Interview - Melissa Sue Stanley

Melissa Sue Stanley is a painter, illustrator, and needlework artist living in a suburb outside of Chicago. She has the honor of being the only participant to send it a piece of work containing stitching.

So, you're a full time artist?

Right now i am a full-time artist. To keep my new car paid for i work 20 hours a week at a very Harvey Pekar type occupation - making copies and putzing around an old building.

I'm envious.

I think maybe I always have to have some sort of work - there's something about co-workers, that kinda spontaneous jabber that happens around a copy machine - I like it. Now, anyway. I am planning on ditching the part-time gig in about a year and half so i can work just on art.

So do you like being close to Chicago? Is it good for the artist in you?

It hasn't really affected me or my art, being close to Chicago. I like being close to the city because I appreciate certain aspects of it - but really my heart is in the burbs. And I dont mean, like, the white-fence huge house nonsense of the Chicago suburbs - of which there are a lot. I am very interested in the old main streets and the towns that grew off of rivers and railroad tracks and I think a lot of what I want to represent comes from that sort of environment.

And what is it that you want to represent, sort of a lost America?

I don’t know if it is lost, it's still there but it is being changed. That's the next series that I am working on, the way the old towns are being changed. I don’t know if I can describe it fully yet, I'm still bouncing the idea around. I drive through old towns and cornfields a lot though, so it's coming clearer to me. One thing at a time though, I gotta get through what I'm working on now.

And what are you working on now?

Right now I'm doing a mixed media series - portraits on muslin done in watercolor, pencil, and embroidery. It will potentially get me in a lot of trouble, which is exciting. I plan to start talking more about it and showing pieces from it at the end of the month. It's about privacy and violation. I really love it, I'm very happy with it. And I am also doing small scale embroidery and watercolor on muslin, like my icon, and a series of watercolors, 8x10's, of the men that I know. But today i am painting a dog for a commission.

"...the men that I know..." That sounds intriguing, little mysterious.

Haha - yes! They are all such characters, and they all have their own faces. Painting them is an experience for both of us involved. It's intimate you know? But again it's a little intrusive, because I don’t ask permission.

Well, we can skip it so I don't get you into more trouble. But, I will touch on the mixed media because you're the only one of the submitted pieces that had a bit of stitch work in it. How did you come to the idea that you wanted to combine that and paints and pencils?

I've been playing with 'fiber art' for a while, and wanted some way to bring it into my painting. that piece I sent in just came very naturally, just happened. I was embroidering in sketchbooks and things a little before that but that was the first painting I did with embroidery. It seemed the only way to convey the message/text - which is about my relationship with Joe Varisco (the bird.)

Is he a friend of yours?

He has been a friend of mine since we were young, and in the past few years he has also been a great collaborator and inspiration. I wouldn't say he's my muse, but he definitely keeps me going when I feel everything I'm painting or making is wrong. When I am working I sometimes feel like he is there, a little bird on my shoulder. The painting was pretty literal. We do canned culture together, which is on hiatus now but will be returning in July. It’s a sort of video blog thing where we babble about things we like and art and have parties and try to do salons and things like that.

Did I read correctly that you're self taught? Have you taken any formal art or design classes?

I will sometimes take the occasional class at the local community college. But, I wouldn't say that the teachers there actually teach you anything. They present the still life, or model, and that is where the lesson is. The only formal education that I’ve had is a few very hardcore semesters of art history, which was amazing - that teacher actually taught things and it was great. Right now for example I’m at the local college taking figure drawing classes - but that's only because the format is better than the local art leagues, and it's the same price.

Other than the projects you currently have going, is there anything you'd like to do with your art; more collaborations or projects?

I am always interested in certain types of collaborations - that's why the 100 artists project appealed to me, it was right up my alley. (btw, I am so happy/in awe that the single mailer project turned out so well - great job on that!). There are several people I’d like to work with, but it's got to be organic for me, I can't really plan these things. It’s hard for me to approach people on collaborations, I like rather when we stumble into each other. The COD (College of DuPage) Tattoo Project was like that. Me and this other artist, Patrick McGuan, decided one day to take photos at the community college we were both at - photos of tattoos on campus. About a year later we had over 1000 pictures and an art show. It was fantastic.

Are you involved in a lot of groups now, like Illustration Friday for instance? Things that inspire you to turn out work consistently?

Not so much. I get the illofriday emails, but I haven't done one in a while. I've got so many ideas bumping around my head that I don't have time for them, much less trying to find new things to get inspired about. I read a few blogs, but not many.... mainly I just try to sit down and do The Work as much as possible.

Like painting with wine?

Yes! Oh man, that was nasty! Haha! I need to revisit that - maybe with some better wine that doesn't smell like hell. I think there is something there though - I wanted to do some paintings about a certain type of art going on right now, the very aesthetic-image-tea and roses and Anthropologic girl in the city with a scarf and a dream sort of thing. But I didn’t get past testing the wine on paper, maybe next month.

Well, as a drawer of hoboes I was very inspired by the idea.

Yea! Go with it! My husband really complained about the smell, I left the wine open in my studio for a couple days – haha! By the way, the hoboes, and rabbits, and all that - I love that sort of thing and was very happy when I stumbled into it.

Glad you found it.

To that end, what media are you most comfortable with, assuming it's not a 97 Tempranillo?

I love graphite, and watercolor. I never thought I’d be doing watercolors, but here I am. Beyond that I love working with fabrics and yarn, and making weird sculptures and taking photos. I am pretty crafty with a crochet hook and have been able to create what I think is a pretty awesome series of soft-sculpture creatures - I sell them on Etsy.com. I’ll work in anything really. I paint murals in acrylics, and portraits in oils, but I really love drawing, which is why I think watercolor works best for me.

Now I see you've got an Etsy page as well. Is that where you make your money or do you do commissions for people? How do you make your living as an artist?

I do alright selling the yarn creatures and things on Etsy. Not the paintings, those don’t sell on Etsy (though I honestly haven’t *really* tried). I do commissions for people I know on my own, but I’m really picky about it. Honestly, where I am at right now is I decided a couple years back that I could not work in an office 40+ hours a week anymore, so I started saving and set a date to quit and then did it, and with the help of my part time gig, and my husband's health insurance, I’ve been able to really dig in on making my portfolio what I want it to be without worrying (YET!) about profits.

My website is a train wreck; it has none of my current work on it, so that's a big focus for me right now - getting a batch of work done and getting it out there. I’m giving myself about 2-3 years to make enough income to support myself fully with art. I’ll keep you posted on that little adventure - haha!

Oh, I watch all the contributors. That won't be a problem. But I'm sure a lot of people will be curious. Making the switch to living off your art is a big thing.

It’s all I want to do, so most days it's pretty easy. Hopefully people will respond to the work I am doing.

And how do you relate to other people. Do you think it's easier now to have fans and folks who would buy your work or do you feel there's too much out there now?

It’s been pretty easy for me, I’ve had some great "internet experiences". A few years back I painted a portrait of Claire Rabe, one of my favorite authors, just for fun you know, and posted a picture of the painting on my website. Well, the family of this author came across the painting and contacted me about it and wound up buying it from me.

That's pretty amazing.

It was a huge milestone for me as an artist. As far as there being too much out there, I don’t think about it so much. I have artists that I follow just because I’m a fan, but otherwise I just do my own thing.

That’s pretty much all I've got. Any parting words to your devoted fans or fellow artists?

Well, I am now accepting applications for Devoted Fans - send 'em in! For everyone else, just be Honest and Let Go. And, thanks for all your work for this project, and for your time today talking! It was fun.

