Posted by Nate Williams
Is your work more conceptual or decorative?
I’m always pushing to find a balance between something that is beautiful enough to hang on a wall but still open to interpretation. Ideally, my illustrations would convey a decorative and conceptual sense but my work tends to steer towards decorative. A lot of my art finds it’s way into the home decor market, meaning big box retailers like Target and Pier 1. Their customer base is broad so the art tends to be more traditional subjects and executions. Lately, I’ve been building a new body of work (alias Oliver Towne) to explore more conceptual and surreal imagery.
MORE Questions and Answers with Michael Mullan
Posted by Nate Williams
Does it matter where an illustrator is based?
Students and young illustrators ask me this question a lot. It really depends on the person. Technically, you can work from Siberia as long as you have a good internet connection. However, being in New York has many benefits including being inspired by other artists and seeing their work first-hand, meeting art directors and editors, and New York happens to be an amazing place to live.
more QUESTIONS AND ANSWERS WITH CHRISTOPHER SILAS NEAL
Posted by Nate Williams
What do you think hinders creativity?
Sales teams are the thorn in my creative process. An original idea can pass editorial in flying colors until the sales team look at their studies and decide that the book or product won’t sell because a certain color or animal character has not been successful in the past. They tend to like things that have already been done, where their studies show that there has been success.
more QUESTIONS AND ANSWERS WITH GILBERT FORD
Also be sure to check out Gilbert’s New Picture Book 12 Days Of New York
http://gilbertford.com/news/?cat=210
Posted by Nate Williams
What is success to you?
I suppose in regards to a job or a commission, success for me would be producing something that I was happy with, proud of and enjoyed doing, and that is also received how I hoped it would be by whom-so-ever has it shoved under their noses! Everyone has their own goals, ambitions and benchmarks to measure success by. A friend of mine was recently nominated for an animated feature Oscar, which is fantastic of course. But to me the fact that through his hard work, determination and talent he’d been given the opportunity to create a story and produce a movie that he believed in, and was proud of, was more a measure of his success than any award he may or may not win. Not that I’d ever turn my nose up to an Oscar or any other shiny trophy of course …
more QUESTIONS AND ANSWERS WITH CHRIS GARBUTT
Posted by Nate Williams
What advice do you have for illustrators?
Keep at it, and don’t be afraid to fail. I’ve done so many pieces that I cringe when I look back at them. The key is to identify and learn from successes and mistakes. You should be constantly trying new things and evolving. Its really good to loosen up and not worry about every new piece being a masterpiece. Only after doing tons of art will you have a good idea of what kind of artist you are.
more QUESTIONS AND ANSWERS WITH DANTE TERZIGNI
Posted by Nate Williams
Why should an illustrator take on a rep or agent rather than represent him/herself?
When illustrators have difficulty communicating verbally or maybe lack confidence negotiating budgets I’d say it’s time. It’s a struggle navigating the administrative aspect of running a business and most of us have spent our lives focused on making pictures. But illustration is not a hobby- it’s a job. There is an art to it in process, but we are providing a product that solves a specific need for a specific client. Most agents understand this obviously. But the great agents understand this AND support your career growth as an artist too. For young illustrators, I say try it on your own for a bit without a rep, see what that business side is like. Some find it their way through and manage to make the work and do the business. But if it’s a struggle or if your career gets crazy busy, I suggest shopping for an agent. One that you are comfortable communicating and collaborating with. You are not working FOR the agent. It’s a partnership- so find someone that is a good reflection of you as a person and artist.
More QUESTIONS AND ANSWERS WITH BRIAN REA
Posted by Nate Williams
Marta Długołęcka is an illustrator, originally from Warsaw, but currently living and working in London. She graduated from Kingston University in 2010 and has recently completed her MA at the Royal College of Art. Currently she really enjoys working with clients as much as popping into Kingston University as a visiting tutor teaching illustration.
How did you get into illustration?
Since I remember I’ve always been into drawing and making things so probably ever since primary school my biggest goal was to be in the art industry. Having said that, illustration as a career choice only became fully clear to me while I was doing my Art Foundation. In fact, back then my whole portfolio was actually being prepared for the fine art course and yet, at the very last minute something inside told me this wasn’t going to be the right choice for me and against all of the tutors I quickly updated my portfolio to suit illustration course and never regretted it since.
What other types of jobs have you had?
Before I came to London I worked as a stylists assistant in a few magazines in Warsaw and then while studying in the UK I used to work at various bars, restaurants and shops.
Describe your creative process? What exactly is your medium?
Depending on a project I usually start off by making digital sketches, which allow me to draw freely and quickly experiment with colors, lighting and general mood of the image. Also if I go through the sketch process I like to plan everything as much as possible before I move onto actual making any models and sets. Having said that, sometimes I like to skip the sketching stage and simply play around with my model making and let characters and inspirations emerge from that. Also despite my great love for arts and crafts I tend to use a lot of Photoshop in my work, which naturally gives me great freedom and control in terms of refining and modifying my images.
