Artist interview: Lauren Carney

Lauren Carney is an amazingly friendly artist, illustrator and crafter from Brisbane, Australia who constantly made me giggle while we were setting this interview up!
Lauren is exhibiting in the Samhain Art Exhibition (29 October – 2 November 2010) at White Canvas Gallery, Queensland.

Lauren Carney

Facebook | DeviantART

How are you? What are you working on at the moment?
I’m really well, thanks for asking! I’ve been quite a busy little bee over the past few weeks! I’ve got a group exhibition coming up next week, so I’ve been trying to finish off some large water-colour pieces for that! Then the weekend after I have the Finder Keepers Spring Markets on, where I will be selling my wares and meeting very lovely art folk! Crazy right?

How would you describe your art?
The content of my work is whimsical and curious. Romanticism plays a large underlying theme and I think that is portrayed by the fanciful characters within each illustration. My artwork touches on a variety of mediums, mostly traditional mixed with digital illustration. The linework is messy but heavily detailed, the colours are bright, and the subject matter is a quirky!

A lot of the characters in your work are very cartoon looking (a good thing!), are you a fan of comics?
I’ve never been that into comics, but always wish that I had been! I was never really able to get my hands on them as a kid, because I grew up in a small town with a shortage of cool comic books in general. However I did have a huge cartoon fixation from my younger years, and that has stuck with me to adulthood! So I think that has a strong influence over me to this day!

Lauren Carney

What puts you in the best mood for drawing?
Well I have a confession, just of late I’ve been watching Coraline and Fantastic Mr Fox each day to get me through my creative block! I’m pretty sure I watched Coraline fifteen times last week – I’m a little bit addicted. But hey, I churned out eleven paintings that week, so it must have worked? But apart from obsessive movie watching, I generally sit down with a cup of tea in the morning, and look over my favourite blogs, with some Neutral Milk Hotel playing in the background. Then I’m good to go!

What materials do you most often/ most enjoy working with?
Moleskin Art Diary, A 0.005 Art-line Pen, Watercolour paints and different textured papers.

How did you first get started in art, is it something that you’ve always been interested in and excelled at?
Were you always good at art at school, and did you study art beyond school?
I’ve always been really into art! I used to make my own mini zines as a kid, and home-made graphic novels! Hah, they were epic too! I’m pretty sure I decided when I was six I was going to do something creative career wise! In high school I finally made my mind up to do a Bachelor of Animation at Queensland College of Art in Brisbane. I really enjoyed it, and was a total claymation/stop motion fiend, but preferred illustration more (maybe because there is less work? Who knows!) It was a really good degree, and the knowledge I learned from there I can apply to doing illustrations and design program work on the computer!

Lauren Carney

How and why did you move to making art professionally? How did you gain the confidence (in yourself and your art) to do this?
Getting the confidence was a three year process, I didn’t enjoy my artistic style in University, so didn’t really take it seriously until after I graduated. I remember sketching and thinking “This style just isn’t me, it’s not reflecting who I am as a person”. I started getting into a routine where each day I would draw something new and progressively created a style that I now can comfortably call my own. I decided that I had to be more proactive with ‘getting my art out there’, so did a lot of local art markets, emailing magazines, creating a blog / website / facebook page and generally trying to learn as much as I could from other successful indie designers!

How representative of you is your work? I ask this, as just by looking at your work I have a little inkling of what I think you must be like as a person!!
Ha ha! I would say there is a little piece of me in each drawing! I’ve found this balance in life, and I feel it shows in my work. I can embrace being awkward, messy, nerdy and a little bit odd. It’s something that lots of people can relate to. I want my images to convey a sense of nostalgia, show love and the importance of appreciating everyday life. I’m on the small side of things, so like to draw my people that way. The girls are cheeky with tiny boobs, and the fellows sport bow ties and skinny jeans!

Lauren Carney

Your work has been featured in a lot of independent magazines (such as Charlie, Yen, Thaw, and Peppermint), are these magazines that you read personally, and as such how important to you is featuring within them?
Oh gosh yes! It’s so nice to be a part of something that you admire and adore! It’s so lovely being recognised for your hard work through different mediums, but to be able to hold in your hand one of your favourite mags with your own work captured within the pages – well, it’s a pretty awesome two in one!