Indeed. It was wonderful talking to you.

If you’d like to see more of Melissa’s work, you can visit her site at http://www.melissasuestanley.net/

Interviews for volume one

Since roughly August of last year, I've done 11 interviews for the project. A suggestion was made saying one or two of those should be included in the print version of volume one. So I put up a poll, please take time to look it over and if you haven't read the interviews yet, here they are.

Michael Smith
Juan
Israel Turley
Phil Shaw
Steve Downer
Ben O'brien
Adam Koford
Mike Peterson
Jeremy Dale
Len Peralta
Nate Lovett

As always, if you are a contributor to the project, I'd love to spend an hour on chat interviewing you. I think it brings a level of humanity to the pieces of art people will soon be viewing and helps the project grow. You can contact me through the usual channels.

Carry on.

Interview - M.J. Smith

This interview was very inspirational and it was a real treat to hear some of these answers. Of note, M.J. Smith's family suffered a loss just a day after this interview, which makes a lot of what he says very emotional. I hope you enjoy this one.

Michael J. Smith (aka The Artist Smith) is a South Carolina based artist who comes from a long line of artists. When he's not painting or raising three kids, he's running gallery hosted art classes for children.

Michael, thank you for taking time to talk with me today.

No problem, thanks for your time, and for starting the project.

It has been a ride, for sure. So your bio says you teach, is that a full time thing or more private lessons or volunteer?

Private lessons and volunteer. I have taught classes on illustration and comic book art. The private lessons I do cover most styles of artwork. I have a lot of children that I teach and only two adults. The kids are great. They are open to any kind of art. The adults are both middle aged and they are only interested in water color beach scene painting.

Have you taught in schools or universities as well?

No, but I have taught classes that were given by art galleries and supply stores in Ohio and here on the beach. The gallery would advertise classes on whatever style of art and then a flat fee would be charged. I would get paid based on the enrollment. The last one I did was very well attended. I had over 20 students. I try not to do much of it anymore. It takes up a lot of time and family needs required me to be home more than I used to be. About 5 years ago my daughter became very ill. She was diagnosed with three diseases at once. I home schooled her through high school and now she is in college. I have more time now so I may get back into more of the teaching. There is an academy here on the beach that has students of the high school age range. They have shown interest in having me teach part time there. I am thinking about it.

Now, I don't want to ask about your arm, but I want to ask if you had to teach yourself how to draw/paint again and if that was as difficult as it sounds.

I don't mind talking about the arm. Several years ago I lost the use of my "drawing" arm. At first I freaked completely out. Anybody who is into art knows that losing that ability would hurt. I spent a short time feeling sorry for myself and then I took a trip. I got to shake hands with Frank Frazetta. He is my all time favorite artist. During that trip I discovered that he had recently suffered a stroke and he had taught himself to draw with his left hand. Getting back home I started to experiment. I found out that I can draw with my left hand, but my stuff looks different then it used to. I have limited use of my right arm now. I cannot do marathon painting like I used to (12-18 hours at a time). I can do 5 to 6 hours and I am done for the day. My right arm shakes when I hit the cut off point. Now I am getting to the point that I feel more at ease with the concept that my old style of art is in the past.

As if that were not enough, just over a year ago I had a series of small strokes myself (called TIA's). They caused me to lose the ability to remember numbers and other basic facts. My wife told me to stop acting like Frazetta on get on with it. I decided after that to get into digital artwork. I have to admit I do not like the feeling of it though.

I can't imagine what that's like, worst I've had is a jammed finger. Did it at all reduce your ability or even desire to teach?

Not really. Lately I have thought about getting a teachers certification here in South Carolina to become an art teacher for the local school board. It may sound all happy and fluffy when I write this but here goes... Children have the ability to learn art a lot faster than adults. The greatest feeling for me is when it "clicks" and a child sees what they have created. Their expressions are priceless. Having children yourself I am sure you know that feeling. I actually had a student from over twenty years ago looked me up a couple of years ago. He is working in the movie business now doing pre-production artwork. He told me that the time I spent with him made him decide to go to college and do what he wanted to with his art. That day was filled with MAJOR pride. My head swelled three times it's size for awhile, until my wife put me back into my place. The funniest part of that story is that I only spent three or four weekends teaching him to draw RPG artwork. He was a D&D player and he wanted to illustrate his characters. That little amount of time led him down a full time career in art. That is a fantastic feeling. He was just a kid who I forgot about (for the most part).

So, other than Frazetta, would you consider children - not necessarily yours - a big influence on your work or just your love of teaching?

Just my love of teaching. My influences run wide. My two Grandfathers were both artists. One did native American artwork, the other did Irish (Celtic) art. My father is an artist as well. Other artists that I have known along the way inspired me. Even some younger ones like Dave Dorman. Other influences were the Brothers Hildebrandt, Bernie Wrightson and the guys from TSR in the early 80's. They were cranking out an amazing amount of art in a very short time and most of it stands up to the test of time. Easley was always my favorite of that group. Today there are so many inspirations. I have spent a lot of time on the CG Network checking out the guys doing digital stuff. They are a bunch of very talented people. There is a lot more access today to other artists thanks to the internet. I look at what some guys are doing right out of school today and it amazes me. Back in the late 70's and early 80's there were not nearly as many fantasy illustrators as there are today.

So aside from teaching, do you have any projects that are on going or any signature works that you like to do or are asked to do time and again?

I know it sounds cliché, but I am working on two children's books presently. I co-wrote them several years ago and started to illustrate them I was about half way done with both books when our storage unit was robbed and over 116 painting were taken (as well as a bunch of other art and supplies). I am asked to do my biomechanical lightning storms often. I have probably done about 100 of them, if not more. I think one is on my site named "Mindstorm". I also do a monochrome style of portrait that I have been asked to do a lot of in recent years. I am working on one tonight. Out of everything I have done I would say that tattoo designs in general would be the one thing I am asked to do most often. Black and whites most of the time. I have done thousands of them over the years and I could not begin to ink someone myself. I just do the designs. My family is very happy when I get them as assignments. They are fast and easy to do and they pay well for the time involved. The thing is, if you are going to be a working artist you have to be willing to do anything you can (within limits) to meet the bills. Most of us (freelance artists) don't have insurance, etc. We have to do out own thing. It can make life very interesting at times. My daughters situation cost a very large amount of money. I had to make it. So I will do most any kind of artwork. The only limits are pornographic and sadistic artwork. They are not for me. Any young artist who thinks they are going to be able to thrive at only what they want to do are fooling themselves, for the most part. Most artists don't have that capability. We do what the client wants.

Adding to that, and acknowledging keeping some level of morality in your work, aside from that, what's the oddest request or job a client has asked of you?

What a loaded question. I have done some very strange murals and tattoo designs. By far the most uncomfortable was a oil painting. I was hired by an older man to paint his much younger wife in the nude. It was a classic pose. She was a very attractive young lady but what really got me was that this man sat there while she posed for several days and he asked constant questions. "Why do you mix that oil stuff int there?" etc. He kept saying sexual things about her and I finally had to ask him to stop. After days of this I about lost my mind. That painting bought my wifes first car. I did a mural that was sort of bizarre. A group of "skater boys" hired me to do a tribute to Charles Manson. It has been a strange three decades.

You win for weirdest commission story. That's just amazingly uncomfortable.

Is paint your preferred medium?

Acrylics are my favorite for color, but I like the sketch book and pencil for relaxing. Oils are so difficult if you have a deadline. I also love sculpting. I use polymer clays.

