Interview: Sports Artist Dave Hobrecht

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artist as brand, digital media, illustration, illustrator, illustrators journal, innovation, painter, painting

Interview with Dave Hobrecht

When did you first think about art as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

I grew up drawing. I was a bit of an over energized kid. A pencil and paper was the only way my mom got some rest during the day! It’s just something I did ever since I can remember. My parents were very encouraging. My mom would take me to the art supply store anytime I wanted and I could buy anything. She wasn’t that way about everything……I asked and never got a set of Drums!!! Ha! …….but art supplies…..I could have anything.

On the other hand when I decided I wanted to be an artist full time…..I had a lot less encouragement and tons of people advising me to not go in to the art world.

Art by Dave Hobrecht

I went to USC and majored in Business. After school I was supposed to work for my parents company. Although I loved the Automotive industry..it just wasn’t me. So with no experience and a wife and three kids…..I quit my job and went into art…100%!!! Like I said most thought I was crazy… expect my Mom and Dad…they said to go for it. My Mom told me it was what I was meant to do!

What kind of kid were you? Where did you grow up? What were your influences?

I was a pretty good kid. Growing up all I wanted was baseball cards an art supplies when I was really young. When I go into late elementary and junior high…it switched to surf, baseball and art… studying wasn’t one of my hobbies!! Sports was an influence on me at a very young age. I loved the team aspect. Hanging with your friends…playing all sorts of sports and games. I had an incredible group of friends…so we were outside from morning until the street lights came on and we had to be home! It was non-stop. Huntington Beach was an outstanding place to grow up…tons of things to do… and everything was a quick bike ride away.

Your style is very unique. Did you work on developing a style or is that what naturally came out of you?

I didn’t go to art school…..so all my training came from trial and error. I swear…I learned so much at my local art supply store. I would hang there and just ask the staff what they used…why and what went with what. I found myself mixing all sorts of items to find my style. My first painting of a wave was done in Charcoal, Pastel, Acrylic, oil pastel, gouache, even some white out! I was just throwing things on a canvas to see what worked.

Eventually….I found I loved the feel of charcoal …..but didn’t love the sandy final look. That’s when I started using a lot of charcoal and brick pastels mixed together. I started grinding them up in to dust form….mixing them together and creating a great combo that allowed me to blend and fade nicely. It was a nice was to get soft blends that could be textured later. That’s the basics on how my style and technique came in to play!

Your work is mainly sports art. How did that happen?

I love sports…the competitiveness, the social aspect, the speed and action. I just love it. Before I was producing art as a job and for others….I was just painting for me!! So why not paint what you love…what you would hang in your own house!! That’s what I did. When I decided to paint for a living…..painting what you truly love helps sell it. When an artist is into his work….it makes it easy to talk with clients that have similar interests! Talking with sports fans is easy…and fun for me. It also makes it easy to show my work within the sports industry. Think about it….how could I sell a painting of landscapes or topics that have no influence on me…..it would be difficult. It wouldn’t be honest…

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TIJ: The Best Interviews of 2019

The Best Interviews of 2019

We are so inspired by the 8 illustrators highlighted in this issue of our online publications. We could’ve included many more but these stood out for various reasons. Veteran illustrators Wendy Edelson, Rhonda Voo and Bruno Mallart gave us much to think about and much to be captivated by in their interviews and artwork. Master Street artist and muralist  Chor Boogie shared his fresh take on “Modern Hierglyphics and giving back to the community. His artwork adorns many buildings in Northern California and they are inspiring and beautiful to see as is his commitment to teach underprivileged kids. Younger artists Julie Mellan and Julia Sideva are part of an kidlit international art movement this is clever, inventive and colorful. Their backgrounds ad thoughts are inspiring to other illustrators just starting out. And finally last but not least is writer/poet/cartoonist Rolli. When he’s not consuming ten plus cups of coffee a day he’s busy creating absurdist and ingenious artwork and poems. We truly appreciate each and everyone of their contributions to our growing publications.

