Work and Play

2011-07-18T18:17:00.000-07:00

Doodles on Manhattan Beach, California the afternoon before I flew back home.

2011-07-09T15:49:00.000-07:00

Portrait Commission for Rachael Riley and Sean Garrett
24x30"
oil on canvas

2011-05-02T08:25:00.000-07:00

2011-04-27T18:24:00.000-07:00

2011-04-25T09:57:00.000-07:00

2011-04-21T22:50:00.000-07:00

Here are some images of one out of five promo packs that I'll be sending off today. The hanging piece was an experiment that went awry on the side facing the window, but I thought it was still pretty enough to share. I'll be putting pink stamps on the response cards as well. Enjoy- and hopefully the recipients will too!

2011-04-16T10:42:00.000-07:00

Edward Kinsella:

How did your experience at the Illustration Academy change the way you view the world and your career? I know I could probably write a book about this topic... almost a year after the 2010 Academy I can wholeheartedly admit that Brent was right when he said, “After you walk out of this place you’ll start seeing the world differently”. Is this true for you?

It really changed everything for me. The way I view art, the way I make images, and the way I live my life all came into focus. It set me on the right course and showed me how to live a simple life as an artist. The program helped me edit everything I guess you could say.

I knew I wanted to be an illustrator since I was in first grade and I really didn't now how to get there until the Academy showed me how. I don't think it is the same experience for everyone. As they say "this is just one way". I know I'm one of the people that responded well to what they had to offer.

Are there any golden nuggets of wisdom that have stuck with you through the years of image making? Maybe a saying or parcel of encouragement that you tell yourself when you’re frustrated with a piece?

If I get frustrated with a piece, then I know I must have done something wrong in the planning stages. If my thumbnail works and I take good reference, nothing should go wrong, but sometimes it still does. I think those little ruts are easier to have when something is expected of you. If its just for yourself or self-generated, it should be a joy all the way through.

So, to actually answer the question...I usually just physically get away from the piece. When you're really invested in a piece of art it can be the only thing that matters and you can get waaaay too serious about it. I find that if I take a walk and get some perspective on how little my success in this piece of art REALLY matters, I feel a lot better.

Currently, who are the people that you look to most for inspiration and what is it about them that you admire?

If you check out my inspiration blog: http://dailyraisondetre.blogspot.com/ you can see exactly what I'm into at the moment. I update it semi-regularly when I'm in the sharing mood. I love most art from the turn of the century and if its from France, Germany, or Japan I'll probably like it.

One of the things I try to stay away from is looking at contemporary illustration. A few years ago I used to start my day by looking at other illustrator's blogs. Whether I wanted it to or not, I became too influenced by those I admired. I knew that I needed to stop looking altogether...so I did.

I saw some of your sketchbook work on the VLP and was awestruck- those images were just as inspiring as your finished pieces! I can see that you enjoy experimenting with mediums and the way certain marks interact with the page. How much of this experimentation and freshness in terms of mark making do you carry over into final pieces? (I find this part of image making particularly difficult. I have to keep telling myself that I’ll eventually have that ability with more practice.)

I treat my sketchbook a lot differently than my illustration work. The sketchbook to me is really about reaction. The marks I make are done quickly and that really dictates how they turn out. I think that is what I like about drawing in my book...the challenge of drawing/painting/composing on the spot.

I see illustration as a different thing. It is constructing an image, a design. I've got my thumbnail and photo reference and I have to piece it all together. I tried a few times to force myself to do my illustrations like my sketchbook, but it never felt right. I could never get the freshness that I get drawing from life. If I'm just throwing paint around and looking to be surprised that is one thing, but usually with an assignment or a personal project, I have a goal in mind.

Can you share some of your techniques for self-promotion that you find work well when trying to reach a larger audience? Are you able to disclose some of your process in developing promotional ideas without giving away any secrets? The graduating class of illustrators at Memphis College of Art would like to know! ;)

I think the key to reaching a larger audience is a lot of thing things. Not all of these are necessary and there are a lot more you could do. This is just what has worked for me.

1. Website (Updated regularly. Its all about having a place where people can expect new content.)
2. Blog/sketchblog (Updated regularly. Its all about having a place where people can expect new content.)
3. Twitter (still haven't figured out how to use it to my advantage yet)
4. Facebook (Keep it at least sort of professional I'd say. At least don't friend an art director if you don't want them to see something on your page.)
4. Postcard mailers
5. Showing your portfolio in New York City
6. Pay portfolio websites like Theispot
7. Free portfolio websites like Behance. (lots of international exposure there!)
8. An agent
9. Showing your portfolio at Comicon or other comic conventions
10. Being a nice person. Seriously.

Bonus fun question: If you were stranded on a deserted island and could only take three things with you, what would they be?

Awesome question!

The three things I couldn't live without answer:

1. Bach's Cello Suite #1 In G
2. The Art Spirit by Robert Henri
3. Something to draw with.

The three practical things answer:

1. hatchet
2. fire starter
3. water purifier

Follow this link to see more of Kinsella's work.

