Studio Visit with Sean Hipkin


Sean Hipkin is an illustrator and member of 3 Fish Studios, and a recent graduate of CCA's Illustration program. I recently had the chance to visit his new home and art studio in San Francisco to ask about his work. In my mind, his home had much of the same charm as his illustrations. Thrifted furniture and wall art occupying each room. Small plants found on tabletops and in nooks. Bikes stacked against the wall. And his studio, a little room with big windows looking out to the city.


Isalina Chow: First question. How did you first find yourself coming into art and illustration?

Sean Hipkin: I guess anyone who’s creative has always been that way, since they were a kid. I was way more interested in making and building things when I was a kid than in toys, so I was always making stuff, not necessarily seriously.
I didn’t know about illustration probably until a couple of years ago. 
I first started getting into it when I was working at a skateboarding shop called Metro, in the East Bay. And I still didn't really know what illustration was. But because I worked there and it was a "No Rules" kind of place, I would help my boss make T-shirts--fudge our way through Photoshop and screenprinting. We would do anything we wanted to do, just bootleg everything, make patches and stickers. I helped design a lot of it. That's where I started getting into it. I dabbled in a lot of different things, all sort of illustration-based. It wasn't until probably right before I started at CCA that I figured out illustration was the direction I wanted to go.


IC: Is that what caused you to go to CCA, for Illustration?

SH: I started at a different school, for one semester. It took me seven or eight years to get through school. It took forever because I was actually at another art school for printmaking but I decided that printmaking wasn't the major I should be pursuing. I went through all these other schools at an older age just trying to figure out which school I wanted to go to, and I found CCA for Illustration. I had no idea what I was getting into, but it was really an amazing program. It gave me hope I guess like this is what I should be doing.


Sean's "Homebody" totes

IC: What was it about this program that was like, "This just feels right," compared to other things you did?

SH: I do a lot of personal work, but it gave me a purpose to make things. Because I don't really make anything unless I have to. You know, there are some people who doodle, they're drawing constantly, always making things. I'm not like that at all. I only make something when I have a reason to make it. So when there's a project, and there's an art director for example who says, "You need to do this thing for this company," I want to do that. They tell me I need to make this thing, and that's awesome, I can go through the whole process. It was a very structured program at CCA.

IC: And structured was good for you.

SH: It was really good because I'm not a very loosey-goosey artist. I'm pretty process-driven. CCA was very structured, and it was really hard at certain points, but I learned a ton.

IC: Do you have other outlets? It seems like bicycling plays a big role in your life.

SH: Bikes are huge. Before 3 Fish Studios, I worked at a bicycle company called Rivendell, which is a niche specialty bike company in the East Bay. I was doing illustration work for them too actually, without even really thinking about it. Bikes have been a huge part of my life. I've made so many contacts, and so much of the illustration work I've done has been in the bike industry. It's such a tight-knit group of people who are all do-it-yourselfers. We all support each other.

IC: It's like a community space.

SH: Totally. It's like my community is bikes. Just being outside is my other outlet. I spend a lot of time outside. I just started getting into running. Every year I'll go on a bike trip that's many days long, just go off the grid for a while.

IC: These other outlets, like biking and being in nature, do they tie into your creative work at all? Do they feed off each other?

SH: Yeah. Totally. I almost can't do one without the other. With illustrating, I've always been pretty solitary about it. I spend so much time in here just working. I have to get out and get some fresh air, go on a bike ride and see some people. There's a direct influence for sure. You can tell in some of my personal work. There's always a hint of a bicycle or a camping scene. They completely feed off each other.

Sean's studio space

IC: Your work is very whimsical and fantastical, but at the same time it feels like it has a personal touch. Do you feel like there are other parts of yourself in your work?

SH: Definitely. I think anyone who makes personal work, they're going to be showing a little bit of themselves in it. I feel like my aesthetic is very much in my artwork. If I'm going to do a house scene, it's going to be a super cool homey house.