The magazines aren’t solely art-focused magazines (I saw, for example, that in Charlie magazine your illustrations were part of a fashion spread), how important to you is meshing alternate aspects of art and culture together, and increasing exposure to art and illustration by it being used in less art-only/gallery-only spaces?
It’s so important to not put yourself in one box or category – metaphorically speaking. Design is incorporated into our everyday lives, we just don’t notice it half of the time. I’m trying my hardest to do the corporate stuff, along with the fun things and artistic integrity in the process.

I think the good thing about having an artistic nature is that you can apply it to heaps of different things, books, advertisements, gallery exhibitions, magazine spreads, clothing items, catalogues, game design – the list is endless really, its just being proactive and trying to pursue as many avenues as you can!

Lauren Carney

You have an upcoming exhibition in a joint show at White Canvas Gallery in Queensland.
What work have you created for the show? – Has the experience of preparing for a gallery show been different to how you usually create work?
Are you excited for the opening?
Oh I am so excited! I have emailed so many people – blogland friends, art friends, and some of my favourite shops around Brisbane! I’ve dropped off letters and sent bulk text messages – and those are the easiest jobs! Two of the artist’s Mark and Elizabeth have done all the organising for it, so I’m really learning a lot from them about how to go about getting ready for an exhibition! I thought it would kind of be like a high-school or university group assignment, where the deadline draws closer and the anxiety sets in, but its so not like that! It’s almost like a mini celebration, where you get to play show-and-tell with friends and art fans.

I’ve managed to whip up eleven mini A5 water-colour artworks, and three bigger pieces for the show! I feel that my work is better in person, because you can see the detail up close, whereas the detail isn’t as effective viewed on computer monitors! I usually upload pictures onto my blog when I finish them, but I’ve had to hold off for ages, and not show anyone, so I feel like I have a mini secret that is ready for sharing come Friday 29. Eek!

Lauren Carney

What keeps you motivated?
Hah, mostly coffee. Inspiration and motivation generally go hand in hand though. Ultimately artists inspire other artists. It’s amazing how another’s work, whether it be photography, painting, music or sculpture, can impact on you. I need daily inspiration to function. So I definitely take a coffee break once or twice a day and look through things that I know will keep me creatively going!

Your artwork can be crazy-intricate, even your journal pages are chocked full of detail. How important to you is attention to detail?
To me it’s pretty important. I just have this thing where stuff has to look busy, even if its simple, there still has to be little etchings, stitch marks, hair detail, freckles; all stuff that seems pretty insignificant but is rather important! I know when I look at drawings that are busy, I’m lured in, and it captivates me for a longer time frame than something plain would. So that is how I justify my busy pictures!

Lauren Carney

My favourite pieces of yours are the ones that feature the little ladies in their various kick-ass fashions looking super rad and hella cute (seriously, eyelashes and rosy-cheeks drawn in the way you do it will always make me swoon! And I’m a huge fan of well-drawn hair!), and also the ones that incorporate text and typography.
What inspires you to draw girls like these?
Hah, why thank you! It’s a well-known fact, that all kinds of folk, regardless of sexual orientation or gender, can appreciate the appearance a classy well-dressed lady!
The way someone dresses can tell so much about his or her personality. You get this real sense of individualism when you catch a glimpse of some people, based upon their clothing. I really try to capture the same thing with my little drawn ladies, because not all women are the same, it’s the shoes, the hair, the lashes, the odd glasses or array of freckles and personality that vary for each girl, so I try to convey that when I draw.

What sort of aesthetic things do you like; for example where do you work from, and what images/artefacts keep you company in your studio / place(s) of work?
I work in a nicely decorated office from home. On my desk you will always find no less than two coffee cups, a darling assortment of stationary, a gigantic mac and wacom drawing tablet. But apart from the boring essentials, I have my James Jean / Courtney Brims / Anke Weckmann postcard collection plus Frankie Posters creeping up my walls, A Wooden Toy magazine handy in case of emergency artists block, and the occasional bunch of flowers to make me feel out-doorsy.

Lauren Carney

Are you a collector/coveter/admirer of other artists’ work?
Hah, I seem to have this increasing amount of Dave Collinson work adorned around my household! I also have this stash of Miyazaki goods that keep on growing. DVDs, books, other bits and bobs. Haha. I would however, enjoy accumulating a collection of plushies like the ones Cat Rabbit creates. Then I could say “My name is Lauren, and I am a collector of friends, tea cups, art paraphernalia and fancy dressed plushies” I think I could win hearts with that one liner.