2011-04-13T18:09:00.000-07:00

2011-04-06T14:59:00.001-07:00

2011-04-06T14:19:00.000-07:00

Come to the bout Saturday, April 16th at 5:00pm! Have a beer and enjoy the company of the artists behind the poster! :)

Designer: Kevin Reuter

Illustrator: Marie Provence

Event Schedule

2011-04-04T21:01:00.000-07:00

2011-03-31T08:26:00.000-07:00

Statement:

Odocoileus Virginianus (White-Tailed Deer) is barbaric, violent, explicitly sexual and perhaps even irrational. It is a casting of myself as Artemis, the goddess of the hunt. I find it necessary to draw attention to this image because it comments upon the unresolved problem of women desperately resisting being rooted in their determined societal place.

Providing the origin for this kind of thought, Greek mythology exemplifies the objectification of women. They are portrayed as vessels for pity and mercy with unbridled hearts that need to be capped and controlled. As implicitly sexual beings, women can never exist except on the ampersand between virgin and whore, so they are perpetually caught in the snare of limited gender roles. Odocoileus Virginianus is a materialization of the notion of divisions within the female self. The polyptych contains a complete composition, yet it is just as easily seen denoting fragments of a whole.

Greeks were also particularly concerned with equating women to containers. The Greek word for “vessel” was used to describe a placenta and a container used to accrue the blood of a sacrificed animal. Relating to this notion of women’s bodily functions, the doe in Odocoileus Virginianus is a proxy for a vessel drained of substance. Women carry and bear children just as a vessel is filled and emptied of its contents, always housing the liquidity that changes form according to its purpose. Our society continues to market the womb, even though there isn’t a strict patriarchic effort to keep lineage in the bloodline.

Death is an extreme initiative some women believe will free them from the overbearing essentialization of their being. They are either killed for their sexual deviancy or commit suicide because they can never fully escape patriarchal discourse. In mythological tales, Artemis makes herself an example of this killing by perpetuating the notion of sexual purity. She punishes other gods and goddesses by transforming them into beasts or sacrificing them because they disrespect her puritanical beliefs.

Freedom by way of killing, however, is not a rational revelation. Odocoileus Virginianus is purposefully painted to divert the viewer from how Artemis behaved. The deer is the animal that Artemis protects and holds most indispensable to her nature. By her act of field dressing a doe, she is literally splitting the representation of herself into two halves, desperately delving into the center of her femininity, where the danger of her significance lies. She is on a despairing hunt to find legitimacy for the oscillation in her tortured body. It is with this gesture of hunting internally that Artemis, or any woman, will be able to find her strength. Change by way of involution is the only way to get at the core of the problem. We have to rethink the very notion of femininity to get away from patriarchal discourse.

2011-03-26T21:55:00.001-07:00

Almost...done...!

2011-03-23T16:51:00.000-07:00

2011-03-09T15:23:00.001-08:00

2011-03-06T16:54:00.000-08:00

2011-03-02T14:04:00.000-08:00

2011-02-22T20:30:00.001-08:00

The intensity of the red is a little crazy... in a couple of them he kind of looks like he's covered in gore. Sorry about that. Otherwise, enjoy!

2011-02-19T20:55:00.000-08:00

I've put in some very basic preliminary colors and will begin the long process of tweaking the composition and values tomorrow. Enjoy!

2011-02-17T21:02:00.000-08:00

2 hours

8x10"

oil on canvas

2011-02-17T14:22:00.000-08:00

Samantha Taggart and I created a poster that was chosen to represent National Portfolio Day for 2011-12. To learn more about it, click on this link.

2011-02-14T20:31:00.001-08:00

2011-02-11T19:25:00.001-08:00

I'll be applying gesso tomorrow. Will be documenting my process as I go along. Pandora by Ellen D. Reeder has also been an interesting read about the perception of women in a classical Greek context. Symbolism ideas are brewing...

2011-02-07T20:34:00.000-08:00

2011-02-07T15:40:00.001-08:00

Senior Piece: Triptych, oil on panel.

Subject: The Goddess Diana field dressing a deer in the snow.

I constructed the panel frames today which means I'm 100% committed to the piece now. Will document my process as I go along. Unfortunately I didn't have may camera in the wood shop today but you can take my word for it that the process has begun. Will update again soon!

2011-01-31T20:51:00.001-08:00

2011-01-30T18:30:00.000-08:00

24x30"

oil on canvas

2011-01-30T13:40:00.000-08:00

2011-01-24T20:20:00.001-08:00

2011-01-24T09:26:00.001-08:00

So between graduate school applications and research over the holidays I haven't had too much time to dedicate to painting... which is totally unacceptable and a real bummer. That's not to say that my painting has been completely put on hold, however. I've been fiddling with this piece for a while and I finally have it developing in an interesting direction. Hopefully I'll have this one squared away in the next week or so, so please stay tuned. I'm sorry I have abandoned you, blog! :(

2010-12-01T07:20:00.000-08:00

How do you feel that your personal history influences your work? Do you draw any inspiration from your travels, pets, music, etc.?

I might never have taken up drawing at all if it had not been for all the traveling that I did growing up. Jumping from country to country made it necessary to travel light and drawing is the perfect "on the go" activity. My mother is a biologist and illustrator and my father is a biologist and college professor so I'd say that they sparked my interest in both art and nature. I draw inspiration from a number of sources, the most significant of which are probably curio cabinets, fashion photography, and nipples. Who doesn't like nipples? Music is an important part of my process and I often create play-lists for specific projects to get me in the appropriate mood.

I love your beautiful sculptures, and I was particularly admiring the skill at which you were able to find a balance between realistic and fabricated qualities in your “Buddy” piece. I was wondering if you have ever studied taxidermy or surface design? How did you initially become interested in exploring three-dimensional art?

