AIB Illustration & Animation Blog

Interview with AIB Alumni : Admira Pustika

Editorial Illustration : VIP Magazine Singapore

The AIB Illstration Blog had the pleasure of interviewing Admira Pustika, one of AIB's very own alumnas, about ways she handles self promotion in the world of Illustration and Animation! Check out what Admira has to say: 

Q: What was the first paid job?
A: I started as an animator in Gloucester, MA, and I hope this is off the record, I was an international student, so it was restricting me from getting paid, but I did get some benefits. My first real job was as designer/illustrator for MTV Trax Magazine in Jakarta, Indonesia. It was probably one of the best creative teams I've worked with. I got paid peanuts, but I went in there for the network as well. The magazine is owned by the largest media conglomeration in Indonesia, so I thought I'd do it as a start and work my way up. At that time I just moved back to Jakarta, so I really need to get myself out there. I have to say, I was right, we don't work together anymore, but I would still refer them for works and vice versa.

Q: How Do you promote yourself as an illustrator?
A: The most effective way was word of mouth. I have a lot of creative friends as well: designer, fashion designers, restaurant owners, web designers, film makers - at some point they must need our help as illustrators :) I joined HongKong Society of Illustrators for a year, but I resigned because I didn't think it helped me as much as I expected. The community is quite solid in Asia, but I think it's not as well managed as it is in the States. Being an illustrator takes a lot of hard work of marketing your works. I join a lot of web community and competitions as well. I used to join a regional/Asia Pacific creative competition at least once a year to broaden my network and work with more talented people across the region. Also... start early!! Get yourself into the community now by starting as intern in BIG company or even boutique studio. It doesn't matter. You'll find where you'd want yourself to be, some people like it to work with big names, other people would want to be in a small environment where everyone is like a family member. Jut get yourself out there.. This is the time for you to learn from the real world professionals without worrying about office politics etc. Hahaha, a lot of big studios have internship programs that will last for 3 to 6 months - you'll get so much stuff to do and to build your portfolio with interesting projects.

Q: What ways have you found to be successful in promotion?
A: I think personal approach is always the best. And be PROUD of what you do :)At BBQ parties, my friends would introduce me to their friends not so much as an illustrator, but as mural artist. That's putting myself in a niche market, and I think that's good! I love making murals, for its scale of work, and most of the time, I'm making mural for children room - the sky is the limit for them! One time I made dinosaurs in space, and you learn from your customers too. 

Editorial Illustration : China Daily Beijing

Q: How do you promote yourself without the use of the Internet?
A: If there's a solid network of agents as there is in US, I think it will work well. The thing is, in Asia, it's possible for us to do so much freelance works without an agent. Friend of a friend, cousin of a neighbor might need some wedding invitation or mural for their living room. It was easier for me when I was living in Jakarta. Since I'm living in Singapore now, I'm building my network from the beginning. I go to a few creative gathering, not as much as I'd love to, but there I'll make friends, make new connections, along the line, there must be something that I can do together with them. Sending postcards, Christmas cards, Greeting cards, any kind of thoughtful wishes to Creative Directors and Art Directors of big advertising agency will also help. Let yourself be known, they might not give you work right away, but you'll make yourself be known. They'll introduce you to someone, refer your name to their friends, etc.

 

Q: How often do you submit work to galleries and or call for entries? 
A: I don't really submit works to galleries anymore. Most of my time is not occupied for my fulltime job. I work for an experiential agency called e2, I still do murals, but they're mostly for corporate offices or banks :) I submit for call of entries twice a year. I submit a few works for TheyDrawandCook.com. They're amazing team of brother and sister with amazing effort. It became a book last year.

Q: How do you determine the sale price for your work?
A: Sale price... hm.. this is tough :) It really depends on where the work is going to be showcased, who's engaging you to the project and how soon they want it. Living in Asia, everything is super instant. A lot of stuff needs to be done within 48 hours. I worked as designer/illustrator at an advertising agency in Singapore - I could not continue doing my watercolor paintings: one, it's becoming too expensive as they change direction every day, and two, they wanted everything done within 24hours.

It's ridiculous but really in Asia, most of the time we're competing with other artist who's willing to work for less. Not fair at all. So, I'd really go for jobs that will make me happy. if it's cheap cheap for a friend's wedding for example and it's something that I really want to do, then I'll do it.

