Pulp Culture + Lauren Marshall

Welcome back to Pulp Culture Plus, your bonus hit of one-on-one deep dives with creative talent from Australia and around the world, a show where we unpack the process, the passion and everything in between about being creative.

We’re joined by Australian artist Lauren Marshall, who’s known for her expressive, character-driven style. She’s worked across indie titles and anthologies, is a regular cover artist for The Phantom, and has successfully brought her own projects to life through Kickstarter. Lauren’s the host of the podcast Sketch Biz on YouTube, where she dives into art and the creative process.

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Transcript

SPEAKER_01 0:00

Welcome back to the Pulp Culture Plus, your bonus hit of one-on-one deep dives and creative talent from Australia and around the world. Uh a show where we unpack the process and the passion and everything in between about creativity. Today we're joined by Australian artist Lauren Marshall, who's known for her expressive character-driven style. She's worked across indie titles and anthologies, is a regular cover artist for The Phantom, and has successfully brought her own projects to life through Kickstarter. Lauren's the host of her own podcast, uh Sketchbiz, on YouTube, where she deep dives into the art and the creative process. Please welcome Lauren to the show. It's amazing that we actually are chatting. We um our people talk to your people, and our people weren't talking to your people, and vice versa. And it just wasn't working for us over the last couple of weeks, but uh we've managed to find a very brain rot.

SPEAKER_00 1:25

The brain rot that I've been dealing with in terms of the chaos of my life. Like you're talking about my person. That person is like this little like nugget that's just been left alone for too long and doesn't know what to do anymore behind the wheel.

SPEAKER_01 1:40

Uh the stars just weren't aligning, were they, for us? And uh it's but that's okay. We're here now, we've got a short window, and we're gonna take it. Let's go. All right, so um I gave you a a bit of a a spill at the at the start there. Have I missed anything, first of all?

SPEAKER_00 1:56

No, I think you're hyping me up too much. I'm kind of like one of those people that really struggles with I like I know I've done stuff, but then I'm like, meh, like it's it's alright, I guess. Like, I don't know whether that you know stems from uh childhood issues, as you know, everybody else kind of deals with when they're a millennial. But uh no, I don't think so. Other than um writing for the first time, which has been really interesting. Um, and you know, that's yeah, no, I think you nailed it.

SPEAKER_01 2:26

Maybe tell us a little bit about that writing process. Is this something that you're doing yourself, or is this for something else that you can't tell us about?

SPEAKER_00 2:34

Or a bit of no, I've um so I've released uh the prologue of my title called Thalism, which is um something that I've created that is think of it as every little Easter egg um from my childhood and and what I loved growing up and kind of why I got into this industry, the creative industry itself, so gaming or animation or um style, you know, all these kind of things that I wanted to put together, and I've always really loved like bloody, gory kind of bits and pieces, but something that's really driven by story and um layers, like really deep layers and good twists and turns. So, you know, I kind of tried it with Lana um when I um first dabbled with doing indie publishing, and look, I'm not I'm not mad about Lana, it just wasn't the level and the depth that I wanted to go with. So I I'm not gonna say goodbye to her, but I'm going to just pop her on the shelf, um, let her gather some dust for a while because I know that I probably wasn't quite at the level that I needed to be to be able to um develop that to the point that I needed uh artistically and um story-driven wise. So given time and you know, doing different jobs and figuring out things for myself, uh I decided to do something that was a little bit more fully based on my on me. So I'm doing the writing, I'm doing the drawing, I'm doing the colouring, I'm doing the lettering, so I'm I'm kind of doing like this full package thing. The only thing that I'm not doing, which I'm grateful for, is the editing because I know I'm really bad at you know grammar and punctuation and all that kind of stuff. So um old mate Spezi is going to be helping me out out with that, which is amazing because he's um he's a gentle, a gentle feedback, uh but still quite well, I don't know if gentle, like maybe just like a direct, direct but gentle. Is that the best way to say it? He's very good, it makes sense to me, and it's um there's no fluff. So, and that's how I've always liked to work. Um, that's so yeah, this yeah, this title's like just chaos within a book, and it's a graphic novel, it's gonna be roughly 120 pages. Um, nice big chunky boy, open-ended, so whether I do a second one or not, but it's kind of something that I just needed to do for myself. But the writing's been really fun, like I'm really good with coming up with these like overarching stories and all these twists and turns and and um how stuff sort of like merged together, and then while I'm writing up, I'll be like, oh my god, this could totally work, and then I'll do the research in terms of how it because it is kind of like Greek mythology lightly, and so yeah, I get really excited with that. It's the breaking it down, doing the beats, making sure that the dialogue works well, and it's not just too much, just like eh, to not be exciting for the reader. Like that's the kind of stuff that I've I've I don't struggle with, but it's not as exciting for me. Um, but I guess when you read it back, and I'm only on the last chapter, I've got I've only got the last chapter to kind of figure out. I've done half of it, but probably kind of change a little bit um in time. But reading back through the chapters is actually quite nice to see that my development in terms of that area that I've never been really confident in has been nice, really nice.

