My real background was in art studies. At the beginning I was a painter, then I was this graphic designer, then I became an illustrator, then I was a comic artist. But for me it's a different way of expression, a different field of art. They're not separated; everything for me is related.
I wasn't a very good illustrator so I became a designer.
I had a job as an illustrator, and I wanted to change the direction of my work. I moved to the country, and immediately I started to paint fairies and trolls.
Just in terms of being able to be a professional artist, but also it's nice to not have to dread introductions. "What you do for a living?" It used to be easier just to tell people that I was a magazine illustrator than try to explain that I did comics, but not the kind of comics that they were used to, and no, it's not pornography, etc. And now people even of our parents' generation are familiar with the term "graphic novel," which is kind of amazing.
I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.
I wanted to do comic books... as a comic book artist, as an illustrator. But I'm not very good so I thought I should do something else! So I went to a film school when I was seventeen and came out when I was nineteen.
After that I jumped, especially being in art school, to the illustrators.
I don't relax. My main relaxation is meeting illustrators and publishers in restaurants and bars.
Information and inspiration are everywhere... history, art, architecture, everything an illustrator needs. Europe is, after all, the land that has generated most of the enduring myths and legends of Western culture.
My older sister achieved her dream of being an artist. She's an illustrator living in Manhattan.
I remember my mom had a big collection of copies of Saturday Evening Post magazines, and that was really my introduction to those great illustrators.
Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes.
I majored in illustration at the Rhode Island School of Design, although I never had any intention of being an illustrator and didn't take any classes in illustration there. It was just that the illustration degree had no requirements.
And I had worked at the comic-book store almost by accident, because I was deciding to make a living as an artist, be it as an art tutor or illustrator, and that's how I wanted to make my living.
Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.
Speaking of line, what artist of line was ever able to find more depth and volume than Hirschfeld? He was an illustrator and a caricaturist, but first and foremost, an artist.
There is a continual exchange of ideas between all minds of a generation. Journalists, popular novelists, illustrators, and cartoonists adapt the truths discovered by the powerful intellects for the multitude. It is like a spiritual flood, like a gush that pours into multiple cascades until it forms the great moving sheet of water that stands for the mentality of a period.
Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?
Dad was an amazing storyteller and illustrator, which he did in his spare time - very inspiring and dramatic.
I love Inuit art, and most anything you would find in a folk art museum, as well as children's art or children's book illustrators or illustrators in general - all the kinds of work that my paintings would draw comparisons to.
I wound up studying art and design, got a job at Lonely Planet Publications as a designer, cartographer and illustrator.
In my youth I dreamed of being an illustrator.
As an undergraduate I held many small jobs as an illustrator.
The illustrators work so much harder on the books than the writers do. I mean, that's so much work doing what they do, and it's terrible for them.
Photojournalist? With a few exceptions, those of us working as photojournalists might now more appropriately call ourselves illustrators. For, unlike real reporters, whose job it is to document what's going down, most of us go out in the world expecting to give form to the magazine, or to newspaper editor's ideas, using what's become over the years a pretty standardized visual language. So we search for what is instantly recognizable, supportive of the text, easiest to digest, or most marketable - more mundane realities be damned.
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