IC: Like your dream house maybe.

SH: Yeah, like my dream house. When you're making, you have this whole world in your head, and your way of getting it out there is through your artwork, especially your personal work. I definitely see myself in everything I make.

IC: Can you tell me a little bit about your process? How you come to ideas, and when you decide a piece is finished and to move on.

SH: I'm very process driven. I'm super structured in how I make things. Kind of like how I don't make things unless I have a reason. When I do make them, I have a very main structure. I learned how I do it back in high school, I was working in a lot of tattoo shops and apprenticing--that was something I was interested in early on. That process was: sketch, more detailed sketch, final line work, and then to take it to final. I've pretty much done that ever since I learned how to. I go to a rough sketch and then I do a more final sketch, then final. And a final is not always a final art piece or a painting. It's often a compilation of little paintings where I digitally composite everything so I can edit things later.

IC: Was there a particular artist or person that inspired you to make the work that you make now?

SH: Oh man, there's so many. The Provensens are a good children's book duo that I'm really influenced by. I look at some fine artists. Peter Brook is one of them, he's a 70's painter and does a lot of landscape paintings. I love how flat and graphic a lot of it is, how he separates space and value.

And then there are Disney concept artists. Like Eyvind Earle, if you saw that exhibit at the Walt Disney Museum, it was unbelievable. And Mary Blair. Anything that's 101 Dalmatians concept art is the best thing ever. 
But I try to look at older work. If you look too much at the newer work, you start to get influenced by it. I'm just very influenced by people, so I try not to look at it too much.

IC: Is there a work that you've made that you're especially proud of or attached to?

"Sleep Outside" by Sean Hipkin

SH: The one that was a real lightbulb moment was the Sleep Outside piece I did for my Senior Thesis project. My teacher was pushing me really hard to mess with more value and understand it. So I was like, fine, I'll do the most value thing ever and just make a glowing tent in black dark space. And, I don't know, it just worked I guess. It was a very dynamic piece, and I learned a lot from it.

IC: And that's recent too.

SH: That's recent, that was just before the holidays. And then, I just did a drum head for my friend. No sketch or anything, I just kind of went for it, and that's so unlike me. Every time you do a piece, you learn something from it, and it becomes your favorite piece for that reason. Then you move on to the next piece. When I make something, it's done, and I'm never going back to it.

IC: So you also work at 3 Fish. Has your time working with the artists in that space influenced you or your work at all?

SH: Yeah, completely. It's such a creative environment. To have such a tight knit group of people, just Annie, Eric, me, and Orlie, and now we have a new person named Maddie working for us. They're just so amazing.
Annie and Eric have shown me so much about the business side of being an artist, and how to make a living being an artist. You don't have to succumb to the "starving artist" thing, you just need to know how to do it. They've been such a resource for me in learning how to do that. You can't not be inspired being around them. Annie is constantly painting. She did 49 paintings in the last month, for the 49 scenic mile drive. She just never stops, it's unbelievable.
Orlie and I are both illustrators, and we just bounce off each other when we have questions. About contracts, learning something, a certain medium, how you did this thing, digital stuff. We can ask each other constantly. 
We're very open. It's like a little family.

IC: One of the words you use to describe your work is "narrative". Is there a general narrative or message that you want people to take away when they look at your illustrations?

SH: Just to look at things in a bit more of a magical way. Don't just see things as, for example, "Oh, this weather is horrible. It's raining fog on me, and now I'm wet and have to go to work." Think of the magic of going through that. Always the bright side of things, the little bit of whimsy in everything that we do. It's a childlike perspective about everything. It makes things interesting.

IC: Is there anything that you're currently working on, or anything that you have planned for the future, that you're really excited about?

SH: I just graduated.

IC: Big change.

SH: Big changes. My girlfriend, Eden and I just moved into this apartment, and that's a huge change. That was the same time as I was graduating, so it was just bonkers. So much happening at one time, and it's just starting to mellow out. But I'm excited to just try to do more of the work that I want to make.