I've never studied taxidermy or surface design but I've always had a morbid fascination for it. I love to draw monsters and freaks and realizing one of my two dimensional designs in three dimensional reality was an extremely rewarding experience. I owe it all to an amazing class I had in college with the very talented Daniel Lim called “Experimental Illustration.” Daniel encouraged me to think big, literally and figuratively, and I ended up fabricating the first of my life-sized mutant bear rugs out of foam, faux fur, fabric, and taxidermy supplies which I named “Randal.” I sold Randal in a gallery show at La Luz de Jesus and made a second rug named “Buddy” which currently resides in my apartment... under my giant dog. I hope to make many more in the future!

Currently, who are the artists that you look to most for inspiration and what is it about these artists that you love? (Artists can be anyone, not just limited to illustrators)

Speaking generally I’d say that I have been influenced by the Japanese woodblock prints of Hokusai and Hiroshige, the oil paintings of Sargent and Leyendecker, and the zoological zeal of Haeckel and Audubon.

As an unknown, trying to establish a voice or direction for my art is a bit of a struggle. How did you come about your unique point of view in illustration? Did you stumble upon it, or was it something that came naturally to you from the beginning?

This is a difficult question that I seem to get a lot. Difficult, because it was never something I struggled with and I think that is because I was an avid keeper of sketchbooks. My junior and senior year of high school I completed one giant sketchbook a semester to accelerate my growth as an artist and to document my evolving interests and processes. My proficiency with drawing lept forward and in the process I naturally cultivated interests in the things that continue to influence my work today. The best advise I can give any artist struggling to find their voice is to keep a sketchbook and pack it full of sketches, lists, ideas, and images that inspire, and to write about it all in the margins so that you can trace your thought processes back in the future. You will naturally start to establish patterns and processes specific to your interests and way of working.

Can you share some of your promotional materials or techniques that you find work well when trying to reach a larger audience? Are you able to disclose some of your process in developing self-promotion ideas without giving away any secrets?

I promote primarily through my blog, though I do also have a facebook account, send out emails and mail promo cards. I’m working on a new set of promo cards right now, actually. In general I think it is important to have a strong web presence and to go out of your way to make connections with others in your field.

If you had one suggestion for an illustrator about to graduate from college, what would it be?

Look at as much illustration as possible, promote like crazy, make solid connections, and have fun creating work! After all, what’s the point of becoming an artist if you don’t enjoy what you’re doing?

Bonus fun question: If you were stranded on a deserted island and could only take three things with you, what would they be?

A sketchbook, some pencils, and a cow... I love milk.

Learn more about JAW Cooper on her blog or her portfolio site.

2010-11-19T06:16:00.000-08:00

Still Life for The Dixon Gallery

2010-11-06T12:58:00.000-07:00

8x10" oil on canvas

Haha: You would think by now I would have learned to eliminate awkward tangents in my compositions. There's always a next time to improve.

Subtractive Self Portrait

2010-11-05T18:13:00.000-07:00

8x10" Oil Study

Visual Essay II: Greenline

2010-10-28T21:57:00.000-07:00

The Greenline has been of interest since the idea was first mentioned. I am a cyclist and the concept of a 7 mile shortcut from Midtown to Shelby Farms sounded fantastic. A week ago I rode the trail from start to finish in a little under an hour. A full loop with stops took two solid hours. I shouldn't neglect the fact that those hours were spent admiring evolving scenery, from the Wolf River, to hay fields, equestrian stables, to neighborhoods and even a jailhouse. The Greenline certainly keeps it's reputation for bringing the community of Memphis together by bridging the gap between Cordova and Midtown. Waves and smiles from good-natured people were all I encountered.

The fear of crime on the Greenline that has been mentioned in The Commercial Appeal and other publications is something that I'd consider a very minor drawback to the success of the trail. If anything, the increased traffic would cause the crime to decrease and the property value of the surrounding land to increase.

Fodder for a documentary project is abundant. Any sort of unique stance I might choose to take on documenting the trail could be the first.

Ideas:

1. History

The Greenline was once a CSX rail line that has been converted into the newest urban park in Memphis, boasting smooth pavement for all varieties of active individuals. There are plans to continue the expansion of the Greenline into Overton Park, and progress is being made all over the city to add bike lanes and trails to connect the dots for easier urban travel.

I was interested in creating illustrations of the Greenline's current condition and using layers to convey its history using vellum as a window into what the abandoned CSX railroad looked like before. The jailhouse and Shelby Farms Park would also be locations to consider in the history.

In conjunction, I'd also consider the areas of developing greenways and present the current state with the vellum illustration standing in for what these places might look like in the future.

2. Oberve & Record

There is always the option of plein air sketches and small paintings while on the trail to capture the environment's immediate impressions. I would use a similar approach to the Roller Derby sketches when I draw or paint. Spending time observing the activities would help me get a better grounding in compositional and color ideas.

3. Personal Experience

I have already had some unique experiences on the trail and would like to try illustrating these experiences. The point of view I'd like to take with these is either from my perspective or through a camera lens with someone documenting the experience.

