Q&A with Illustrator Thom Sevalrud

Toronto-based artist, illustrator, and educator Thom Sevalrud has built a career defined by versatility, craftsmanship, and a distinct visual language that bridges editorial, publishing and corporate communications. Represented by i2i Art. Sevalrud's illustrations have appeared in leading international publications, including Rolling Stone, Scientific American, and The Globe and Mail, as well as for clients such as Canada Post, HarperCollins, and TD Canada Trust. 

A graduate of the Alberta University of the Arts, his award-winning work has also been exhibited in Toronto, New York, and Amsterdam.

In the Q&A below, Sevalrud speaks to his career, process, and the perspectives that inform his work today.

What is your creative process (from idea to finished product)?

My creative process involves reading, pondering and sketching in silence. My brain is distracted at the beginning stage. I sketch using a pencil, paper, and tracing paper. 

Once the concept and composition are solid with a number of options, I then bring the sketches into Photoshop to add in tones and values, sometimes I use Procreate. Unless I’m asked to provide colour in the sketch stage, I like to figure this out in the final art stage and that is what makes it fun for me. I create my work digitally, yet many components like textures and surfaces are created by analog media. I create many linear components in Adobe Illustrator, then I bring that to Photoshop to piece the image together. 

The final art stage is inspired by music constantly playing as I build the piece. I’m someone who really likes to nail down a composition smartly in the sketch stage. Then, when approval to move forward to final art comes, I have something concrete to build on.

Thom Sevalrud, Deseret Magazine feature illustration, "Ode to a Navy Blazer’. Art directed by Eric Gillett.

What inspires you?

I’m a swimmer, and a lot of problem-solving ideas are considered and toyed with in my brain during my workout. The silent repetition of swimming blocks out the noise of the world. I experiment in my head and think about how my work is perceived. I’m always looking for ways to push what I do. 

I also teach illustration part-time and am inspired by my students in many ways. They are forming their own voice and it’s exciting to see the birth of that vision. 

A lot of fine art inspires my process as well. Music, nature, other illustrators, film, designers and books all add to the mix of inspiration.

Thom Sevalrud, Harlequin World Wide Mystery Project book cover. Art Directed by Kathleen Oudit. 

How would you describe your artistic style?

Always a good question and not easily answered. My style is graphic, and very shape based, but I think as one’s work evolves, that can be a moving target. I like to have layers of playing with the viewers perception. I like to explore colour, texture, as well as utilizing space to amplify elements of my work. Someone recently told me my work has a Scandinavian quality to it. I’m influenced by that region’s design for sure, so that felt like a good alliance. My heritage is Norwegian, so I come by my influences honestly. I like the juxtaposition of simplicity and complexity together.

Thom Sevalrud, GIVE + TAKE An illustration about society’s inequity and the helping hands when you least expect them. Be a helper. Self-directed.

What advice would you give to someone who is just starting out in your field?

Strive to always do good work and make the client happy. They will remember reliability and quality. A good reputation is worthwhile and something that takes cultivation.

If you could buy any work from any artist, who would it be? 

I’m a massive fan of Ross Bleckner’s work. I would certainly treasure one of his paintings.

 Thom Sevalrud, U of T Dentistry Magazine cover. Art Directed by Dean Mitchell, Fresh Art & Design Inc. 

W: thomsevalrud.com  |  IG: @thomsevalrud
 

Sevalrud’s work reflects a consistent balance of craft, clarity, and adaptability across editorial and commercial contexts. His perspective highlights the continued evolution of illustration within a changing visual landscape.