Q: What generates the most feedback from your audience?
A: Most of the time, clients just want something pretty and they want it done quick. And it's hard to realy get them to see that my style is not the same as that other painter's style. So, I had times where it's tough to let them know that I don't do Balinese painting or a hyper realistic painting. The clients are mostly not from the creative side, so most of the time, it's easy to impress them, but other days, they'd probably be surprised of what you come up with. Altough they approve the sketch, doesn't mean they won't change the concept when it comes into final stages.

Q: How do you find new clients in toady's market?

A: Honestly, a lot of my clients (not including e2 works) know me from my friends. They'd recommend me to them and I take it from there. Last year I went to have dinner at this cute restaurant and I saw tons of opportunity of murals in there. I emailed the owner and within a week I was back at the restaurant to help with their signage. A month later, the owner's brother decided to get me to draw on their walls, the whole stretch!! It was for this project.

 

Editorial Illustration : VIP Magazine Singapore

A special thanks to Admira for sharing with all of us here at AIB!

For more of Admira's work :

Website : http://admira-pustika.com/

Blog : http://above-the-sea.blogspot.com/

 

Rob Dunlavey Visits us @ AIB

Illustrator Rob Dunlavey stopped by AIB's Illustration Junior/Senior studio last Friday! He gave a great talk, and showed off his process! Check it out :

For More of Rob's Work Check out his :

PORTFOLIO

BLOG

FLICKR

POINTY PEOPLE

 

AIB Student Interview with Illustrator Rob Dunlavey

Rob Dunlavey (with paper sculpture)

Web Promotion for Illustrators asks students to connect with creative profesionals through student interviews to learn what it takes to be a profesional Illustrator working in todays various markets. Julia Walters, one of AIB's own Illustration/ Fine arts undergrads reached out to one of her favorite illustrators, Rob Dunlavey. 

Dunlavey's interests and accomplishments are in the fields of: Children's book illustration, Editorial illustration, Educational illustrations (for Museums), as well as advertising and book illustration! Rob was nice enough to share some of his expertise in the world of self promotion, check out what he has to share!

1. What was your first job and how did you find it? Was it paid, or did it lead to other paying jobs?

My first jobs as a free-lance illustrator were for the Christian Science Monitor whose offices are in Boston. I walked in the front door, with my portfolio and announced my desire to see an editor. I knew that they published an international newspaper that was widely respected. Of course the job was paid and it led to many more assignments over a period of years. I feel loyal and nostalgic about the Monitor. They are still publishing but I think the years have not been easy on small newspapers (that have no advertising!).

2. How much are you willing to cater your style to fit a client's demands?

I think my style is pretty set and we're always in agreement about that. I am usually very willing to dialog with the client about the content and editorial concept of the illustration.

"Riffii et Azimut" 2010 for "Les Belles HISTOIRES" Bayard Presse, Paris FR

("Les Belles HISTOIRES" - a magazine for children)

 3. How do you deal with client rejection?

Sometimes you wish they would just reject the project rather than getting the shoe to fit "no matter what". It doesn't happen too much and is often the result of some breakdown along the way or a misunderstood chain of command. But, it's all business. Some things work great and others don't. You do need to assume (or agree beforehand) that there is compensation in place in the form of kill fees based on how much of the assignment you have completed. Yes, sketches, even rejected ones should be paid for.

 4. Do you find any websites more "profitable" than others, by volume of sales or commissioning of work?

Not really. I'm not part of any paid portfolio sites. I've made profitable relationships through work I've posted on drawger, illustrationmundo, flickr and facebook. The volume is not great nor is it consistent.

 5. How else do you promote yourself (maybe mailings, promotional items, paid advertisements, etc.)?

I post many images on-line (at my peril I think --but that's another discussion). I do several postcard mailings a year and a few other targeted mailings (I make a special calendar that people collect). I often send specific work to specific people. It's very personal. It's my attempt to keep them in the loop; just passing something in front of their eyes. Often, there is no immediate response; it's a form of tending one's garden of contacts and being proactive. I try to enter competitions. I've found purchased mailing lists to not be so useful as they once were, but I use them once or twice a year.

