MEG HUNT

where are you from and how long have you been illustrating?

I came from a little city in Connecticut called New London; we're known for whaling, the invention of commercial toothpaste, and Eugene O'Neill, among other things. I just learned that one of the notable residents is a musician called (I kid you not) Magic Dick. It's a strange little city I have affection for despite the fact I'm currently living in the total opposite sort of place- Arizona. I've been illustrating for I think four years now?

how important is being a "Jack of all trades" to a visual industry?

I don't really know, to be honest! I say I'm one, but I don't know that it's actually that true. I think I try to be flexible and try new things to improve upon my skills so it'll help different clients, but I couldn't design a slick logo or anything. I think most clients look to you to produce something they can expect-- being unpredictable probably scares some clients off. Still, I like to think when I try new things it works out for the better...

how have you seen your work grow / change during your professional career?

I see it every day. I'm one of those people who unfortunately doesn't rest on her laurels and often will love something only to think it's not good enough later; and this constant restlessness in my work has made artmaking turn into a constant evolution. Through getting introduced to amazing artists I'll often pick up one of their toys or techniques and play with it to see how it could work for me, and while I still have a long way to go before I feel really comfortable in my work (I'm only just starting to now as I start finding my own language), it's getting more interesting. It's hard for me to put how my work has grown in a bitesize way, but I guess in broad terms it would be a push towards a focus in shape, pattern, abstraction and texture and learning how to rectify my love of linework and my love of shape, getting into a more painterly kind of way of thinking.

do you find that change / progression slows when you begin working professionally as opposed to a school setting?
Well, I'm not sure how it is for everyone, but I think I've changed more as I've worked professionally than I did in college. Though my style did change significantly from entering to leaving, it's been changing a lot since I graduated too. I guess it depends on how much you devote yourself to change. Like I said, I experiment all the time and try to look at things and find out how people made them, why can't I make that, how can I get better, where does my work fit into the grand scheme of things, etc... the thing is though I think you do potentially go through a lot of change in your professional career but you don't always notice how big those jumps go. I googled my name the other day and found some blogs I'd posted to a year or two ago, old interviews-- and I was pretty stunned to see how things keep progressing without me really paying attention. Without the classroom environment I think it's easier to not notice all those tiny steps you make actually add up.

do you still draw for fun?

I've been thinking about this a lot lately; I draw a lot of personal work, although I don't sketch as much as I should. I would hazard to say every thing I make I make for fun, but at the same time there are always frustrations here and there when I can't make something look like how I intended it to. I count myself lucky that I get to draw pictures for a living, and I really don't ever want to lose the sense of play and fun in my work. (At the same time, sometimes it feels like work and I'm usually more calmed from the process than anything else)

whats your favourite kind of job to get?

I like getting jobs from clients that are interesting and compelling. If they are really fun, then I will have a lot of fun doing them. The book I'm working on is like that; it's all myths and animals and I couldn't be more tickled to work on it (even if it is in b/w). Get me to do hand-lettering, monsters, quirky characters, animals, architecture, patterns... I'm pretty much in heaven.

If Im an AD hiring you for the first time what should I expect?

That I'm pretty terrible on the phone (I got that from my dad) but I'm a good listener, and I am very accommodating if things need changing. And that typically you'll be wowed by my end results. (I'm not trying to brag; it's just that I've had some pretty happy customers and that makes me pretty happy too.)

what are some influences in your work and your life?

I'm influenced by everything. Seriously, in college I realized I'm like a sponge, and it's true. I'm inspired by tons of illustrators, old packaging, posters, sci-fi, adventures, travelling, folk art, movies, conversations, comics, design, toys, my dog's crazy antics, music, nature, patterns and color schemes of other cultures, doodles, books, etc. I'm not listing specific artists because it would just take me forever to list even a small fraction of them. I was really strongly influenced by printmaking from my dual major in college, and it's persisted to this day in the way I approach work, even though if you were to make a screenprint of any of the things I work on digitally it would be a crazy number of layers.

what are your thoughts on the current state of our industry?

I don't know; I hear that it's changing a lot and some of it's heartbreaking to me (the loss of really good magazines, for one-- I'm still sad about Nickelodeon Magazine's demise last week) but some of it's also exciting. Sticking to editorial seems like a tricky course, so it's forcing a lot of illustrators to branch into other fields and experiment and produce beautiful things that they might've not considered before. So it makes me sad and excited for the future, but the current state worries me here and there. I know I'm not getting as steady work as I got last year, and that bugs me. But at the same time I'm using that time to branch into bigger projects, other avenues, and it's really invigorating for me.

if you couldn't draw for a living you would be a....

I thought as a kid I either wanted to animate or be a paleontologist. Obviously animating's still drawing so that doesn't count. But I also found linguistics and archaeology interesting. I try not to think about it though- it makes me worry that I should have a game plan if I can't ever make art work for me and I really don't want that to happen.

how important is colour and pattern to your lovely work?

