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/

 

AIB Senior Illustration Exhibition

On Friday April 27th, in AIB's Main Gallery, the Illustration Department proudly opened the exhibition that featured the work of 21 graduating Illustration Seniors. The show was well attended due in part to the standing room only crowd exiting the PIXAR event hosted by both the Animation and Illustration Departments, that preceded the senior opening.

To See more photos of opening night please visit:

http://www.flickr.com//photos/aiboston/sets/72157629987349985/show/

 

Shown Above: Mimi Alves

Shown above: Aaron Pino

AIB Tech Opaque Media

 

 

Here are some select student samples from AIB's Tech Opaque Media course taught by Ryan Maguire. Students are asked to complete illustration assignments with Acrylics and Gauche mediums. From portraits to plein air painting students explore how opaque mediums could be used in production for color comps and final illustrations. View the AIB Flickr set for all samples here.

Shown above: Ashton Blackman

Shown above: Keely Mills

Shown above: Rachael Hawkes

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

AIB Web Promotion Student Picks

We asked the AIB Web Promotion class to find illustrators and artists who are know how to promote their work and get the creative jobs done! Below are AIB student picks of some of the leading contemporary minds that they are following, check them out!

               

Ryan Andrews , Loish Van Baarle: Loish , Joey Bates 

Mark Powell Biro , Olaf Breuning, Diem Chau 

 Andrew Chesworth , Richard Colman , Cyanparade / Kidchan 

Zadok Ben David , Peter Diamond , Julie Dillion 

Rob Dunlavey , Gregory Euclide

Mike Freiheit , James Gurney , David Hale 

Trevor Henderson , Don Hertzfield , Faith Erin Hicks 

Paul Hoppe or Paul Hoppe Design , Seonna Hong 

Rueben Ireland , Thomas James , Jean Jullien 

Peter Konig , Jana Liptak: The Cultured Cuttlefish

               

Laurie Lipton  , Travis Louie , Tim Mcdonagh 

Elizabeth McGrath , Mike Nash , Tony Ong 

Noah Patric Pfarr, Stepehen Powers , Ashen Ray

Emi Sfard , David Shrigley , Chris Sickles 

Lim Swee , Taxali , Wendy Cogan Toyoda 

Teagan White , Matthew Woodson

 If you would like to add some of your own artists to this list please contact:

Tegan, AIB Blog Intern - tharmonay[at]hotmail.com

Student Pick: Marc Boutavant

© Marc Boutavant [Image Source: Heartagency.com]

Marc Boutavant is a French illustrator living and working in Paris. He has a very distinctive style in his illustrations; it’s a combination of “retro-chic” and warmth. He is a risk taker when it comes to colors; he uses bold bright colors not only in his characters but also in his backgrounds.


© Marc Boutavant [Image Source: Heartagency.com]

He also uses a lot of complimentary colors that helps with the flow of the piece. With the composition strategically laid out, many of his scenes are cluttered top to bottom, with activity in every corner. They are amazingly crafted and detailed, the longer you look the more you find. In other instances the scene may be scarce but again his compositional placement makes it equally intriguing. Marc has a very specific style in which he portrays his characters.


© Marc Boutavant [Image Source: Heartagency.com]

They are charming, cute but still have the capacity of full range of emotion and they appeal to all ages. He has been quoted saying “I don’t think/ illustrate differently whether it’s for children’s book or not.” As an illustrator I find that very admirable. His illustrations are fun and fresh. They beg for you to stop for a minute and look, what will you find?

Review written by AIB illustration student Brittany Wood

Student Pick: William Hogarth

In today’s fast paced illustration world, it may be easy to forget the career’s humble beginnings in religious commissions and portrait painting. I’m here to calibrate the perspective on modern illustration by visiting an old, yet hopefully not overlooked, William Hogarth.

William Hogarth was a British painter, engraver, pictorial satirist and cartoonist in the late 1600s and early 1700s. While this time fame and job description sound drab and dull, Hogarth is anything but. He is the father of the political cartoon and sequential illustration. While some of his works require viewing through the lens of the past era, the messages have clearly stood the test of time, and are just as sharp today as ever.



One of his most famous works is an eight part series called A Rake’s Progress. We meet Tom Rakewell as his father has just died and thus inherits a great fortune, which he wastes on luxurious living, and spoiler alert, he ends up Bedlam mental asylum. This first frame features him dumping his pregnant fiancée while being measured for a suit by mourning servants. Not you’re average set of paintings.

Hogarth was trained as an engraver in his youth, which naturally lead into his printed works. The piece I am using to exemplify this is called Satire on False Perspective.  The inscription at the bottom clearly states the intent of the plate:

“Whoever makes a DESIGN without the Knowledge of PERSPECTIVE will be liable to such Absurdities as are shewn in this Frontifpiece”

At a casual glance it appears to be a scene of a river’s side, but with any sort of contemplation, one realizes there is not one but several perspective issues with the piece. Aside from the numerous flaws in scale, there are many different horizon lines.  He’s poking fun at the careless mistakes that have been taught from master paintings instead of the mathematical reasoning behind perspective.

While this isn’t the appropriate venue for a Hogarth biography, there are places that are, and if any of this has sparked your interest, educate yourself further!