"Riffii et Azimut" 2010 for "Les Belles HISTOIRES" Bayard Presse, Paris FR

6. How often do you submit work to galleries or participate in call for entries?

As often as I can. 3-4/year. I wish I could do more.

7. How do you determine the sale price for your artwork? Originals vs.prints?

This is a tough call. Family members say I charge too much. Colleagues say, and my research shows, that my prices are reasonable. But this is all DIY entrepreneurship (Etsy, etc.). A gallery or rep situation would probably increase and stabilize the rates.

8. How do you retain copyright when negotiating with clients?

It's all in the contracts: For editorial: first magazine rights and various forms of "electronic" rights. The picture in book publishing is a bit murky with publishers attempting to set a minimum compensation for electronic forms of books. I retain all rights to any original art that I sell. And in general, I assume ownership of ALL rights and refuse to enter into any situation where my ownership is assumed by the client.

9. What is something you wish you had known when you first became a professional artist, or general advice for those starting?

Don't be afraid to embrace the fact that Art or Illustration is an actual career and that regardless of the practicality of your work, it's of value to people and other businesses. That's how our economic system works. The more joyous, honest and inspired you are, the more people will know about and value your work.

personal work (from sketchbook) watercolor, charcoal

A special thanks to Rob and Julia for sharing swith all of us here at AIB!

To view More information and work, check out Robs online galleries:

Website: http://www.robd.com/

Flickr : http://www.flickr.com/photos/robdunlavey

Store : http://www.etsy.com/shop/robdunlavey

And for More of Julias work, check out her online portfolio:

http://www.wix.com/juliawalters/illustration

LARRY HAMA : A Multi-Talented Storyteller

Larry Hama the multi-talented storyteller is comming to AIB!

Artist talk is Friday April 6, from 6pm-730pm
at AIB 700 Beacon St - Room 215.

Hama is a: Comics writer (14-years on G.I. Joe and 7 years on Wolverine), comics editor (8 years at Marvel Comics), comics artist (Marvel Premiere, G.I. Joe, and Daredevil), freelance illustrator (Esquire, National Lampoon), storyboard artist (Activision’s X2: Wolverine’s Revenge video game and HBO’s The Sopranos), and currently, NYU’s 2011-2012 Artist-in-Residence.

Students and alumni are invited to an informative artist’s talk on visual storytelling. This is a great experience for students and alumni to hear about first hand experience in a wide variety of formats dealing with the world of comics! 

Come check it out!

Tim Finn's Interview with Somerville Community Access!

Rachel Strutt of Somerville Community Access (SCATV)  and the Somerville Arts Council interveiws AIB's very own Tim Finn, as well as: cartoonist Liz Prince, and children's book author Jef Czekaj! During the episode of "Culture Club", Tims new comic store, Hub Comics, is discussed, as well as Tim's new book, featurinng G.I Joe.

  

Check it out!- the end of the video also features the three artists collaborative "jam" comic that they started during the interveiw. 

For more info on Tim's "A Real American Book!" - check out the Blog

Also, be sure to check out Tim's website for updates!

                

For more info on cartoonist Liz Prince and children's book author Jef Czekaj, check out the links below!

Liz Prince: http://lizprincepower.com/

Jef Czekaj:  http://www.czekaj.com/

Interview with Teagan White

Teagan White is getting a lot of attention in the illustraton world! Whites' illustrations have been applied to T shirts, album covers, Iphone and laptop skins, posters, as well as website designs. This artists illustrations have been described as a mixture of fine art and graphic design, Whites exploration of the natural world is also apparent in her typographic studies. I had the opportunity to ask Teagan White a few questions about how she manages promotion and business in the illustration world today. 

1. What was your first paid job?
My first paid work was album art for a band called Bill on a small label, Contessa Records. I started out with mostly album art and other work for bands.

2. How do you promote yourself as an illustrator?
I think that simply posting your work online is the best self-promotion any illustrator could do. I get a lot of work from my portfolio on  Behance, and a little from other sites like DeviantART, Society6, and the Keystone Design Union which I am a member of. The wonderful thing about the web is that other people will basically promote your work for you by blogging about it or sharing it on Facebook, tumblr, etc.

               

3. What social network services do you use to announce projects and news?

 I have a tumblr, teaganwhite.tumblr.com, that people can follow to get updates about when I post new work to my website, and sometimes I'll post about features or interviews I've done recently. However, the most thorough and up to date collections of my work are on  DeviantART and Behance.