Really dang important! Most everyone I talk to who likes my work tell me they're drawn to my colors and patterns. I'm not really good at rendering or building up linework or anything like that. And I learned color through playing as a printmaker, and I am totally clueless when it comes to straight black and white work. I'm envious of people who nail it. I've been trying to practice more with grayscale/black and white but it's really rough. I feel like it's missing something without a burst of color and pattern...

where do you see your stuff going in the future?

Hopefully into other markets like surface design (I crave to design housewares!), children's work, advertising, some animation... I want to do everything and see my drawings all over the place. I also expect that it will keep edging between a mix between digital and traditional, so hopefully I can keep adding textures and lines and colors and get to a point I'm really happy with. I'm also toying with the idea of an alterego so I can go the other way and work more with strong linework since I seem to be pushing that away in favor of shape and color. But I don't know if that'll happen, we'll see.

advice for new illustrators?
Be nice, learn a lot, be open to change, make sure you have lots of creative friends you can share with and get inspiration from when times feel stressful, talk shop, learn the business side of things-- taxes, bills, invoices, etc; ask for help, don't pretend you know everything, enjoy yourself, don't forget to have fun, question yourself, explore things outside the art world, remember that it takes a lot of effort and time to get established, don't give up, don't give up, don't give up.

advice for older / established ones?

The same as my advice to new illustrators. And also: be helpful. You get what you give; I asked questions from a lot of my peers when starting out and now I'm getting that from new illustrators. I'm glad to help in whatever ways I can, sharing sources, techniques, ideas. Just because we're older doesn't mean we can't still learn something in the process.

I don't really like handing out advice to people older than me though; I'm still learning and don't think I have enough advice to give.

all images copyright Meg Hunt. check out her site: http://www.meghunt.com - theres loads more work up there. Thanks Meg!! :)

JILLIAN TAMAKI

where are you from and how long have you been illustrating?
Calgary, Alberta. Illustrating 5 years.

i love your work - I feel like the first time I saw it was the graphic novel you put out "gilded lilies" - but since that you've also put out "skim" - are there more to follow ?

Hopefully

how is this different from, say, editorial work you might do?

To describe the difference between illustration and comicswork would be a monumental a task. I keep emphasizing that I do not consider illustration and comics to be the same thing... they are only somewhat related, and many of those similarities are of surface. Comics may draw on your basic skills as an illustrator (composition, figure drawing, etc.) but all those things are simply the foundation for storytelling, rhythm, pacing, and the actual writing.

you do alot of work for the CBC - how did that relationship come about?

They contacted me in 2004 or 2005 to do illustrations and that's it. I was just starting out but had a few published pictures which I guess they saw somewhere. I'm thankful they've kept me around. They are a very good client.

how was your experience at ACAD?

I would rank it as excellent, although I have heard it's changed quite a bit since I was there (not saying that's good or bad, just that the curriculum has been updated). I feel learning design has helped me as an illustrator and comics creator.

how has your work changed since leaving school / where do you see it going in the future?

Of course it's changed. I think I'm still following the same general path, in that the same things interested me, but hopefully I'm improved both conceptually and technically. I have no idea where I will go with it, just that I would like to continue doing more self-authored work.

do you still ever work traditionally?

Yes. See my blog. http://www.jilliantamaki.com/sketchbook/sketchbook.html

what does living in New York offer you as an illustrator, community wise / work wise / inspiration wise?

The opportunity to schmooze and meet contacts. I would like to think I could find inspiration in any surrounding.

whats the best / worst part of being married to Sam Weber (who has lovely work)

He doesn't cook. But he is diligent about doing the dishes.

Any plans to eventually move back to the prairies, or are you a New Yorker for good?

Not a New Yorker for good, I reckon. I don't know where I will end up. There must be a place for me.

Advice to new illustrators?

Make something people want to buy. It's deceptively simple advice.

Advice for older / established ones?

I have no place advising older/established illustrators. Anyone who can stick it out and make a lifelong career out of illustration has my infinite respect.
all images copyright Jillian Tamaki. Thanks for your time Jillian.
to see more of her work - go here: http://www.jilliantamaki.com

JOHN HENDRIX

what are you loving about illustration right now?

Illustration is always unpredictable, but for me, I've really been enjoying my work with books. I've just finished my first book for children as author illustrator. Starting on my next book this summer. I enjoy this work- designing an entire project with the scope of a book is very long but really enjoyable to own so much content.

how long did it take for illustration to become your full time job?

I wasn't able to make enough money to call myself a full time illustrator until about 2-3 years out. I was putting together 25-35 jobs a year my first two years, but my third I had about 75. At that point, I was able to quit my part time job doing Art Direction at the New York Times and hung out the shingle. I think that is about normal for most people, though it usually takes longer if that clock starts right out of undergraduate school. Very few illustrators right out of school can do it full time in 2 years.

what are your thoughts on the current state of the industry?