Other than being inspirational, did you learn from your father and grandfathers more than you did from any classical, traditional schooling?

Oh yeah. I got kicked out of more than one art class. My family taught me that all art has meaning, even if it may be hard to see. They taught me that lines are important but the feeling of the work is more important. For instance, while doing artwork many artists will describe a sort of trance that they go into. I do the same thing. I lose track of time. There is something almost spiritual to creating art (at least for me). I just like the feeling of entering a world you create yourself. Often times I will have a huge back story to a little painting or drawing I have done. That is because my mind has created it during the process.

Eventually, maybe improbably, one of your students may read this. You'd said earlier about art being work, harder work than most people realize. What other advice could you give your students or anyone reading this?

Never take for granted the art that you do, or the people that you meet along the way. The smallest piece of art or the littlest contact with a person can lead to great things. Create, create, create. Draw and paint all you can. Practice is everything. I had to re-learn a bunch of stuff over the last several years. I don;t take anything for granted now. If you get a commission , do it. Don't wait till the last minute. Clients often want changes and don"t ever take it bad when they do. You may think you have the greatest painting in the world in front of you. The client has their own vision and they pay the bills. Learn as many styles and materials as you can, that way you are more valuable as an all around asset. Most of all though, enjoy what you are doing. If you are not having fun you are doing the wrong thing. I have been doing artwork since the dinosaurs were on earth and it has always been fun, even during hard times.

Well that's all I have. It's been a great pleasure talking to you. The art you sent in was wonderful and I'm glad you're a part of the project.

No problem at all. Thanks for taking the time to start the project. It is amazing how one person can make the biggest contribution. People often overlook comic artists, thinking somehow they are less than real artists. Any one who has ever done comic art knows the truth, it is hard work. Good luck in the future project. I will be here if needed.

If you'd like to see more of Michael's work, you can visit his site.

http://www.theartistsmith.com/

Interview - Me

Chris Tinkler, contributing artist to the project and staff writer at ComicNews.Info was very kind in setting up an interview.

You can read it here.

Interview - Juan2.0

Juan2.0 (aka Juan Falk) is a sequential comic artist living in Moweaqua, IL. He has a project he's working on called "Allison" and he's one of the more prolific commission artists I know. Juan was one of the first people to sign up for the project and had ideas instrumental to how it's run today.

Juan thanks for taking the time to speak with me today.

No problem, glad to have a chance to share some insight about my work with you and everyone else viewing the site.

Tell me about Allison.

Allison is my baby...she's my creator-owned project that I've been working on for quite awhile now. I like to describe her book as going to be sort of like Alice in Wonderland on crack...but not really. It is in the way that you have a beautiful young lady trapped in a unique world who is trying to the best of her abilities to find her way home, but Allison's story really goes a lot deeper than that in that everything you ever experience when it comes to the artwork will always have double or triple meanings to it...so that what you see on her journey will not always really be as it appears. It'll definitely be a new kind of experience for readers.

If you can recall, describe the moment or event that you realized you
wanted to be an artist.

Age 5...Eagles grocery store. My dad bought me an issue of Spectactular Spider-man and Merc issue number 5...between those two comic books and the little ones that came with the He-man action figures back in the day, I was hooked. Art and the goal of becoming a professional artist has been coursing through my blood, sweat and tears ever since.

Would you describe yourself as a classically trained or self taught
artist? If you studied, where and was it a good experience?

Completely self taught. I'm like a stubborn old mule, I won't give up until I figure out how to do something. I'll just keep trying over and over again until things start working right. So everything I do / have done is completely self-taught through trial and error.

As for studies, I took all of the art classes I could in high school and then went to college for two years to try and get a degree in arts, but at the end of the second year, the teacher kept me after class to tell me that I would never be able to do this for a living. That I just didn't have the talent or the skill for it. That really pissed me off, so I dropped out of school that very day and never went back. From that day forward, I have set out to prove her and everyone else that says my art is garbage wrong. One way or another, I will succeed in this...I don't care how long it takes, I will become a professional illustrator one way or another.

What would you like to accomplish with your art?

Right now, my main goal is to get Allison finished up and have her be the absolute best possible artwork that I have ever done to date. At first she was just going to be your typical comic book...one where I do the pencils, someone else inks, someone else colors, letters, etc...but as the years have went by, I realized that I want to do everything myself and that I no longer wanted her book to be done in the traditional manner. Now her book will be a blend of traditional and digital styles to create something unique for the readers to experience.

Who were your biggest influences when you were starting out and has
that changed?

When I first started trying to draw professionally, hands down, my two biggest influences were Rob Liefeld and Todd McFarlane. Anything those guys would draw, I had to have it. I couldn't get enough of them. Especially McFarlane...I bought everything of his I could get my hands on. Amazing Spider-man 318 and 319 just blew my mind on what comic books could be. They were no longer the cheesy six boring panels to a page layouts. These things were now exciting to look at and I couldn't get enough. I would spent countless hours studying how they drew the lines and trying to draw exactly like them. Over time I eventually picked up Todd's habits / style...but Liefeld's has always eluded me for some reason (which honestly is probably a good thing).

Today my influences are spread over a great many people and I'm always adding new things to my artwork to push myself to keep growing. I don't ever want to get stagnant with my style and become a one-trick pony. I always want to bring people something new and unique from now on. Before it was just me trying to be like McFarlane / Liefeld / Turner / Finch / Whoever and now my art has sort of taken on a life of it's own. I just do whatever I think will look best for whatever I'm working on at the moment.

My current favorite above everyone else is Ashley Wood. You'll see a lot of his influence in the Allison books...but it won't be just me trying to ape him...it'll be me taking some of his ways of doing artwork and throwing it into my own pot of ideas and past influences to create something different. As far as other influences at the moment: Yu (for his page layouts and use of blacks) and Templesmith (for his coloring ideas) come to mind...I'd really like to get a lot more Bisley into my stuff as well...especially with the way that guy can pencil render his images...he does some really incredible stuff and gives his pieces a lot of life and energy to each one.

Do you make a living with your art, how hard do you work at it?

At one time I did solely make a living off my artwork...but I had a lot of hungry days and nights during that time of my life and I literally hated the way I was living...so now I work three jobs 24/7 whenever I'm not sleeping.

If you could change something you do while creating, a habit or
crutch, without any effort, what would it be?

I have a bad habit or trying to be a perfectionist with my artwork. It's my biggest flaw as an artist. For the longest time, I tried extremely hard to make everything all clean, neat and perfect...and it didn't work. Art is life and life is not perfect...the Allison stuff is 100 times better than any of my old artwork solely because I realized that nothing can nor ever will be perfect, so why even try to make it look that way? Just do the work the best you can and get as much done a day as you possibly can. Now I actually enjoy doing my artwork and look forward to each new challenge...whereas before I was so close to giving up...because what I was doing just didn't feel like me. It felt like me trying to imitate someone else...and it just wasn't working, so things had to change. It was pretty much do or die at that point in my life.

Are you a hard set solo artist or would you like to collaborate more
with other artists?

I'm very independent. I've always been that way and I doubt things will change now. I like having the creative freedom to do my artwork how I would like to see it done without anyone else influencing or changing anything with it. My art is a reflection of me and I'd really like it to stay that way.

Artists are generally not happy with what they've done or how
accomplished they are, but if you had to label it, what would have to
happen for you to consider yourself successful?