SPEAKER_01 6:02

That makes sense. With um you now obviously you're you you're sort of taking on all parts of of of the comic. Um what um you know, what's something you know, when when does that page or piece sort of click for you? Is it the sketch? Is it the inks? Is it the the final part of the story? Is it the lettering? What is it that when you when you look at the page you go, yep, that's it, I'm moving on to the next part?

SPEAKER_00 6:27

I'm trying not to put myself inside of a box. So the idea of me sharing that prologue online and on socials, and you look the the the lettering and the script has completely changed for that prologue as of now, and I will re-release it again. But the idea is for me to put it out into the world and say, like, hey, I want you part of this project, and and learn that like doing comics and and writing and self-publishing is not really a straightforward sort of job, right? And I want people to be involved, emotionally invested, to see how things sort of chop and change and mold. And that idea, I'm wondering if that's going to help me in terms of people being on board to see that it's come to fruition. And so, will that transfer into sign-ups and Kickstarter stuff? Like that's my question. Um, for that.

SPEAKER_01 7:19

Yeah, it interesting. Um, with regards to you, you know, you talk about your process. What's what's that that's something that you know uh that would surprise people, like a weird habit or a shortcut or a rule that you that you would swear by?

SPEAKER_00 7:35

I've kind of adapted, I don't know who I heard it from, but I kind of adapted it um from another podcast I read because so I I don't work a second job, I'm so so grateful and thankful that I am privileged to be able to work on um my art full-time, I'll say that in commas, uh in between juggling other things, but I like listen to a lot of different um ideas and um you know workflows from different podcasts and stuff like that. And someone said uh they don't limit themselves to a structure. So if one day that I wake up and my drawing's on fire, I'm gonna harness that and I'm gonna draw. Uh if another day my writing's on fire, I'm gonna go with that. And you know, I take that with a great assault because you know, deadlines don't always really um merge with that quite well.

SPEAKER_01 8:29

Yeah.

SPEAKER_00 8:29

So, you know, if I've got the capacity to be able to follow whatever's feeling quite natural for the day, then I will definitely go with that because that's when the magic sort of happens. But uh yeah, no, I don't I try not to follow too much of a strict rule. I the only thing that I kind of follow is that you know, the days that I don't um have you know hands-on deck for my daughter, I am basically just hands-on deck for drawing, so that those are my days, and I treat them like days, so I'll take it to daycare or whatever, and then I'll wake up or sorry, I'll I'll drop her off, and then I'm in work mode, so I'll even go, you know, wash my face, I'll do my hair, I'll put on a different change of clothes to try and get myself in that mind frame, and then um give myself a little 15-minute lunch break. Like, I try and treat it just like a day. Uh, that's the only real structure that I have, but in terms of like the actual creative workflow, I try not to like bug it down with too much like you need to do this, you need to do that. It kind of feels like it just destroys the natural progression of it all.

SPEAKER_01 9:35

Now, I correct me if I'm wrong, you once upon a time shared a studio with John Samariva and David Yarden. Is that correct? And Pitchy, too.

SPEAKER_00 9:46

Very, very like.

SPEAKER_01 9:47

Oh, as well, right, okay. So, right.

SPEAKER_00 9:50

So sorry to know I was like this little like naive person in this like a bullpen. Oh my god, like I was not ready for that, but I learned so much, it was amazing.

SPEAKER_01 10:03

What if give us give us a give us a glimpse of that because you've got four really creative people with very different styles and and and talents and and and senses of humor as well. Um, what what does that kind of look like and what did you learn from that that experience?