 

The Spring Issue 2020 is OUT!

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art, cartoonist, digital media, illustration, illustrators journal, innovation, Levinland studio

Here is the Spring 2020 edition of #theillustratorsjournal Great interviews: Angel Alvarez, Alexander Bostic, Jade Dressler, Dana Collins, Jack Foster, Kevin Atkinson, Donna Barstow and Chuck Pyle. Along with @HeatherFeathers Shout Out https://issuu.com/lonfellow/docs/tij_final_spring.final

CLICK ON THE IMAGE TO SEE THE MAGAZINE

JUST MY OPINION: Troubled Times

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artist as brand, digital media, EDITORIAL, illustration, illustrator, illustrators journal, innovation, Levinland studio, social media, technology, twitter

The Illustrators Journal/Winter 2020

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art, art directors, illustration, illustrators, illustrators journal

https://issuu.com/lonfellow/docs/tij_final.2019_final_fa40d0b2fe561b

An Interview with Ilustrator/Publisher Lon Levin

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children's book illustrator, digital media, digital painting, illustration, kidlitart, levinland, Levinland studio

I’m quite aware that sticking an interview with myself on this website  is a little self-serving but I believe it’s also constructive. I started the Illustrators Journal because I was interested in how other illustrators work, live and go about their lives. I wanted to connect with them, know them and do right by them. We artists work alone most of the time, and in some cases don’t sleep much or when necessary do “all-nighters”. So reading about each other’s lives is a good way to connect and to know that you’re not alone. So here goes…

How does your work take form?

I start with an idea then thumbnails sketches. The sketches are very crude but they serve as a guide.
Once I have an idea I either collect scrap, use stock or take pictures to support the poses and the look and feel I’m after. I build a rough look in photoshop then switch to Illustrator. I usually sketch over the rough art in Illustrator with a stylus. Then I started rendering using tools in Illustrator. The ability to use layers to separate elements makes it easier to resize or rebuild individual areas without disturbing the entire image.

You were an art director, so you ve worked with many illustrators. It seems like you might have a leg up on other illustrators knowing how they think. How does that affect your work as an illustrator? 

It doesn’t. My time as an art director is over by choice. I love creating imagery that enhances whatever project I’m working on. I want the art director to guide me and give me feedback. Besides things have changed so rapidly in our industry my knowledge of what an art director does these days is very different than it was back 5-10 years ago. 

 

Do you do experimental work completely different from your published work?

Always. In fact I think in many ways that confuses potential clients and/or reps. I know they like to see consistency in an illustrators work. If you show one piece that’s different from 12 others it places doubt in their minds, which I find odd. To me versatility is a gift. It’s what made me such an effective art director and kept me on a roll when I worked as a freelancer.

 

How long do you see yourself doing kid lit art? Do you have any ideas for books you intend to write and illustrate?

I do kidlit art all the time. If I don’t have a paid project I create my own. It gives me a chance to explore new techniques and styles. I have ideas for books and I’ve written a few but I’m not pushing that part of my creativity right now. I’m leaning towards creating large paintings that are more intuitive and not planned. When I start out I don’t want to have a plan of what I want to do. I want to see what forms then shape it as a sculptor would.

Anything new you’ve wanted to do for a while that you are excited about?

The Illustrator’s Journey and Podcast!

My publication partner, Gregg Masters and I have stepped up our efforts to make the Journal a destination publication. I am always searching for great stories, ideas and illustrators to interview. I’ve been very lucky and I’m very thankful that artists worldwide have taken time to speak with me and reveal a little about their life and artwork.

I have some other longer term projects like my semi-biographical graphic comic novel “The Kid From Beverly Hills”  and a series of gallery paintings as yet untitled.

