Give us a little information on your background. I’ve been a freelance illustrator and letterer since graduating from Sheridan College’s renowned Illustration program in 2001. Like most young illustrators starting out I needed a day job in order to make ends meet. So for a few years, I worked full-time as a wiretapper with one of Canada’s largest police forces and moonlighted as an illustrator. Talk about a contrast of worlds. Eventually the illustration gigs picked up enough that I could leave the day job and completely focus on my career.

Tell us about yourself and your work: what you’re passionate about, what inspires you, and where you’re going. For as long as I can remember, I’ve always been drawn to vintage things that have character, good design, and a story, whether it be a guitar, tools, products, or random found objects. I like keeping myself surrounded by those types of things because I find them inspiring and they’re kind of like a receipt for a good story. I guess that’s the artist in me coming out, as well as my upbringing. Coming from a family full of carpenters and woodworkers has heavily influenced the way I create; layering and meticulously working with my chosen materials. The deeper into the digital world we get, the more I desire to produce hand-crafted work. Lately, my focus has been on combining the illustrator side of me with the carpenter side of me, hoping that I can satisfy both of those needs while still making the kind of art that I enjoy making. I’m not sure where it will lead to, but that’s the direction I’m currently heading.

Tell us about your space. What’s your aesthetic? What do you like or dislike? What would you change if you could? For years my workspaces were always tucked away in a corner of my living room. So when I bought my house four years ago, it had an unfinished basement which I renovated in order to give myself a dedicated studio. I also built a larger work area for miscellaneous projects, as well as a workshop. My actual studio space is fairly basic but I love it because it’s comfortable enough to hold everything I need to create work and to relax when I need to. As much as I love having my studio in the house, it’s getting tougher and tougher as my young family grows.

You have an Aeron Chair in your space. What do you like about it? Why did you choose it? I love the Aeron. Without a doubt, it saved my back. The vintage wooden secretary’s chair that I used to use looked amazing, but it was causing damage to my back. A friend turned me onto the Aeron convincing me a good ergonomic chair was a wise investment; he couldn’t have been more right. I also use an Eames Molded Plastic Chair at my painting station.

Photos: Darren Booth; bottom photo – Todd Fraser

For the past few weeks Susan Lyons, our Materials Creative Director, has covered Herman Miller’s five material design principles over on our Discover blog. We’ve heard about honesty, utility, economy, pleasure, and possibility and the role these principles play in helping us choose the materials for our designs.

One principle is particularly relevant to Lifework readers: It’s the idea of utility. Lyons talks about utility in connection to Embody – a chair that finds its way into many a home office. “When we talk about material utility,” Lyons says, “what we really mean is that we use materials to solve problems.”

To hear Lyons talk about the rest of the principles simply follow these links: honesty, economy, pleasure, possibility.

To find a home office chair check out our tips on how to choose the right one for you. (And FYI – we’re now shipping our most popular office chairs for $29. Read all about that here.)

Clockwise from top left: Aeron, SAYL, Mirra, Embody

And of course, it needed to look good. It’s part of your home and for a lot of us who aren’t lucky enough to have dedicated home office this chair will be in public view. So what’s the answer. I recently got an Aeron chair and have never been so happy. It ticks the ergonomics box and looks great in our hard working office/family room/guest bedroom. The nice news for Lifework readers is Herman Miller is now shipping Aeron, Embody, SAYL, Mirra and Setu for just $29. Welcome to 2012!

For more from Yves on SAYL check out this week’s post over on Discover.

Over at our sister blog, Discover, there’s a great post on the science of sitting. As it turns out it’s a lot to do with blood flow to your bottom! Which I guess makes sense. Gretchen Gscheidle, who wrote the post and is a scientist and artist, has worked with Herman Miller on perfecting their designs for decades. She was reacting to a study published in the Chicago Tribune that found the “sitting too much could be deadly”. Don’t you love a newspaper headline? In the 1990s Gretchen began using pressure map technology, “which visualizes what the seat and sitter interface looks like—and how it changes depending on seat construction and the posture of the sitter. These changes translate to comfort or discomfort for the user.” It all sounds rather technical but the results have given us super comfortable chairs like Embody.

For Embody Gretchen commissioned researchers at the Rehabilitation Institute of Chicago and Milwaukee’s Marquette University, to measure “the amount of oxygen in the blood flowing to and from subjects’ lower extremities and heart rate–key health measures. It turns out, both improved when users sat in the Embody chair, versus other chairs, doing the same seated tasks in both.”

So, it is OK to sit. Thank goodness. Although, it’s also probably a good idea to get up off that chair – at least once or twice a day. After all, you’ve got to eat lunch after all.

[The photo of the Embody chair above is from se7enthirty's review]