I don't consider myself an accomplished artist at all yet. I truly feel I have a long way to go before I can call myself a professional, but I think that thinking comes from not being able to support myself financially solely off of my artwork yet. My goal in this life is to get a full time career going doing nothing but artwork and to be able to support not only myself, but my family as well off of it. If Todd McFarlane, Ashley Wood, Jim Lee or any other pro artist out there today can do it, then I can do it too. It can be done...you just have to find the way.

What media are you most comfortable using and why?

I used to have this extremely narrow-minded approach to my artwork for the past ten years that all I ever wanted to do was be a comic book penciler...because they make the most money for their efforts and they are most know for the work (even though others help them with it)...but I threw that garbage out the window. Now I do everything myself. You'll see everything from pencils, to inks, to painting (oil, acrylic, and watercolors), to digital art in the Allison books and the one thing I regret doing is not trying to learn how to do more of these other ways of doing artwork earlier on in my life. I would've been a lot farther now if I had...but like I said in the beginning, I'm stubborn as hell when it comes to things so it took over ten years for me to finally realize that art isn't just about pencil and paper...there is so much more to it than just that and as an artist you should try everything. Don't limit yourself to just one thing. Be well rounded and always do the best that you possibly can with what you have available to you.

I know sequential art requires a lot of focus and stamina, do you ever
find yourself not wanting to tell stories and just paint or do pinups?

For many years, all I did was pinups...now I really can't stand doing them. I like the challenge of figuring out how to do a sequential page...that is what keeps me moving forward because with each new page, it's a new challenge to figure out just how exactly I'd like to do it. And with me incorporating painting and other media into my artwork now, I'm actually enjoying myself with things at the moment. It really keeps things interesting...unlike the pencil only thing I used to do which was very tedious and extremely stressful on me.

When you look back on the choices you made as an artist or becoming an
artist, what - if anything - would you do differently?

Honestly, if I had all this to do over again (and I hate saying this because I really do love art with a passion), I wouldn't of ever decided to try and become an artist in the first place. I have gained so much in my life from being an artist, but I have also lost a lot to it as well. You sacrifice a lot to do art and what you give up, you can't get it back again no matter how much you wish you could undo things. I really wish I had finished college and chose a different profession instead.

Do you think it's easier to be an artist today than say twenty or
thirty years ago?

Yeah, in my opinion, with the internet and the way it can reach people worldwide, I think an artist has an easier time of exposing their work to a wider range of audience now than they did back then. Twenty or thirty years ago, you wouldn't of had that. Back then you had to go to the cons and show around your portfolio to try and get a job...nowadays all you have to do is post your work on your site, pimp the hell out of it, and miracles can happen overnight. I hear about it all the time about how so and so got a job with DC or Marvel or whoever just from one of their editors checking out the artist's website or Deviantart account. So yeah, I'd say today's artists have it a lot easier.

I know you have done a lot of commissions, what's the oddest request
you've drawn?

A lot is an understatement...I'd hate to think how many commissions I have done in the past five years alone. I'm always getting commission requests on a regular basis and sometimes I have to turn the stuff down just because there isn't enough time in the day to get everything done anymore. My oddest request is two fold. One time I had someone who had me draw Mary Marvel all twisted up in a lamp post looking like she just got the living crap beaten out of her...the other is all of the extremely hardcore sex commissions I've drawn over the years. I'm not proud of those at all, but the money that people will pay you to draw that stuff is ridiculous. It makes drawing comics for an average page rate chump change.

Do you get most of your interaction with other artists online or do
you have a studio you belong to? Which do you prefer?

I rarely interact with other artists anymore. I'm just too busy with things. I cut out a lot of the internet sites I used to waste time at on a regular basis and I really try to focus my time and effort solely on getting more artwork done on a regular basis now. I'm still not to where I want to be 100% but things are a lot better now than, let's say, they were 6 months ago. I'm really trying to change my life right now and so far, so good. I still have good days and bad days just like anyone...but even on the bad days, I still try to accomplish something with the art.

You post work on some studio message boards, is there a dream book
you'd like to work on or a publisher you'd like to work for?

I only post to pique people's interest in Allison. Allison is my dream book, but if I could have any publisher that I would like to see publish her, it would be either IDW or Vertigo. IDW, because I love the way they publish their comics...good quality paper and they really let their artists be creative with their work and Vertigo, because with Allison's tale being extremely off the wall, it'd fit right in with their other titles.

Do you have anything you'd like to say to your fans and fellow artists?

To the fans: Thanks for everything. You guys are the energy that keeps me pushing forward. Even when I'm broken and bloodied at the end of the day from working myself to death, you guys make it worthwhile. I promise you I will keep moving forward and succeed in my dreams of making Allison a reality and attaining my art career goal. You have my word on that. I owe you guys at least that much for all you have given me.

To my fellow artists: Never give up...NEVER...no matter what anyone says. If someone says you can't do something, you get out there and you prove them wrong. Only you can change your life and only you have the power to make your life what you want it to be. It's never going to be easy, but it'll always be worth it.

Thanks for your time. Good luck with your work!

Thanks for having me. It's been a pleasure. - JUAN -

To see more of Juan's work, you can check out his site: http://www.juansoriginalart.com or http://juansart.blogspot.com. Art on his site is of a mature nature, not safe for work.

Interview - Israel Turley

Today's 100 Artist Interview is with Israel Turley (aka bindlestitch.) Israel is a sales rep at a lumberyard in Missouri and in his spare time he creates comic style art. He's got an upcoming project, "Hillbilly" and is a regular poster on Penciljack. Israel, thanks for talking to me to today.

Thanks for having me. It's a pleasure.

Right off the bat, you work in lumber sales. Is that something you fell into or is a career choice?

I fell into it. I never really thought I had the talent to make it at what I wanted to do (comics) So I had to pay the bills somehow. I've been doing it about ten years now. But hopefully with enough practice I can make it in comics one day.

A lot of people are in the same boat, doing what they have to to do what they want. Do you want to make your own books or work on, say, Spiderman?

Both. If I ever get to that level where I can work fast and with decent results, I'll start submitting some stuff to the big two. For now it's focusing on my own thing because no one can say, "No, you're not good enough" when I'm doing my own stuff. So, now is my own thing to get better, and later I'm taking on Spidey, heh.

Do you have any formal art training or are you self taught?

Self taught. And that's an ongoing process. It was just in the last year that I got serious about actually working in comics someday. So lately, I've been actually looking at how pros do what they do. Trying to figure out their process and apply it to what I do. I've grown leaps and bounds but have a long way to go yet.

Who are some of the pros you look at to help you?

Wow. It's really all over the board. Lately I've been looking at a lot of Ryan Ottley's stuff. That guy just blows me away. Also Frank Cho. You hear a lot about his ability to draw women but that guy can draw anything. And then of course I look at the people I "hang" out with on Pencil Jack .com. There are not only great artists on the site but people who go out of their way to help fellow artists. Which is amazing considering they are training their competitors. I think that show incredible character.

Besides PJ and other comic artists, do you have any other artistic or creative influences?

Not really. I'm just kind of a straight comic book geek. I know a lot of people tell you to look at other stuff to help you learn but I'm in love with the comic medium. I listen to music for inspiration when I write and I guess there are some films that inspire me but nothing like comic art.

So you haven't put much thought into doing other forms of art?

No. I don't really consider myself an artist. I never had a lot of design sense, which is why I struggle so much with layout. I was never really interested in "real" art. I can admire it and respect the ability it takes but it's nothing I want to pursue.

Tell me about Hillbilly.