I'm sure that the format of how and where our work appears is going to change- but the need for images and illustrations will not go away. I think its a great market, mainly because our culture is becoming more and more visual. We are entering an age when 'visuality' it the currency of ideas. What a great time to be an image-maker!

How has your work been changing recently?

It swings back and forth between stuff that is very polished and drawings that aspire to come straight out of my sketchbook. So, I try to shift if up with my editorial work to stay fresh, trying different colors of pens, sometimes even using flat graphic shapes that I create digitally. In contrast, my recent book work has been the most formally rigorous work of my career.

advice for new / young illustrators

Generally, I tell new illustrators that you have to work hard to find a place for yourself in this field. Don't be afraid to tell people that you are new, but also don't be afraid of being passionate and excited to get those first jobs. Every art director desires to work with someone who really wants it. Talent is over-rated, desire trumps everything else. Most young illustrators should take the pressure off of themselves to do it all in the first month or year... it takes time and patience and persistence! Keep a sketchbook with you at all times!

advice for established / old illustrators

Not sure I would have much advice for my peers other than keep up the inspiring work and remember to be generous to those younger illustrators who are just starting out. I benefitted tremendously from the extreme kindness from some titans in the field and I'll never forget it. Keep a sketchbook with you at all times!

all images copyright John Hendrix - check out his site: http://www.johnhendrix.com/ or join the more than 79 followers of his excellent blog: http://www.johnhendrix.blogspot.com/

BLAIR KELLY

where are you from and how long have you been illustrating?

I am from Toronto, Ontario and I have been illustrating for 10 years

sheridan grad eh? awesome! how was your experience there?
My experience at Sheridan was amazing and I look back upon my days there fondly. I originally attended another local college for graphic design but dropped out during my first year because I really disliked the program, so when I went to Sheridan it was like a breath of fresh air. I was the kind of student who would complete a project 3 or 4 different ways as personal experiments and hang out in the library researching other illustrators and artists. If I could be in school forever, I probably would!

you got your first job while in school, remember what it was?

I will always remember my first job. It was an illustration for a book review for the Globe & Mail newspaper. The art director who commissioned me was very ‘hard to please’ in retrospect and I probably went through 10 or more sketches before she finally approved one. Its not one of my favorite pieces but it was definitely a learning experience. I am way more confident in my ideas now than I was then.

your work is really strong conceptually - what do you do for brainstorming?

Thanks! I brainstorm like crazy....I don’t have one set of way of doing things but most of the time it involves a bunch of sketches, followed by some research or wordplay, followed by some hair pulling and maybe some coffee, then back to more sketches. The creative process is really magical to me because I am still surprised that it always seems to come together in the end.

thoughts on working traditionally vs. digitally

Being more of a traditionalist at heart, I personally can’t imagine creating an image digitally from start to finish without there being some other traditional elements involved like drawing, painting or collage. Though the guys that are really good at that really stand out.

how long after graduation till you were working full time?

I had many other jobs first starting out to supplement my illustration work. I think it took 4 or 5 years for me to be able to just rely on illustration as my only source of income.

thoughts on the current state of the industry

I actually haven’t noticed any change in the work flow yet based on the state of the economy, but I have heard that some people have been affected. I think (and hope) that illustration will always be relevant and needed, to communicate ideas from a fresh perspective.

what are some of your influences?

My influences are many and change constantly...Anything printed (especially stuff from the 50’s ), Paul Rand, the Dadaists, Early Russian & Dutch Design, Warhol, Japanese Woodcuts, comics, animation, the list could go on and on.

advice for new illustrators?

I’d say definitely do what you love most and experiment alot, have fun with your work because if you don’t love what you’re doing it will be obvious. You have to be resilient and resourceful, nothing is constant when working as a freelance illustrator so being inventive can get you far. You also have to get your work out there...You could have the most beautiful images, but if no one is seeing them you aren’t going to get the work.

advice for older/ established one?

I’d never think of giving them advice, I’d still appreciate advice from them! :-)

see more of Blairs work here: http://www.blairkellystudio.com
thanks Blair!!!

KATHRYN ADAMS

Where are you from and how long have you been illustrating?
I've lived in a lot of places but my family eventually settled in Ottawa so I guess you could say that's where I'm from---but Toronto has been my home longer than anywhere else. I've been illustrating for more than 20 years.

You teach at both Sheridan and OCAD - it must be rewarding educating some of the industry's top working illustrators!
It sure is. I get a charge from students' enthusiasm and from taking part in helping new illustrators start their careers. Being around people who are stoked about illustration all the time is great. I don't know if I can adequately describe how I feel about teaching...it's a weird mix of pride, envy, inspiration and responsibility. (only two of those feelings are deadly sins although gluttony comes into play at the Sheridan Tim Hortons.) Watching my students' careers take off is wonderful even though it's a wrench when they leave the nest at graduation time.