Artist Inspiration:

I've been looking at a few of Dan McCarthy's prints for inspiration, especially the images where history is communicated through layering. Dinosaurs are revealed when images are viewed in the dark. My friend Jane Radstrom has some amazing plein air paintings that I'd draw some technical ideas from. I don't think I'll be painting large-scale while on the trail, but I do like the quickness and directness to the approach. Wade Keller uses vellum in an interesting way with bookmaking. This artist uses text in transparency, but I would like to approach the idea of using imagery layered in vellum. I don't know if I should make these into a book upon completion, but it would be awesome if I were able to take that direction. Travel posters are also included to gather some ideas on how to simplify the landscape compositionally.

1920's Fire

2010-10-25T12:07:00.001-07:00

Roller Derby Paintings

2010-10-15T06:39:00.000-07:00

NPDA: Thumbnail Ideas

2010-10-10T18:24:00.001-07:00

Sketchbook: Roller Derby

2010-10-07T15:39:00.001-07:00

Sketchbook: Roller Derby

2010-10-01T13:53:00.000-07:00

"What's Missing" Piece

2010-09-17T00:42:00.001-07:00

Ballerinas!

Sketchbook: Roller Derby

2010-09-13T11:56:00.000-07:00

Storm

2010-09-05T15:26:00.000-07:00

She's finally done... I think. Let me know what you think.

Website!

2010-09-04T08:48:00.000-07:00

I finally have a more polished method of presenting my portfolio. Check it: Marie Provence Illustration

The State of The Union: Part 6

2010-09-02T20:55:00.000-07:00

1. What sort of an illustrator are you?

I am an illustrator who enjoys traditional mediums and values craftsmanship. I tend to gravitate towards accurate and well thought out descriptions of the world through my personal point of view. I tend to teeter the line between fine art and illustration.

2. What sort of career do you want to have?

Preferably, I don't want to rely on freelancing all of the time. I feel most motivated when I'm on a team or group of creative collaborators. I feel like my career path would be best spent as a member of a Design Firm, but in the future I'd like to become part of an Architectural Firm as an Interior Designer.

3. Does your present body of work reflect your aspirations?

Not completely. I'd have to focus on creating work to beef up my use of intelligent design and perspective. Maybe even producing a more cohesive body of work that is unified by a particular element, whether that be concept, medium, subject matter, etc.

4. List 10 things your portfolio needs in order to become more in line with your aspirations.

#1 Consistency and dedication

#2 Focus

#3 More developed design skills

#4 Experimentation

#5 More pieces in general

#6 More conceptual grounding

#7 Larger audience/ networking

#8 More sensitivity to all aspects of the portfolio

#9 More influences

#10 Wider variety of expressed abilities

The State of The Union: Part 5

2010-09-02T19:44:00.000-07:00

1. If you had to spend the rest of your life illustrating one book, what book would it be?

I'd probably pick a classic like The Wizzard of Oz or The Lion The Witch and the Wardrobe. I like these types of books because they catered to my imagination when I was younger and they're both filled with fantastic imagery. A lifetime is a really long time to illustrate a book, though. Maybe if I came out with my own graphic novel.

2. If you could apprentice with any two artists in the history of the world, who would they be?

Mary Cassatt and Alphonse Mucha. Cassatt for the compositonal strength, medium usage, and feminine strength. Mucha for his kick-ass aesthetics and understanding of the figure.

3. If you were banned from the art world, but could have any career you wanted that wasn't art related, what would it be?

A deep sea diver! Because it is awesome and it stems from my desire to be a whale trainer when I was a kid.

4. Describe the project you would propose under the following circumstances:

#1 One month and one thousand dollars

I would travel for a week in the U.S. (on my own time and expenses) and then make work based on my experience and publish it with my bookmaking skills... because I'd imagine $1,000 would go faster than I predict.

#2 Six months and ten thousand dollars

I would travel abroad for a week and book my trip ahead of time to save money. I would return and make work based on that experience and host a weekend show at a gallery with the money I had left.

#3 One year and one hundred thousand dollars

I would tour the world!!! And maybe never come back... but obviously I would have to once the money ran out. I would make work while traveling and mail it home so I'd have a hefty collection by the time I returned. I would write up a record of my experiences and impressions and have a pretty massive body of work to show for gallery representation.

State of The Union: Part 4

2010-09-01T13:05:00.000-07:00

1. List 10 illustrators whose work you admire, or whose career you would like to emulate.

(the names in dark black are links to images and websites)

Sam Weber

The New Yorker, The New York Times, Rolling Stone, Tor Books, Scholastic, Sony/BMG, Soulpepper Theatre, Playboy, Time Magazine, DC/Vertigo Comics, Random House, ESPN, Wired Penguin, SPIN, Flaunt, Herman Miller, The Atlantic, Business Week, Plan Sponsor, The Walrus

Anita Kunz

Time, Rolling Stone, Vanity Fair, The New Yorker, GQ, The New York Times, Sony Music, Random House Publishing, Sports Illustrated, Newsweek Magazine, Atlantic Monthly

Yuko Shimizu

http://www.yukoart.com/press/index.html

David Downton

Absolut, Bafta 2008, British Style Awards, Browns, Chanel, The Criterion Collection, ES Magazine, Fenwick, The G Hotel, Harpers Bazaar, Harrods, L'Officiel, M&S, The Old Vic, Shinsegae Style, The Telegraph, Theo Fennell, Tiffany & Co, The Times, Top Shop, Universal Pictures, The V&A, Vogue

Jillian Tamaki

New York Times, New Yorker, The Washington Post, Marvel, Drawn & Quarterly, Fantagraphics, Penguin Books, Fast Company, etc.

