ICofDC Member: Jason E Axtell

Jason E. Axtell

website: jasoneaxtell.com
blog: http://straysngates.blogspot.com
blog: http://sketchyscribbles.blogspot.com/

Describe your illustration style.

I try to find a balance between simplicity (flat/graphic) and dynamic, colorful compositions.

What is your main medium?

Mixed - Pencil, Ink and Digital

What is your illustration workspace like?

Currently, way too small. It's a corner of my bedroom so it's a little crammed but comfortable. Primarily a drafting table I've laid out flat to set up my computer (a Mac Book Pro, 21" Dell Monitor and Wacom Tab). Somehow I've also managed to fit a couple storage boxes of assorted paints and pastels on the drafting table. This is all flanked by a coffee table turned shelving unit where I hold the rest of my art supplies, scanner and printer. Another drafting table is in storage until I can move into a larger space.

Describe your typical work flow.

I begin everything with sketches to plan out the composition. I deliberately push myself to try differing angles, compositions and subject matter until I've come across something I think will work. I then scan the sketch into Photoshop and enlarge it to the size specified or maybe a little larger. I fill in the image with Cyan set at 20% and Fade using the Screen option. This gives me a nice light (and I do mean light) blue. This is printed out onto HP 32lb LaserJet paper using my InkJet printer (InkJet on LaserJet paper works since I use the printout for pencilling and nothing else).

Side note: I like this paper because of its slick surface; it handles pencil and ink splendidly.

This gives me a blueline version of the rough sketch. On this I go back in with a blue pencil (Prismacolor or Col-Erase) and refine much of the original sketch until forms, perspective and any other details seem right. I then go over that with either pencil (as I do for my comic strip, Strays 'N Gates) or with ink (Town of Hardeeville). I then scan the full pencilled or inked drawing into Photoshop where I use various tools to refine the black line work until it's crisp and clean.

I apply color with my Wacom Tab on a separate layer set to multiply. Sometimes, additional effects require extra layers (the lighthouse glares in Town of Hardeeville). I always make a finalized (and flattened) TIF file and a smaller web version.

Who was your first illustration hero?

Rockwell provided some of the earliest memories of inspiration but another that I believe has had just as much of a profound effect is Philip Travers' cover art for the Moody Blues album, In Search of the Lost Chord. I've always found it hypnotic and majestic, composed to represent and simultaneously transcend space and time.

What is your favorite category of illustration and why?

I'd have to go with Fantasy/Comic Art on this one but that's really generalizing it since even within each of those is a wide variety of styles and technique. I've always enjoyed work that pertains to fictionalized worlds and characters. The amount of research necessary to produce some of the most profound Fantasy/Comic Art goes hand in hand with imagination, not an easy feat, but one that comes with years of experience, open-mindedness and experimentation.

Can you describe the direction your current work is heading?

Certainly more digital, but that's being vague. My goals pertain more to subject matter than style. But I would like to refine (ie. simplify) my work to a graphic style that tells a story at it's most vivid. Telling stories through (or with) my art has always been the aim, no matter what style I choose to communicate it with.

What do you do to promote your work?

I have my own web site, which is in dire need of an update and a re-design, but it doesn't attract as much traffic as I would like. I try to push myself into social networking sites (Facebook, Blog's, etc.) which help, if but a little. I also have some backing from previous employers who have helped get me the contacts necessary to promote some of my work. Craig's List has helped in the past. I'm hoping the IC will do the same (only recently joined). Having an actual physical book to show around at conventions has always been the biggest and best publicity in my opinion.

What advice do you have for someone trying to become an illustrator?

Don't give up. Be persistent. Keep drawing. Don't procrastinate.

Be sure to check Jason's portfolio at the IC of DC website.

Help the Hodges

17" x 9.5" - pencil on vellum

by Michael Spooner

1998

Join with the National Cartoonists Association Foundation, as they seek to raise funds for Mathew Hodges, son of cartoonist Tim Hodges -- Struck by a train in August and sustaining coma inducing head trauma.

The family suffers a common issue among freelancers, limited insurance.

"Being self-employed, the Hodge family has short term medical insurance that will not fully cover all of their bills. Additionally, with the care they are giving Matt, full-time work is not possible for Tim right now. This loving family is relying on their faith and the love of family and friends for their survival. This is a tragic accident that will forever affect their lives as the road to recovery for Matt may be a long one.

In an effort to help the Hodge family, the National Cartoonists Society Foundation is getting involved by hosting a fund-raising auction to be held on eBay. The NCSF is a fully licensed 501(c)(3) non-profit organization that not only helps fund educational endeavors for cartooning, but is there to help cartoonists in dire circumstances like the Hodges."

Go to Help the Hodges ( helpthehodges.com ) to bid on one-of-a-kind art from Disney, Peanuts, Hana Barbara and many, many others - all proceeds going to help defer Matt's mounting bills.

It's tough all around, and it's nice to see an artists association pulling together like this.