What's your favourite part about teaching?
When my students tell me they understood a licensing contract and had the confidence to negotiate a fair agreement for themselves. It makes my day every time I hear one of their success stories.
It must be awesome too to be EVERYONES favourite teacher (not really a question there - just wanted to sneak in a compliment)
Such a nice compliment but I'm not sure that everyone is on board with you. I've sharply hoofed a few backsides and some might be nursing a bruise, if not a grudge. I'd like everyone to succeed but I guess it's a message that might be lost on the students busily removing boot prints from the seat of their trousers. My ferocity comes from knowing how important business skills are to long term survival. Having valuable business information snubbed makes me grumpy, on occasion. However, my students do laugh at my very tired jokes and tolerate my war stories, so now that you mention it--that IS pretty awesome. I'm very lucky to have the best students!

What are your thoughts on the current state of the industry?
I've noticed a curious dichotomy: some people are declaring illustration dead (for the millionth time) meanwhile I'm seeing it in TV commercials, fashion ads, music videos, movies --- everywhere. Maybe illustration is dead but refuses to lie down? Beats me. My best guess is that things are changing, which is normal. I've seen a lot of change in 20-ish years and the pace of it all seems to accelerate.

What needs to change for things to get stronger?
Education, education and education. Did I mention education? Both new and, um, 'less new' illustrators need business training. Now. As much as they can get. Negotiation skills would be helpful too. Illustrators are much too squirrelly about negotiating for work but it's vital to understand fees, copyright licensing and contract terms. I learned this stuff the hard way. Learning it the soft way, by having someone teach you, is much better. Read and understand what you are signing, people! There is a really good glossary available at http://www.useplus.com/useplus/glossary.asp which illustrators can use to look up contract terms if unsure about the meaning. It's free online. Tad Crawford's books about business and legal forms for illustrators are also good resources. Illustrators can't afford to be afraid of business. Reps are business people and prefer working with organized, professional artists who understand what they are doing. Looking for a rep simply as a way to dodge learning about business is not the best idea.
It's hard for new / struggling illustrators to turn down low paying work / work with no rights - what advice can you give to people who feel stuck within these options?
Well, you know this topic gets me foaming at the mouth. To answer your question: Saying "no, thank you" isn't hard. No need to be a jerk about it. Better yet, try negotiating better conditions. The feeling of being stuck comes from muddled logic that is entirely self-imposed. New / struggling illustrators cling to, and defend, the baseless notion that habitually working for peanuts (or even less), will lead to well-paid work in the future. Similarly, the habit of drastically slashing prices in tough times in the belief that fees will rebound in good times is also adopted. That theory only works if illustrators are in short supply and can't meet buyer demand, which has never been the case.

Supply & demand is a basic economic tenet. A century of evidence proves that low-balling prices is counterproductive and only serves to set the commercial value of illustration even lower---for everyone. Considering it 'student rates', 'pro bono', 'done for the experience' or any other rationalization might make someone feel better about working for free, but it's an economically unsustainable and unsound practice. Since when is prolonged desperation a winning strategy? Desperation leads to deals about as shrewd as selling the island of Manhattan for $24 dollars worth of cloth and buttons. Such deals tend not to work out quite as hoped.

Let me sneak in some math here to put it into perspective: To borrow an expression from a witty friend, illustrators are "one hundred dollar millionaires". (Wow! $100...I'm rich!) Around here, the poverty level is anything below $23,000 per year. At $100 a throw, an illustrator needs to create 231 illustrations a year to rise ABOVE POVERTY LEVEL. That's about 9 illustrations every two weeks---assuming there is that much work available. There probably isn't. A student of mine was just approached to do custom illustrations for $25. To get above poverty at that rate requires creating 924 illustrations a year or 18 per week. Yet another student was pressured to create images for $2 each. That's not a typo....two dollars! To get above poverty at that rate means churning out 11,500 illustrations a year. That's more than 31 illustrations EACH and every DAY. Yeowza. Better stock up on pencils and Red Bull. What advice can I give?

Always do the math---in full context to a living wage.
What's the worst a client has asked of you - work or contract wise?
I've got many a craptastic tale, but one comes to mind that I don't think I've used in class: A new magazine client contacted me to fill in for their regular artist who was away on vacation. When I sent my sketch, the client complained that it didn't look like the other artist's work. Yes, the client wanted me to exactly copy the other artist's style and couldn't understand why that was a problem---for any reason. I was able to think of quite a few. Yeesh. They very reluctantly accepted an illustration in my style. And never called me again. I have no idea why they called me in the first place. The two styles weren't even remotely similar.