4. How often do you submit work to galleries and or call for entries?
I never submit work to galleries because I don't really have a budget to frame and ship work and I don't see the process as financially beneficial to me as an illustrator. It seems like gambling, trying to make money that way; if I'm doing work, I'd rather be guaranteed payment for it. I've been involved in a few local exhibitions when my school approached me for entries, but otherwise I have to turn down offers to show work for the time being. I enter illustration competitions if one of my instructors wants me to, but again, I don't feel that it pays off.

5. What generates the most feedback from your audience?
I get an equal amount of feedback from  Behance and DeviantART. 

6. Did you build your own website?
I did, I pretty much coded it from scratch, or, rather, modified it from my previous design which was a modification of the design before that which was a modification of the design before that and so on back to when I learned to code to change my myspace layout.

               

 7. How do you find new clients in toady's market?

I'm extremely lucky in that I've never yet had to solicit work. I end up working with nearly all of my clients more than once, and many on a regular basis, and I hope that as I gain more exposure I'll continue getting enough work. If getting work becomes a problem I will look for an art rep, send out mailers, put more effort into marketing myself online, and maybe work part-time at a design firm to supplement my freelance work. 

One other note / Something I wish someone had told me sooner: Whether you're selling work or freelancing, be aware of the impact of income tax on how you price anything as a sole proprietor. I've been slowly learning how important it is over the past year, and, long story short, you need to be able to set aside about half of your income to pay back in taxes.

For more of White's work check out her website and her store on Society6

Justin Gerard : The interview :)

 Recently I had the disticnt honor of interviewing the thoughtful and talented illustrator and artist Justin Gerard.  He resides far from the major hubs of East and West coast art and design in South Carolina and still amazes all with his consistantly picteresque illustrations of fantasy worlds and stories.  I enjoyed talking with Justin and our conversation about illustration and artistic principals in general.

 

 

J.S: What is your earliest memory of wanting to be an artist?

J.G: Earliest memory... Hmmm... I dunno.  I've always wanted to draw.  I can't remember a specific moment. 

J.S: I read that you went to school for drawing and painting. How did you get your career started in
illustration?

J.G: It was bumpy.  I roofed for the first 6 months while I tried to figure things out. I would roof for the 3 days a week and then practice and develop my portfolio for the rest of the week. I attended a lot of conventions. Comicon, Siggraph, that sort of thing, and I think that really helped a lot. I attribute most of my start to just constant practice and being in the habit of always working. 

 

J.S: What is your typical work day like and how do you manage your time with multiple client projects.

J.G: Typical workday is wake up, spend the first hour catching up on email/correspondence, then spending the next few taking care of business-related stuff. I may also go running or biking or something.  Lunch, then come back and work on client projects until dinner. After dinner I will screw around for an hour or so.  Play video games, hang out with friends, whatever.  (I have found that it is impossible for me to get anything done in the 2 hours directly after dinner.)  Then I will go back to work.  If things are going well then I will work til about 2am.  


J.S: What advice could you give to emerging illustrators on how to improve creatively and manage deadlines?

J.G: To improve creatively: Watch less TV, or none at all.  Read more, write more and travel.  Nothing broadens a person like reading, writing and world travel. 

 

J.S: Could you describe your creative process from conception to finish?  Has it changed overtime?

J.G:  It hasn't changed very much except that it has become more refined. It starts with an image in my head which I then try to capture in a thumbnail. I often will think about this thumbnail for a long time, hours even before committing anything to paper. I will work on this thumbnail until it seems to capture what was in my head initially. Then I will do a larger sketch.  Then i will do a lot of studies from life of the elements of the piece.  (So if there is a cyborg gorilla in the piece, I will do lots of studies directly from photos or at the zoo of gorillas to memorize the animals construction and design.)  Then I will do a digital comp where I assemble, correct and arrange everything.  Then I will transfer this to a much larger sheet of paper and draw a very precise drawing. After that I will finish the piece either in watercolor, watercolor+ digital, digital or oil.  

 

J.S: How many sketches do you normally do before arriving at a solution? And, how do you deal with an art director who chooses a sketch that you don't consider your best?

