I did Sketch Pad for Fast Fours<\/em> with Todd Hallenbeck, then he took over Street Machine<\/em> and asked me to do Expression Session. I was too busy so I said I’d met Jeff Haggarty at the Triple Challenge and introduced them. Then I worked with Ewen Page at Street Machine<\/em> and when he went to Auto Action<\/em> I did all their illustrations until I got the job in Sydney and had to pull the pin on all my racing and car work.<\/p>\n

MORE<\/span> $\"Linda$ <\/button><\/section>\n
What was that job in Sydney?<\/strong><\/p>\n
I ran the art dept at Illustrated Sports Clothing and we did the 2000 Olympic Games. We did more than T-shirts — we were designing 100ft billboards for the airport and anything we could get out hands on. That was awesome but after the Games I got bored with it.<\/p>\n
MORE<\/span> $\"hot$ <\/button><\/section>\n
Linda does plenty of work Stateside, including poster work for events such as Hot Rod Power Tour<\/em><\/p>\n
The technology must have changed a lot. How did you do it in the old days?<\/strong><\/p>\n
I’d sketch it on paper, then trace it to sharpen the edges up, then transfer that onto a piece of board and do the ink. So it’s five draws before you do the colour separations and that would involve hours in the darkroom. It was so time-consuming!<\/p>\n
I was at a screen print trade show when I met the boss of Mirage Graphics. He introduced me to Photoshop and that was the end of that. Working on the screen is just like airbrushing.<\/p>\n
While I was at ISC in the 90s I made a program for colour separations that is still used today. The technology has changed a lot; the computers now have the horsepower we need. We used to do functions then go across the road to the hamburger shop and come back and it would nearly be finished. Now those same functions take seconds.<\/p>\n