SPEAKER_00 10:19

A lot. I did learn a lot. Um, I actually moved to Sydney um in the hopes of you know uh breaking it big. And like I always thought like the biggest city was gonna make and break it, but that's not the absolutely not the thing. Like, don't even bother with that. The internet's an amazing thing. Stay at home with your family. Uh, unless you really want to go to the city, that's totally fine too. But honestly, you don't need to make the move to be able to make it work. Um, but I I think Dave had put out like a little call being like, hey, would you kind of think of like filling a spot in our studio? Someone like um wants some mentoring or whatever, and that was sort of like the first or second week that I moved to Sydney, and I was like, Oh, the stars are aligning, it's all happening for me. Like, da da, like I was sorry, young 20s, like what an idiot. Um, but I was so excited, like I just like messaged him straight away. I'm so keen because I had been following John's work for quite a while. Um, because I'm I'm sure that others and yourself would be able to tell I do, you know, resonate with his work, and um, I do like that sort of um angular, sharp, sort of graffiti kind of look of work. And yeah, they yeah, we met up in the studio and we hung out and we drew, and then um the idea was kind of like to have someone on board to be able to for them to mentor and pass on their guidance, and I learned a lot from them in terms of how they work and how determined they are and how much grinding they were doing. Like this was before John was doing um the ninja turtles, even I'm pretty sure he was kind of like dabbling in it at the time, but yeah, it was really cool, and like the best thing for me was seeing how determined and um driven that Pitchy was because he was really just like going hard on his um self-title that he was trying to um do, and to see his work, you know, published and you know, he's doing the sequentials, he's doing the covers, it's incredible to see someone that you saw someone just like sweating over their desk and putting in their heart and their soul into it, and then having his mates just really like pushing him forward to do that, it was really cool. Um, and I still think about some of the um information and the tidbits that they gave me in terms of how to think about your work. I think I've said this on other podcasts or even my one before, when John um mentioned to me, like uh when you're struggling to draw, and you can see it, you're like, I can see I'm doing it wrong. It's like that's just because you're leveling up and your skills haven't quite caught up. So you shouldn't be mad about that. You should never be mad about that, because it means that you've made progression, you just gotta catch up a little bit, and you just gotta have patience, enjoy that development and that drawing and that skill skill set that you gotta learn. So that really changed my mind frame, and I was not, I was so not ready to be in that studio, and I know that now, but I still remember a lot of the stuff and um implement a lot of the stuff that they taught me, especially like anatomy from David, like that guy just pulls out I don't know, scientific names for I don't know, your delts or something. It's it was incredible watching him just you know do what he does, and um yeah, unfortunately the the studio had to be um we had to break free because the the fellow who owned it um wanted it back and we couldn't find another space, so that was totally fine. And I I was feeling homesick, I was still too young, and I just needed to go back home. So forever grateful for all the bits they taught me. I don't know if they actually know fully how much I do appreciate it, but yeah, they were huge, huge impacts on my um my style and my career.

SPEAKER_01 14:02

No, that's a that's a that's that's amazing, and I mean uh you know, you you're sitting with peers that are you know, and and I'm sure that there are um you know areas and times that you probably supported them and helped them with their process as well. Probably don't think so, but you know, creativity um helps to inspire all those that are around, not just you know, one person that that may be at a at a lower tier than than the others are, right? So um I I I think that's that's fantastic. And I mean, you know, obviously it's not for everybody, and not everybody's gonna do that um to get where they are, but I think like you said, the internet is is a wonderful place. And you know, when you're talking about those that that time in the studio, we're talking about when the internet was was in a in a very sort of infant stage um when it came to the creative process. I think the biggest um the biggest sort of platform that anybody could be sort of recognize was on Deviant Art back in the day, which is pretty much where where John and myself and you and David and you know um Tom Taylor and you know all these other people that were sort of had this creative space where we could sort of you know be with our peers and and chat and talk and you know share our examples with. And I think that that's come a long way um now for creatives where they can publish their work online, it's available for you know, you can do digital art now and and be able to publish it at a relatively um cheap price um and get it out to the fast.

SPEAKER_00 15:37

And fast. I can't kick up.