ICofDC Member: Kevin McFadin

Kevin McFadin

website: http://www.kevinmcfadin.com

Describe your illustration style.

A mixture of found imagery, photos, traditional/hand-drawn elements, and whatever might be in the bottom drawer (if it works!)

What is your main medium?

Digital/Collage

What is your illustration workspace like?

I'm tucked nicely into the corner of the shop of Fan Works Design. Right next to my stacks of books of reference to inspiration is usually a tumbling stack of CDs, and now a turntable. And a very ancient dog, Cracker, who acts as shadow and unconditional and unwilling audience.


Perfect.


I share the studio with my partner Dawn Ripple McFadin who provides not only guidance, a boot when I need it, but also is an invaluable sounding board. We're located in the Fan in Richmond so if it gets too frenetic in the shop, we can easily take a stroll and escape to a myriad of distractions to clean the engines.

Describe your typical work flow.

I always start with the tried and true thumbnail sketch. One of my illustration teachers back in the day always stressed the importance of those thumbnail sketches. He was fond of doing tiny, tiny thumbnails: "That way your problem is only a few inches big." I then start amassing as much material as I can, be it photos, take photos, hand-drawn elements, textures, object/images to scan, etc … More often than not I throw in much more than I initially intended or will need, so much of the process is actually editing. I start paring things down to what is needed and what works, always very mindful of the happy accidents that happen along the way.

Who was your first illustration hero?

Brad Holland. I was always drawn to heavily editorial work and his work fit the bill perfectly, albeit with an edge and strangeness that I found compelling. At the time I was focusing on painting and his technique and style hit me right between the eyes.

What is your favorite category of illustration and why?

I'm still drawn to editorial work. I'm sure much of that is a hold over from working as a newspaper staff illustrator/designer back in the day. But even as my own work got more open to interpretation and "textural" to a certain degree, content was always there, not far behind.

Can you describe the direction your current work is heading?

Funny you should ask: more editorial. Much of the illustration work that I do for Fan Works Design has to cover a broad range of treatments for a variety of clients, but when it's a focused effort on illustration as the final product it's coming full circle back to leaning heavily on the editorial side of things. I recently finished two pieces for the Wall Street Journal which brought me full circle back into the arms of newspapers.


note: one image attached is from the Journal pieces

What do you do to promote your work?

I'm listed with the IC, keep abreast of the doings of the Richmond Illustrators Club, theispot, IllustrationMundo, exploring some advertising options since that is always in flux, I have a site that focuses on my illustration work only (with the requisite blog), Facebook for myself and Fan Works, occasional tweets into the ether, email announcements/news to existing and potential clients and am looking into getting back into good old fashioned USPS mailings. And tried and true word of mouth …letting people know what I do and what I can do.

What advice do you have for someone trying to become an illustrator?

Develop your aesthetic. And I don't mean strictly your work: everyone has their own aesthetic, who they are drawn to, what they are drawn to, etc … be it their illustration work, what they read, what they watch, the music they get into …polish it up, keep it living. It's yours and if you work at getting it up to speed it starts taking care of itself {and at times thinking for itself} and feeding right back into itself, and you.

Be sure to check Kevin's portfolio at the IC of DC website.

ICofDC Member: Holly Camp

Holly Camp

website/blog: http://www.hollycamp.com

online store: http://hollycampcards.etsy.com

Describe your illustration style.

I like to sit with my painting about 4 inches from my face, so my work is generally very detailed. I use lots of tiny lines and dots to communicate something larger, and counteract that with organic shapes and splatters. I think this style creates artwork visually appropriate for a variety of ages – from child to adult – but I like to carry in themes that cater to a mature audience. I find these balances – tight and detailed vs. organic, light-hearted visual vs. heavier message – to be the main elements at the base of an interesting illustration.

What is your main medium?

I love acrylic paint, watered down to something similar to watercolors. I'll layer that with ink and even a little color pencil to hit some brightly colored pops.

What is your illustration workspace like?

Because my paint is applied in a series of very watery washes, I have worked in what basically amounts to a little ball on the floor for years. Within the past month I moved a drafting table into my studio – I'm pretty sure it's about time I graduated from the floor.

Describe your typical work flow.

I begin by filling my sketchbook with lists and little sketches. After client approval, I create the final illustration by layering pencil, ink, a watered-down acrylic concoction, more ink, and then colored pencil. I'll scan that in and use a bit of Photoshop for color correction. Repeat.

Who was your first illustration hero?

I was immediately inspired the first time I saw the work of Lisbeth Zwerger. Her illustrations are playful enough for fairy tales, but with undertones that are ominous enough to intrigue the viewer. To me, it captured the essence of illustration and its purpose as a narrative art form that can't be achieved any other way. I see the tension between these beautiful images that she creates and the darker subject matter within them as the inspiration for what I'm striving towards.

What is your favorite category of illustration and why?

I respond to children's book imagery that is smart and treats its audience accordingly. There is work out there that achieves this by stepping outside of what one expects for the younger viewer, and that is what excites me and what I work towards myself.