Robert McGinnis

Movie producers and authors

Howard Pyle

Harper's Weekly, books by others and himself

Brad Holland

Time, Vanity Fair, The New Yorker, Playboy and the New York Times

Mark English

IBM, U.S. Park Service, RCA, GE, Ford, GM, Honeywell, global private collectors, McCalls, Time, Sports Illustrated, Redbook, Atlantic Monthly

Gary Kelly

New Yorker Magazine, Rolling Stone, Playboy, Atlantic Monthly, Time, Newsweek, GQ, Franklin Library, CBS Records, NFL, Santa Fe Opera, and many major publishers and advertising agencies

Ana Juan

The New Yorker, Dpi Magazine, Boston Globe, Los Angeles Times, El Pais Bebelia, Teaching for Tolerance, American Spectator, Rolling Stone, 24ore

2. Find at least 10 magazines that you think you could work for. Consider both the content of the magazine and the type of illustration that they use. Record the names of the art director and any assistant art director's listed, and their contact information.

#1: Oxford American

Artists featured: Louisa Bertman, Daniel Stepp, Able Brown, Maggie Taylor, Aidan Koch, Matias Longoria, Becca Stadtlander, Coral Silverman,

What is the content: "A Southern magazine of good writing."

Guest Art Director: Tom Martin

#2: New Yorker

Artists featured: Arnold Roth, Farley Katz, Carolita Johnson, Jack Zeigler, John O'Brien, Bruce Eric Kaplan, Tom Cheney, Shannon Wheeler, Harry Bliss, David Sipress, Roz Chast, Sam Gross, Paul North, Pat Byrnes, Liza Donnelly, Michael Crawford

What is the content: General Interest/ News

#3: TIME

Artists featured: Wes Duvall, Harry Campbell, Peter Arkle, Jennifer Daniel

What is the content: General Interest/ News

#4: Real Simple

Artists featured: Ian Dingman, Clayton Jr., Leif Parsons

What is the content: "Life made easier, every day."

Creative Director: Janet Froelich

Design Director: Cybele Grandjean

Art Director: Abbey Kuster-Prokell

Associate Art Director: Jamie Dannecker

Senior Designers: Tracy Walsh, Jessica Weit

#5: Dwell

550 Kearny St. Suite 710

San Francisco, CA 94108

(415) 373-5100

Letters@dwell.com

Associate Art Director: Brendan Callahan

Junior Designer: Dakota Keck

Design Production Director: Kathryn Hansen

Design Intern: Jonathan Wong

#6: Acne Paper

Artist featured: David Downton

What is the content: fashion

Art Director: Christoph Stolberg

#7: Harpers

Artists featured: Steve Mumford, Matthew Richardson

What is the content: General Interest/ News

Publisher and President: John R. MacArthur

Art Director: Stacey D. Clarkson

#8: Monocle

Artist featured

What is the content: News, opinions, featured designers, general information

Art Director: Ken Leung

#9: T Shirt Culture

Artist featured: Like Minded Studio

What is the content: The only global t-shirt magazine in existence.

#10: Wired

Artist featured: Kenn Brown, Saiman Chow, Bryan Christie, Tristan Eaton, Emek, Feric, Don Foley, Nathan Fox, Freestyle Collective, Michael Guillete, Elliot Haag, hausgrafik.ch, Chuck Henderson, Dustin Amery Hostetler, Kenneth Hung, Dave Kinsey, l-dopa, iLovedust, Nada, Hiroshi Nagai, Nginco, James Porto, Renascent, P. J. Richardson, Rinzen, Jameson Simpson, Christopher Sleboda, Chuck Sperry, Studio Number One, Brian Thompson, volumeone, Benjamin Wachenje, Martin Woodtli, Chris Wren

What is the content: News and information

Art Director: Jeremy LaCroix
Designer: Allister Fein
Design Assistant: Lee Decker
Contributing Designers: Beth Brann, Carl DeTorres, Alex McCracken, Margaret Swart, Victoria Swart, Nova Wangili

3. If you were starting your own magazine and your livelihood depended on it selling well and your sanity depended on it being something you wanted to spend all you time on, what would it be? What sorts of writers and artists would you hire? What subject matter would it deal with? How would you want it to look?

First of all, I'd want the magazine to stand out from the rest, visually. It would promote artists work and have a section for q&a. The magazine would be very visual, with vibrant color and design. I would want it to be sculptural too, with paper craft pop-up elements and/or removed elements, like Noriko Ambe's work. I'd hire talented, hard working artists who were in a financial bind... like me.

4. List ten non-magazine clients that you would like to work with. Why are these dream clients? Find and record their contact information.

I'd like to work for any design firm or company available, so really all of them would be dream clients, but I've listed a few regardless.

#1 Pixar

#2 Dreamworks

#3 Van Mungo Graphics

#4 Saxton Studio

#5 I Love Dust

#6 Telegramme Studio

#7 Also

The State of The Union: Part 3

2010-08-30T08:59:00.000-07:00

1. Describe your typical creative process, from getting an assignment to finished piece.

My process varies a bit from piece to piece, but I'll almost always start with a list of word associations or mind mapping. After that I'll move on to thumbnails... and then I take a giant leap from thumbnails to the final piece (I should never do this). If I decide on a painting, I will do an underpainting in either acrylic or subtractive oil wash. If I'm using my tablet I'll scan the thumbnail or a sketch and start from there. I'll build on the sketch or underpainting to the finished piece. More often than not I'll tweak the values or composition I started with, because I had left out the valuable step of using tracing paper after thumbnails.