Heh. It's the usual fare really. It's about a guy from Missouri (surprise) who's been screwed over by the government and he's going to set things right. Later in the series, if it makes it that far, I want to get into a lot of the Ozark folk tales and explore some of that. I'd say it will have a hard time gaining readers because it's pretty much opposite of everything that's mainstream today. I mean it's not a religious or political comic but it has both religion and politics sprinkled through out it. It's probably to "secular" for the religious crowd and to "offensive" for the non religious crowd. So, yeah, it's probably an amazing waste of time.

That actually sounds pretty interesting. You don't hear of many stories from the Ozarks. I could see it being like a Hellboy type book, exploring myths and legends. Would you draw and write it?

Yeah. I have no money to pay a good artist to draw it so that leaves me by default. Same with a writer.

What's it been like working with the Awesome Storm Justice 41 folks?

Absolutely a great experience. I can't recommend it enough to creative types out there. Working with you and all the other staff people there has just made my first real experience working in comics a great one. I had done a few pages for another comic right before the ASJ41 stuff but it wasn't as challenging. It was fun but ASJ41 was a real learning exercise. It probably spoiled me on working with editors in the business.

If you could change something about how you work, a crutch or cut-corner, what would it be?

My heavy use of reference material. I want to get where I can slam out a page a day and only use ref on odd stuff or for the details. Right now I have to use it so much to get my people and anatomy correct. I envy guys who can just sit down and draw. I have a huge time seeing a scene in my head. I have to really concentrate about what it should look like and that's when I break out the evil reference. heh.

There's good referencing and then sort of photo manipulation. What are your thoughts about artists like Greg Land or Tim Bradstreet who use so much photo realism in their work?

I know Land is looked down on for his use of whatever it is he uses. And then guys like Bradstreet. It's not something I want to do , getting heavy into the realism. It used to be but now I want to be able to meet deadlines and be that guy who editors call up and give work because I'm fast and good. Like Ottley for example. I know I've mentioned him already but he's really someone I respect for his ability and his speed. On a side note, on the Bradstreet/Land thing. I don't have a problem with those guys personally. I mean they're getting paid to do a job and I respect that as long as they don't cross any ethical boundaries, I'm cool with what they do.

What medium are you most comfortable using?

Pencil. Without a doubt. I am terrible when it comes to color, although I've been trying to teach myself some painting in Illustrator. I used to ink a lot with Staedtler tech pens but I've moved from that and I'm learning how to do it digitally in illustrator. I'm technologically about six years behind the rest of the free world.

You've quoted Romans in a few places I've seen your work. Is religion a big influence in your life and your work?

It's a huge influence on both. A lot of people can separate themselves from their spiritual beliefs but I've never been able to do that. I am in no way a saint, though, I just try to do what I think Christ would have me to do. Most of the time, and this is no joke, I end up failing miserably. I try not to talk a lot about it in conversations unless someone brings it up. I've found beating someone over the head with it gets you nowhere. People don't want to hear your sermon. So that's how I try to approach my work also.

Any parting words for your fellow artists?

Yeah, I want to say thank you to all the guys and gals on PencilJack and Uggabugga.net, including you. You guys have helped me (and are helping me) to reach a goal in life and I can't thank you enough Also I want to say to anyone out there considering the 100 artists projcet to give it a try. Ben is great to work with, if he tells you he'll do something, he will. Have no fear. Sharpen that pencil and get to it. God bless.

Awesome, thanks for taking the time today.

Thanks for having me man. I enjoyed talking with you.

You can see more of Israel's work on his Comic Space site: http://www.comicspace.com/bindlestitch

Interview - Phil Shaw

I'm talking today to Phil Shaw, aka sacredbob from the Sacred Pie comic. Phil is a K-4 art teacher in New York where he and his wife both work. Phil thanks for taking time to talk with me today.

No problem- it's a pleasure.

You mentioned you've also done mural work for the city, what was that like both working on a large scale and working for the city?

I was the "team leader" for a group of six artists who worked on the murals under the direction of the principal artist, Jan Marie Spanard. (all of the work can been seen at www.albanymural.com ). It was a really great experience. Besides getting to make a living painting and do a lot of the work from a cherry picker(!), the murals were SO large that I worked 50+ hours a week just to finish it before Winter really set in.

It was cool working for the city itself- we met Mayor Jennings a half a dozen times. It's really a different world working at that scale and (to be honest) budget.

Were you doing this work while you were working on Sacred Pie?

Yeah- actually, I started illustrating and posting Sacred Pie within a few months of getting the mural painting gig. That was just about 8 years ago.

Did the mural painting, and later the teaching, have an effect on the comic?

Definitely. The teaching more than the mural painting even.

When I was doing the mural work, a lot of the focus was on light and shadow. trompe L'ioeil is French for "fool the eye", so the style needs to be able to look deceptively real. Comics (though they CAN be very naturalistically drawn/painted) are traditionally more stylized. Though the painting experience solidified my drawing and coloring abilities at a very formal level, it didn't help my comic-ing progress the way I wished it had.

After 2 1/2-3 years of mural painting, I started teaching art (I went to Grad. school, worked nights, blah, blah...). Once I started teaching concepts like contrast, emphasis, and movement, I started incorporating them into my comic work. I started noticing improvements.

Then, I started a comic-book club after school. To make sure I knew I what I was talking about, I started researching and (for the first time) came across Scott McCloud's books. Those changed the way I did everything. I won't get into how much I learned by trying to teach, because it would take me all day.

I'm sure your students would appreciate that.

Speaking of comics, where did you get the idea for Sacred Pie? I know the official background is about God and Lucifer and power. Is that how it started out?

Actually, no.

Sacred Pie started out as a "three mooks" comedy-esque comic (just set in a pseudo-religious-sci-fi universe). The three main characters (Roonas, Sid, and Bob) are based on myself and two of my pals from college (Roonas is still the official co-writer and comes up with, like, 65% of the really, really cool stuff.)

As the comic started to progress, though, we started to see the potential for bigger storylines and better ways to tell them. The aforementioned teaching experience and exposure to Scott McCloud being near the top of the list of influences (though Lucas's "The Power of Myth" essay, Asimov's "Foundation" series and Robert Jordan's "Wheel of Time" books helped with the writing aspects as well.

If you look at the earliest chapters of Sacred Pie and compare them to the most recent, you'll see a lot more elements that expand the world the characters live in- specifically the "religious" good and bad guys (respectively) Angels, Demons, God, Lucifer, etc.

Do you have a religious background that influences your work?

Yeah, I guess.

I was raised Catholic and still attend church. I'd like to feel that the ideas for Sacred Pie come more from the science-fiction realm than from the religious. I think that a lot of things that exist in religion can also exist in science. (Maybe the universe being created in "seven days" is possible, if you consider that a "day" to an immortal omniscient being is, literally, billions of years).

I like using the loose religious framework for the story, but I don't want to get caught up in the semantics involved with specifically quoting scripture, et al. I try to focus on the characters and the events in the story; the battle between God and Lucifer is too big for most of us to comprehend. Sacred Pie just focuses on some of the pawns in the game.

You mentioned your friend Roonas writes a lot of the comic, what's it been like working with someone for so long?

It's awesome. Roonas and I were friends before we started Sacred Pie, and it's definitely something that gives us an excuse to get together(despite our work/life schedules).

As far as the comic goes, though, having him as a co-writer is an invaluable resource. I can't tell you how many times he's saved the comic from a ridiculous idea or a staggering conflict in plotlines. I think anybody who creates a comic should have a co-writer or a collaborator of some sort; it's important to have someone who can look at it from a different angle. I don't think Sacred Pie would be what it is without Roonas's constant input.

Artistically, who has been an influence on you and has that changed over the years?

