Interview with: Rohan Eason

Tags

art, artist as brand, artwork, digital media, drawing, illustrator, illustrators journal, innovation, social media, technology, this week in digital media on blogtalk radio

Rohan Eason Interview

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

My Parents are both artist, my grandad was a sign writer and my uncle was a Royal Academician, so there was certainly the seed of an idea, that art was something in- spiring and imaginative, something I could delve into even from a young age. I remember in primary school I was drawing fully formed figures and faces, while the other kids were still not joining the sky to the ground, and that was because I was so interested in looking and recreating what I saw. I remember my teachers at High School never knew what to do with me, which way to steer me.

Rohan Eason Illustration

They were brought in one day to the heads office, with my art teachers, and the discussion, was as to what i wanted to be, an artist or an illustrator. The idea I couldn’t be both didn’t make sense to me,  that there was even a difference didn’t seem something I would ever concern myself with. To      be an artist was my dream, it was the poetic journey through torment and discovery, love and hate, as an artist I could make illustrations or artworks, they were one of the same. Its an age old argument, and  I think I will always think of myself as an artist first, but the work I make professionally is illustration, and thats the difference.

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

I was born in the industrial city of Middlesborough, on the same road as the football stadium, Ayresome Park Road. It was a great community, every- one knew everyone, doors were open all day. Then we moved to a small town in Lincolnshire, and everyone said I talked funny. I got very quiet and introverted, and didn’t really enjoy the whole school thing. I think most kids are bullied, and i wasn’t any different, bullying comes in different forms, and I just happened to be the sensitive type that couldn’t really deal with the constant push and pull of friendship circles. My parents both worked so I would often not go into school, instead staying home and drawing or reading, anything to not face a school day.

But those days made me more interested in look- ing at life from a removed viewpoint, in a way there was no other way I could look at it, as I had removed myself. When i reached art school I had already decided that there were two ways to live your life, take part, or take notes, my artworks were my notes. A constant running dialogue, a description of what the other people did, but not what I did.

When I left University with an art degree, everything fell apart, life came flooding back in, and I couldn’t cope. The idea that I would go on just making art, came crashing down, when I couldn’t afford food or rent. Music got me through this time, companion- ship with my band mates helped me find a structure and drive again, and I was finally creating something that related to my life, while I took part in it.

From Rocker to Artist, how did that happen? And how did you progress?

It was around 2002, I was playing lead guitar in a band called Cyclones, having left University with a BA HONS in Fine Art, and having not really done much artistically for a while, other than I would sometimes do a quick sketch. The girlfriend of the lead singer, Rina, saw a drawing one day, and suggested I come see her boss, who owned a high end fashion boutique in Notting Hill. The owner Annette Olivieri, decided I had a little some- thing, and chucked me a bag in white kid leather, “tattoo that” she said. So I found pens that would work on leather, and I tattooed the bag. The draw- ing was black and white, and involved very detailedflowers and hair. Annette was impressed and gave me a leather jacket to do, so I did, this time with a horned girl, feather wings and flowers centre back. From there I went on to create fabric prints and artworks for Annette’s label for the next 2 years. I did private commissions, one was sent to Vogue editor Anna Wintour, and later created my own glove collection, with the first pair of dress leather gloves going to Yoko Ono. Two shoe collections followed and a spattering of other commissions, but I believed my career lay in fashion. This didn’t last long, fashion is not the nicest industry to work in, and I quickly felt like I was back in school, the bitchy back stabbing, the creative theft, and the broken promises, left me a thoroughly broken man. The upside was the pens I used for the leather, Rotring Rapidograph became my pens of choice, and the style I developed in this period with it’s intricacies and magical detail, and obsessive qualities became my illustrative style. My first children’s book came soon after I quit fashion, a collaboration with the great writer Geoff Cox, and music mogul Stuart Souter, saw a wonderful return to children’s books of old. Dark and frightening, with a psychedelic undertone that resonated with the peers around me, Anna and the Witch’s Bottle was critically acclaimed, released through Black- maps Press, it was a beautiful cloth bound hard- back, and it finally brought me attention for my artwork.

For More…

 

Interview with : Jade Dressler/Branding Strategist/Designer/Illustrator

Tags

artist as brand, digital media, illustration, illustrator, illustrators journal, levinland, social media, technology

Interview: Jade Dressler

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

I was the type of kid born with imaginary, over- sized, futuristic Hollywood sunglasses looking at the world as if every molecule was a crystal ball into the future. I was always confidently doing things a little different like in third grade, deciding to defiantly wear a brand-new crisp light blue Swiss dot pajama top as a blouse with my grey flannel pleated skirt as a precise outfit choice full of contrasting texture and meaning. (for me in any case) I vividly remember the thrill of sit- ting in class with a secret, that I was wearing a PJ top. At 15, I was instructing my needle-pointing Aunt to make a Warhol soup can on a lime green background for a pillow she wanted to make for my bedroom. My visual and style confidence was in the creation of art, no matter what form.