J.G: Dozens.  Even if I know that I liked my original sketch I will often do several others just to try other ideas and to ensure that my original sketch is good.  I never send an art director a design that I wouldn't want to paint.  Don't ever do it.  They will always pick the one you don't want.  If they give me one or, as is more common, take elements from 2 good thumbnails and combine them to make 1 bad thumbnail, I just suck it up and try to get the project finished. I will try to tactfully communicate my concerns over a decision, but in the end, they are the client and they are paying me to do what they ask. Hopefully they know best what they are doing with their own money.  I exist to serve, so I get it done to the best of my ability.  (But those pieces rarely seem to make it into my portfolio...)

J.S: You live in South Carolina, How do do you go about getting client work and maintaining assignments while living outside the larger city art and design markets?

J.G: Conventions are a big part of that.  But also the world is growing smaller thanks to the internet.  People find me all the time because they saw the blog. Geographic distances don't mean the same thing they used to.  Still, a handshake at a convention or show goes a really long way. Getting out into the community is important.

 

J.S:  How does your time spent in the wilderness influence your creative work in the studio?

J.G:   Tremendously.  I derive a lot of inspiration from both my experiences in the wild, and also from the time I able to just think and clear my head out there.  It is extremely helpful and I get out as often as I can. 

 

J.S: You have stated in blog posts that you feel color has been a challenge for you to develop a good working process with. How has that changed overtime and what has your discovery been?

J.G: I rarely have any problems when working digitally with color. It's mostly when I am trying to apply what works digitally to working in oil that I run into trouble.  Oil won't stand for those sort of shenanigans.  I still have a lot to learn about working in oil. But working with it has taught me a tremendous amount about how to apply color.  Even in the digital work, the processes for applying color and how colors work against one another has been really helpful. 

 

J.S: Recently you did some work for Sony that was more concept oriented. How did this
come about and how was it to depart from your normal mode of creation?

J.G: It came about because they had both a very tight working schedule and because they wanted a very particular style.  One that was far more gritty.  (These were zombies after all.)  I found that it was a great project and as is often the case, the problems the project presented me made me invent solutions and techniques that I would never have otherwise learned or thought up.  It's good to shake things up every now and then and take on a hard challenge that is outside ones comfort zone.

 

J.S: What do you want to do artistically that you have not yet?

J.G: There is a lot.  I'd like to do much more with narrative. I have always been a huge fan of art that supports narrative and there is a lot more I would like to do with that. For one I'd like to write and illustrate some of my own work.  But I am probably a better illustrator than I am writer, so this will probably take me a while to actually accomplish.  

I'd also like to do more game art.  I've always liked creating worlds, and video games offer a truly amazing way of creating and engaging in a world.  But this again will probably have to wait.  

I would also like to master oil painting. There is nothing that looks quite like a finished oil painting for actually viewing a piece of artwork.  Digital prints still don't compare to the real thing.  I doubt I will ever do oils for client work, because I think I will always move too slowly to make it viable, but I still hope to learn it for myself.  

 

To view more of Justins' work check out his very informative blog: justingerard.com and at Muddy Colors, An Ilustration Collective. Thank you Justin for all of your time and sharing your knowledge and expieriance.

Interview by: James Swart, Student Blog Editor for the Art Institute of Boston

1-2-1 on James Jean

1-2-1 w/jeffstaple feat. James Jean from jeffstaple on Vimeo.

This is the 12th installment in the "1-2-1 w/jeffstaple" Series. Each segment, jeffstaple, Founder and Creative Director of Staple Design & Reed Space, talks to someone one-to-one. Direct. Intimate. No BS.
For this segment, Jeff talks to legendary artist and illustrator, James Jean.

AIB Alumni: Abstraks Magazine

Could you tell us about Abstraks Magazine? How was it formed and your mission?
Abstraks Magazine is a Boston based art magazine that focuses on artists from Massachusetts. As of right now that is our sole mission, but we do plan to expand in the future. Abstraks came about because I felt like artists from the Massachusetts area weren't getting any or enough recognition. I used to read a lot of Juxtapoz and I loved it, but it felt like everything was just about the West Coast. My friends are artists and talented so I definitely wanted to see them get out there. Plus, creating Abstraks gave me the opportunity to create in multiple aspects of graphic design.

