Award-winning illustrator, Hanyu Mu, shares her tips to navigate artist's block and breaks down her creative process
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]]>Hanyu Mu is an award-winning Chinese illustrator and animator based in Atlanta, Georgia. Mu’s artwork is atmospheric and alluring, capturing our attention with her varied mark-making and focus on storytelling.
In our interview with Mu, she discusses maintaining a healthy work-life balance, nurturing creativity, and breaks down her illustration process from the spark of inspiration to the final touches and presentation.
Illustrators’ Lounge: Tell us about yourself. How did you get into illustration?
Hanyu Mu: Hi! My name is Hanyu Mu, and I am an illustrator and animator originally from Beijing, China, and currently residing in Atlanta. From a young age, I had a deep fascination with art and drawing. I vividly remember spending hours doodling and sketching, letting my imagination run wild on paper. Drawing became an integral part of my life, and it provided me with a sense of joy and fulfillment that was unique to me.
As I grew older, my passion for art continued to blossom. I was exposed to various forms of art, including Japanese, European, American, anime and manga, as well as traditional Chinese ink painting. These diverse influences sparked my interest in animation, games, and illustration. I was captivated by the power of visual storytelling and saw these mediums as powerful vehicles for self-expression.
My journey into illustration began during my time in high school when I received systematic art education. This formal training allowed me to express my world independently through a paintbrush, further fueling my passion for artistic creation. As I explored different art forms, I found myself drawn to the world of animation and illustration, where I could blend my love for storytelling with my artistic skills.
After completing my animation studies at university, I felt a desire to delve deeper into illustration and bring more aesthetic elements into my creative process. This led me to pursue further studies in illustration, and I came to the United States to hone my craft.
Illustration has become my chosen path because it allows me to convey my emotions, thoughts, and imaginative ideas to others visually and compellingly. I find immense satisfaction in creating artwork that resonates with viewers and evokes genuine emotions within them.
Overall, my passion for art and drawing, combined with a love for visual storytelling, guided me into the world of illustration. It has been a rewarding journey, and I am continually inspired to push the boundaries of my creative expression through my artwork.
IL: What unexpected challenges have you faced as a professional illustrator and animator?
HM: As a professional illustrator and animator, I have encountered a few unexpected challenges throughout my career. One of the most notable challenges has been dealing with creative blocks and periods of low inspiration. As an artist, my work heavily relies on my imagination and creative energy, and there are times when I face moments of uncertainty or struggle to come up with fresh ideas.
Another challenge has been adapting to the ever-evolving technological landscape. With the rapid advancements in digital tools and software, staying up-to-date with the latest trends and techniques can be demanding. It requires continuous learning and flexibility to incorporate new technologies into my artistic process.
Additionally, balancing creativity with commercial aspects has been a challenge. While I am passionate about creating meaningful and emotionally resonant artwork, I also need to consider the market demands and client expectations. Finding the right balance between artistic expression and commercial viability can be a delicate task.
As a freelancer, managing time and workload can also be challenging. Juggling multiple projects and deadlines while maintaining the quality of my work requires careful planning and organization.
Lastly, like many freelance artists, I have encountered periods of financial uncertainty. The nature of the industry can lead to fluctuating income and inconsistent project opportunities, which can create added pressure.
However, these challenges have also been valuable learning experiences. They have taught me to be adaptable, resilient, and resourceful. Overcoming creative blocks has taught me to seek inspiration from diverse sources, and embracing new technologies has expanded my artistic capabilities. Balancing artistic vision with commercial requirements has allowed me to find ways to maintain my authenticity while meeting client needs.
Despite the challenges, I am continuously motivated by my passion for art and storytelling. The joy and satisfaction that come from creating impactful and visually striking works make every challenge worthwhile. Through perseverance and a commitment to growth, I have been able to navigate unexpected obstacles and continue to thrive in my career as an illustrator and animator.
IL: How do you divide your time between professional and personal work?
HM: Dividing my time between professional and personal work is essential for maintaining a healthy work-life balance and nurturing my creativity. I strive to create a structured schedule that allows me to dedicate sufficient time to both aspects of my work.
During weekdays, I primarily focus on my professional projects. I set specific hours for client work, ensuring that I am productive and efficient during those periods.