I always felt like a playful old soul, always creating, always inspiring, lovingly-teasing and suggesting to other kids what they should do with their art. (that’s where the PR, brand consultant aspect comes from!) In high school pottery class I convinced a classmate to a challenge that, whatever the assignment was, we had to over-embellish and go a million miles beyond in the assignment. It was like the “Show- stopper” challenge on The Great British Baking Show reality show except with clay. My family were fiddlers who created outside of the lines. My Aunt Adele colored flowers on her plain white curtains with Crayola crayons for décor and I was mesmerized.

 

My Dad would tinker in the garage to take a copper cooking pot lid and make it into a centerpiece of an antique fireplace grill. My mom wrote a silly poem with little drawings on every birthday or Xmas gift. I collaged the walls of our playroom with magazine images and drawings which be- came my studio in later years. I always think where your ancestors came from influences your life path, those that came from Romania and Russia give me my gypsy spirit and the side from Vienna gives me the focus of a meticulous crafts-person.

I was encouraged by family and teachers. I had many mentors. One, Frank Hyder, artist and teacher at Moore College of Art taught me the sacred art of non-doing, just look- ing at a simple object or scene and taking time to visually record it, versus feeling that lines, brush strokes or marks be made on canvas with the fierce passion of an abstract action painter. Slowing down has always been a teacher!

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

I was an alternative, nerdy, cool kid that grew up in the suburbs. As a toddler, my toy preferences were pouring over magazines. Saturday morning cartoons were shunned in favor of Soul Train, voraciously

Immortal Beloved

consumed and studied, and of course, being a suburb of Philadelphia, the Gene London show, featuring an illustrator who drew pictures and then went into magical worlds.

I was also very influenced by a relic from my mother’s youth. Her next-door neighbor grow- ing up was a lawyer named Ilo Orleans, who illustrated a 365-day book with little rhymes for his kids. I was fascinated by the charm of it all, the simple, humorous illustrations & poems. Impressed and influenced by the idea that a man self-published his own book!

My influences as a teen were con- sidered “alternative lifestyles” back then in the 70’s, the African American and gay cultures. They seemed to know how to have more fun in life. I tell a story in my book about my first encounter with a gaggle of fantastically-dressed trans-people at a Gay Pride parade. Around color, the worlds of fashion, art and entertainment opened up. I wanted to be there! Then, when I was 16 I entered a national Levi’s denim design contest and won an award. That set my path towards fashion and fashion illustration.

When I was 16 in 1976 I went to Europe for the first time. I was like a sponge in London, awed by the people on the streets, the punk rockers with huge, colored Mohawks contrasted with the proper banker types. I still have the ID magazines documenting the street style photography and describing the individuals photo- graphed. It really was the first I saw the documentation of street style that is huge today on Instagram.

Capturing moments and sketching inspiring people and making little stories today, well there’s where it all started for me!

For more of the interview

 

Interview: Sports Artist Dave Hobrecht

Tags

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…

For More of the interview

 

JUST MY OPINION: Is Being “Best” Important?

Tags

artist as brand, digital media, illustration, illustrators journal, innovation, Levinland studio, lon levin

INTERVIEW EXCERPTS: Sarah Beetson

Tags

artist as brand, australian illustrator, digital media, English Illustrator, illustration, illustrator, illustrators journal, innovation

Interview: Sarah Beetson

When did you start doing artwork and who influenced you? Did you get support from your parents, friends, siblings?

As I child, my brother and I spent a lot of time in my grandmother’s pub, entertaining our- selves with coloring books and felt tips (he trained as a graphic designer). I remember winning a My Little Pony Comic coloring com- petition at age 5, and a CCC competition at 8, and a lady offering to buy one of my drawings on holiday in Portugal when I was 11. My mum particularly always encouraged us. And my dad told me recently that he still has a framed realistic pencil drawing of a Coca Cola Can in his office that I did as a child, dated 1989! I’msure that the colorful cartoons and TV of the 1980s, like The Care Bears, Wuzzles, Popples, The Raccoons, Teddy Ruxpin, Punky Brewster, Jem and The Holograms and The Garbage Pail Kids were a big influence on my later color palette. My mum always made sure we had plenty of Disney classics in classics in the VHS cabinet – I think the earlier ones like Snow White and Fantasia were big favourites. I also loved early Tom and Jerry. Growing up in the 80s and early 90s definitely influenced my colour palette, saturated with rainbow, pastel and neon tones.

Give us a little bio of your history (school, family, early jobs, etc) Particularly anything surprising or amusing.

I studied for a BA HONS in Illustration at Falmouth College of Arts in Cornwall for 3 years, gaining a 1st class. It was an incredible experience, being accross the other side of the UK from where I grew up (in Cheshire). Falmouth is a beautiful seaside town, with equal parts students from all corners of the globe, local Cornish folk and sailors coming in from ships – Falmouth is the 3rd deepest natu- ral harbour in the World. with a great creative gang of student talent from around the globe – I lived and worked with students from Norway, Sweden, Greece, Switzerland, and Argentina, and my lecturers were successful practitioners within the field of Illustration. After Falmouth, I spent 4 years in London. I started off interning for Yellowdoor (Mary Portas’ Fashion Marketing agency), Pop and The Face Magazines, and Stella McCartney, where I spent 9 months assisting the head of print design. It was a totally transformational experience – and where I learned the value of extensive research in shapingprojects.Istillusesomeofthetechniques I learned with print and embroidery there within my illustration work today. Whilst I was interning and earlier at uni, I survived cobbling together cash from the occaisional commission alongside jobs in bars and nightclubs. Really the term ‘impoverished artist’ is an understatement – I was living below the poverty line, existing on £130 per week cobbled from numerous bar jobs whilst interning in the fashion industry full time and paying £112 per week in rent!