The Hogarth Exhibition at Tate Britain

Engravings and Descriptions of Hogarth’s Works, including A Rake’s Progress

A Video for Those Who Made It to the End, But Have Had Enough Reading

Student Pick: Dan Milligan

© 2011 Dan Milligan. All Rights Reserved.

Many artists are associated with the Californian based company, Massive Black, including Wes Burt, Jason Chan and James Kei. One who stands out in particular, however, is Dan Milligan, a concept and storyboard artist based in Toronto, Canada. In an industry where it is easy to slip through the cracks and fall into a melting pot, Dan Milligan’s work stands out amongst highly rendered figures and clean cut skylines.

One thing that is immediately noticeable about Milligan’s portfolio is the distinct, energetic style that dominates his work. His background as a storyboard artist is readily apparent in his character renderings, simultaneously quick and precise. His style is gestural, capturing only what is needed to convey a scene. His compositions lean towards the dramatic, effortlessly pulling the viewer into the scene. It’s easy to simply stare at his paintings, analyzing the way he captures everything with just a splash of color in the distance.


© 2011 Dan Milligan. All Rights Reserved.

Dan Milligan has many projects under his belt, including Zack Snyder’s adaptation of Frank Miller’s 300 and video games published under Sony Entertainment. Despite the fact that Milligan is constantly creating art for other people, he doesn’t ever lose his own identity as an artist. Unlike some concept artists working in today’s day and age, Dan Milligan keeps his basic visual style intact no matter which client he is producing work for. In concept art, in which it can be difficult to tell artists apart due to the polished style that clients demand, this is a refreshing change of pace.

It is for these reasons that any aspiring artist should look at Dan Milligan’s portfolio. His personal website, simple to navigate, features both concept art for film and games and storyboards. With his knack for energy, it no doubt serves as an inspiration for not just those wishing to go into storyboards or preproduction art, but for those wishing to add more movement to their own work as well.

For more information and work samples visit: http://www.danmilligan.com

Student Pick: Artist Nomi Chi

There are a lot of things that give art its aesthetic, that make it interesting and enjoyable to look at. There’s color, there’s line, there’s subject matter, there’s contrast and composition… but these things alone, on their own, won’t make an image successful or interesting. It’s how you use these tools to create an image that make it successful—it’s the personality you give it, whether or not it’s a sketch or a finished piece of art, that makes it successful.

Shown Above: Eye Floaties by Nomi Chi
© Nomi Chi, All rights reserved by artist. [Image source: nomi-chi.com]

This type of personality is present in the work of Nomi Chi of Vancouver, Canada, a traditional illustrator and tattoo artist whose work is reminiscent of the Expressionist  and Surrealist movement. Though none of her works are textbook examples of either movement, they have many subtleties of the same nature.  She has a very definitive style revolving around warping what is true to reality for environments, people and animals. Her images are often laced with distorted and elongated figures who sometimes hide behind masks, animal skulls or have animal heads in place of human ones. There is a certain focus in contrast between primary subjects that remain consistent throughout most of her work. A grotesque or a deviated character might couple a beautiful character, and other times an otherwise lighthearted image or character will be cutting herself, being attacked by an animal or have missing limbs or entire holes in her body altogether.

Shown Above: Bone Chain II by Nomi Chi
© Nomi Chi, All rights reserved by artist. [Image source: nomi-chi.com]

One of the personality quirks existing in her work is the ability of the artist to maintain a sense of humor about her work that is often integrated within the piece itself.  In some of her pieces she has cartoonish blood splatter, speech bubbles and similar motifs that are otherwise unexpected, but intriguing to find in the work. That is one of the best aspects of her work—finished or not, she exists in her artwork not only in that she drew it and what she chose to draw, but how she chose to present it.

That is one of the best aspects of her work—finished or not, her personality is apparent in her work. Nomi doesn’t seem to stray from who she is as an artist or from her work, she exploits what others might avoid. She takes what she has and reinvents it again and again, allowing her artwork to grow along with her own development. That’s something that should be valued by an artist; you are what you make and what you make is who you are, and it should be apparent in how you work.

To learn more about Nomi Chi visit here website(s):
http://nomi-chi.blogspot.com/
http://god-of-insects.deviantart.com/
nomi-chi.com

Student Pick: Nicholas Di Genova

Eggtopus Borg : Ink and animation paint on mylar, 8" x 10" , 2005

Nicholas Di Genova is a Canadian-born artist who plays with the construction of animals to create his own collection of evolved and imaginative beings. His interests in comics and natural history have led to the development of the children of poseidon, a concept that encompasses post-apocalyptic life in a time of re-population. In this habitat, the limitations between animals and technology have been eradicated as Genova's predators have evolved mechanical advantages. Although his artwork lacks any knowledge of real evolutionary theories, the powerful texture of his lines and the bold statements of color are really a feast for eyes. 

Nicholas Di Genova from drifting creatives.

His website is organized by categories which include a tab for photos so you can get an inside look at him and his colleagues in the studio. He also includes a blog which is updated regularly for his young inspirers. The only segment where Nicholas unfortunately leaves more to the imagination is his section entitled "bio" which includes a single sentence of modesty. 

Artist website : http://mediumphobic.com
All photos courtesy of Nicholas Di Genova.