2. Describe what you think your creative process should be like.

Well, it starts the same way with mind mapping and word associations. Then I should move on to thumbnails. Tracing paper should come after thumbnails, and I would start by redrawing the compositions on layers and moving them around- a lot like one would do in photoshop or illustrator. This part of the process should be the foundation or skeleton of a piece. Tracing paper would help me discern what aspects of the composition need rotating, a change in value, different perspective, or removing all together. The details in the final piece should be just icing on an already lovely cake after tracing paper. I'd then scan the tracing paper and print to scale to be projected onto my working surface for the finished piece. I'd trace my lines and take up where I left off in question 1.

3. Research and describe a professional creator's creative process.

I read a bit about George Balanchine the famous ballet choreographer and I noticed that his interests were not limited to his creative field. He immersed himself in music by enrolling Petrograd Conservatory of Music where he learned to play and compose on a piano. He was also interested in filmmaking, theatre, teaching, music theory, and education.

Creative professionals generally share the same inspirational drive that Balanchine had with his career. Their interest in the creative process is so great that they must branch out into other mediums to have full understanding of their craft. It is important for me to learn from that example and become more learned in other processes, creative and otherwise.

The State of The Union: Part 2

2010-08-29T18:41:00.000-07:00

1. Of the artwork that you have done, what is your personal favorite piece? I really don't think I have a favorite, but I suppose this one will do...

2. Why do you like it?

Well, I think I was successful in experimenting with limited pallet and figuring out more dynamic ways of approaching directional brush strokes adding dimensionality and believability. This was my last piece that I completed at the Academy, and the only one I finished with very little to critique on the last day. However, this piece is not a stellar example of conceptual success... most people think Fiona looks more like Angelina. :P

3. What piece do others like most?

This one.

4. Do you agree?

No, I don't. This piece may be a good academic example of my painting and observational skills, but that is all it represents. Tsk tsk on me for using direct photo reference and changing very little about the photograph. Never again!

5. Why do you think they like it?

Because it is a good academic example " ".

6. What piece surprised you the most?

This one. Follow this link to find out why.

7. Choose five doodles or sketches that you like as much as any of your finished pieces.

This doodle will eventually be a finished painting... I've been prodded with the hot iron of guilt to finish it soon. The rest will just remain doodles and drawings.

The State of The Union: Post 1

2010-08-29T13:22:00.000-07:00

1. What kind of media do you like working with?

I think I have the best results when I work in oils. I’d like to work more with subtractive oil washes and color pencil, though. Masonite is usually my painting surface of choice.

2. What media do you hate working in? Why?

I think I get frustrated and challenged by certain mediums, but I wouldn’t say that I hate any of them. Ink and watercolors are the mediums that I struggle the most with…probably because I treat them like oils, and oils are infinitely more forgiving.

3. What media would you like to try, but haven’t?

I haven’t tried using oil bars yet. I’ve watched Mark and John English use them with great success. Wax medium would also produce some interesting results. The struggle with using these mediums is being able to let go of details and start building layers of information.

4. List three non-Illustration classes that have influenced you and/or your work positively.

1. Color Studies was very useful because we covered color theory and studied the masters for better understanding of color usage.

2 My painting classes in Governor’s School gave me a better understanding of everything from mixing colors to various methods of paint application.

3 Professional Practices was a great class for learning the basics of writing cover letters, resumes, etc.

5. How has the work of your peers influenced you and your work?

I admire the motivation and dedication that my peers seem to have. I’ve learned that talent is just a small part of the equation of a good Illustrator. A lot of the success my peers have obtained comes from their extreme persistence and passion for their careers. I also admire the vast differences in artists’ unique personal points of view and their success with using different mediums.

6. What sort of subject matter do you like to create work about?

The one thing that is consistent in my work is my interest in the figure. One of my favorite things is to do is to look at the figure objectively and record what I see. Portraiture is something that I find interesting, but the idea of telling a story through human gestures in an illustration is an even more attractive challenge.

7. What sort of subject matter do you like to read about?

I usually enjoy reading nonfictional material, or anything fictional that is based on a true story. Believability is important to me, but I also enjoy being naive and inspired by fictional details. Reading a book and then discussing its content and/or analyzing the difference between a book and a movie are interesting to me. Books that have collections of poems or short stories are great, too. A couple of books I’ve enjoyed recently were No Telephone to Heaven by Michelle Cliff and Water for Elephants by Sara Gruen.

8. What kind of music do you like? Why?

I like anything from the Black Keys and Wolfmother, to Fiona Apple and Feist. Usually I’m more attracted to specific songs than entire albums, so my musical interests tend to be a hodgepodge of genres. It would be impossible for me to list all of the music I enjoy in one sitting, but I will say that my taste depends on what mood I’d like to create while I’m working, cleaning, driving, etc.

9. What non-art related interest/hobbies/skills do you have?

I’ll start with crossbow hunting because it tends to be what others find the most interesting and surprising about me. I love to ride my bike and use it to commute whenever possible. I’ve been told I’m good with kids, and I enjoy spending time with them, whether it is teaching or just being imaginative and acting silly. I know how to do lots of things that may or may not be helpful in the future, like catering for weddings, cake decorating, face painting, driving manual transmission, etc.