I think my biggest influences, artistically, have been fairly constant throughout the years. I learned the most early on (and still have traces in my artwork) from Captain Mark (Kistler), Ed Emberly, Jack Kirby (especially old Fantastic Four), and Bill Waterson (I loved how he could ride the line between cartoony figures and highly representational backgrounds(as well as the style of Calvin's daydreams).

Later on, I picked up influence by Drew Hayes (of Poison Elves), Jeff Smith, and Doug Tennapel, as well as online comic "peers" James Mason (Mase of Urban Shogun fame) and Amy Kim Ganter.

There's a lot of Waterson influence in others I've talked to. Was there ever a time you wanted to be a traditional comic strip artist?

Yeah. Like, all of seventh grade. I did a bunch of "Far Side" rip-off comics for the school newspaper and realized (after the first twenty or so ideas ran out) that I couldn't do "punchline" comics. I needed a narrative.

Sacred Pie is purely an online work and I know you guys want it that way. Do you think because of choices like that it's easier to be a successful artists today than say 20-30 years ago?

That's a "yes AND no" kind of answer.

I think it's much easier to get your work published (both online and in print) than it was even ten years ago. Because of the possibility of online comics, it's also much easier to expose your comic to a potential audience. There are only three places to get comics within a reasonable driving distance from my house- but every house on the block has internet access. And, you can pander to an international audience (many of my readers, for some reason, hail from Sweden and Denmark)

The downside, of course, is the flooding of the market If anyone CAN have an online comic- or in print- they will. And they do.

Well put.

I think this is an excellent idea, but the problem is you won't make any money from it. Not unless you're in that 95th percentile. As long as you go into it knowing that you won't get rich, and you're just doing it because you love it (or because 500 people reading your comic really IS enough for you), then you'll be fine.

I don't make a dime for Sacred Pie and I don't intend to. (Unless, of course, someone offered me tons of cash for an animated series or video game, but I'm not holding my breath.) I do it because I love it; and I want to see it through to the end of the story. If some people want to go along for the ride, more power to 'em.

Have you ever found that even though you're doing this because you love it that there are times when you feel you could be doing better?

Aye, that's the rub.

For the past 7 1/2 years, I've put pages up on every Sunday. It's anywhere from 1-5 pages (depending on schedule, work, vacation, etc.), but something ALWAYS goes up. If I could go back and fix all of the pages that I think I rushed through, or even (which is the case for too many pages) wish I could remove or replace, I would never get any further in the stroy. I try to do the best I can while still keeping my self-imposed deadline.

The death of so many online comics has been lack of updating. I've seen some really well written, beautifully drawn comics go under because they stopped making new material.

The pressures of work, real life, marriage, and kids (which I'll learn about soon enough) can bring a self-published comic down. My overall tendency is to get better as I go along, so I just keep going and updating (no matter what) and trust that the quality improves as I go.

Speaking of kids, are your students fans of your work?

Yes. The eldest of my students are (I won't mention the comic to the younger ones due to the violent content). A lot of them have even sent in fan art (or handed it to me in the hallways.)

I also (for the last 3 years) have done library lectures on comic creation for jr. high and high school students, as well as a weeklong class at a local college each summer. (Some of them I had hinted at submitting a piece for the 100 Artists Project, but I think they all chickened out).

I always end up picking up a new reader or three at these events (plus it helps me sharpen my own thinking about my comic work.)

That has to be heart warming to receive fan art from students.

It's awesome. Plus, they think I'm super-cool because I can talk (at length) about the X-Men, Spiderman, Venom, etc. They don't expect that kind of connection with a "grown up" most of the time.

You mentioned your wife also teaches, is she an artist as well? What does she think of your work?

No, she's a first grade teacher.

She loves Sacred Pie, though. She thinks it's neat that she gets to see the process from the planning stages (she's often about when Roonas and I plan), to the sketches, the drawings, coloring, etc.

Her whole family reads the comic now, too. (I even think a couple of them like it besides the fact that I did it, too)

I've kept you a while, do you have anything you'd like to say to your fans and fellow artists?

To the fans, I'd say- keep reading! Roonas and I have years and years of stuff we need to get to, and it'll keep getting better and better as we go along.

To my fellow artists, I say keep drawing! The more you do it the better you get. If you love it, keep going. Set a deadline for yourself and keep it; your fans will come if you're consistent.

Oh, and, uh, feel free to link to Sacred Pie (heh).

Thanks!

To see more of Phil’s work and to read a great comic go to http://www.sacredpie.com

Interview - Steve Downer

I'm talking today with Steven Downer, comic book artist, cartoonist and illustrator. He's based in southwest Montana where he works on secret projects with Canadians.

Steve, thanks for taking some time to talk today.

Sure thing, Ben

Are you a full time comic artist or do you have another job as well?

I have a full-time job as a T-shirt art designer. Comics is just on an as- I- have-time freelance basis right now.

You're also quite young compared to a lot of your contemporaries, are you planning on any schooling or does the t-shirt company have your time all locked up?

I'd love to get some formal training, but yeah- I can't afford the time, or the tuition, unfortunately. But I intend to take some classes when time permits.

You recent art is very cartoony and stylistic, but you've done some very impressive realistic illustrations. Which is your favorite to work on.

I really love the fun energy of the cartoony style, and I think that's where my real niche is, but I love the way a more straight, realistic style allows a cartoonist to broach more serious topics with less difficulty. So a mix of both, but I think I do prefer a cartoony style.

Have you thought of, or have you yet, done straight up cartooning?

You mean a comic strip?

Not really.

I passionately love comics and superheroes, and I confess to being somewhat disillusioned with newspaper comics and cartoons on the whole.

While I grew up on Calvin and Hobbes, I love almost everything about comic books, and I relish the opportunity to use color on a regular basis.

You're currently working with the Awesome Storm Justice 41 group, what's that been like working with them?

Man, I have nothing but great things to say about everybody over at ASJ41.

The writers, pencillers and especially editors- a better group of creators would be hard to come by, and I love the way they're all so eager to just have fun with the characters.

Other than ASJ, do you have a signature project, something that someone would associate with Steve Downer?

Not at the moment. Until a year ago, I published James Blond, a webcomic, on the Transplant Comics webring, and I have an upcoming print comic book, but at the moment I'm afraid not.

I guess I'm just spending too much time on those t-shirts... maybe I ought to slack more.

I'm sure those of us with full time jobs would love to slack more as well.

Who were your biggest influences when you were starting out and has that changed?

Funny, I was just thinking about this.

Growing up, most comics were disallowed in my home- apparently comics in the '90s were too "extreme"?

But the exception to that was Hergé's Tintin works, and I devoured those.

I also grew up on Calvin and Hobbes, and I think that Bill Watterson has had the biggest influence on me overall.

I really see Hergé's influence in backgrounds and composition, while Watterson shows through in body language and panel layout.

Bruce Timm's Animated Batman was something I obsessively copied growing up, and his streamlined work has really taught me a lot over the years.

Right now, I'd say one of my biggest influences is Sean Galloway- his minimalist, extremely stylize work always blows my mind. I'm also a huge fan of Darwyn Cooke.

The list goes on for miles, but I'd say those dudes' work will always get a few bucks out of me.

Are you excited about the Tintin movie?

I have somewhat mixed feelings about it, though- Hergé WAS Tintin, and without his guiding presence my expectations are kinda low. I'm honestly more interested in tracking down the old live-action movies he was directly involved with- they look really fantastic.

Artists are generally not happy with what they've done or how accomplished they are, but if you had to label it, what would have to happen for you to consider yourself successful?