What type of topics does Abstraks feature? All art related? Music?
We've covered a variety of topics that are visually art related, like organizations, events, galleries, and artists. We'd like to keep on expanding on different topics that are art related. I'm not strict on what really goes into the magazine, because these days all types of things are art. Although we don't cover music in the magazine, some of the questions asked in interviews may involve something about music. Music is art, but it's not what we're trying to focus on. Maybe in the future.



There are a few AIB alum on staff. Could you tell us who and what they do? How did you come together to form the magazine?
Well, I'm an alumni and graduated with a degree focusing on Graphic Design. Brianna Calello is our Art Director who graduated for Photography. And Kevin Hebb who is a writer that graduated for Fine Arts. For the most part, the 3 of us write, along with the other writers on staff. Some of us may take on different roles, like marketing, photography, public relations, etc. That works because we all have multiple skills and love to explore things outside of our professions. We all came together as the magazine progressed since March of this year. Originally it was Brianna and I along with a few other staff members, and others came on board. I knew Kevin and Brianna from when I was in school and have stayed in touch. We all have a passion for art so it was easy to want to create and be involved.

Are you looking for local artists to collaborate with? If so, how?
There are plans of doing some collaborations but nothing is set in stone. There are some names that we keep in contact with, like Glovebox, Kulturez, and Orchard skateshop. So, there are some collaborations in mind with a few of these names. We're in the works of setting up our online store to help promote the artists that we feature, and do collaborative pieces with merchandise. And we're always taking submissions too, so more collaborations and plans will arise.

What type of projects/features are you working on currently?
Along with the online store, I'm always on the lookout for material, and I tell my staff to do the same. There are still a bunch of aspects to add to the Abstraks website. We're also in talks about doing a quarterly print of Abstraks, but don't have a set date for the print issue yet.

So What's coming out in the next issue?
I don't really want to give anything away. But I'll tell you that we like to have a mix of artists. So you can expect a variety of styles, subjects and talented individuals.

Check out Abtraks Magazine online: http://www.abstraks.com/
Follow them Twitter: http://twitter.com/#!/AbstraksMag

Hello: Brittany Wood

AIB Student Interviews: Braden Lamb interviews Brittany Wood

Tell me about your work process for the piece with the foods and animals. What’s your technique?
I was really just trying to make these characters very simply and quickly so they that they could be easily reproduced. I think one thing that I always like to work on is simplifying things. I sometimes have the tendency to get caught up in the details.

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Your work spans a variety of subject matter and media, but displays your particular style. Is this something you work to maintain?
I wouldn’t really say that I’m working to maintain anything but I think we all have a certain handwriting associated with what we do. I don’t intentionally try to stylize everything I do, being in school right now I feel like I have the freedom to experiment and there’s not so much pressure or demand for a consistency in style.


How would you define your style?
It’s hard to say. I’m not sure that I have developed a specific style at this point in my life but it’s something I am working towards.

When did you first really get into drawing?
I think I have always loved drawing but it wasn’t until high school that I really
got serious about it. I had an awesome art teacher in high school, she was the one who first suggested I go to art school, before that I never even considered it a possibility.

  

What made you decide to pursue illustration as an adult?
To be honest when I applied to AIB I had no idea about what I wanted to do with art but in my portfolio review the admissions lady said my work seemed more illustrative than fine art or design so I went with it figuring I could always switch majors if I needed too.

You seem to be focusing on illustration for kids. Is that a path that appeals to you in particular?
Yes definitely. I love kids and I love working with them, I’m currently working at an afterschool program for kindergarteners, I am constantly inspired by them.




Do you consider illustration a skill, or a passion?
Illustration is sort of a mix of both for me. I love creating, drawing and painting but at the same time illustration is a job. It’s hard work and its not always fun.



What artists do you look to for inspiration?
I am always looking at different artists work but right now I’m really into Marc Boutavant, he is a children’s book illustrator who creates these great little characters and uses bold colors. I also really like Elena Odriozola right now. Her figures are highly stylized but quirky and humorous in a way but one of my all time favorites is Alice Neel.



What are your interests outside of illustration? What do you do for kicks?
I really love going to thrift stores and antique stores, old clothing and furniture just have so much character and it’s so rewarding when you find that perfect piece. 



To view more of Brittany's work visit her website here: http://brittanymwood.wordpress.com/