SPEAKER_01 15:39

Yeah, absolutely. But I mean, you know, back in the day you weren't able to do that, and I think you know, as I've been interviewing others about the creative process, that has been very evident that that the digital age has really made a difference um uh for the creative process, and like you say, fast. You know, when it when we're talking about projects, has there been a a project that just didn't work out? And what did you learn from that?

SPEAKER_00 16:04

I don't know about didn't work out, maybe ones that I wasn't so like enthused about. I mean, I always try to do my absolute best um for any project uh that's gone with like previous jobs and stuff. Like I always put my best foot forward because I have this like mindset of like don't don't burn bridges, like even if it's not working with the person or whatever, don't burn bridges, like that's not my thing because you don't know when it's gonna come full circle and come back to you. Um yeah, I don't I don't know if there's anything that I've never been like that hasn't worked out. It's more of like what have I adapted, right? And how have I made it work? I don't know, like it's um maybe like Maurice might be a good one. Like I'm doing the next issue for Maurice in the Metal at the moment, and I decided to do traditional inks for the previous one for issue four, and that's because I was feeling like I was being very lazy. Um, I feel like you can't even see the Cintique that's right here. Um I'm like touching it, being like, I feel like I was getting lazy on it, like I was skipping things, and my work was not looking like my work, if that makes sense, and uh so I decided to go back to doing um traditional inks, and that in itself was like a big shock to the system too, because I hadn't done sequential inks traditionally for a very long time, and so I was like slopping on like uh wide out, left, right, and centre, covering panels up with another bit of bristol, like it was just like a mess half the time, and I was getting very frustrated with myself. Um, but I you know I got it done, like I'm I've I've got this mindset, same like Jake Parker, like you just kind of have to get it done, and like you learn from it and you move forward. So, this issue, I was like, Do I do traditional again? I'm not sure because I love having pages and people love seeing pages, some people like love to collect them and stuff like that, but in the state that I'm in where I'm so time poor and um I don't always have the capacity or the money to be able to pay for paper, which is so expensive. It's ridiculous for Australia. It's no idea why. We've decided to go digital for this one just so we can actually keep the story moving forward because you know you don't want to leave too much time in between. So um, not a failure, more a just a hindsight thing that I just want to adapt and and make sure that I s Maurice gets as much success as possible and and momentum.

SPEAKER_01 18:36

Yeah, no, that's that's that's fantastic. What's um what's what project or what create uh artist or creator um or creators at the moment are sort of influencing you or inspiring you or pumping you up a little bit to keep going um in those times when you when you need that that that little bit of extra BB bounce.

SPEAKER_00 19:01

Look, BB bounce, um lacking that BB bounce, I'm not gonna lie. Uh I uh so I follow ink pulp, Sean Crystal, and when he's done with his podcast and with Mateo and Eric and Jim, like he's really smashing me out of the park at the moment, and I do touch bass with him um here and there, and I've I feel like I've kind of disappeared for a little bit, and I know it's because I'm burnt out, my nervous system's just not having a good time right now, and I'm trying to juggle too many things, and that's because I said yes too much, and I always say yes too much, and so now that I've finally like signed off as of yesterday, a job that I've been working on, and that's just sort of like been annoying me. Not annoying me, it's just it's a lot of work. Um, I can now feel I feel a little bit more freer and I feel less bogged down, but those like the hustle that Sean has in terms of um giving back to the community and then also giving back to himself, and it just created this like little ecosystem, like a creative ecosystem that's just really giving back and giving and giving back that, like it's continuous, it's like it just keeps cycling, um, which takes a lot of time. It's that sort of it's not so much that's what I want to do, that's the kind of um person that I want to be. I want to be someone that will support others in terms of their creative journey, but also have that drive and that that inertia just to create and to do things that make sense and not just like cheat the system. Does that make sense? Like, I don't want to just create just to create, like I still want to look after myself, and I just it like I'm in this weird sort of like limbo bubble at the moment when I'm trying to figure that out still, and I'm so grateful to have people that I'm working with that do understand that. You know, I think a lot of people feel like they don't like they're sort of isolated in terms of especially in the creative industry, isolated in this, you know, I'm dealing with this by myself, no one else is sort of dealing with this. I think we're all dealing with it in in some form or another, and it's these these kind of podcasts that really do allow people to understand that others, you know, they struggle with some things from time to time. And um Rob Dwaynez uh sketchcraft sketchcraft, sorry, uh he is a good mentor. Um, like I I turn to him a lot, and we do share a lot of stuff, like you know, NDA stuff that we can't really share with anybody for like feedback or whatever, but he mentioned something. Um like two days ago, I was saying that I was just like, I shouldn't have said yes to this this thing. And he goes, you know, there's some times where you just like every every six months or so you just kind of need a break. And it makes sense, like you're just having a break from your job. And we're sort of in the industry where having a break is not not an option, but it is, you know, it's hard to hard to do. It's hard to give yourself the permission to be able to do that.