IC: Because it's not structured by school.

SH: Yeah, it's not structured by school anymore. I've been illustrating for the last two years when I'm not in school. Even when I was in school I was illustrating a little on the side. I was able to do all these different projects, taking everything I could get my hands on. You learn from that: "I don't want to do a project like that again," or, "That's not really my thing."
Now I know that I want to do more literary work. Over the last year or two, I was talking to a couple children's book illustration agents and just learning from them. They've been helping me with some portfolio work. I'm excited about that, because that's the direction I want to go in: children's book, picture book, young chapter book illustration. I also have a show at Faye's Video in the Mission. I'm going to do four little paintings for that show.
Just being able to get a new perspective on illustration right now. It's really exciting because of all these new opportunities, and being done with this big years-long thing. Now I can keep doing what I was doing, but in this whole other way.

IC: In the way that you want to. It's totally self-driven.

SH: Yeah. Exactly. It's totally self-driven.


You can find Sean's whimsical illustrations at either of Rare Device's brick and mortar locations as well as at 3 Fish Studios.

Studio Visit with Mark Johnsen


I went and visited our current gallery artist, Mark Johnsen, in his Bayview neighborhood studio in San Francisco called Yosemite Place. This is the third time I’ve seen Mark in person and every time I talk to him, I learn something new about art or printmaking. Aside from making great art and caring about art, he is also such a laid back, down to earth person. My favorite kind.

Giselle Gyalzen: How long have you been making art, and how did you decide that creating art is what you wanted to pursue?

Mark Johnsen: I’ve been making art for about 10 years now. I was studying creative writing and history and just making photographs, shooting in 35mm in between classes. I realized that I couldn't wait to get out of class to take photos. I was also working at a software company at that time. I was photographing people’s desks when they were not there. It’s a weird office culture. I didn’t really think of it as art back then. I would show those photographs to my friends, wondering if they would believe me. I would show them a photo of the desk of this guy who made a foil ball, collecting foil from every sandwich that he ate for 10 years. It was a huge ball, just sitting in his office.

So I started photographing things like that. I had a friend who worked in a photo lab and I would send him the film and he would process it for free. After a couple years, he said that my photographs are pretty good, and encouraged me to go to school for photography. I didn’t think you could go to school for photography. I didn’t have any traditional art background at all, no one in my family really makes art. I got hooked on photography, and I went to school for it. The types of photography I liked were polaroids - small unique, one of a kind relics. Like little gems that were there with you.



GG: You’ve always been a one-of-a-kind kind of guy.

MJ: I have, I have.

I did some documentary work as well. Everyone at school was pushing documentary type of photography and I wasn’t making that. In my last semester at school 5 years ago I found out about monotype.

GG: You make monotype prints, a process that is rarely used today. What is it about that process that you enjoy?

MJ: What I enjoy most about the process is starting from something abstract - rolling out a big slab of ink and working reductively to shape an image, which I think of as memory. We store so much in our brains in order to recall something, we have to wipe away the excess information to get a clearer picture so that the process really caters perfectly to monotype. These are scenes that I remember from my childhood but there’s no way to perfectly emulate nature. Nature is perfect on its own and I don’t think I have a photographic memory but the more I make these prints, the more they get more photographic which is interesting.


GG: What do you mean?

MJ: It’s farther from the event that actually happened, this happened so long ago. I went to this place, I was overwhelmed by the power of nature, I try to remember it but I can’t, I get old and I can’t remember it. I’m constantly painting scenes and by practice and through repetition, scenes are becoming more and more photorealistic. So it’s kind of a nice closure for me.



GG: Most of your work is based in nature - from rocks to mountains. Why do you feel drawn to these elements?

MJ: I used to collect rocks as a kid. I would dig in my backyard all the time. I love the idea of finding natural things that are worth something. My parents thought I was crazy so they took me to a rock shop and I freaked out the first time I saw all these gems. A bunch of them came back home, I buried them at home and invited all the neighborhood kids over to watch me uncover these gems. It was pretty awesome cuz I knew where I buried everything and everyone else was just digging at granite, while I was pulling out a perfectly tumbled piece of rose quartz.