To preserve my creative energy, I incorporate short breaks throughout the day, allowing myself time to recharge and avoid burnout. This helps me maintain a high level of focus and productivity when working on professional projects.
In contrast, weekends are reserved for personal work and creative exploration. This is when I delve into personal projects, experimental artworks, and ideas that I’ve been eager to explore. Having dedicated time for personal projects enables me to freely express myself and pursue creative avenues that may not align with client demands.
Flexibility is a crucial component of my time management strategy. While I strive to adhere to a schedule, I understand that creative work can be unpredictable, and ideas may strike at unexpected moments. Embracing this spontaneity allows me to explore new concepts and foster a genuine passion for my craft.
Overall, creating a balanced division between professional and personal work is crucial for maintaining my creativity, staying motivated, and ensuring that I produce both impactful client projects and deeply fulfilling personal artwork. It allows me to grow as an artist and bring a sense of fulfillment to both realms of my creative journey.
IL: Can you tell us about some of your favourite projects you have worked on?
HM: Certainly! I have had the pleasure of working on several projects that hold a special place in my heart. Each project allowed me to explore different aspects of my artistic abilities and brought unique challenges and rewards.
One of my favourite projects was an animation short film that I created during my junior year in university. It was a significant undertaking that required months of hard work, collaboration with fellow students, and meticulous attention to detail. Seeing the final film on the big screen during the screening event was an incredibly rewarding moment. The excitement and sense of accomplishment we felt as a team was unforgettable.
Another favourite project was an illustration for a children’s book, Night on the Galactic Railroad. The opportunity to bring a story to life through my artwork was both fulfilling and delightful.
Recently, I completed a conceptual illustration project based on my personal experiences. This project allowed me to merge my passion for illustration with an imaginative animated world. Designing characters, environments, and visual elements to enhance the visual experience was truly thrilling.
Each project I work on holds its significance, they collectively contribute to my growth as an illustrator and animator. I cherish the diverse opportunities that come my way and look forward to continually challenging myself with new and exciting projects in the future.
IL: Your work on the picture book for “Night on the Galactic Railroad” is very striking and seems to be a much looser style than your other work. Can you tell us more about this project and how you arrived at the style and tone for the book?
HM: Thank you for your kind words. This project was a unique and memorable experience for me, as it allowed me to explore a different artistic style and tone than some of my other works.
The decision to adopt a looser style for this picture book was a deliberate and thoughtful one. Night on the Galactic Railroad is a classic literary work with a profound and imaginative narrative. I wanted to ensure that my illustrations complemented the poetic and dreamlike essence of the story.
During the initial stages of the project, I immersed myself in the original novel and other visual adaptations. This helped me gain a deep understanding of the story’s themes and characters. As I delved into the emotional nuances and visual symbolism of the book, I felt that a looser style would better capture the ethereal and emotional atmosphere.
The looser style allowed me to convey a sense of wonder and mystery, essential elements of the story. It provided room for imagination, allowing readers to interpret the visuals in their unique ways while connecting with the emotional journey of the characters.
Moreover, the looser style also added a sense of movement and spontaneity to the illustrations, mirroring the magical and unpredictable nature of the galactic journey undertaken by the protagonists.
To achieve the desired tone, I experimented with various artistic techniques, including watercolour and ink washes. These traditional mediums provided a fluid and organic feel to the illustrations, creating a sense of depth and emotion.
In summary, the creation of the picture book for Night on the Galactic Railroad was a delightful and immersive journey. By embracing a looser style, I sought to capture the story’s poetic and dreamlike qualities, inviting readers to embark on a magical and emotional adventure alongside the characters. It was a project close to my heart, and I am grateful for the opportunity to contribute my artistic vision to such a beloved literary work.
IL: Can you tell us a little bit about your creative process – from the initial concept to the tools you use?
HM: My creative process is a dynamic and iterative journey that evolves with each project. It typically begins with a spark of inspiration, whether it’s a specific idea, emotion, or visual image that captures my imagination.
Ideation and Conceptualization: At the initial stage, I brainstorm and sketch out various ideas, exploring different concepts and compositions. I draw from my personal experiences, interests, and the project’s requirements to develop a strong foundation for the artwork.
