Interview with Stephen Eberly

Stephen Eberly is a Printmaking major at Mason Gross at Rutgers University in New Brunswick, New Jersey. His work is mainly based on his vast imagination and his ability to create a wicked doodle! When looking at his work one might see his attention to detail and shadowing which really make his pieces pop. He has an interest in cartoon-y/doodle-ish designs and characters that really draw in the attention of the viewer. It is clearly evident that even though he does not have a set style he is particular to, his work does not come up short-handed at all. His early doodling has helped him tap into the depths of his creative mind and really produce amazing pieces of art.

Dylan: So what is your concentration?

Stephen: Printmaking.

Dylan: How did you decided on printmaking to study?

Stephen: The decision was kind of rash, but the further I delved into printmaking the more I realized it was a perfect fit. I'm a natural born doodler, so I love drawing from the imagination, and I love being hands on. Printmaking lets me do both.

Dylan: You're a doodler? Care to explain how that works?

Stephen: In high school, I was afraid art classes would influence me too heavily, and I just wanted to establish myself creatively before I started letting people tell me how to make art. So rather than loading up on art classes, I spent most of high school doodling like mad. And I'm pretty sure it shows in my work. There's a definite randomness to my work. And I like it. I try and push the spontaneity of my creative process to its limits. I had to play a little catch up in terms of developing my ideas from doodles to works of art, but there is no shortage of ideas.

Dylan: So would you say that doodling is what inspires you or is there something else that your work comes from? And college was the first time you've ever taken an art class?

Stephen: I'm not sure if I would say doodling inspires me, as much as its trained my creative process. It helps me tap into a more subconscious, spontaneous way of drawing inspiration. I couldn't really tell you what inspired the majority of my works, although I'm sure all the cartoons I watched as a kid (and sometimes as an adult) have lended to the surreality and underlying humor of my work. Oh, and as far as art classes...I had taken photography, and graphic design in high school, and even ceramics, but nothing that I felt would control my style in terms of drawing. I only took what I felt comfortable with as a creative outlet that was distanced enough from what i considered my passion; that being of course doodling

Dylan: That’s interesting! I've noticed that some of your work isn't printed on regular paper but on napkins and even a toilet seat cover. What made you decide to print on those instead of paper?

Stephen: I usually enjoy experimenting. And usually I printed on things that played off the subjected matter. For instance the rodents and bugs on a toilet seat cover, kind of made me think that that's what the cover is protecting us from, a kingdom of sewer dwelling vermin being kept at bay by a thin layer of tissue paper. A lot of my works tend to be influenced by the materials I choose to create them with, and looking for new surfaces to print on really jarred open a new realm of possibility and inspiration.

Dylan: I gotta say the thing about the bugs...gross I will never use a public bathroom again! haha

Stephen: ha ha

Dylan: So in printmaking, is there a particular printing process that you like doing the most? And can you describe the process?

Stephen: I personally think my forté would be using lithostones. It lets me be very drawerly. Rather than working around the process, it usually boils down to how good are you at crayon drawings. And I didn't realize this until I started litho, but I still love crayon drawing. Lithostones are usually drawn on with a lithocrayon, and then etched using acid, and then rolled with ink so you can make multiple prints, and the image keeps rolling up. There is much more of a subtle value scale with litho than the other processes, which allows gradients, and shading, which is usually lost. But if I had to name number two, it'd probably be silkscreen.

Dylan: So with a lithostone you can have one color but it can be different shades of that color? Is that how that works? And it looks to be a pretty heavy stone!

Stephen: That is how it works. And you can even add another layer or two, but it gets to be tricky. And yes, the stones can get pretty heavy. As far as printmaking goes, litho can be the best in terms of exercise.

Dylan: And it looks pretty cool with the skeleton and all! Eerie but totally cool! How long does it take for you to complete something like this or anything else you do in here like a silkscreen project?

Stephen: Once I already have an idea, litho can take about a total of 10 hours. Silkscreen tends to be quicker though, I can usually bang them out in about 4 hours. And sometimes I can do more than one at a time.

Dylan: And that includes printing too?

Stephen: Yeah. And that's what I love about printmaking, and I'm sure as a photographer you can relate. Once I go through the effort to make one print, it’s not much more effort to make ten, or twenty, or sometimes thirty prints.

Dylan: Very true! Once you hit the right mark with developing time and exposure time or in your case right where you want it on the paper it is pretty easy to bang out as many as needed! Ok here comes the dreaded question....have any ideas on what you are doing for thesis yet?

Stephen: Yes, actually, in just the past few hours. I wanted knew I wanted to flood the viewer with imagery, but I was afraid the pieces would clash with each other at some point. But I feel if I keep this in mind, and try to stick to a primarily black and white scheme, i can pull it off. I'm not trying to rule out colors all together, but no one image is going to be chock-full of colors. Mostly just highlights. This isn't my definite plan. I'm still very flexible, and prone to change. But at the moment, that's what I'm going with.

Dylan: So you will have just little spurts of color here and there but it won't like some of your pieces that are complete color. I must say I like that. Your works with just one accent color in them are pretty amazing!


Stephen: Thank you

Dylan: What about after graduation? Any ideas on where you want to be?

Stephen: Whatever I can get, I suppose. But I would love to be an illustrator for children's books, or even more grown-up books if there's a call. And total pipe dream, but I always want to create a cartoon series. But pretty much anything that involves creativity and a decent salary is alright with me.

Dylan: That is pretty awesome! I hope that works out for you and I wish you the best of luck! Are there any last thoughts about you or your work you would like to leave me with?

Stephen: Well since we've been talking, and I've caught myself saying a lot about crayon drawing, and cartoons, and doodling, and I feel it comes off very simplistic and child-like. But my goal is to simply bring it along and elevate these simple basics to the point of legitimacy. And not to be cocky or anything, but I think I'm doing alright by it.

Dylan: I think you are too. And trust me, crayon drawing or not, still WAY better than any drawing I could produce! And I don't think at all that anything you've shown me is simplistic or child-like.

Stephen: Thank you

Dylan: Your welcome and good luck!

Stephen: You too.