Switching gears a bit - what are you loving about illustration right now?
The incredible variety of work, and high standard of quality, that is being produced makes me love being part of this business all the more. I'm kept on my toes scrambling to keep up with the brilliant new talent appearing on the scene. That includes you, Pete! Take a day off, buddy. I'm getting tired.

You work in two different styles - what's the benefit of that for you? Why not just Kathryn Adams portfolio one, portfolio two?
I guess for the same reason you don't name your pets 'dog one' and 'dog two'. The two personas are distinct enough to merit separate names. I had a hunch that, after being known for one style for so long, a second one would fare better as a pseud but I have no solid evidence to back up that theory. I'm not really fooling anybody and 'Sophie' consistently shows me up by winning more awards than I do anyway. Nobody likes a showoff.
Where do you see your work going?
The embroidered stuff is so much fun to do and has so many possibilities that I can't even imagine where it might end up and I still love doing my more traditional illustrations, too. On top of all that, I'm currently organizing my illustration consulting business to launch in the next few months. With that service, I'll individually train people in business skills they may feel they are lacking and advise people who have gotten themselves into a business jam. I get hundreds of emails a year asking me business-related questions and it's gotten to the point where I can't manage it all so informally anymore. Broad questions like "how do I become an illustrator?" and "how does copyright work?" take quite a bit of time to answer.

Advice for new illustrators?
Persist. And find a way to love business.

Advice for old ones?
("Old"? You're killing me, Pete!) Same advice as for the young 'uns.

sorry Kathryn, i meant to write established, not old :)
All images copyright Kathryn Adams.
Thank you so much Kathryn for your invaluable wisdom. best - interview - ever!
see more work at her site: http://www.kathrynadams.com/

DANIEL HERTZBERG

where are you from and how long have you been illustrating?
I'm from a town called Bellmore, on the south shore of Long Island, NY. I graduated from RISD in 2003 and tried being an illustrator right after school. I would get clients here and there, but my work was quite terrible. I interned at a bunch of places and freelanced at others just to make ends meet, but always wanted to get back into illustration. After a few years doing graphic design, I started my illustration blog in February, 2008. So, if you don't count my early failures, I guess I've been illustrating for a year and a third.

hockey player huh, what position?

Defense.

any chance you're a leafs fan?
cause - its a widely known fact that leafs are the best team in the NHL...

I'm actually a Colorado Avalanche fan... who are the other best team in the NHL.

did you collect hockey cards growing up? I had (and might still) a sergei fedorov rookie - by default i loved him!

Of course I did! I had a large Joe Sakic collection. I probably still have them somewhere.

so you have beautiful work - so simple - it seems like you've boiled your style down to the most essential graphic elements -

Graphic design really influenced my thinking. The whole "Less is More" thing really got me thinking about what elements are really important to communicating the message. Does it really need a foreground? Background? Does color need to play a role? Is this detail distracting? I think I'm struggling to find absolute consistency with my style right now, actually.

can you tell me about your influences / method of working?

Swiss graphic design and silk-screened event posters are the biggest influences. I think it was looking at a lot of painting that got me to this style too. Painters like Anthony Lister, Helio Oiticica, Michael Raedecker. Only recently have I discovered the designs of Otl Aicher. His posters for the '72 Munich Olympics are eerily similar. As per method: 98% of my assignments come to me by email. But i've found that by calling the AD and letting him/her talk about what they're thinking, it's a bit easier to focus my ideas during the sketching phase. Sketching is VERY loose, until I layout a few in Illustrator. The sketching/research process takes like 60% of the time, while the sketch-to-finish process takes 40%. Also, I give the AD a bunch of color options for the final (this is a major advantage with digital).

how are you finding these "hard times" for illustration?

I actually work full-time as a graphic designer. All of my illustration work is completed at night. So, I'm working everyday and (nearly) every night during the week. Being a designer all day and having meetings with co-workers and being a part of a team is so important to my stability. I am fortunate not be itching and scratching for work.

where do you see your work going?

Though all my work is digital, I can see it being silk-screened and printed some day. Also, a lot of my work is flat, and I think it needs to have more depth/sense of space. I need to find time to take it to the next level. Selling prints and the occasional threadless.com submission are possibilities too.

what are you loving about illustration right now?

Flipping the pages of some magazines and newspapers and finding my favorite illustrators just KILLING IT time and time again. Seeing brilliant editorial solutions never gets old. You've actually interviewed a couple of the illustrators I'm talking about. Alex Nabaum, Brian Cronin, Shout, Dan Bejar, Gérard DuBois, Edel Rodriguez, Christoph Neimann to name a few. Seeing their work makes me quite humble too, they are real masters of communication. I almost take Christoph's work for granted, because his illustrations appear so simple and so clear. His financial page illustrations in the New Yorker continue to amaze.

what, in your opinion, needs to change about our industry to make it stronger for new / working illustrators?