Research and Reference Gathering: I often research to deepen my understanding of the subject matter or the visual style I want to achieve. This may involve studying historical references, gathering visual inspiration from various sources, or delving into relevant literature.
Thumbnail Sketches and Composition: Once I have a solid concept, I create thumbnail sketches to experiment with different compositions and arrangements. These small-scale drawings help me quickly visualize the overall design and choose the most effective layout.
Refinement and Drafting: From the selected thumbnail, I move on to creating a more detailed draft. This may involve refining the linework, exploring colour palettes, and experimenting with various visual elements to enhance the narrative and emotional impact.
Digital Rendering: As an artist who leverages digital tools, I transition to the digital realm to bring the artwork to life. Using software like Adobe Photoshop or Illustrator, I meticulously refine the artwork, adding layers of depth, textures, and fine details.
Exploration of Mediums and Techniques: Depending on the project’s requirements, I may employ a combination of traditional and digital mediums. Watercolour, ink, and gouache are some of my favourite traditional mediums that I sometimes integrate into the digital workflow.
Feedback and Revision: Throughout the process, I actively seek feedback from colleagues, peers, or clients. Constructive criticism helps me refine and strengthen the artwork, ensuring that it aligns with the project’s vision and resonates with the intended audience.
Final Touches and Presentation: Once I am satisfied with the artwork’s visual narrative and emotional impact, I add final touches, adjusting colours, contrasts, and lighting if necessary. I then prepare the artwork for presentation, ensuring it meets the technical requirements and is ready for its intended platform, whether it’s for print or digital display.
In summary, my creative process is a blend of imagination, research, experimentation, and technical skill. It allows me to craft visually compelling and emotionally resonant artworks that bring my ideas to life and invite viewers to embark on a journey of imagination alongside me.
IL: How do you deal with artist’s block?
HM: Dealing with artist block is a common challenge that all creatives face at some point in their careers. When I encounter artist’s block, I employ several strategies to overcome it and reignite my creativity:
Take a Break: Sometimes, stepping away from the project or the creative process for a short while can be beneficial. Taking a break allows my mind to rest and reset, preventing burnout and giving me a fresh perspective when I return to the work.
Seek Inspiration from Nature: Nature is a boundless source of inspiration. Taking a walk outdoors, observing the beauty of the natural world, or simply spending time in a peaceful environment can help clear my mind and open the door to new creative ideas.
Experiment with New Techniques and Mediums: Trying out new artistic techniques or experimenting with different mediums can break the monotony and revitalize my creativity. Embracing the process of exploration allows me to discover unexpected approaches and styles.
Embrace Playfulness: Playfulness and spontaneity are powerful tools in overcoming artist’s block. Engaging in creative play, such as doodling, scribbling, or creating without any expectations, helps me tap into my inner childlike imagination.
Connect with Other Artists: Talking to fellow artists, joining art communities, or attending workshops and art events can provide support, encouragement, and new perspectives. Sharing experiences and ideas with other creatives can be inspiring and motivating.
Review Past Work: Looking back at my previous artworks and accomplishments can remind me of my growth and achievements, boosting my confidence and motivation to overcome artist’s block.
By incorporating these strategies into my creative routine, I can effectively navigate artist’s block and continue to produce meaningful and inspiring artwork.
IL: What advice would you give to others looking to make a living from art?
HM: Embrace Your Unique Style: Develop your own artistic voice and style. Embracing your uniqueness will set you apart from others and create a recognizable brand for your work. Don’t be afraid to be authentic and express your individuality through your art.
Stay Persistent and Patient: Building a successful career in art takes time and perseverance. There might be setbacks and challenges along the way, but staying persistent and patient will help you navigate through them and grow as an artist.
Showcase Your Work: Create a strong portfolio that showcases your best work. An online presence, such as a website or social media platforms, allows you to reach a broader audience and attract potential clients.
Be Open to Diverse Opportunities: Be willing to explore various artistic avenues. Art has numerous applications, from illustration and animation to concept art, graphic design, and more. Be open to diverse opportunities, as they can lead to unexpected and rewarding experiences.