I love that idea of concealing information and trying to find natural beauty in the earth. I used to try to sell the rocks, that was not very fruitful and nobody bought them, so that’s what I’m trying to do now.

I just love collecting, I’ve always been a collector of things. And I love the earth, I think it’s really precious and I’m trying to create my own little world that I can manage cuz the world is chaotic. So if I can make something that’s personally meaningful and personally beautiful to me, I can hope that it has the same effect as a stranger looking at the scene. Everyone has their own interpretations of nature, this is my little world.



GG: Also just collecting rocks from when you were a little kid. It seems like you’ve always been drawn to that.

MJ: Yeah definitely. I didn’t know until I sat down and made my first monotype. I didn’t know how to paint. The first couple of prints I made, I absolutely hated but I like the way that the solvents interacted with the inks and the way that they look like minerals, that got me excited instantly. I’m a big geek about geology and the printmaking process so I use Stonehenge paper, I use mineral spirits, I print on limestone. I try to incorporate those elements as much as I can. The process is dying, not that many people are making monotypes, not that many people are making them with a lot of care. People don’t really take the time to clean around the edges and make them look like photographs. So I’m trying to preserve that and I’m trying to preserve my own experience of nature. It’s all so fleeting and I care about the environment.

GG: You mentioned to me in a past conversation that you are taking a break from printmaking, why is that?

MJ: I’ve been doing this process for about 6 years now and I’ve really enjoyed it, however, there are elements of it that are toxic. I use oil paints and mineral spirits and solvents and I’m starting to feel those effects a little bit. There are a bunch of green technologies being incorporated into printmaking now like soy-based solvents. So, I want to take a pause for a little while and then come back and go towards those green products.

Also, I’m going to graduate school, I’ll be teaching printmaking but I’ll have a chance to do anything I want. Sculpture, I could go back into photography, it’s pretty open.


GG: You originally received your BFA in photography from CCA. Is photography something you still practice? Do you wish you studied printmaking?

MJ: Yeah, I think about photography all the time when I’m creating my work. I try to make my work look as photographic as possible I’m using monochromatic techniques I’m making one of a kind paintings. There is a lot of crossover between photography and printmaking, and processes where you can combine the two - photo etching, screen printing. I’m hoping to get back into that. Sometimes I’ll take a bad photo and a terrible print and I’ll combine those two - I’ll run a print on top of the polaroid and the print. Kind of salvaging something and making something beautiful out of my mistakes. I make a lot of mistakes, that’s what the whole process is but it’s forgiving because if you make a mark you don’t like, you can just wipe it away and start again. It’s a living painting until you decide to freeze it forever by running it through the press.


GG; The pieces you have for the show will never be run through the press.

MJ: Right.

GG: Are there other mediums or processes that you would like to explore in the future?

MJ: I want to get into sculpture, I want to get back to photography. One of my studio mates is a ceramicist and I’m always ogling over that idea. People actually combine the monotype process with ceramics so you can make a monotype and print it on the ceramic. There’s a lot of crossover with other mediums so I’m excited about that.



GG: I know you’re moving to Canada to pursue your MFA soon. What media do you want to work with, and what do you hope to learn over the course of your education?

MJ: I want to gain more teaching experience. I’ve gotten to teach a lot of workshops and guest classes in the last 5 years which has been great. I got to travel to places and I got to work with kids which has been great but not having my MFA is preventing me from putting together a whole class and writing my own syllabus. The good thing about the school I’m going to, it’s a public school so the first day I’ll be teaching my own class. So I’ll be gaining lots of teaching experience, by the time school’s done I’ll have 4 classes under my belt. I’ve always wanted to teach. Maybe not so much immediately but I wanted to get my degree while I’m still young and have the attention span but I want to live a full life and want something to teach when I’m old.