Who are your favourite artists that you could tip us off about from your native Australia?
Oh gosh, I have so many! Dave Collinson, Mel Stringer, Charmaine Olivia, Audrey Kawasaki, along with street artist’s Ghost Patrol and Creepy.

Lauren Carney

Lauren Carney

Beyond illustration you’re also a crafter. What to you enjoy about this form of creativity?
I think it takes me to a happy place from when I was younger! Oh nostalgia! I was always stitching, knitting and sewing in primary and high school, but didn’t really go any further with it until I realised it is quite fashionable to dabble in nanna-esque hobbies. I kind of put my own swing on it though, incorporating my love of drawings with hand made products!

What for you are the most enjoyable or rewarding aspects of working as an artist?
I think it would definitely be the way my work impacts on people. I love having a stall at markets because I can see their reaction in person. It sparks a little bit of curiosity at first then a giggle. It’s nice to know that my artwork can connect with people in that sense.

Artist interview: Lilli Carré

Cartoonist and animator, Lilli Carré (Chicago USA) is the writer and illustrator of the books Nine Ways to Disappear, The Lagoon, and Tales of Woodsman Pete, and has contributed comics strips to anthologies such as MOME. Lilli also creates the most wonderful moving drawings. I love the way her mind operates, and the amazing illustrated work it creates!
{interviewed by Melanie Maddison}

Lilli Carré

Animations: On Vimeo

You were recently in Sweden for the Small Press Expo in Stockholm – how was the trip, and how was the expo?
It was really fun! I was glad I was able to make the trip, because the volcano in Iceland prohibited a fair amount of people from being able to fly into Sweden for the expo, but I was able to get there after zigzag bus trip from Oslo. I enjoyed exploring Sweden, and the comics show itself was great. There was a lot of great self-published work and many more international publishers and creators than I get to see at shows in the US. I was exposed to a much larger range of styles and formats than I I’ve seen before, it really got my juices flowing to see and talk to these other creators. It was interesting to notice differences such as how many comics from Sweden were completed purely in pencil rather than pen, and some of the different inventive binding techniques and storytelling styles and things like that.

Lilli Carré

What links does your illustration and comics work hold to that independent/DIY culture and community of alternative press and self-publishing?

I think of myself primarily as a cartoonist and an animator. I started making comics by printing them at school and self-publishing short stories and collections of my comics work and trading them and putting them out in stores and mailing them to a few people. I still try to self-publish, and I love to seek out and stumble upon other self-published work that excites me. There’s something very unique about ideas going directly from one person’s head and hands straight to paper with nothing else to taint it. That’s what I enjoy about experimental animation as well, that it feels like you get to be inside someone else’s head with nothing to interfere.

You debuted some new silk-screened books in Sweden that you’d bound yourself. I hear that this project was a result of your residency at Spudnik Press.

Could you tell me more about how you’ve been getting on with bookbinding, and how/why you got into making your own editions of books in this way?

I wanted to experiment more with screenprinting and playing with the overlapping of different transparent colors, so I decided to work on a small batch of stories that I could draw in a more graphic style, allowing me to play with these techniques. Like I mentioned above, I wanted to make a little batch of handmade hardcover books because I myself love the feeling of holding a handmade object in my hands that has some straight from someone’s head and hands and is completely unique, so I wanted to make something like that and experiment in the process. I had never really bound hardcover books before, so making 45 of them really pounded it in. I’d like to make more small editions of books this way.

Lilli Carré

How has your time at Spudnik been for you? How important to you has being there been, in terms of being a part of and receiving-and-contributing to: creative community, collective working, and skills sharing?

Working at the print shop for 3 months was a really good experience. Especially in contrast to how I usually work on projects, which is holed up in my work room in my apartment, staring at blank pieces of paper! Having to be at Spudnik for a certain amount of time each week was very helpful. It made me print and pull ideas out of my head that otherwise I might not be as active about working on. It was also really fun and helpful to be around the other regular printers in the shop, witnessing how they worked, what they were working on, and having good company while doing an otherwise pretty labor-intensive project.