I also created a new publication called REAL CREATIVE. The format is essentially the same as The Illustrators Journal but it encompasses all creatives whether there’re Actors, Musicians or kitchen designers! I still go behind “the curtains” to get to know people.

Digital Illustration by Lon Levin

Do you do your work using traditional materials or do you do work digitally or both. How has working on the computer helped or hindered? Do you do any social media marketing?

I do use traditional materials, specifcally pencils and water oils. I sketch out on cold-press boards and paint into the drawings. Mostly, however I work digitally. It’s more liberating because the concerns an artist would have working traditionally are not a problem working digitally, specifically changes, or alterations. I can also experiment a lot quicker and easier. Additionally I can get real close to my art and fix details which traditionally would be very difficult to do.

Working on the computer has helped me quite a bit, especially timewise. I can do things a number of different ways to cut time which would be impossible traditionally. The only hinderance I perceive is there isn’t a physical piece of art. Somehow I think there are still clients that place a special value on art they can touch and feel. It seems more real to them.

I do tons of social media marketing. It allows me to reach out and communicate to many more people than I ever could call or meet in person

How long did it take you to establish yourself in the kid lit area? Was it hard for you or did it happen very easily?

I’m still establishing! This is tough question for me. I’ve illustrated 15 or so children’s books but none that have broken thru. Most of them are done in a style I no longer work in. I do like some of the work in “There’s A Kid Under My Bed” and wish I still had the art but a Canadian art collector bought them all. I’m working towards getting that one great project that’ll be a break through for me, the publisher and the writer.

How has your wife reacted to having an artist as a husband. Do you talk about your work together?

My wife is a saint. She puts up with my ADD behavior and my very active imagination. As long as I do my chores (washing dishes, making the beds and taking out the garbage) she’s happy.
Actually we talk about everything and though she’s not an artist she is very creative and has great ideas. She is also a brutally honest critic. I couldn’t do what I do without her.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Illustrators Journal Fall 2019

Interview with KID LIT writer/Illustrator Kristi Valiant

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artist as brand, children's book illustrator, digital media, illustration, illustrators journal, innovation, kidlit, kidlitart

I recently became familiar with Kristi Valiant’s work and how valuable she is to Kidlit. So I thought I’d post her interview and some of her bio on TIJ website. Of course I will try to get her to talk with me for an article in the next issue of TIJ Ezine.

The whimsy and color of her illustrations and the movement of her characters are so appealing and fun you can sense the delight she gets when she goes about her work. I’m so happy to see another user of a computer to do her work. Forward thinking and steep in tradition here’s Kristi’s own bio.

In fourth grade, I got in trouble for drawing too much during class.
After graduating magna cum laude from Columbus College of Art and Design as an Illustration major, I worked in the graphics department at an educational publisher. Now I write and illustrate children’s books.
I wrote and illustrated PENGUIN CHA-CHA (Random House, 2013).
I’ve illustrated the following:
PRETTY MINNIE IN HOLLYWOOD (written by Danielle Steel, Doubleday)
PRETTY MINNIE IN PARIS (written by Danielle Steel, Doubleday)
THE GOODBYE CANCER GARDEN (Albert Whitman)
CORA COOKS PANCIT (Shen’s Books)
THE LITTLE WINGS Chapter Book Series (Random House)
DO YOU LOVE ME MORE? (Standard)
OLIVER’S FIRST CHRISTMAS (Accord)
DANCING DREAMS (Accord)

Some of my favorite things in life are my husband and daughters, dark chocolate, hot fudge pudding cake, collecting picture books, reading, swing dancing, musicals (especially Fred Astaire and Ginger Rogers), monkeys, penguins, and my faith in Jesus.
I grew up in Wisconsin, studied in Ohio, moved to Texas, taught English for a summer in China, and now live in Indiana with my husband, daughters, and a room full of hippos and monkeys. I tend to draw a mouse, hippo, monkey, and penguin somewhere in each of my recent picture books.