GG: Teaching is so great because you’re passing down the art and what you know.

MJ: Oh yeah. I’ve been so lucky to have the instructors that I’ve had. A lot of them have recently retired, people who have taught over 50 years. It’s not just about their knowledge of the medium, it’s their own personal histories that they bring into it. JUst having that institutional knowledge is wonderful, I want to keep these dying traditions alive.

GG: I’m so immersed in this world, so to me, it doesn’t feel like it’s dying, since I meet people like you all the time. But thinking about it, when you step back there are not a lot of people making prints.

MJ: It’s tough, just explaining to my family and friends who didn’t make art growing up and explaining to them what I’m doing, they’re all baffled. “Why don’t you just scan it and print 50 digitally?”


GG: Tell us about your studio space?

MJ: We’re in a place called the Yosemite Bldg. I share this particular studio with 4 other artists. In this building, there are few other studios. There is a lot of fabrication happening here, there’s a lot of furniture, woodworkers, and metal workers. There are also painters and photographers, I think I’m one of the only printmakers in the building. One of my instructors had a screenprinting shop here for 20 years. He had a live/work studio here, which I didn’t know about until after I moved in.

Having a studio called Yosemite is just amazing. I do try to incorporate that in my art as much as I can. In my website I have a little section where people can mail me a self-addressed stamped envelope and I send them a print and it’s time-stamped with Yosemite Place, I just ask that they take a photograph when they get it.

I like to send out postcards a lot. Before I was in this building, I was making all my prints in Oakland at CCA. I would make a postcard sized print and every day, I would put it in the mailbox and send it to myself in San Francisco, just to see. I like having the time stamp. A lot of them didn’t make it which is crazy. I always like to think that maybe somebody liked it and just kept it for themselves.

GG: So you have a small press here, but you also make big work. Where do you print those?

MJ: The larger work, I print at CCA where I work. It’s a valuable resource. I can print 11 x 14s here but I have full sheet monotypes that are 22 x 30 and I use this old Charles Brand Press that was donated to the college through the Hamaguchi Award which they established 25 years ago. So it’s 25 years old and its old, crickety, it’s got that big wheel. It’s a lot of fun, it’s like a full workout.



GG: Besides going to school for your MFA, what else are you up to? Is there anything you want to share?

MJ: I just finished designing a series of skateboards. I love skateboarding. It’s through this skateboard company called Atlas, it’s a shop down in San Mateo, CA and twice a year they make guest boards with artists so I’m coming out with a series of 3 boards around September. I’m excited cuz it combines 2 of my most favorite things - art and skateboarding.

You can view Mark’s show, Unpressed, in our gallery at 600 Divisadero Street through July 30, 2018. You can also view all of this work on our website.

How to Choose a Plant for Every Room


Hi! I’m Lauren, the resident Plant Witch at Rare Device. I’ve been growin’ and slingin’ plants in San Francisco for over a decade, and love trading bizarre botanicals with other plant nerds. I studied conservation biology at UC Berkeley, and spent three years at the San Francisco Conservatory of Flowers learning from the best. When I’m not plantmancing at Rare Device, I do private jungalow consulting all over the city. Come visit me at the shop for all your plant parenthood needs!

I'm stoked to be starting a plant blog series at Rare Device. For my inaugural post, we're going to start with the basics: light. The most common complaint I receive from aspiring plant parents is, “I can’t have plants because my apartment doesn’t get any light!” What this usually means is they don’t get that coveted bright, warm, southern exposure and have needlessly resigned themselves to a life without greenery. That’s where I come in! I’ve compiled a list of some of my favorite low-maintenance houseplants that will be stoked to live with you, no matter what kind of light your space gets. 

Northern Exposure

While the sun never reaches this room, it gets fantastic bright, indirect light all day. These conditions are perfect for low to medium light-loving species; the “goth club,” as I call mine. Think of the plants that grow on the ground in dense forests that are lucky to catch just a glimpse of the sun through the canopy- these are your guys.

