The Daily Monster
An Interview with Stefan Bucher
Growing up, monsters got a bad rap. They were always hiding under the bed, or behind the shower curtain, or around the corner. Just waiting there, to scare the bliggity-criggity out of you.
Stefan Bucher saw monsters too. But his were a bit friendlier and once he saw one he knew he had to draw it. He drew 100 different monsters in 100 days and fans started writing stories to accompany the monster drawings. The idea caught on and now the monsters are popping up everywhere: from his book 100 Days of Monsters, to LA Weekly, to Wired magazine, to, most recently, PBS’s Electric Company. Check out a video of Stefan making a monster then proceed (with caution) as Stefan talks to us about these furry little creatures.
TDS: Give us a little background into the project and how it came about?
BUCHER: The first Monster appeared to me while I was driving. Just popped up on my arm. This happens to me every now and again, but this was a clearer view than most, so I thought “Gotta put this little guy on paper.” I had so much fun with that drawing that I immediately made 49 more for a book called Upstairs Neighbors.
While I was shopping that book around I wanted to keep myself engaged with the Monsters. When you’re trying to find people to back your project it’s very easy to drift into becoming the executor of your creative estate; which is a dusty, joyless state of being. It was important to keep drawing new Monsters, and a series of events lead me to the idea of filming the process for my then new blog.
It never occurred to me that the Monsters would find the audience that they have. I didn’t even tell my friends about them, because I thought I might not stick with it, that it wouldn’t be fun. But then it very quickly grew into the brilliant online community of people with a need to tell stories and draw their own creatures.
Like most things, the Monsters came to be as an almost unconscious reaction to the circumstances of my life. The brain tries to balance itself when jostled. I had allowed myself to slide into a tense and intractable situation, so these happy little creatures came out to let me have some fun.
TDS: Does drawing the monsters ever become mundane? How do you keep it fresh?
BUCHER: It only ever starts feeling mundane in the stretches when I can’t make time to draw new creatures. Then I’m just their traveling salesman. I’ve now drawn close to 500 Monsters — for the site, the book, murals, posters, covers, articles — and just when I think “Well, that’s it. I’ve done everything there is to do with the Monsters” some little change comes through on a drawing that gives me something new to play with for the next 20 or 30 creatures.
TDS: What lessons have you learned from the monsters regarding creativity and imagination?
BUCHER: The main lesson I learned is the power of incremental effort and process. I spend so much time being “angsty” and avoiding a new piece before I ever sit down. Making the Monsters daily didn’t leave time for any of that, and it reduced the pressure on each individual piece. If this one’s not my favorite, I get another chance tomorrow.
Looking back at the first 100 days I have a hard time grasping how I got that much work done in such a short time. But that’s exactly how I did get it done. I didn’t think about it. Don’t think. Sit your ass down and draw. That’s the lesson. (Says I: Honestly, it’s a hard one to put into action every time, even knowing how successful and satisfying it is. My brain seems hell-bent on distracting me.)
A couple just for fun...
TDS: If a royal rumble were to occur between all the monsters you have drawn, who would win?
BUCHER: The Monsters wouldn’t fight each other. They’d stand shoulder to shoulder against whoever was hassling them. And then they’d probably break into a kick line.
TDS: Can monsters really incorporate?
BUCHER: As a limited liability company or an S-Corp? Sure. There are some real legal and tax advantages to incorporating when you’re a Monster with a plan.
TDS: If a monster could give our country advice what would it be?
BUCHER: A daily dose of ink, mixed with two egg yolks keeps your fur soft and shiny.
Okay, back to more serious questions...
TDS: People write stories around the monsters. In a Business Week article you stated, "what the little kids come up with in their classes is just as valid as what somebody else does on their lunch break or a professional in their spare time." What lessons can adults learn from kids with regard to storytelling?
BUCHER: There’s the pervasive myth that all children are non-stop creativity machines, free and joyful and unrestrained in their stories and drawings. What I’ve started to understand through guiding Monster drawing workshops to humans of all ages is this: Little kids have very specific ideas that they try to express with very limited means. It takes a long, long time to train your hands to put something down that looks anything like what’s in your head.
A kid will make a crazy drawing that gets adults all excited. “Oh, and what’s this? Is that a magical hat that shoots sparks and fire into the sky?” I’ve done this many times. The kids get downright angry. “No!” they’ll say with great exasperation. “That’s her hair, and there are bows in it.” They get very frustrated that they’re not communicating what they intended.
But as long as they get to explain what there is to see, they have a great time and come up with some truly excellent drawings.
When the roles are reversed, and I give drawing demonstrations, adults are far more ready to give me the benefit of the doubt. If I draw a bird with giant feet, they say “Wow! Cool feet!” Kids ask why. “Why does it have feet like that? How can it fly with those?” And then you better have an explanation ready. Kids may start with a wonky premise, but after that they’re relentlessly linear. They won’t let you off the hook. It’s good training for me.
The real value of the Monsters is that it gets everybody drawing and writing. So many people come in being shy, feeling that they’re not talented. Starting with a random blob of ink gives them license — as it does me — to not worry about it, and just have at it.
TDS: The drawings are all done by hand, away from the computer. In design, and life, is there value in stepping away from technology sometimes?
BUCHER: That is the party line, of course: Step away from the computer! But I don’t necessarily think that’s true. There is value in making things. If switching from the computer to paper gets you working — great! But if you get all jazzed about some new software? That’s just as valid.
A whole bunch of Monsters came out of the fact that I was teaching myself a new animation program. The minute somebody comes out with a machine that can get ideas out of my head and into the world, I’m getting wired up. It’s not about the tools; it’s about distracting your brain — “Hey! Look over there!” — so you can get work done.
TDS: Besides the monsters, you are an accomplished graphic designer. How does the monster work influence your design work?
BUCHER: Having the Monsters has made me a better designer. Not through any particular method or style, but by giving me a chance to build something as I see it. Before all this every design job that came in had to fulfill two briefs: It had to serve the client’s needs, and it had to express my ideas and build my portfolio. Through the site and the opportunities it brought I now have that second part covered. This leaves me free to actually listen to my clients and focus on coming up with the best idea for them.
The upshot is, of course, that the resulting work has become much better, and in some cases much more personal than it would’ve ever been if I had kept pushing my own agenda the whole time.
TDS: What is up next for you? What are your plans for the monsters?
BUCHER: Cousins of the Monsters are currently popping up on the rebooted Electric Company on PBS, and I’m hoping to start telling some of my own stories with the creatures soon. In the meantime I’m finishing up my next book The Graphic Eye — Photographs by International Graphic Designers for a fall release. And of course, there are always a few skunk works projects brewing. I’m only getting started.
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