I guess I'd consider myself materially successful if I make enough from my art to live comfortably on. But I don't think I'd really be a successful artist until I make something that really leaves an impact on people, y'know? I think it can be done with comics, and I want to have a hand in something that makes people stop and seriously consider something that they've never thought about before.

I'm sure that's the dream of every artist, but I also believe that it's honestly achievable. I guess I'd consider myself successful if I do something that makes a lasting impact.

If you could change something you do while creating, a habit or crutch, without any effort, what would it be?

Hmm... There are quite a few things, but I'd really like to get better about winging it on perspective. I get pretty lazy on that sometimes.

Is that something you think formal training would help or is it more patience and attention?

Both, I think. I have the technical knowledge to do it, but when I'm pressed for time it's very easy to just "guess" where vanishing points should be and fake it. I think having someone around to call me on it would be a big help, though.

Do you think it's easier to be an artist today than say twenty or thirty years ago?

I think it's easier to make money at it, mostly due to the global opportunities the Internet has blown open, but actually BEING an artist- the act of creating... I don't think it's any easier.

If you can recall, describe the moment or event that you realized you wanted to be an artist.

Hmm... I can remember drawing all my childhood... but the exact moment I defined what I wanted to be?

I was probably ten... At a friend’s house, sitting in the yard after watching Batman: The Animated series, we were tracing out of a Superman coloring book and I said, "Know what? I'm going to do this for the rest of my life".

So probably about then, I suppose.

Well now I feel really old.

I've seen the work you've done for ASJ, it's a really solid mix of medium. Which medium is your favorite or most comfortable?

I'm probably most proficient with a pencil and Bristol Board, as far as drawing goes. I'm also not half-bad with that "Photoshop" thing, too.

Do you have anything you'd like to say to your fans and fellow artists?

I'm gonna take a line from Strong Bad here:

Ladies to the left for make-outs!

Dudes, to the right for high-fives!

and Artists.... I love ya all. Keep on creating.

Brilliant, well thanks for taking the time to talk today. Good luck with everything.

Thank you, and let me know if I need to break any Single Mailer stragglers' kneecaps.

You can see more of Steve's artwork on his website, http://www.downerillustration.com/

Interview - Ben O'Brien

Ben O’Brien (aka Ben The Illustrator) is a graphic artist and illustrator based in Dorset, UK, but they’ll be relocating to Cornwall soon. You may have seen his work in Smart Cars and Vice Magazines as well as The Guardian. He and his wife Fi are a self contained design agency.

First off, thanks for taking the time to talk with me today.

How did you hear about the 100 Artist Project?

I saw it on the Little Chimps Society website, it sounded awesome to be honest. I love illustration projects that bring different people together so I was desperate to be involved.

Are you self employed or do you work for an agency or studio?

Self-employed. I used to be creative director of a small design agency in London, I enjoyed it but spent most of my time wanting to just focus on my own illustration work...

I now work with my wife, Fi, who manages our print sales and plenty of creative projects.

So you've done a lot of magazine covers and ads and such, yes?

Quite a bit yes, although I've always still got a lot to aim for though!

Was it a choice to work in the style you do now, the fanciful, colorful scenes, or was that more a need to adapt to the market?

It just came naturally to be honest, I've always drawn landscapes and I'm a bit of a nature freak so I'm always looking at trees and views. I find I create the best illustrations when I just do what I want to do, I'm not really a fan of adapting creativity to suit the markets, it takes the spark out.

That said, where did you pick up the desire to do landscapes?

Mostly from travelling I guess, when I was a kid we'd drive around France and see the mountains in Alps and the beaches on the South Coast, I just love places! Landscapes have always had quite an effect on me, so I try and get those feelings into my illustrations. If I can create a place that makes someone feel something, then my job is done!

Did you study art or are you self taught?

The basics of drawing I learnt myself just from copying comic books. I studied animation at college, which gave me a good grounding in visual arts I guess. Throughout school, right from childhood, art was the only lesson I ever enjoyed, I had one very inspiring teacher, and plenty who I just set out to rebel against.

Who were your biggest influences starting out, that teacher maybe?

Yeah, Mr.Dutfield, he taught me from the age of 13 - 16, taught me to try new things and not to feel the need to use traditional methods. He was great. At the same time I was discovering pop art, Lichtenstein, Warhol and all, plus early New York graffiti artists like the Wild Style guys and Keith Haring. All these people had such an incredible use of colour, I loved anything with colour.

There’s also an old book-cover illustrator called Brian Cook, my folks gave me a book of his work for Christmas and it blew me away, he painted all the British landscapes using really fresh colours, they looked brand new, but they were done between the 1930's and the 1950s. All these people using colour have to be the base influence for what I do now.

In doing what you do now, is there anything - a habit or crutch - that you'd change?

Thats a tricky one! Creatively I don't think there's anything, and generally, considering my job, there's nothing, I love what I do, and I love working together with my wife so that's all good, nothing to change... however! I do wish I was more confident, like more able to sell myself, better people skills! I've always shied away from people too much.

That actually answered my next, question about promotion, so thanks.

No worries!

Without naming names, what was the hardest or most improbable thing a client has asked you to create?

Hmmmmm, I had this one job last year, working alongside a design company for a massive client (no names named!) and we did they presentation, got the job, signed contracts, but then at the last minute the client decided they wanted a completely different style! However I could create the style they wanted (a 1950s cartoon style) so I just got my head down and produced what they wanted it's weird working in a different style, for the first time in my life I felt like I had a tedious uncreative job, not doing what came naturally to me! In the end it did look pretty cool, but no-one will ever know I did it!

Well to give you some credit and right the score (and feel free to name names here) who's been your best client?

I have a few that I enjoy working with, but my favourite is probably Smart Cars. I've been working with them for a couple of years on their 'alternative' ad campaign in Europe. They give me free-reign on what I illustrate pretty much, just Smart Cars zipping around fresh landscapes. The last thing I did for them was a landscapes which has been printed around a new Smart Car for a car show in San Jose next month, I can't wait to see it all together!

Where did Speaker Dog come from?

He started off as a doodle, just me coming up with new characters, he was actually connected to another character by a wire. I painted a few canvasses with him on, then it just rolled on from there.

Do you have plans for him?

Plenty! We have the paper toys which are set to get bigger and bigger. Fi manages the Speakerdog Paper Toys, and she's got designs from some really great designers for the next series, including Shin Tanaka who rules the paper toy world! We've also got our first Speakerdog exhibition in the UK in November which is going to be awesome. We've also just started talks to get a vinyl toy going!

Plus I'll always keep illustrating him, we have a lot of dreams with Speakerdog, just keep on taking him to different projects!

I know freelancers and self employed creators have to set daily routines like folks working office jobs, but have you found, especially working closely with your wife, that you seem to be working all the time? What's down time like?

Yeah, whenever we're at home, it seems like we're working. Although recently we've been house-hunting so we get enforced breaks. Down time usually involves cooking, walking or watching comedy on tv. It is hard since even when you're doing these things, trying to rest, you end up talking about Speakerdog or something!

Do you think it's easier to be an artist today than say twenty or thirty years ago?

Yeah, with the internet it is incredibly easy to get your work out there, and collaborate with people, and run great projects online. However! nowadays there are a lot of people being artists so there may well be more competition than there was 20 years ago.

Are you better at collaborating or working alone?

Working alone, but collaborating is like an exciting little break, it's different and interesting, but when it comes to generally making pictures, I'd rather work alone most of the time.