Well, it's pretty clear that some magazines and newspapers will not exist in the future. And if they will exist in the future, you can bet the art budget in them will tumble. The same could be said for books and most publishing companies. Everything is changing quickly. It feels like illustrators need to be more than just illustrators to make a living. Most graphic designers I know do web design now. Heck, many of them do inter-active web design and animation too. A terrific example of what I'm thinking an illustrator could/should be is Jessica Hische. She's an amazing graphic designer, typographer AND illustrator. And her work could lend itself to so many other mediums, I mean, there are companies that could use her illustration and typographic work as their whole brand, and ad campaign, logo included. And all of it would be her own style, still. So, maybe we (editorial illustrators) just need to find other avenues that our work can exist in, besides printed/published media.

beautiful new work on your blog...thats not really a question...just wanted to let you know...

You're kind. I don't think my work is beautiful at all. It's a curious question though: Does illustration need to be beautiful?

what non illo stuff are you really into right now?

I take very long walks along 8th, 7th, 6th Avenues after work everyday, listening to my iPod. There is nothing better than walking around NY. Music tastes are electronic music and hip-hop. Autechre, Peanut-Butter Wolf, Junior Boys, Monolake to name a few. And i've really gotten into poutine.

any advice for new illustrators?

I live by this quote: "Diligence stands higher than talent" -Paul Klee. Try pulling some all-nighters if you havn't already, you'll probably have to at some point. Oh, and health insurance is kinda important too.

advice for older / established ones?

Oye, I wouldn't dare.

all images copyright Daniel Hertzberg. Super crazy well thought out work.
http://www.danielhertzberg.com

SPARROW V SWALLOW (PHILLIP NESSEN)

where are you from and how long have you been illustrating?

I am from Marlboro, Vermont. It's a small town in Southern Vermont. I went to Parsons School of Design, first in an interdisciplinary design program, and then later focusing on illustration. I did my first illustration job the Summer between my sophomore and junior year of college, that was 2005 I think, and I started doing a a bit more work later near the end of that year. I wouldn't say I am a professional illustrator. I am a professional creative though. I get by on a mix of illustration, graphic design, web design, and photo editing.

You've only been a professional creative for a few years but already have a pretty amazing client list -what can you attribute that to?

I had one really good mailer. Everyone loved it. Also, I picked up quite a few jobs by friend and clients recommending me for things, which I am thankful for.

Would you recommend artists reps to younger/new illustrators?

No. My grandfather and his brother invented a certain meat product that is made out of a different meat than it should be made out of. I won't say which. They were good business men, and told me you have to open every bill and sign every check yourself. They learned that from their dad, a farmer. Illustration is a business too. I had a rep pretty much right out of school and looking back I should have developed better business practices early on. No one is going to handle your career as carefully as you will.

What can you tell me about Sparrow v. Swallow?

It is my creative studio. I am getting it LLC'd.

It seems like you've done several major changes to your style post grad, whats behind that - have you found any difficulties with this choice - in terms of clients, promotion, work etc.?

I don't think there have been too many major changes? I just want to be multi-dimensional. I wouldn't push a different style on a client who is hiring me for something or anything like that. It's not like, this is me now. I do different things so I can solve different problems better, and make myself available to solve more types of problems. When I graduated school and my portfolio was twelve pictures of sad guys coming out of holes. Work like that was influenced by the school environment, you know? It was forged without real world pressures like: can it be applicable to many situations? do I like making it enough to do this day after day? I do a lot more work now. This new stuff goes easy and is sort of catchy. Before, I knew what I wanted things to look like and was good enough with the computer that I just made it happen, but now I enjoy drawing for the first time ever maybe. I'll look out of a window and see a building and go, drawing that building would be fantastic. I think before I would have said, oh god I hope no one hires me to draw anything with that building in it. It's weird, yeah?

where do you see your work going from this point?

I have never sold a print before. I never tried to before because I never really though my work was appropriate in that context. Recently, I feel like it would look great on a wall, so I would be interested in selling some prints. Otherwise I would like to keep growing my client list and trying new things. I am also working on this art project, it's not really an illustrated thing, that examines interpretations of field recordings.

did you find University prepared you properly for the real world?

Nothing can do that. I had two really great teachers though. Neil Swaab was the only person who taught me anything about business. Neil definitely made it sound like the world was full of possibilities. The other teacher was PJ Loughran. He judged class work by real world standards, and I really respect that. He really got everyone to produce the best quality work they could make. The head of the illustration department, Steven Guarnaccia was also very supportive. I feel like he went out of his way to make me feel aware of this lineage of illustrators we are all part of, though in my case in a very minor way.

How important is NYC to you as a creative / person?

For design things, New York is pretty much a giant ripe fruit. For better or worse I walk around with big hungry eyes. Sometimes I am surprised how easy it is to get a bite though, yeah?

How do you go about solving problems / coming up with ideas?