  • Alocasia
  • Dracaena
  • Ferns (except maybe stay away from Maidenhairs at first because they can be bad for the self-esteem of even the most seasoned plant nerds.)
  • Maranta
  • Pothos
  • Stromanthe
  • Syngonium

Satin pothos

Eastern Exposure

This room receives some magical direct light in the mornings before the sun gets too hot, and then stays pretty shady the rest of the day. These conditions lend some versatility and room for experimentation- while an Aphelandra may not like being right in an eastern window, it can thrive tucked further back into the room. Viney, climbing species do well here because they can more or less choose how much light they get.

  • Anthurium
  • Aphelandra
  • Chlorophytum
  • Hoya
  • Monstera
  • Oxalis
  • Pothos
  • Schefflera


Western Exposure

West-facing rooms achieve that lovely middle ground between the gentler eastern exposure and the hot southern exposure. While west-facing rooms do receive several hours of direct light, the sun is lower in the sky and not as intense, preventing the scorch some plants might receive in a southerly window.

  • Aeschynanthus
  • Coleus
  • Ficus
  • Gynura
  • Philodendron
  • Peperomia
  • Ponytail palm

Gynura aurantiaca, “purple velvet plant”



Southern Exposure

South-facing rooms can achieve an almost Mediterranean microclimate allowing for a wide range of sun-loving and warmth-seeking plants. But don’t limit yourself to succulents and cacti! There are all sorts of sunbathers to meet.

  • Aloe vera
  • Bougainvillea
  • Citrus
  • Croton
  • Geranium
  • Hibiscus
  • Sago palm
  • Tradescantia



Cubicles, bathrooms, basements, Golem’s cave..

These guys thrive on neglect and can live almost anywhere- perfect for you plant killers and for rooms without natural light.

  • Zamioculcas zamiifolia (ZZ plant)
  • Sansevieria
  • Aspidistra

Sansevieria cylindrica

Never Too Far by Sam Lee: Opening Reception


Artist Sam Lee in front of our mural by Brian Barneclo.

Rare Device was pleased to host illustrator and ceramists Sam Lee for her solo show, Never Too Far. The opening reception was full of Sam’s friends, family, and supporters. Featuring 12 original pen and ink drawings on vintage envelopes and 9 original ceramic vases and 7 light pendants, there was a little something for everyone. The show was heavily inspired by Sam’s travels around Northern California.

Check out the pictures from the opening reception:

Never Too Far by Sam Lee

A selection of Sam's original illustrations (left) and Sam talking to her fan (right)

A crowd begins to gather

Hand carved Pendant Lights

Close up of Sam's illustration (left) and the full illustrations (right)

Hand-painted planters

Sam with RD owner Giselle Gyalzen (left) and hand-thrown vases (right) 

You can find all of the artwork from Never Too Far on display at Rare Device Divisadero now through June 11th and online. All photographs by Dave Medal.

Thank You Thursday: A Letter Writing Social


Kick off National Card & Letter Writing month by sending someone a note of gratitude via snail mail! Rare Device has partnered with Thank You Thursday, The Write_On Campaign, brought to you by Egg Press & Hello!Lucky Stationery, Sakura Color Products of America, and Mohawk for a pop-up letter writing social at our Noe Valley location. With the loss of hand-written correspondence in our tech-driven culture, we want to encourage connection and creativity through meaningful handwritten notes. It’s the perfect opportunity to take the time to thank your friends, family, and community members for their support. We’ll supply the thank you cards, pens, postage, and drinkage. You supply the gratefulness.

Thank you to the following awesome stationery companies for donating wonderful cards for this event: Navy Midnight PressThe Good Twin, Hello Lucky, Yellow Owl Workshop, and People I've Loved.

Join us at Rare Device Noe Valley on Thursday, April 19th from 5:00 - 7:00 pm for Thank You Thursday. The first 12 people to write letters will receive a free lapel pin. See ya there!