The one trip I’ve ever made to San Francisco was the period when your book ‘Nine Ways To Disappear’ was being released by Little Otsu, and their storefront featured an amazing window display of your illustrated sculptures (that I presume you’d made?

Yep! I made the silhouetted cut-outs here in Chicago, and then mailed them to their SF shop, where they installed them. One of their workers skilfully reproduced the tea pot image from the cover of Nine Ways).

Lilli Carré

Lilli Carré

How was the experience of doing that?

And how important to you is working with and collaborating with independent companies like Little Otsu? What does working with independent companies allow and afford your artwork and publishing ventures?

Little Otsu has been very supportive of my work and wonderful to work with. My stories can be on the bizarre side, and it’s really important to me to work with people who I feel really get what I’m trying to do with my comics and images. They didn’t try to change the stories at all or shape anything in that sense— we worked together a lot on the look and feel of the finished piece, so it was a good collaboration. The other publishers I have worked with to make books of my comics, Top Shelf and Fantagraphics, have also allowed for my work to stand on its own, and have helped immensely with good book design and promotion and having faith in my more off-beat sense of humor and story.

What illustration projects are you working on at the moment?

I’m usually juggling a handful of different things. I just finished a piece in comics form about how the city of Chicago raised its own streets and buildings in the 1850’s, and now I’m working on a book cover, a series of animation loops for a website, and an illustration to be printed on a tin box.

Lilli Carré

How long have you been creating art, embracing your creativity, and working towards developing your current style and output?

What a question! I suppose I’ve been embracing my creativity since I was a little kid— A major activity throughout my childhood was when my parents would roll out a big sheet of butcher paper on the apartment floor, and my sister and I would amuse ourselves quietly for hours by drawing images and stories all over it. So since then.

How did you first learn to access your creative and artistic talents, and gain the confidence to make art your career? A lot of people struggle with knowing that they’re ‘good enough’ to do that.

I don’t look at it as a high-pressure thing. I just make the work I want to make, and if there’s a venue out there where I can share it then I’ll go for it. I still work a part-time job at a bookstore and make the work that I get excited about making, I’m not lunging at making a big career for myself. I need the outlet of making the work and drawings and stories, otherwise I’d feel very expressionless and ready to explode. So it doesn’t seem like some big choice or anything about confidence, it’s just a thing I have to do for myself, and if I have the opportunity to share it then that’s an added excitement.

Which artistic techniques do you employ most often within your work, and enjoy using?
I like trying out different styles and techniques all the time. I don’t feel that I’ve mastered any single one, so I like to switch between media for whatever I think might suit a certain story or idea. I really enjoy the feeling of using a nib pen, I find it very satisfying to draw with one even though I feel like I have less control than with a regular pen. I like playing with different printmaking techniques, and seeing what types of looks I can get with coloring things in photoshop, too. I’m pretty all over the place when it comes to styles, though I think that my work still looks like it came from the same person even though it’s made with lots of different tools.

*_What’s your favorite project that you’ve worked on so far?
My story The Carnival that was in the anthology Mome vol. 14. I just put a lot of myself into that story._*

Lilli Carré

One of the things that strikes me over and over again about your work is the ‘mood’ or ‘atmosphere’ of your pieces – part, I feel, to do with the folk-arts visual style, part to do with your work’s poetry, and partly due to the fact that your illustrations often highlight the everyday, arbitrary, or unfair aspects of life that are nonetheless part and parcel of the vibrancy of life.
Would it be fair to say that there is a unique atmosphere about your work? And is it something that you have worked to maintain consistency over throughout your different work in different mediums, or does it naturally work out that way?

Certainly. Coming from studying experimental animation in school, I think that I try to convey a mood and a pace in my comics that comes from thinking about how to do so in a moving picture, where sound and time are an element. Sometimes creating a mood is one of my main objectives of a comic, equally alongside the artwork and the story.

Lilli Carré

Thinking about mood and atmosphere, your own personal experiences must influence what you create. Do you find it difficult to create and paint when in particular moods due to how it may influence the ‘feel’ of a piece?
Yeah, sometimes I find it hard to sit down and work on something if I don’t feel like I’m in the proper head space to do so. My book The Lagoon, which is very mood-driven, took me about 3 years to finish, because I had a lot of starts and stops when working on it. This was partially due to still being in school and working at that time, but also because it was hard to always be in the right mindset to work on such a moody piece and figure out the trajectory of the story. The setting of the book is in a southern swampy area, and I made the first 8 pages of that story while at a summer class that took place at a small lagoon, but once I returned to the city to finish it, it was harder to get into the same momentum.