I create my art in Photoshop using a Cintiq display and pressure-sensitive pen. I find that working digitally allows me to be creative and edit easily, without the hazard of spilling dirty painting water or drinking it by mistake.

End of the Week and What Have You Done?

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artist as brand, Caroline L. Arnold, Darren Hardy, digital painting, drawing, illustrators journal, Levinland studio, lon levin

This is what I worked on this week. It’s an illustration from my upcoming book about imagination.It’s not done but it’s close enough to show. It started as a sketch of three kids modeled after my daughter’s kids and blossomed into what it is now.

I ask the question of you like I ask the question of myself. What have I done this week, this day, etc Most of the time we are on auto-pilot and don’t think too much about what we’re doing. We have house chores, bills to pay, assignments to complete, kids to take care of etc. The thought of having another goal or task is overwhelming, especially a personal goal. So those goals like I’m gonna write a children’s book or create a painting seems like it can wait.However taking it in small does you can accomplish a lot. That’s how I approached this art and all the other projects I set for myself.

If this resonates with you you may want to read “The Compound Effect” by Darren Hardy or Small Move Big Change by Caroline Arnold.

Keep up the good work, watch for the Spring Edition of the Journal and much more to come!

Happy Birthday Rosalind Allchin!

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artist as brand, artwork, childrens books, illustration, illustrators journal, innovation

Rosalind is a terrific illustrator and storyteller as her book The Frog Princess can attest to.

The creator of The Frog Princess, a delightful fractured fairy tale, Rosalind Allchin describes herself thus: “I think I’m an illustrator who writes stories. I start off with some kind of visual image, probably of a character. Although I’ve never had any formal art training, I’ve always been interested in the visual arts. When I was in my teens, we used to go family camping in Europe, and visiting the art galleries in Italy was a wonderful introduction. However it’s only relatively recently that I’ve taken up a brush myself.”
Although presently a resident of Ottawa, Ontario, Rosalind was born in West Sussex on the south coast of England on March 26, 1949, the second of four children and the only girl. “We all went to the local primary (elementary) school, and those years I remember as a lovely period in my life, full of painting and reading stories.

In talking about her approach to illustrating, Rosalind says, “I tend to complete each picture before moving to the next one. Sometimes there are perspectives that I can’t work out. For example, the picture on page 14 in which the Frog Princess is jumping down from the royal balcony took me ages. I actually made little sculpture clay heads of the prince, his bodyguard and the queen. Faces look so different from different angles. I’ve learned of the magic of mirrors. Sometimes a drawing just doesn’t look quite right, but it ‘s difficult to see quite where the error lies. But viewing the drawing differently, through a mirror, magically jolts the perceptions and the problem is revealed.”
Picture books, even fractured fairy tales, require research. “Out of interest, I borrowed a lot of library books on costume. Over five hundred years of medieval life, styles changed dramatically, not to mention differences between classes and between countries. I’ve actually mixed periods.”
“I work a lot, but I guess I’m really slow. I go up to my desk every day except one day a week when I pot, a wonderful therapy. I rent space in a studio which is nice because I meet other people. I have a wheel and am hoping in the near future to buy my own kiln. It’s good to have something constructive to do when I’m having problems writing or drawing. I have a lovely attic space where I work. I’m gradually acquiring all sorts of amazing things, like a scanner which will make sending off manuscripts easier. I used to photograph the art or get color copies made which is very expensive.”
“I have four or five stories more or less written up. I find the writing quite hard in terms of creating language that is clear and simple and yet interesting. It’s so easy for it to fall flat. My initial writing tends to be much too long winded, and I am getting better at ruthless cutting. As soon as I’ve got the story idea worked out, I play around dividing it into pages and thinking about the pictures and how I can have a different action or setting on each page. Right from the start really, I’m working the two things together.”

Source: Profile by Dave Jenkinson/Canadian Review of Materials

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