Attended Rhode Island School of Design
"Fine artists like to make problems for themselves while illustrators like to solve problems given to them"
"Possibilites within limitations" (scale, colour ect - brief driven)
"Communication - create visual solutions to bridge between clients and audiences"
"Ideas first" - keeps work fresh and exciting
Uses pen and ink (dip pen) for work
EDITORIAL
Be sensitive towards briefs, make things deal-able and overcome-able
Reverse engineer; what do you want to draw first, make it fit to brief
Make use of cropping "possibilities within limitation"
STORY AND BOOKS
Given concept and characters
Pick right moment to illustrate story
GOOD COMPOSITION is very useful
Capture that one moment in an image
Bring own interests into commission work
Vertical perceptive, further away things are more on top of image they are
POSTERS
Your interpretation of movie, be more free with collectors editions of posters
ADVERTISEMENT
Make lots of tweaks
Hit and miss about how fun it is
"More money, less freedom" (very long brief e.g. McDonalds brief 20 pages of detail)
Try to put yourself into it but feels less fulfilling
When working on something big and corporate good to have something smaller and more personal on the side to feel fulfilled
Can get very anal about products and how depicted
Web work is usually a lot cheaper than big corporate briefs, less preproduction, more freedom with web pieces
Small details make projects more personal
MAKING CLIENT WORK PERSONAL
Important to make work personal
Personal work can lead to commissioned work
Boil brief down to the essence
Image paired with article then puts it into context but can work as a lone image "want someone to hand it on their wall"
"Style is overrated - it's merely a habit of drawing"
PRACTICAL
Hybrid of traditional and digital medias (pen and ink plus photoshop)
Use of lightbox to build up textures
Digital allows for changes in colour before committing to final image
If you create a world as long as the vocabulary is the same it will work - What are your boundaries? Don't just want to capture life like realities; don't just want photos, make something photos can't make
Values are very important in a piece (black and white) - consider contrast and density (noise within piece)
EVOLUTION
Good to have far sided goal but also good to step back from that and concentrate on 'now' and close goals
"Step by step"
"It's not how good you are it's how good you want to be" - Paul Arden
Have big ambition!
Believe in the work you are sending off even if they're just scamps!
"Obstacles are for eliminating the ones who do not want it enough"
"If you cannot be wise, pretend to be someone who is wise, and then just behave like they would"
"Good artists borrow, great artists steal"
"Sleep when you can!!!" - Victo Ngai
Q&A
Be as structured as possible, timetables and plans, emails done at the start of the day; answer important ones straight away, don't let them pile up
Realise that you can be motivated, push yourself, use your self doubt to push you further. It's okay to take yourself out of the work sometimes; refresh
Lines and colour become more integrated; like a painting
First few years need a part time job, get something that doesn't drain your creativity, keep pushing
Looking at colour palettes from other pieces lead to better personal understanding of colour and how it works, can now draw on self more than others now
Editorial dictates layour template for pieces
Be thick skinned, do a lot of footwork, portfolio reviews very useful; face to face, still send off promo packs but human networking helps a lot
Got an agent within year of finishing studies for VISA, but best to wait a little longer to give you more bargaining power. Need trust with agency. Do a lot of promo work for yourself
Don't miss deadlines, want good reputation
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