SPEAKER_01 21:58

I think I think being a creative Whether it's writing or illustrating or anything else, painting, whatever it is, a lot of people see it that it's something that you're doing with your hands, right? But that what they I I don't think that they realize is that that this is a mental game as well. Um so there's a lot of, there's a lot of sort of, you know, that mental preparation that you need to do. There's that angst that's going on inside you to make sure that you deliver the best um always, um, not just for um, you know, the the your your audience, but also for yourself. I mean, we are our our own worst critic. And then I think that advice there that you're saying that you need a break is is not just a physical one, but also a mental break as well.

SPEAKER_00 22:42

With uh probably leaning towards the mental mental side of things for sure.

SPEAKER_01 22:46

Yeah, absolutely. Absolutely. And I mean, it more now than ever, you know, mental health is is is is a discussed topic, and we we we see that in comics now, film and TV and and all the rest of it. So I I think what you're saying is is is spot on, and it's and it's a great piece of advice, not only to yourself, but also to our listeners as well, is to give yourself that break when when when you need it, listen to yourself, listen to your body, listen to those that are around you. So, with regards to your show, I mean with Sketchbiz, you've been on Ink Pulp and you've had members of Ink Pulp on to on your show, as well as other guests. Is there something that with you know when you've been doing your show that's changed how you see your own work?

SPEAKER_00 23:29

Uh not terribly, maybe more my workflow, I guess. I've got, you know, there's an episode that I need to pop up, which was meant to go out today, but um, you know, obviously I ran out of time as usual and capacity. But there's like I just love seeing how people think about their work and how they react to whether it's criticism or you know, feedback. It's just like some people have such a not a hard exterior, but they're just like, eh, like at least I'm creating right, like I'm doing what I what I love, and I love doing it. I think more the mentality on that side, not so much my creative side, like that is something that I will probably develop through time and just through practicing and drawing, and you know, it but the mentality side that I've had from listening to other people's stories and also the fact that again going circling back to that is you know, other people are still feeling it, yeah. Similar issues, similar stories, and how they had to, you know, work three jobs to be able to even afford to be able to focus on doing art. Like it's an industry that is so like everyone just wants every part of it, but they really, really don't care about the background stuff. And so we're the ones that are you know the backbone in terms of we're supporting ourselves to be able to make that work and give you guys this entertainment, these IPs, these like movies, like all that stuff. You go to go see a movie of Spider-Man or whatever, but like how long did that take someone to take Stan seriously in terms of you know, yeah, got a guy on a spider suit, like blah blah blah. I don't know, like it was the mindset sort of stuff that really helped me feel like I'm not falling behind, if that makes sense. Like you should never compare yourself to other people, you don't know what people go through, you don't know what kind of limitations they have, and like you know, like I still compare myself without even the background note that I I'm a primary carer to a child, right? Who's not even in school yet, so who takes up a lot of my time, and you know, it's not her fault. I'm so happy to be her best mate and hanging at home and playing and whatever, but I forget, like I just go, I just need to be the same level as them, and I get frustrated with myself, and I need to, you know, just take a little breather and say, like, no, no, I'm just I'm you know, I'm doing my own story, and I just need to be comfortable with that, if that makes sense. Yeah.

SPEAKER_01 26:10

No, no, it makes makes perfect sense. You um you you you mentioned Stan Lee just very very briefly in that. Um and it and it's it's a question that I always love to to find out is like if you had the opportunity to collaborate with any other creator, whether they're alive or dead, who who would it be and why?

SPEAKER_00 26:30

Derek Laufman. Oh that would be so much fun. That guy has like he's got fire under his bum, and he's the nicest dude, like good or Brett Bean. Brett Bean's killing it at the moment.