Sarah Beetson Art

I literally ate one decent meal a day. I hung in there finding time to create art wherever I could in between jobs in my tiny shared flat, often working on my bed due to lack of space. By early 2004, my debt and overdraft had reached crisis point and I faced leaving London – when suddenly I was thrown a lifeline. Bartending friends from the punk club Electric Ballroom. I met some amazing creative people in those squats who are now successful actors, burlesque stars, artists, fashion designers and TV tarot sensations! I am so proud to call those people my friends, we came so far together. I developed my portfolio in those squats, and in doing so there followed illustration commissions. I got an illustration agent in Canada and one in London. It took three years, but I got back on my feet. It was so hard at the time, but I’m glad I went through it as it makes me so thankful for where I am today.

For more about Sarah follow this link

Interview Excerpts: Drew Bardana

Tags

art, artist as brand, artwork, digital media, illustration, illustrator, illustrators journal, innovation, social media

Interview Excerpts: Drew Bardana

“I’d love to be able to support myself fully with illustration sometime in the near future. That’s the ultimate goal. It takes time to make a presence and build a client base. Patience has been key. I’m having fun with my illustration journey and learning lots along the way.”

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

It was in high school when I started taking art seriously and considering it as a career option. An advisor at a portfolio reviewsuggested illustration as a focus for my work. I took the advice and pursued illustration at Pacific Northwest College of Art. My family was very supportive in the decision.

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

I grew up outside of Portland, Oregon. I was creative as a kid, always drawing and making things. Like most 90’s kids, I was very inspired by Pokemon and began drawing all of the characters.

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

My style has naturally developed over the past 5 years of working as a freelance illustrator. I’ve put effort into keeping the way I draw and create digital illustrations consistent. This allows my work to be recognizable and ensures clients that I can produce different kinds of images with the same look and feel.

Illustrator Drew Bardana

You do a lot of actively colorful art work. How did that happen?

It’s a stylistic choice, for sure. When I first started right out of school, my color sense was super dark and overly saturated. I was working for some weekly newspapers and magazines and noticed that my illustrations were printing too dark. I then started using brighter colors and liked the results much better.

Has the computer affected your work? Do you work traditionally and digitally?

I work in both traditional and digital media. Right now I’m working more digitally than traditionally. It’s much faster when trying to meet deadlines! That being said, I’ve created digital brushes using my own art marks. I’ve also created a large collection of drawn and painted shapes and textures to drop into my digital work. This allows me to work digitally, but keep the hand drawn elements, too. It’s fun to take a day and make a mess of traditional media and then scan it all in to use for later.

For the entire interview follow this link

The Illustrators Journal

Tags

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

Fall/Winter Edition 2020

Here is the Fall/Winter edition of #theillustratorsjournal INSIGHTFUUL INSPIRING INTERVIEWS with some of the finest illustrators in the world including America’s finest Illustrator C.F. Payne, Multi-Talented Political and Editorial Illustrator Victor Juhasz, “Raised on Ritalin”‘s Graphic Novelist Tyler Page, Paper Sculpture Master Sarah Suplina, Fine Artist Dana Kotler, Sci-Fi Illustrator Craig Maher and Darren Dileto Artist/Data Master

CLICK ON THIS LINK TO SEE THE MAGAZINE

The Illustrators Journal

JUST MY OPINION: Troubled Times

Tags

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

An Interview with Ilustrator/Publisher Lon Levin

Tags

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ARe wE craZy enOUgh Yet?

Tags

artist as brand, artwork, childrens books, digital media, digital painting, illustration, levinland, this week in digital media on blogtalk radio

Getting work as an illustrator is an art in itself. I read this article today “Majority of illustrators don’t earn enough to live from, new survey shows” http://www.digitalartsonline.co.uk/news/creative-business/majority-of-illustrators-dont-earn-enough-live-from-new-survey-shows/

I realized this fact for myself back in the early 80’s when I made the switch to being an art director, all the while creating art for my job and my own pleasure. This went on for 2 decades until I left my job as Senior Creative Director and art department head at Warner Bros Syndicated TV. I banked enough money to pursue my goal of being an illustrator. However it still is not an easy task. I continue to struggle with this daily. Along the way I bought, renovated and sold homes in Los Angeles which ultimately led to becoming a real estate agent…albeit a creative one which now supports my artistic endeavors and frees me up to explore art and illustration deeply.

What I’ve come to terms with is there are very few illustrators who can support themselves on art alone, and there’s nothing bad about that. In fact it may even help them become more rounded as a business person and more social.