For conceptual illustration, I prefer to write out my ideas as opposed to using thumbnails when developing ideas. I like to be able to explain to myself in writing why the idea would work.

thoughts on working traditionally vs. working digitally?

I like working digitally. That works for what I need to do. I really don't have an ounce of artist in me, I like solving problems that are put in front of me. I think I read an interview with George Sanders about how the energy level of his writing drops when he does anything else. I just have a lot of energy to spend on work when something is put in terms of a problem. I feel like if you are making something that is the thing in and of itself, then you sort of owe it to the work or whoever is buying it to make it legit, and paint it or whatever. But if you are just making a thing that is doing some job I can't see a problem with making it look like a silkscreen or painting on the computer. I really love experimenting with the computer too. Messing things up and seeing what weird things I can come up with. I take screenshots and put them in a folder.

how important is getting out of the house and doing non work related activity
- sports, movies etc.

It used to be not very important, but my girlfriend is working with me on it. It's very My Fair Lady, you know what I mean? Actually, I know folks with babies say something similar, but in my own sad, miniature way, with the more I have to do in the real world, I find myself focusing better and developing better work habits. Also the illustrator Ilana Kohn got me to start running two years ago, which is good I think for the circulatory system.

what are you loving about illustration right now?

Siggi Eggertson. He's an amazing genius, yeah? My friend Max Holyoke-Hirsch is a treasure. Rutu Modan's work is catchy. I think Jennifer Daniel's work is funny. Jashar Awan's stuff has really, really grown on me. I can't quite understand what he is doing with his drawing, but he just nails it every time.

anything in general you'd like to see get more hype?

Gene Clark never gets enough credit. Secular humanism?

advice for new / young illustrators

Keep widening your interests, don't narrow them. Someone told me that four years ago, it took me a while to realize that they were right.

advice for established / old illustrators

I wouldn't dare.
All images copyright Sparrow v Swallow. See more great work here: http://www.sparrowvswallow.com/

JUAN CARLOS SOLON

where are you from and how long have you been illustrating?
I was born in the Philippines in Quezon City, then hopped around alot, but most of my life I was raised in Toronto Canada. I recently graduated 3 weeks ago so I guess you can say I've been "professionally illustrating" for three weeks.

so, are you freaked out?

Of course, everyone gets a little freaked out after they graduate. A lot of questions are raised and a lot of wallets are very empty. I always hear the scary stories about what it feels like after graduating. So during school I tried my best to use the momentum I had after I graduated to keep myself busy and positive about the future. Even though its only been threeish weeks and I have those scary feelings that I'm not in school anymore, I'm excited at the prospect on what I can accomplish in the future.

how was your school experience?

It was amazing, I practically lived in school and I loved it. What I'm going to miss most is having that sense of an artist community around you all the time. Everyone in my class did such great work that it was hard not to be inspired and motivated. The profs were wonderful and truly helped me find my path as an illustrator. It was also nice to learn different things each week. I think that's also important when your out of school, to keep learning and never stop. But what I'm going to miss most is room A128 (Shoutout!!) and Vietnamese Pho trips we took like everyday haha....damnit I wanna go back to school now!!

what are you anticipating in the next year?

Well I don't wanna jinx anything! but I'm anticipating and hoping for myself to be busy with illustration. Even if its just still promoting my work or trying to get my book published or even doing illustration work. I feel that if I try to keep myself in a rhythm and work hard ultimately I will see results, no matter what form it takes.

if I'm an AD why should i hire you as apposed to someone more established?
Ooh, hard hitting question!! Well, every illustrator has something different they bring to the table and that's their personality in their work. I feel that my work speaks honestly to myself as well as the ideas that I portray. The images I make are colorful, bold and in your face but are held together with an idea. I think it doesn't matter if you're established or just graduating. If I can make images that speak to the message and to an audience (and have them in on time) then I think I'm just as effective as an established illustrator. Even though I just graduated I consider myself professional and I am pretty confident in what I do, and I hope AD's see that as well. However I know I'm still really fresh on the scene and there's a lot you can learn from experience, and I'm really excited to experience and learn more.
how are you gonna blow some minds promotion wise?

I try to keep in contact with different illustrators to see what works best when promoting themselves. The unanimous answer is always to keep sending promotion at least 3 times a year and to A LOT of clients. The aim promotion wise for me now is to be unique and not just show my best pieces, but be creative and make it stand out.

what / who are some major inspirations?

During my first 2 years in School, I had no idea what the hell I was doing. I also didn't really have any artists that I admired. So one of the things I did was buy books of artist's that spoke to me. It's one of the best choices I have ever made, artists like: Ralph Steadman, Joseph Clement Coll, Gerald Scarfe, Franklin Booth, David Levine etc. Their images opened my eyes to the possibilities that someone can achieve with illustration. Also they pretty much taught me that anything and everything can be done with ink. I recently interned with Kagan McLeod in the summer and he has been a huge inspiration for me as well.

list your top 5 - just graduated - dream clients!

