was he first drawn to photography as a medium?

"From an early age, I was fortunate enough to go on many holidays around Europe with my parents, in a heavily packed Mini Clubman, clutching my prized bright red Konica Pop camera. I loved that camera and it still sits proudly on a shelf in my flat with other cameras I’ve owned over the years. Even at this early stage, it was evident that I had a penchant for focusing on less celebrated subjects. A long-standing family joke tells of a photograph I took of a campsite toilet block set against a Swiss mountain landscape.

As I moved through art education, the photograph continued to be an important tool for me in my exploration of the many approaches to making art. It was not until the latter stages of my degree, studying sculpture in Newcastle, that it took over as the most important medium for me. I would take my sculptures out into the landscape and photograph them, the photograph becoming more important than the sculpture itself. I played with form, colour and texture in my sculpture, trying to replicate man made objects I saw out in the landscape. Ultimately, I realised that nothing I made could compete with the sculptural content surrounding us. This has become the focus of my photography to this day"

What about his favourite projects or commercial photography jobs, did he have any favourites?

"Occasionally and, often after much searching, I find a place that is charged with a certain atmosphere. I can’t describe this atmosphere but I know it when it’s there. It will be a place that has stood, unnoticed for a long time and now becomes my own secret landscape to photograph. Places like this, capture my imagination and are the inspiration for my art photography.

Commercially, I sometimes get to photograph musicians that I, not only like musically, but also find visually interesting. These jobs I find particularly rewarding. Similarly, I enjoy photographing other artists’ sculptural work or performances, attempting to capture the essence of what they do, photographically, as a record for them to showcase their work"

Would there be an ideal photographic commission?

"I would like to empty a town or city and walk it’s streets, bereft of people, capturing images of the landscape they have left behind."

And what about technicalities, what kind of kit do you use and how do you print your photographs, you must have come a long way since the Konica Pop...

"The 16” x 10” photographs are printed on Canon professional studio finish photo paper, using Canon Chromalife100 printing inks. When I need to up the scale for an exhibition or commission, I employ a pro photo lab that prints on traditional silver-based photographic paper. In terms of kit, my main camera body is a Canon 5D Mark II which has the full frame sensor to retain high image quality, but is also very portable. It’s a good camera for commercial work and works well in capturing impromptu scenes I find out and about in the landscape. My core lenses are a standard zoom, Canon EF 24-105mm f/4.0 L IS USM lens, again, good because of it’s versatility and range, and a Canon EF 70-200mm F/2.8 L IS II USM lens which is great for performance and concert photography."

Thanks Justin!

justin poster.jpg
AuthorSacha Waldron