Speaking of the everyday nuances of life that your art depicts, it is often a curious, surreal life that is shown; perspective, space, size, direction, and expectation are often played with [for example, tiny, miniature coughing men crop up in your work. As do people who are hiding under chairs, upside down, with fish in their mouths. Not to mention the giant proportions of the character Paul Bunyan, or girls with wide-set eyes, or a boy who shrinks to the size of a button.)

All of the above is also perfectly observed within your moving drawings. Does working with animation allow you with a further tool for depicting the more curious nuances of your characters everydays?

Sure, I mean there are different things you can do with both mediums to bring out nuances of characters and the everyday. I wouldn’t say it’s a further tool but a different one. Timing and little movement ticks and sound are expressed differently through animation than comics or single images, and can present a different kind of humor. The moving drawings I make are usually of something who’s humor I think would be suited for movement, and that I just want to animate it to create a tiny funny little moment in a way that I feel a single drawing couldn’t.

What is your favourite thing about being an artist, and working creatively?
Being able to draw the things I imagine and put my observations and thoughts into a form that articulates them better than I ever could through talking or singing or running. There is catharsis for me in being able to put bits of my mind and life to paper.

Artist interview: Laura McKellar

This week’s interview is with Laura McKellar, an artist living in Melbourne who has an amazing series of work – digital prints on fabric, which she then hand-embroiders. There’s more to this crafty lady than meets the eye, so read more about her in this interview with Melanie Maddison, our chief interviewer on Pikaland!

Laura McKellar

Online Shop:
Zine blog:

Hi Laura, could you tell us a little about yourself, and what are you currently working on?
I am a freelance graphic designer living in Melbourne, Australia. I’m currently working on artwork for exhibitions, album artwork, illustrated ceramic brooches, some logos and thinking about my next issue of my zine Okay.

How long have you been creating art, embracing your creativity, and working towards developing your current style and output?
As a little girl I was encouraged to be creative. My sisters and I would spend a lot of time drawing and painting and using mum’s Derwents.

My uncle and grandfather were both photographers and I was influenced at an early age by them. I collect film cameras and use my photographs with illustrations. I am drawn to images I find in old 50s & 60s pattern books and have collected many which have had a significant effect on my work.

I studied graphic design for 5 years at college but I’ve been making things for as long as I can remember. Learning to use design programs on the computer has definitely influenced how I design my artwork.

Laura McKellar

How did you first learn to access your creative and artistic talents, and gain the confidence to make art your career?
I grew up in a very creative environment. My aunt is a professional illustrator so from a very early age I learned with a lot of hard work and dedication that it is possible to make art your career. I also learned at school that I could make a living from being creative and have since pursued it!

Why do you create? What is it about being creative that makes it something important for you to do?
Creating is a natural occurrence in my life. It makes me feel good and it is the best way for me to express who I am and how I think. I love making pictures whether they are for a job or an artwork, it is the most fulfilling time I use.

Laura McKellar

Where did your interest in collage, retro/found images, and mixed media come from, and how has your art developed over the years to incorporate it?
I have been collecting second hand picture books and dress pattern books for two reasons: 1. To use in my design + art work and 2. Because I can’t leave an op shop without one! I like the desaturated colours, detailed illustrations and the dreamy landscapes. The photographs in pattern books are so classic and I like the beautiful handmade clothing.

Although my work looks nothing like his I was influenced by Fred Free’s use of found images. Through making my own zine ‘Okay’ I have experimented with ways to use these images and right now am really enjoying using the found images with embroidery.

Laura McKellar

Where and how did you learn of your skills and interest in textiles and embroidery, and come to use these techniques within your work?

How do you actually construct each embroidered piece – do you sew directly onto paper?
I learned about sewing at a young age, my mum used to make all of our clothes and we were given hand-embroidered singlets for birthdays as children.

I have collected a lot of second hand sewing reference books and embroidery was something that appealed to me. You don’t have to be a master at it to make it look special. I transferred my drawings onto fabrics and started embroidering small details and have continued working like this.

