Mike Tarpley
The artist turning a childhood medium into hip-hop iconography — on crayons, persistence, and the work that took him from sketchbooks to billboards.
Q·01
When did you realize you had a passion for crayons — and what are your favorite kinds to use?
That's a great question! I've been using crayons for as long as I can remember — since I was a kid. It was only in 2020 that I decided to pick them up again and start creating. I really enjoy making physical pieces of artwork; it's refreshing to take a break from a computer screen. My favourite type of crayons are Crayola — the Twistables are great for outlines. I recently bought some off-brand ones and the quality just isn't the same!
Q·02
Have you ever been told to stop drawing — and if so, what was your response?
On multiple occasions. A lot of people have sent me DMs asking why I'm drawing with crayons, or "your art sucks," "give up," and so on. If anything, those messages motivate me even more — I'd always reply with "thank you so much." I don't understand hating on other people's art; it's clearly a sign of jealousy. I'm doing my thing and not bothering anyone, so I don't see the reason to hate.
Q·03
Your work blends the freedom of being a child with hip-hop. Are those two things synonymous?
I've always had an interest in hip-hop, and I'm glad I grew up in a house that embraced all types of music. When I started my crayon series I debated what to begin with — the theme or the inspiration. I went with what I love most: rap and hip-hop. The reception online has been so nice, but I'll say I'm currently planning a new series that involves crayons but doesn't involve hip-hop, so I'm very excited to release it!
Q·04
You've worked with incredible artists — tell us about Lil Nas X, IDK, Bree Runway and the BBC.
I've been incredibly fortunate. Working with Lil Nas X is the craziest for me — I worked alongside his team to create crayon pieces for the Sun Goes Down music video; a surreal experience. The IDK work was easier because he approached me to use a piece I'd already made. The BBC job was my collage style, for the BBC Radio 6 Music Festival — a poster of some of my favourite artists, probably my largest job so far. And Bree Runway was really cool: artwork for her EP 2000AND4EVA. It was outside my comfort zone, but after it released I got to see my art on billboards and posters — a first for me!
Q·05
Have you always been artistically inclined? What are your earliest memories of art?
I've had an interest in art for as long as I can remember — always sketching on books and anything I could get my hands on. I had a bad habit of losing focus in class and drawing all over my school books; my mother wasn't too happy about that. But my parents have always been supportive of my career choice. My mother can look at anything and recreate it on paper, and my dad has more of an engineer's brain and draws technical drawings, so I feel I got the best of both worlds.
Q·06
What do you listen to when you're creating?
There needs to be sound playing, even if it's just a podcast — I can't create in silence because I lose focus. I enjoy high-energy music like Remi Wolf when creating; I get into a rhythm and stay motivated to finish whatever I'm working on. If it's something with important information, like a tour poster, I'll listen to instrumental music to avoid writing the wrong thing.
Q·07
Name a few people who have supported you on your journey.
I could write a book on the people who've supported me. My parents, of course — without them I wouldn't be doing what I do today. My sister, four years younger, has always been so supportive of my art. And my friends — sometimes there's a "get a real job" comment thrown around, but none of mine have ever said that. They've been incredibly supportive and love to see me do well, just as I love to see them succeed.