Once, pen and ink—and airbrushes—were the tools of the illustrator’s trade. Then the computer altered the landscape forever. Today, the talent pool in the Philippines is remarkably deep and the resulting portfolios consistently bewitching. Even as Filipino illustrators grapple with the conflicting demands of their commercial workload and personal creative projects, their scene remains the most vibrant in the country. Meet the millennium’s busiest artists . . .

Joshua Agerstrand
Interviewed by Gino de la Paz




Can you tell me a little about yourself as an artist? Did you take formal lessons?
I had half a semester in college and I sat in on one painting class, but that’s about it. I learned a lot working in an advertising agency in Guam for about 3 to 4 years… and learning all those programs helped me
 develop my skills as an illustrator and a designer.

 As a self-taught artist, I feel very amateur but I think I’m in good company. I think it’s important to forget about the rules and just be yourself.
 I’m happy that I don’t have all that art school BS dictating what I do.

Comparing the first piece you ever completed with the most recent one you created, how has your style changed?
 How have you evolved since you knew you were an artist?


I knew since I was 5 years old that this was the only thing I ever wanted to do. I’ve changed a lot since then. I was dishwashing and drawing for a few years in Florida—I had a lot of time to experiment there. All my friends were doing something creative, and a bunch of us were from Guam, so we had a lot of the same motivations and experiences. It’s a pretty jarring change to move from a little island—to go half way around the world and just try to stay sane. It helped that we all did creative work together.

What tool do you use the most when you create?
A lot of my work is digital.
 But when I draw I use Microns and Staedtler Mars Technico pencils (blue!)
. Oh and grey Prisma color markers! Love those!


How often do you make an illustration? 
I keep a drawing book in my back pocket to use any time I get bored, so I guess every day.

How long does it typically take you to complete a piece?
It could really take me a long time for some pieces, but I would say on average it takes me around 6-12 hours. 

When do you create your best work?
Around two in the morning.

What are your major visual influences?
I ripped a lot off from my mom—she has this really messy 70s gesture style that I love. Specific artists that inspire me include Egon Schiele, Paul Jacoulet, Hayao Miyazaki, Shel Silverstien, and Winsor McCay.

How about those outside the visual arts?
Good music.



Do you follow a certain quote/creed, line from a movie, song, or something of the sort when you create your work?


“Whatever you can do or dream you can, begin it. Boldness has genius, power, and magic in it. Begin it now.”
 
- Goethe

What are some of the challenges you face as a young artist?


I hope that I could create something that could speak to everyone, especially to children.
 Like when I see all these outsider art and avant garde trends in illustrations, I’m very impressed—it’s very cool and raw.
 But I feel like those artists sacrifice a lot of their imagination to get that. And as much as I admire them, it’s not me. 

I don’t want the idea of “cool” to be the main driving force of what I draw.


What are you currently working on?
Tee shirts and comics about bigfoot—my favorite!



How would you describe your illustration for Rogue? What inspired it?
Well I like bikes and I love Haloween. The illustration was inspired by the 90’s television show,
 “The Adventures of Pete and Pete.” In one episode there was this gang of kids who were real bastards
 and they would go around smashing pumpkins and terrorizing the town. God I miss that show.

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