Laura McKellar

Do you enjoy the processes of ‘handmade’?
As a child I received handmade birthday and Christmas presents which always felt so special to me. They had this very unique quality and aesthetic that felt so personal. I don’t think you can have the same emotional connection with another bought object that you can with a handmade present you receive from a loved one. It holds a much higher sentimental value that cannot be replaced. The time someone puts into handmade work is very precious and I value that.

How and why do you self-publish your artwork within your handmade zine, Okay?
‘Okay’ is a personal project that I can have total freedom over everything! I love putting together in their special order. I send it to people I admire and people who are special to me. It’s also a great self-promotional piece.

Laura McKellar

Does each issue allow you to follow a unique theme?
I base the issue on something I am dreaming about. The theme of the last issue was Exploring and it is made up of pictures of places in my dreams and things I will do when I go exploring.

What is your history in independent self-publishing? Is Okay your first zine?
‘Okay’ is my first attempt at self-publishing my own work. With the evolution of the Internet it is continually becoming easier to market yourself online and reach a broad audience. Through my zine I have connected with other people who self-publish from all over the world.

Laura McKellar

Do you think zines are a good way to share art, to display art, and to reach (new?) audiences or artistic communities?
I think putting together a zine is a personal experience because you put in so much time and effort with the content and then to go ahead with printing and publishing. In Australia zines are becoming popular and lots more people are starting to make them using their own artwork or featuring other artists. It’s very easy to get your work out there through online art and social communities. Okay has been featured on some respectable websites and blogs, it has allowed me to connect people who may have never seen it in a specialist zine shop.

Laura McKellar

Have you employed skills learned via self-publishing/ DIY publishing (skills perhaps of networking; working independently – utilising the skills and talents you have; creating/printing things yourself, from scratch; working in a handmade way; honing your skills, interests and ways of working outside of mainstream constraints; approaching interested and interesting parties yourself; exhibiting in communal ways, on collaborative projects and exhibitions, etc) in your everyday artistic practice? Do you find the worlds of art and DIY self-publishing intersect in such ways?
Through self-publishing Okay I have learned to push the boundaries and experiment with different stocks and printing techniques that I can do myself. It has influenced my approach to materials I use for my artwork. I learned to print on fabric this way.

I like to hold craft days with my friends in my studio. We make our own creative environment to inspire each other when we’re working on our projects.

Laura McKellar

Amelia Gragory, recently interviewed on Pikaland was asked, ‘What do you think is the biggest challenge for illustrators today?’ to which she replied: “There are just so many illustrators out there that the biggest challenge is getting your work seen and known. There isn’t a massive market for commercial illustration – at least not of the type that most illustrators enjoy creating.”

What are your thoughts on this, from your own experience, and how do you personally approach this challenge?
I do agree with Amelia, she is right that it can be very tough. I have personally dealt with clients who take advantage of my skills and expect me to work for free. They think they’re doing me a favor by letting me do a job for them, to get my name out there. In the past I have done the work purely because it will look good in my folio, but to be honest it was the start of a bad reputation.
The thing about being creative is you never stop using that skill, it is inbuilt and if you are motivated enough you can focus on personal work to send around, put up on an online shop, and keep on your website.

Laura McKellar

Nature and fauna, alongside the human form often intersect within your work, (I’m thinking here of the animal mask portraits, and of your images of humans with animal heads -and visa versa.)

Is this as an exploration of identity? A comment on animals and humans sharing the same earth? Or, like me, do you just think people look funny, beautiful, and rad with animal heads and animal features?
Anthropomorphism (animals adopting human characteristics), humans with animal features and human interacting with animals are reoccurring themes in my work. I grew up watching Disney and more recently Studio Ghibli and reading picture books like Beatrix Potter stories which show similar concepts. The way children have relationships with the animals with no inhibitions and with free imagination, they live in harmony together. I am very interested in the relationship and I very strongly believe animals should be given a voice. This is the reason I express these concepts in my work. It does make me smile looking at an illustration of a Hare wearing a cable knit jumper or a gorgeous girl with a bird nest for hair!

What’s your favorite art project that you’ve worked on so far?
My favorite project is collecting and making images for my zine. I’ve taken Polaroids in Indonesia and Japan, found some beautiful second hand picture books in op shops, made stickers on my typewriter. When I have no jobs on I like to sit on my computer and play with pictures and compositions, combining different papers for the pages and putting them in a perfect order.

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