10. What is something you like that nobody else likes?

I like cheese grits with homemade spaghetti sauce. I know, “eww!” but you should try it sometime. It is amazing.

11. If you had the run of the world’s museums, what three works of original art would you like to own?

Well, if I were forced to choose just three…

Anything by Bernie Fuchs.

This N.C. Wyeth piece. I would never get tired of analyzing the implied detail and his ability to make amazing images.

It would be tough for me to have to pick just one portrait… but I would want one. There would be a tossup between Madame X and Mada Primavesi.

Yay

2010-08-18T07:40:00.000-07:00

Flyer and cards are printed and ready to go!

Interior Decoration Flyer

2010-08-16T14:06:00.000-07:00

I've made more changes and created a smaller version for the MCA B&W.

Taking Commissions!

2010-08-11T11:09:00.000-07:00

I am on a mission to raise $1000.00 to help cover the last portion of my tuition cost for senior year. In order to do this, I need all the help I can get from anyone who is willing! In addition to selling pillows on Etsy, I am offering my painting skills.

Here's the deal:

You can commission me to paint anything... ANYTHING your heart desires on an 8x10" canvas. Each 8x10" painting will cost $30.00. You are welcome to arrange a time with me to pick up your painting after it dries.

Please follow this link if you are interested: Marie's Etsy Shop

New Items on Etsy

2010-08-10T20:11:00.001-07:00

I have pillows for sale! More coming soon...

Car Commission

2010-08-03T20:18:00.000-07:00

Here's another process post on a car painting I did for my neighbor who owns the pretty Opel. I included all of the detail work for the client, but I enjoy the unfinished image a bit more than the finished piece... not sure why. Anyway, enjoy!

Final Dare Devil

2010-07-30T21:25:00.000-07:00

Critique is of course still welcome.

Lady Gaga

2010-07-26T20:10:00.000-07:00

Experimenting with pastels. Don't use black ink with pastels... that should be a given I guess. I learned the hard way. And sorry for that weird cast shadow. I need to take documenting more seriously.

Preview for Project Sketchbook

2010-07-26T07:53:00.001-07:00

Here's a spread. I'm not going to let you look at anything else right now... just a spread. :) Sorry for the blurry scanner job. I can't wait to see what everyone else is doing. Cheers!

Life Drawing

2010-07-17T11:42:00.001-07:00

Wonder Woman Redesign

2010-07-03T14:33:00.001-07:00

New Thumbnail

2010-07-01T17:04:00.001-07:00

After two or three days of noodling with mediocre thumbnails, I was able to whip out a much more compelling composition in 5 minutes today... so I'm just rolling with the punches at this point.

This piece will be my submission for the 2011 Illustration Academy Call for Portfolios scholarship. This is an image of a woman calling the birds and wildlife into the forest (or her dress) in stormy weather. I'm looking at N.C. Wyeth and Howard Pyle for inspiration. The final will be painted in oils.

Life Drawing

2010-07-01T08:18:00.001-07:00

Louise and I participated in a life drawing session last night at Adam Shaw's studio.

Fiona Apple Final

2010-06-24T22:06:00.001-07:00

Sorry for the glare.

Color Comp for Fiona Apple Conceptual Portrait

2010-06-23T09:56:00.001-07:00

Important Learning Lesson

2010-06-20T21:57:00.001-07:00

This piece is not the best it could be by any means, but I still find it important to share because I learned a lot from the process of making the image. Without some hand holding from the best illustrators around, this piece would have been even worse. Just fuel for more inspiration to press on and do better work next time.

On the bright side, I did nail the initial assignment which was on the topic of conversation. Anita said she liked the warm tone as it reflects the type of conversation being conveyed.

Composition & color study for 3rd piece: Conversation

2010-06-18T16:07:00.001-07:00

Doodle Sampler Between Projects

2010-06-16T21:52:00.000-07:00

Finished: Something Blue

2010-06-13T19:22:00.001-07:00

Life Drawing w/ Pastels

2010-06-10T19:52:00.001-07:00

Something Blue: Composition and color study

2010-06-10T08:59:00.000-07:00

Experimental Thumbnail

2010-06-05T23:12:00.000-07:00

Process Post: Illustration Academy

2010-06-02T16:31:00.000-07:00

Final Demon Cards and Paper Craft

2010-05-10T14:42:00.000-07:00

Demon Card Prints

2010-05-10T12:40:00.000-07:00

Ink Washes

2010-04-14T09:48:00.000-07:00

Just messing around. I'd eventually like to do a whole painting this way- with lots of layers.

Cameo

2010-04-11T12:08:00.000-07:00

My first (and largest) project of the semester in book arts.

Cruising the Sea Turtle

2010-03-31T07:49:00.000-07:00

Another for the myth project

BUY MY STUFF

2010-03-30T17:33:00.000-07:00

Here's my Etsy page. New stuff. Cheap stuff. Signed. You'll love it.

BUY IT!

Jump Rope Rhymes

2010-03-29T18:43:00.000-07:00

Almost done?

2010-03-27T21:38:00.001-07:00

Progress Post

2010-03-27T13:53:00.000-07:00

In the process of working out the details. Colors are more vibrant and contrasting in the photoshop file, I promise.

Bunnies!