Value Your Work: Understand the value of your art and set appropriate pricing for your services. Be confident in communicating the worth of your artistic skills and the time invested in creating each piece.
Embrace Criticism and Feedback: Be open to receiving constructive criticism and feedback on your work. It can help you grow and refine your art. Use feedback as a tool for improvement rather than taking it personally.
Balance Passion and Business Savvy: While passion drives art, it’s essential to balance it with business acumen. Learn about the practical aspects of freelancing or running an art business, such as contracts, invoicing, and client management.
Stay True to Your Vision: While commercial projects can be rewarding, don’t lose sight of your artistic vision and personal projects. Balancing commercial work with passion projects can keep your creativity alive and fulfilling.
Remember, making a living from art requires dedication, resilience, and a willingness to evolve. Embrace the journey, and never stop believing in the power of your creativity and the impact your art can have on others.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
HM: As an artist and illustrator, I observe and learn from various talented individuals. My favourite artists are Matsumoto Taiyo and Amano Yoshitaka:
Matsumoto Taiyo: His iconic manga and art style, best known for works like “Sunny” and “Tekkon Kinkreet,” have had a profound impact on me. His ability to craft rich narratives and emotionally resonate characters through his illustrations is truly inspiring. Especially his solid foundation and relaxed brushstrokes, every time I look at his work, both the content of the stories and his artistic skills make me linger and never want to leave.
Amano Yoshitaka: His ethereal and intricate illustrations, particularly in the “Final Fantasy” series and “Vampire Hunter D,” have left a lasting impression on me. His unique blend of detailed linework and dreamlike atmospheres has influenced my approach to creating fantastical worlds.
These artists have contributed significantly to the world of art and illustration, and they continue to motivate me to push the boundaries of my creativity. By broadening my pool of inspiration through their distinct styles and storytelling techniques, I continually strive to develop and refine my artistic voice.
You can find more of Hanyu Mu’s work on her website, Instagram, and LinkedIn.
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]]>We talk to Benji Davies about his career path, creative process and inspiration behind the Storm Whale books
The post An Interview with Benji Davies appeared first on Illustrators’ Lounge.
]]>Benji Davies is an award-winning illustrator and author. He is best known for his acclaimed picture books The Storm Whale, Grandad’s Island and The Grotlyn.
Gallery Nucleus is currently hosting Davies’ first US solo exhibition. The exhibition is running from 6-20 August at their California flagship gallery. For the show, Davies has cherry-picked his favourite images from over a decade of books and turned previously digital work into brand new physical artworks, exclusively for this exhibition.
We previously featured Davies’ work way back in 2016, so we’re thrilled to have the chance to talk to him.
Illustrators’ Lounge: Can you tell us about your path into picture books?
Benji Davies: I studied animation at university. Due to a big shift towards CGI at the time I graduated, it was really hard to find work in that industry. We had trained in more traditional forms of animation storytelling, techniques like hand-drawn and stop motion, and whilst I continued to develop and seek work in animation, I looked to illustration as an outlet. While applying for a job as a designer at a publishing house, I didn’t get the job, but I had the opportunity to show them my portfolio and I was lucky to be offered a job illustrating a non-fiction picture book about the moon landings.
After a couple of years, I did start to find work in animation, being represented for commercials and music videos. This continued for quite a few years, working in both animation and illustration. But I never had the chance to tell my own stories which is where writing picture books came in.
IL: What were some of the most important lessons you learned from your time in animation?
BD: Working in commercial animation making adverts, and pitching on many different subject matters really pushed me to think in different ways and work in styles and tones that weren’t so obvious to me.
I guess one of the biggest gifts it gave me was the realisation that whilst I was making a living from animation directing work I wasn’t being creatively satisfied, and I found it quite soulless working for commercial clients. I needed to be more wholly the creator of the work. Writing and illustrating stories in my own picture books enabled me to do that. It was another way of “making films” as I had studied at university. I got to write the scripts, make the costumes, be the actors and cinematographer but the films I was able to make were actually books.
IL: Noi’s adventures in the Storm Whale books are charming and idyllic, what inspired them?
