This week’s topic at Illustration Friday is “focused”, and it immediately made me think about my 7-month-old daughter Olivia, and how she sometimes examines an object with an intense gaze that tells me she’s thinking deeply about whatever she’s looking at. I know that at this age, everything is a new adventure, an exploration.
So, in order to set up a shot to photograph, I handed her something that I knew would interest her and stood ready with the video camera. Once I captured what I was looking for, I snagged a still image from the video and got to work on the drawing, which I then colored digitally in photoshop.
Special thanks to Oly for being so photogenic.
I’m having fun with my art again.
I have been fortunate enough to remember that art is best when it’s playful, and I’m revisiting my Illustration work with a renewed interest in letting some of the process show through and trying to not squeeze the life out of it by overworking it. Part of my search for a more dynamic style that is both fresh and true to my voice is paying attention to my strengths and what I actually enjoy doing, such as drawing and working with splashes of bold color.
In my past experiments with rendering to a point of realism, I feel that I lost much of the spirit that comes in the initial stages of a piece. For me, the spark of inspiration should be left alone while it still lives and breathes, so that’s what I’m trying to focus on moving forward.
I hope you like it.
Thomas
It’s been a long time since I’ve made art a priority, because I’ve been devoting all my waking hours to Escape From Illustration Island, my website and podcast devoted to providing resources to Illustrators and other creative professionals.
But that’s not the only reason.
I’ve also realized that I forgot to have fun with art. This can be a danger of making a career out of art, and it has caused me to take a step back and get a fresh perspective. I’ve been fortunate to have the chance to talk to a lot of inspiring artists on the EFII podcast, and I just watched Drew Struzan’s new tutorial DVD, which evoked a passion for the creative process that I’ve been missing for some time. So, I’ve made a promise to myself to create something for Illustration Friday every week for the entire month of February, and I’ve taken it a step further by starting early.
Here’s my conceptual take on this week’s Illustration Friday cue, “Clumsy”, and I had a lot of fun experimenting with handmade art again, as well as considering a new direction for my work. I hope you like this little exercise.
By the way, I’ll be extending the “Illustration Friday February Challenge” to the EFII community as part of a future giveaway of Drew Struzan’s DVD very soon, so stay tuned to Escape From Illustration Island for details.
Find out how you can stay up to date with EFII here.
Thomas
I recently interviewed Stefan Bucher for Episode 11 of the Escape From Illustration Island Podcast, and I was reminded of the importance of experimenting with other mediums besides Illustration in order to look at things in a different way and return to your work with new inspiration.
The Graphic Eye
As part of the interview, Stefan agreed to donate a signed copy of his new book, The Graphic Eye, to be awarded in the latest giveaway on EFII. The Graphic Eye is a collection of photographs taken by Graphic Designers, so the idea of the contest is to share an experience where an alternate medium has informed or inspired your work.
Here’s my story.
The Bearded Musician
My years as a bearded singer/songwriter in Northern California taught me a lot about how to create, as well as how to take my art out into the public and promote myself as a musician. Eventually, I got burned out from the constant need to give so much of my energy onstage on a regular basis, and I discovered that when it comes to creating, I am more of an introvert. That’s one reason that Illustration fits so well with my personality. As an Illustrator, you’re able to create your art in the solitude of your own studio, and you only have to finish a piece once. You don’t have to do it over and over like you do in a live performance.
These days I still pick up the guitar from time to time, and every once in a while I even play one of those old songs I wrote. More importantly, though, I still carry with me the lessons I learned from my years as a singer/songwriter, and I feel that I’m much better off as a professional artist because of that experience.
Thomas
This article is Part 2 of the How to Work with an Illustrator series, which aims to help those interested in hiring an Illustrator make the most of their experience through an understanding of the creative process.
So, you’ve written your book, started your screenprinting business, or decided it’s time to rebrand, and you need to hire an Illustrator.
Now what?
Choosing an Illustrator
The first step in working with an Illustrator is finding the right one for your project.
This is easier said than done, because there are many Illustrators looking for work with potential clients just like you, and they’re all different. So how do you decide?
3 Qualities
There are 3 key qualities to keep in mind when selecting the artist who is going to help you communicate your message in a meaningful way. These are represented here in no particular order of importance because each project is unique and should be approached from this point of view.
Style
This is often the first factor used to narrow the field of Illustrators, and that makes good sense. You’re not going to want a collage artist to work on a project that requires pen and ink, and chances are the collage artist has no interest in your project either. So, searching for Illustrators who work in the media that you have in mind is a good start. You deserve to work with an artist who understands how to use their style to best effect. That being said, it’s always a good idea to keep an open mind about what style might work for your project. You may be surprised.
Professionalism
You’re project is important.
In the right hands, it will fly higher than you ever thought possible, and communicate more of what you’d like to say to the world than you might have been able to get across on your own.
In the wrong hands, it just might fall flat, leaving you jaded about the process of working with an Illustrator ever again.
The best way to make sure that the endeavor that you’ve been pouring your heart and soul into gets the treatment it deserves is to hire a professional. This means finding an Illustrator who treats their art as a business, rather than just a hobby. Some of the marks of a true professional include a website, a consistent, high-quality portfolio, a list of successful projects or testimonials, and a clear presentation of their brand or service. Ideally, an Illustrator who possesses these traits will prove to have a solid grasp of the Illustration industry, and will have the ability to educate and consult you on the creative process.
Sure. You can hire an inexperienced hack to get the cheapest rate, but your project will suffer.
Personality
This is not a popularity contest.
It is, however, a collaboration. It is imperative that you select an Illustrator that you can work with, even get along with. After all, you’re going to be working as a team to make your project a success. The last thing you want is to be stuck with someone with a bad attitude, or someone you just don’t understand. Compatibility just might be the most important quality of all. Even some of the most talented artists can be unbearable to deal with.
What you deserve is an Illustrator who is receptive, respectful, and attentive to your needs. It is crucial to be able to connect with them on a human level. The best way to figure out if an Illustrator is a good fit in this area is to simply have a conversation with them. It won’t take long to figure out the way they make you feel, and this will be a good indicator of how well you’ll be able to work with them, especially if any bumps appear in the road somewhere down the line.
In general, you should feel comfortable with your choice.
Casting Your Net
Obviously, this is just a start, but keeping these 3 broad qualities in mind will help you to determine if the Illustrator you’re considering will be a good fit for your project, whether its a book, T-shirt, logo design, or any number of creative or commercial endeavors. Every Illustrator is unique, just as you are unique. As long as you approach your decision with the care and consideration that it deserves, you will have a positive experience and end up with a high-quality Illustration that exceeds your expectations.
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Did you find this article helpful?
I invite you to read the continuing parts of this series for a more in-depth exploration of How to Work with an Illustrator.
You can find more insight into my own creative process here.
Please leave any questions or comments in the form below or contact me directly.
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Thomas James is an Illustrator based in Portland, Oregon, and is available for Illustration, Design, and Consulting services for all creative and commercial projects. His portfolio and contact info can be found at http://thomasjamesillustration.com.