2010-03-22T12:42:00.000-07:00

Here's a bunny family tree. Enjoy

First Draft of Demon Cards

2010-03-03T07:05:00.000-08:00

Mediums: Colored pencil, water color, fawn paper

40 Thumbnails

2010-03-03T07:01:00.000-08:00

COME TO OUR EXHIBITION:

2010-02-24T11:30:00.000-08:00

Demons II

2010-02-24T11:10:00.000-08:00

Dancing with Sharks

2010-02-24T07:03:00.000-08:00

More Illustrated Story

2010-02-21T23:49:00.000-08:00

Finished Funlola

2010-02-20T20:48:00.000-08:00

oil on panel

23x23"

Color Comps

2010-02-09T22:51:00.000-08:00

These are an intro to the type of color pallet I'm interested in using- in no way are these comps near completion... The coral on the spread looks interesting as flat shapes, but I'll probably give them a bit of dimension later on. I seem to be channeling Lisa Frank a lot these days.

First Semi-Successful Illustrated Story

2010-02-08T00:23:00.000-08:00

Scraps

2010-02-07T20:56:00.000-08:00

Demons

2010-02-03T07:07:00.000-08:00

B&W Comps

2010-02-03T07:05:00.000-08:00

Thumbnails

2010-01-27T06:53:00.000-08:00

Doodles

2010-01-21T14:23:00.001-08:00

Business Card (yes!)

2010-01-21T14:15:00.000-08:00

Thanks to Qaaim for the execution of this card. I designed the logo in my internship with Tom Martin.

FINISHED!

2010-01-09T22:40:00.001-08:00

I apologize for the glare. Perhaps I'll re-document later.

Title: Current
Dimensions: 49x24"
Medium: Oil on panel

Oh My... I Love This Woman!

2009-12-19T17:18:00.000-08:00

My dear dear Aunt Laurel... she is my favorite non-relative in the universe. Just read the note she gave me- I'm aware that sharing this with you completely contradicts her wishes, but its just too good not to share w/ artist friends. Enjoy.

MCBESS INTERVIEW

2009-12-09T20:05:00.000-08:00

I was able to catch mcbess right after his Malevolent Melody book went on sale. Here are a few questions I was able to squeeze in on his tight schedule. He's very nice, and cuts straight to the point. I was thrilled just to be able to exchange words because he's one of my favorite contemporary illustrators/ animators/ musicians. Enjoy!

How did the release of your malevolent melody book go? It must be thrilling to have more recognition for your illustration and musical skills.

Well it's like Christmas really , I've never been so obsess , I couldn't wait to get it in my hands . I don't know what people are going to think about the mix between the music and the image , but for me it's the beginning of what I've always wanted to do . So far the selling of the book is surprisingly good so everything's perfect .

Is the music industry the direction you’d prefer going with your work, given all of your expertise in animation and illustration?

I don't really know how things are going to evolve , but what I like about all those projects is that they're all more or less self-produced , I don't need to be signed to record an album , and that way we can play and say whatever we want , same thing for the illustrations . So I guess the direction I'm taking is creating a all thing where I can control every aspect , images , animation , music ... Might not be successful but there won't be any compromises .

Can you explain some of the trends in your work? For example, where did the canine teeth and the boneless limbs originate? I also think the tattoos and symbols on the skin of your characters are interesting.

Well for the canine , it's based on me , I've got big ones and I think it breaks the monotony of nice bracelet of perfect teeth . As for the tattoos , I'm about to get tattooed myself so each time I'm tattooing a character it's a kind of experiment of what's looking good or not , they all have meanings , most of them are pretty stupid but I like it light .

Are you working strictly digitally these days, or do you start drafting by hand before moving to the tablet?

I do start by hand most of the time , but the final thing is most of the time done by computer . I'm planning on having a more traditional approach but I've got a very geeky background .

Speaking of process, what are your favorite tools and materials to ink with?

I really like to use Rotring and those plastic brush with the ink already inside , my only problem is that I'm a mess , there's usually a moment where I screw everything and I have to start from scratch .

The feminine characters in your pieces are wonderful, but they seem to take the role of a sensual muse. Have you ever thought of introducing a female musician the Dead Pirates?

Well it might happen , I draw the Dead Pirates like that because the real band is only guys , but you never know what can happen . For now I like to keep girls as mysterious and sexy as I can .

Your work is extremely versatile, and yet you’re able to stay true to your unique style. Do you have to give a consistent effort to remain within the realm of your technique, or does it just come naturally?

I 'm always drawn to it , even when I try something else , you know we all have our style , you either accept it and make it evolve or you try to change it and then you have to constantly make an effort to stay in the right track , I don't like efforts .

It is a tough economy here in the US for aspiring illustrators- what is the best advice you’d give to a student who is preparing to enter the “real world?”

Rah I don't really know , it's a hard question . What I would do is try not to compromise on your personnal style , try to get a commercial job doing something quite easy and that doesn't require too much time , not to get to implicated in it because it's usually a waste of time , and develop your own things on the side , at some point you'll be able to assume your style and even chose what commercial job you want to use it with since you have another job . That's what I did and it worked out pretty good for me .

Here’s a totally irrelevant, overused, and totally optional question: Who or what would be the one item you would choose to have with you, if you were stranded on a deserted island?

My girlfriend , a guitar with a huge amp , a drumkit and enought cheese to last for a while .