What role does photography play in your work?
Photography is actually one of the key elements that contribute to the overall look of my work. I love the freedom it gives me to experiment, especially with lighting and perspective. There is something very special about making images this way and in a way it almost makes the whole process easier, as once you’ve pressed a shutter it’s all already there, waiting for you to edit it.
Have you done animation with your work?
I always felt very connected and inspired by animation process but I never actually properly tried it myself. However a while ago I did a collaboration with a great animator Joe Sparrow on a humorous animated short about miniature Superman. Apart from that I am currently having talks with a publisher about releasing my 1st children’s book, which hopefully will also be available as an interactive app, and so animation will definitely be part of this.
How is Warsaw different from London? What do you miss and not miss about Warsaw?
Wow, this is a hard one! Well, Warsaw is always going to be my hometown and for that reason will always have a place in my heart. It is definitely much smaller and not as diverse as London is, but living there created basis for my character and who I am. And then London is a place I chose to live in, partly by accident and partly cos I always wanted to try it. It’s so beautiful, inspiring, full of buzz and opportunities and it was where I had to learnt how to be a “proper” adult. So for me it’s hard to say what I miss or don’t miss about Warsaw because it got to the point where I miss home when I’m in London and I miss London when I’m home. But having said that, living together with my boyfriend helps us to create our own little “home”, so at the moment London is getting a whole new perspective for me.
What is your favorite type of commercial project and why?
I love working with text and so creating book covers is something that I enjoy the most.
How would you like your work to be used in the future?
Ideally I would like to spread as much as possible and so in turn I’d like to see my work being used everywhere from book publications, stationary, pottery to wall paper, fabrics and posters.
Is your work more conceptual or decorative?
As much as I think my work is pleasant to the eye I would not call it decorative per se. It’s the same with being conceptual, I often try to tell a story though my images but at the same time I don’t worry too much about showing any deep or double meanings etc.
Do you have an art rep? Why or why not?
Currently I work exclusively as a freelancer and really enjoy it but soon I might look into having a professional representation, simply because along with the work load I already have it might also help me get involved in certain types of projects that otherwise I might find harder to get.
Please describe a typical day?
I usually get up around 9am and after having my morning shower, breakfast etc. I focus mostly on the administrative part of my work so sending emails, updating my accounts etc and then around midday I start with the fun part, the image making. Then, regardless if I work on a commission or develop new portfolio pieces I take quite a few of tea brakes throughout the day and try to finish working around 7pm.
What is your working environment like?
Although I technically share my studio with my boyfriend who is also an illustrator and animator, I mostly work on my own as he often works away from our studio. In general I like listening to the radio while I’m working as it not only helps me keep the track of time but also nicely fills in the silence without me having to repeat one album for 4h (as I tend to)
Do you meet up with other illustrators in person? Who?
Most of my friends are involved in art in one way or another so in fact when I see them I am surrounded by quite a creative crowd, which I am truly blessed by. Also recently I started teaching at Kingston University and so having regular contact with the students is extremely refreshing to me and I love it.
Who are some of your favorite illustrators and why?
What is something new you have noticed or learned recently?
Feel the fear… and do it anyway! (as advised by Sussan Jeffers )
What was the best advice given to you as an illustrator?
If your head ever goes completely blank and you totally lack inspiration, just draw and your ideas will eventually come from that.
Top 5 favorite things in life
love, sleep, Rome, my boyfriend’s cooking, smell of fresh air and… a bonus one: wacky humor
Top 5 bands/singers
Kings of Connivence, She and Him, Deventra Banhart, Mayer Howthorne, Friendly Fires,
Can you suggest 3 artists or illustrators we should check out?
More about Marta Długołęcka at: Profile / Website / Twitter
Posted by Nate Williams
What can illustrators do to make the experience positive for an art director?
To invite the AD to be part of the process. I often show my work at an early stage, maybe with some variations so that we can discuss what he/she want. But you have to be clear that you are the illustrator, that they have hired you because you have the eye for it.
more QUESTIONS AND ANSWERS WITH INGELA PETERSON ARRHENIUS
Posted by Nate Williams
What is something new you have noticed or learned recently?
Over the past few years, there have been trends in the sort of work I’m asked to do. It’s strange. A couple years ago, the majority of the work I did was character design for cartoons. A year before that, I did a lot of identity work. And the year before that was primarily gallery shows. There’s no rhyme or reason to it (at least not that I can see). This year started out with nothing but music-based projects. Only time will tell whether this current trend continues…
Read more QUESTIONS AND ANSWERS WITH JESSE LEDOUX
http://www.illustrationmundo.com/q_and_a/author_id/72