Well in no particular order: 1. New Yorker 2. Sports Illustrated 3. Rolling Stone 4. Complex 5. Wired

advice for fellow grads / new illustrators?

My girlfriend got me an autographed copy of "Drawing Blood" by Gerald Scarfe for Christmas and he wrote inside. "To be a successful illustrator, you need hard work, talent and determination" its straight forward, true and hopefully written by him!

advice for old / established ones?

Keep making inspiring beautiful work so that I may be jealous and work harder.
All images copyright Juan Solon
thanks Juan, looking forward to seeing where your work will go
see for yourself: http://juansolon.com

CHRISTIAN NORTHEAST

where are you from and how long have you been illustrating?
I was Born In Bath, England. I came to Canada ( with Parents ) when I was about 2 years old. I grew up in the suburbs of Toronto. I have been an illustrator for about 16 years.

how long did it take for illustration to become your full time job? did your career have a "big break" - if so what was it?
It took about 5 years for me to become a full time illustrator after graduating from art school in 1990. I quit my art supply store job when I got an assignment from Rolling Stone in 1995 . My "big break" was submitting work to American Illustration and being invited to do the cover. It was a huge boost.

can you remember doing any really bad jobs when you were getting started just to get your foot in the door?
Not really. I think I would have been happy to work and pay the rent.

although totally coherent, your work seems to encompass several different styles - from more serious to light hearted. when given a brief do AD's request a certain look or is that all you? how do you decide which direction to go?
I usually ask the AD if there is something of mine that they are looking at / like. This helps establish a direction. Many times the AD will leave it up to me, and I will work out my solution based on the story, audience, mood, etc.
characters in your work seem generally pretty happy, are you a pretty happy guy?
I tend to fall into the cynical and paranoid category. I guess I'm happy with that.

stylistically, how did you wind up where you are now?
I'm not exactly sure. I just try to do things that keep my brain engaged.

what is it about the aged look that draws you in?
I've always loved old print and vintage images, I've collected stuff for years, it just works it's way back into my work. It's also a way of softening up the sometimes harsh quality of Photoshop.

what are some major influences in your work?
As a kid, I loved Mad magazine, SCTV, Terry Gilliam's animations for Monty Python, and 50's horror/sci-fi movies, I see bits of those things in my work....I've always been drawn to anything bold and graphic. Old movie posters, signs, collage, punk/new wave stuff from the 70's, folk art, vintage graphic design, and cheap printing.
what can you tell me about "prayer requested", that looks pretty awesome...
A few years ago I was asked by Bulb comix ( http://www.bulbfactory.ch/ ) to do a tiny accordion style, two color comic. I was looking for subject matter on the internet and came across online prayer groups. People who post prayers online in hopes of having other people pray for them. Most of the prayers were related to illness and financial problems, but every so often there would be an oddly worded one, or a strange request. I collected a bunch of them and created artwork to go with the text. I just finished the book and I think it will be out in about June ( in time for Christmas ) It's a small book ( 96 pages ) and its full of new images and prayers... the images on my website are not in the book.

is this the first time you've worked with drawn and quarterly?
how did that relationship come about?
Yes. They emailed and asked if I wanted to do a book for their Petits Livres series. They originally proposed it as a book of my artwork, but I offered up the prayer idea, and they liked it.

you seem to have a bit of love for cinder block buildings, whats that all about?
I think I've used those types of buildings for some overly ironic paintings.
working traditionally vs. working digitally
I like to mix the two. The computer has been an incredible tool for work, I couldn't work without one now.

do you listen to music when you work?
I listen to a lot of WFMU.

what are your thoughts on the illustration industry right now?
I worry that the devaluation of print is going to make it very tough for illustrators to make a half decent living. I make the mistake of reading The Media is Dying ( http://twitter.com/themediaisdying ) It's informative, but a little painful to read.

what effect is the recession having?
I'm having good year so far, and haven't really felt any drop off in work....but it's only May, maybe the remaining 7 months will be a total horror.

how important is getting out of the house and doing non illustration related activity
- sports, movies etc.
I have two kids that keep me from staring at my computer all day.
you have a few short movies on your site, think you'll work on anything longer in the future?
My movies are a few years old, and not very good. Attempts at figuring out AfterEffects. I'd love to work on something bigger, but time, and lack of skills get in the way.

anything in general you'd like to see get more hype?
Listen to The Best Show on WFMU, buy my book when it come out , Susan Boyle ?

advice for new / young illustrators
If you work really hard, and really believe in what you are doing, you will most likely find some success......also, don't be in a rush to make money........and a little bit of youthful naive optimism can go a long way too.

advice for established / old illustrators
You can throw out your fax machine.
all images copyright Christian Northeast. wowzers!!!
see more work here: http://www.christiannortheast.com
thanks christian!!! COOOOOL stuff