SPEAKER_01 26:44

With Dorf.

SPEAKER_00 26:45

Like that's sort of like yeah, with Dor. Yeah, and then uh like I love how much fun that their work is, but it's still also them, and they just like keep keep creating, keep making, and still it's like the kinder souls, and uh that's kind of I resonate with a lot of that because I want to, you know, treat everyone well and you know, like I said, not burn bridges or whatever. But yeah, no, that I reckon that'd be so much fun because their IPs are so much fun, or like Scotty Young, Scotty Young would be so much fun to be able to work with just for the chaos aspect, but that's why I create the ulcer because I just need a little bit of chaotic blood gore.

SPEAKER_01 27:26

That's um that's that's some um some great uh great company that you would have. Um I wish and and it'd be amazing. Um I remember Dean Rankin was so saying when he worked with Scotty Young that he was he was a real delight to work for and and and a lovely person, and um and I think that that goes a long way is not only is is is your your work at at a uh level um but but but also your attitude and the way that you treat others around you um should be at that same level. Last question that I have for you, other than anything else that you want to talk about, is who do you nominate to be a guest on our show?

SPEAKER_00 28:07

Ooh, God, there's so many. Isn't like Australia full of the best talent right now? Like I am discovering people left, right, and centre. It's been such such a good time to be able to see so many people thrive.

SPEAKER_01 28:20

Uh we've had a we had a that period too in Australia where I I don't know about you, but just sort of prior to COVID and just you know, sort of that lag afterwards where we really didn't have a lot. There wasn't a lot being produced. You looked at your artist alleys in in in you know, cons and that it was very quiet and empty, and you know, there wasn't a lot of headliners, and it seems to be now that we've we've sort of, I would say, in the last two years, we've really seen a a growth spurt, which um which is which is great to see.

SPEAKER_00 28:52

Yeah, 100%. Like there is so much talent that is popping up now, some quiet ones, some not so quiet ones, and I'm saying that in a good way. It's just it's been really wholesome to see, and I don't see it as competition. No one can offer what I offer, I can't offer what they offer. People need to stop thinking like that. It's completely different. It's a different, it's a thumbprint. You can't offer the same thumbprint. Look, I am excited to see where Levi Clemen goes with his um graphic novel coming out soon. He's done he's done the work, he's been very quiet in terms of getting those pages done, and it's a chunky one. And he's sort of similar, he's writ he's written it and drawn it, and yeah, I think he's he's gonna be one to look out for. And the other person who's been quite helpful for me in terms of like recent works and stuff is um Ben Brady. He's been really good, and I love the fact that he does his stuff traditionally with oil painting. And when I talked to him on it, um yeah, and on on SketchBuse, like just talking about his process, it was it was quite eye-opening and realizing that you know oil painting isn't even dead in comics, right? Like a lot of people think of oil painting as stanky, but it is actually a very, very good medium to work with. So, you know, I'm excited to see what happens over the next couple of years and seeing my peers sort of like flourish within this space. Like uh, I'm so happy to see people do their best, you know, and the projects that they create because yeah, if they would with whatever they create, then I'm gonna be more motivated to do my own, you know.

SPEAKER_01 30:31

Yeah, well, not only did you give me one, but you gave me two. So that's um that's that's for us.

SPEAKER_00 30:36

We look forward to there's too many I did like from. I was trying to be like, who do I pick? I don't know. I'm not playing favourites, I'm sorry.

SPEAKER_01 30:46

Two, two, two great nominations, and um I I I think they'll be really proud to uh to to to know that you've nominated them. We're really grateful to have you take out the time. We know we understand how busy you are, and but the the work that you're producing is a great ambassador for Australian creatives, and please everybody thank Lauren Marshall.

SPEAKER_00 31:07

No, thank you guys. Thank you for tuning in and thank you for having me. I can't wait to see what else you guys come up with and and who comes on the show to chat the industry and all their patterns be good.

SPEAKER_01 31:18

Thanks, Matt. Thanks.

SPEAKER_00 31:20

Bye. Like what you're hearing, tell your friends. Follow us on socials at Pulp Culture Pod. And if you're feeling generous, drop us a five star review on your favorite podcast platform.