When you look back on the choices you made as an artist or becoming an artist, what - if anything - would you do differently?

I'm not sure, because I'm quite happy where I am now. I spent a few years working in animation, maybe I could have skipped that and gone straight for the illustration? I also wish I travelled further afield when I was younger, seen more of the world in my early 20s. I'm trying to make up for it and experience more places now.

Do you have anything you'd like to say to your fans and fellow artists?

Enjoy what you do. I have kind of 'found myself' in settling into illustration, and I think once you find your calling, your creative style, whatever, you should enjoy doing it.

... and use your powers for good. Like superheroes do.

Ha! Excellent.

Ben, it's been a pleasure. Thanks so much for talking with me today.

Ah, that’s it? It’s been grand, thanks Ben! A real pleasure. Fi and I really admire the 100 Artists project, it's ace to be part of it.

I appreciate that, it's been fun working on it and seeing everyone's work.

Cool.

You can see more of Ben's work at his site, bentheillustrator.com.

Interview - Adam Koford

Adam Koford is a freelance illustrator and cartoonist who gained internet fame with his contributions to the 700 Hoboes Project and more recently his Laugh-Out-Loud Cats. He's done work for American Greetings, Recycled Paper Greetings and King Features Syndicate. He's married with children and currently lives and works in "Cloud City" Florida.

Adam, thanks for taking the time to speak with me today.

First off, as many people know already, your net handle is "Apelad." How did you get that name?

Mark Frauenfelder first suggested cartoonists should draw Hodgman's hoboes and then post them to flickr. I signed up, but needed a handle. I'd been living in Florida for a few years and I would tell friends my phone number was 407-APE-LAD1 (which it really was) sort of as a gag and so they could remember it easier. I decided to go with that since it coincidentally happened to be a relatively accurate description of me. The phone number preceded the nickname. We've since moved and our new phone number is complete nonsense.

If you can recall, describe the moment or event that you realized you wanted to be an artist.

I was never really the class clown in school, but I remember being able to make my close friends laugh. At some point when I was very young, maybe 4th grade, a friend told me I should either become a stand up comedian or a cartoonist. I remember that moment like it was yesterday and haven't looked back. Besides, I was way to young for the Improv's open mic night back then.

Would you describe yourself as a classically trained or self taught artist? If you studied, where and was it a good experience?

I am a mixture of both. I have a degree in illustration, but I was learning to draw from comics and golden age illustrators long before that.

What would you like to accomplish with your art?

My aims are pretty simple: I want to give people a bit of joy and a smile, if only for a second. And hopefully support myself and my family for the next thirty or so years doing it.

Who were your biggest influences when you were starting out and has that changed?

The first library book I ever laid my hands on was a Rube Goldberg collection. From a very young age I tried to immerse myself in as many different influences as possible--from comic strips to comic books to art history in general. My mother went back to college when I was in high school, and I would go with her and hang out in the library for a few hours discovering N.C. Wyeth and Howard Pyle, as well as whoever was in the Society of Illustrators annuals like Brad Holland and Bernie Fuchs. Since then, I don't really follow what the SI is doing, the illustrators I look at are in comics and online.

I know you make a living with your art, how hard do you work at it?

I can always work harder at it, but the trick is making the work amount to something. There's an interview with Orson Welles where, at the end of his life, he talks about movie making being one big hustle: always trying to make money and work on another project. I feel the same way about what I do. Many are the months when the prospects dry up and all of a sudden the civil service test looks like the best option.

If you could change something you do while creating, a habit or crutch, without any effort, what would it be?

I could be better at thinking things through as I do them. I often look back at my work and wonder what I was thinking, technique-wise.

Are you a hard set solo artist or would you like to collaborate more with other artists?

Collaboration can be fun, and on lots of projects it's the rule. Whether it's an art director or client, there aren't too many opportunities to create in a vacuum.

Artists are generally not happy with what they've done or how accomplished they are, but if you had to label it, what would have to happen for you to consider yourself successful?

A steady reliable income creating something I love working on forever till I die an old man at the drawing board. Is that so much to ask?

What media are you most comfortable using and why?

I'm pretty comfortable with most anything as far as traditional media goes. I don't have as much of an opportunity to paint as much as I'd like and I miss it sometimes. I also really enjoy experimenting and discovering things in photoshop. Illustrator not so much. Vectors leave me cold for some reason.

Would you rather push yourself to get a lot of work done or push yourself to perfect one piece at a time over a long period?

I've never been very good at staying interested in one physical piece of work for a long time. I tend to work quick and dirty at times, but I'm trying to find a balance.

When you look back on the choices you made as an artist or becoming an artist, what - if anything - would you do differently?

I would have done a lot more life drawing from a live model a lot earlier. One summer I went to weekly life drawing sessions at the University of Utah and it improved my work in very noticeable ways.

Do you think it's easier to be an artist today than say twenty or thirty years ago?

It always has been, and probably always will be, difficult to make a living as an artist.

What's a typical day like for you?

It all depends on what I'm working on and when it's due. Some assignments have a quick turnaround and some are drawn out. Missing a deadline is the number one cardinal sin for a freelancer.

In the meantime I work on writing and drawing things that are ordered through my blog, or devising other ways to generate interest in my work.

Your recent work on the Laugh-Out-Loud Cats has a satirical tidbit about your grandfather Aloysius "Gorilla" Koford being the original creator before becoming a seaman. In reality, are you a product of an artistic family?

Reality is entirely relative. But yeah, my father went to art school and would draw for us quite a bit when I was a kid. I have a son who has an almost visible need to draw, especially if he's around comic books.

You're relatively close to Disney World. Has that been an influence on you as a cartoonist? Have you ever tried to work for Disney?

The themeparks are extremely inspiring artistically. The amount of detail and artistry that goes into most of them is often what keeps me upright if I'm there in the Summer or on a busy day.

I lived in Burbank in 95-96 when apparently everyone was getting a job in animation simply by asking, and I applied to Disney and several studios then, to no avail.

I dropped off my portfolio with the Disney animation studio here in Orlando as they were wrapping up production on Brother Bear. Shortly after that they closed their doors.

John Hodgman's book, "Areas of My Expertise," seems to have had an enormous impact on your work. Why do you think that is?

I've always had a soft spot for absurdity I guess.

Have you thought of trying to work on something with him, a collaboration?

At this point I'm resigned to the fact that I'll never actually meet him (let along collaborate with him on anything), even though several other hobo artists have seen him at readings and such. Did you know Jack Kirby and Joe Sinnott met only once in their entire lives? Two men who defined the look and flavor of comics for the next several decades only met once at a convention, had a few words, and went along their ways. I'm no Joe Sinnott, but maybe I'll meet Hodgman when we're very old men, at the annual Hobo Convention in Britt, Iowa.

You and two other 700 Alums (myself and Jawbone Radio's Len Peralta) have set up sort of a cottage industry of small, quick, cheap and customizable art. It seems to have done quite well for you, but do you feel it's taken away from other things you'd like to be doing?

No. I like drawing, and it allows me to draw.

You've been involved in more than a few online groups, Neatorama, the 700 Hoboes, Illustration Fridays to name a few. Which has been or is still your favorite?

The 700 Hoboes project was a very fun time for me. I never had to wonder what to draw next, and I was always on the lookout for weird and new things to incorporate. I look forward to the 700 Molemen, and really should do more about the other 700 Things projects going on.

Do you have anything you'd like to say to your fans and fellow artists?

Only this: thank you.

Thanks for your time. Good luck with your work!

And thank you, too.

You can see more of Adam's work on his blog, Hobotopia.