Can you describe the direction your current work is heading?

Over the past two years, I have found myself focusing on illustrations for a line of greeting cards I created called Holly Camp Cards. Most of the cards are animal based, and it really appeals to me that, under the guise of brightening peoples' day, I can design little sad-faced creatures. I definitely enjoy the unexpectedness of greeting cards that aren't always brimming with the typical sunny sentiment.

What do you do to promote your work?

What do you do to promote your work? To promote my editorial work, I have sent out postcards with my images to art directors, visited their offices for face-to-face interviews, and other forms of various harassment. For my greeting card line, the independent craft shows I participate in provide the opportunity to chat with customers about my work and place a tangible product in their hands. I also created a Faceboook page for the cards, which has been a very successful tool for increasing exposure.

What advice do you have for someone trying to become an illustrator?

Work hard and don't sleep. Be persistent. Look at everything.

Be sure to check Holly's portfolio at the IC of DC website.

Seasons Exhibition at Montgomery College

Hi Everyone,

Make sure to go see "Seasons, In Time and Space" at Montgomery College, Rockville Campus at the Communication Arts Technologies Gallery.

"Seasons" will run from January 25 - February 26, 2010 with a special Gallery Talk on Wednesday, February 10 from noon - 1 p.m.

Many of the artists on exhibit are members of the Illustrators Club and the show is always beautifully displayed at Montgomery College's wonderful gallery.

For more information about the show and Gallery hours, please call 240-567-7521

Hope to see you there!

—David Labrozzi

Members Show opening this Thursday, January 14, 2010

Hi Everyone,

A quick reminder to mark your calendars for the 8th Illustrators Club Members Exhibition.

The opening will be between 6-8 p.m. this Thursday, January 14 at the Art Institute of Washington's Rosslyn Campus Gallery.
The Art Institute is at 1820 North Fort Myer Drive, Arlington, VA 22209 and is accessible by Metro on the orange and blue lines (Rosslyn stop).

If you miss the opening, not to worry. You can see the show all this month; January 10-February 7, at the Art Institute.
Gallery hours are:
Monday-Thursday 9 a.m. - 5 p.m.
Friday 9 a.m. - 4 p.m.
Saturday 9 a.m. - 3 p.m.
(Sunday and Holidays the gallery is closed)
You can always call the Art Institute in advance at 703-358-9550

This years postcard features the fantastic artwork of member, Ashby North.

Make sure to make it out to see the show.
And remember to tell everyone what you saw.

— David Labrozzi

ICofDC Member: Jim Starr

Jim Starr

website: http://www.jimstarr.com

Describe your illustration style.

I enjoy working in a variety of media and in different styles, so it's difficult to describe my specific style. Scratchboard, pen and ink, woodcut, graphic, airbrush, oil painting, pastel, collage are some of the various media I use that will eventually end up as my digital illustration. My work ranges from corporate/conservative to whimsical/comical, and anything in between. To help a client choose an appropriate style for their project, my website has a search by style or subject.

What is your main medium?

Whatever I'm working on at the moment.

What is your illustration workspace like?

It's small, but efficient. I've crammed every square inch of my 10x15 studio with computer equipment, tv, stereo, large drawing table, big metal flat file, and bookshelf, along with the washing machine and dryer. Taped up like wallpaper are print outs of recent work, that hang on my roof line slanted ceiling until they either get bleached out or fall off. My floor often is the repository of finished jobs that need to be put away or current assignments that have no place besides a meager taboret. Spread throughout the house are my reference books and picture files. The trade off for lack of space at home is being able to step outside and enjoy a run with our dog in the rural countryside.

Describe your typical work flow.

I may be found working part of the day sketching on paper, doing an intricate scratch board illustration, working with bold vector graphics in Adobe Illustrator,airbrushing in Photoshop, or painting a pastel in Corel Painter. Working in different techniques keeps me fresh, and excited about my work. I've found it an advantage to be able to work in the technique that best fits the project.

Who was your first illustration hero?

I fell in love with the Golden Era of Illustration, so I'd say N.C. Wyeth.

Can you describe the direction your current work is heading?

I continue to try on current trends and styles to challenge myself and expand my repertoire, but when called upon to work in one of my traditional techniques, I challenge myself to better myself or add a new twist. So, I never am feeling bored or stagnant. I see myself as a work in progress that will never cease.

What do you do to promote your work?

What do you do to promote your work? I advertise in the Directory of Illustration, http://www.folioplanet.com/ , http://hireanillustrator.com/ , and http://www.contactacreative.com/ . I'm also represented by American Artists, and Stockart.com . Membership in the Illustrators Club of Washington DC, Maryland and Virginia has been a valuable promotional and networking tool for me.

What advice do you have for someone trying to become an illustrator?

Get as much practical experience in the field with a full time position to start out, and set a goal to eventually be a self-sufficient freelancer. I'd recommend taking courses in art school to include graphic design, web design, animation, and 3d to broaden your skills.

Be sure to check Jim's portfolio at the IC of DC website.