BD: This goes back to my days as an animation student. The film I made was called A Bowl Of Soup. It was the story of a little boy who finds a whale on the beach. As the years passed I had always wanted to see if I could turn this student film into a children’s book. Then one day I was in a seaside town called Whitstable in Kent, UK, and I saw some oystermen’s huts, old fishing huts along the shoreline. It put me in mind of the film I had made several years before so when I got home I set about turning some sketches and photos I had made of the huts into a new piece of artwork. This image became the starting point of me developing the picture book now known as The Storm Whale. The process took about three years before my publisher gave it the greenlight. The main character was nameless in the original student work but I had heard the name Noi when watching an Icelandic film at some point in the intervening years and felt it would suit my whale-saving boy.
IL: What’s your creative process – from the initial concept to the tools you use?
BD: All my books have unfolded in slightly different ways. But when I set about writing a new picture book the first thing is usually a seed of an idea that I have been brewing for some time, maybe several years. Ideas tend to gather over time, from concepts or moments, maybe even images such as the oystermen’s huts. I tend to build the idea in my head, and then at some point when inspiration strikes I will have the first line of the book – this happened with my book Tad. “Tad was a frog. Well that’s not quite true – she was almost a frog”. The rest flowed from that sentence. It’s then a much bigger job to storyboard the book, edit the text and make everything work as a picture book. I sketch out the story as a sequence of thumbnail images, the book illustrations as I imagine them to be in a small rough form. I then scan these and drop them into InDesign to create a dummy version of the book in PDF format. I can tweak and edit until everything is just as I want it.
Once I have the go ahead from the publisher I set about creating the artwork. I take each page of the PDF into Photoshop and start to paint digitally, building up the layers, objects and characters in the scene.
IL: Your career has gone from strength to strength, with a string of highly acclaimed and much-loved books, so what’s next?
BD: It’s a very good question! There are several things I have on the boil. One is writing a much longer book for older readers which I dip in and out of when I get the chance between deadlines. But also more picture books, and developing some of my published work into animation. But after creating these new paintings for the Gallery Nucleus show I’m also leaning into the idea of spending more time with my paints and brushes making some work which isn’t related to books and stories – that would be interesting and fun to explore.
IL: You have an upcoming solo show with Gallery Nucleus, what can people look forward to seeing at there?
BD: The show at Nucleus was a unique opportunity for me to look over ten years of creating picture books and cherry-pick my favourite images, then set about turning them into real painted works. I used a variety of mediums and techniques to achieve this, from gouache and acrylic, to ink and collage. The whole process was one of discovery and rediscovery. I’ve relied on a digital way of working for many years, both for the style it enabled me to produce, but also its expediency and editability. It was surprisingly meditative to find myself away from a screen, only hearing the brush strokes and scratches of pen on paper while I worked and has made me reconsider how I will work going forward.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
BD: Gallery Nucleus is a great place to start for anyone looking to be inspired, they represent such a great range of talented artists, it’s a real honour to be placed alongside them.
Some artists who have inspired me over the years tend to be ones from the past – Tove Jansson, Gustaf Tenggren, Mary Blair, Ronald Searle, and Eric Ravillious.
You can find more of Benji Davies’ work on his website and Instagram, You can find more details about his US show on the Gallery Nucleus website.
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]]>Exclusive video interview with animator Maxwell Oginni
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]]>We’re back with another installment of Monographs — our behind-the-scenes video series where we interview illustrators in their studios.
When we met Maxwell Oginni in June 2016 at his London home, he spoke with us about building a career in the animation industry. From not knowing what to charge for his first paying job, to successfully running a children’s workshop, sharing his passion with the next generation.
Last year, Maxwell was part of a Children’s Media Conference (CMC) panel discussing the portrayal of black male characters in children’s content. Where are the Smart Black Boys in TV? is an insightful discussion around the importance of breaking stereotypes in media and advocating for the inclusion of positive black male role models.
Curious to know what Maxwell has been up to since our interview, we reached out for an update:
Since 2016, I’ve gone on to work with the likes on Sony Pictures Animation, Matthew A. Cherry (Director of Academy Award Winning short, ‘Hair Love’) & Carl Jones (Executive Producer of ‘Black Dynamite’ TV series), as a character design artist on the upcoming series adaptation of ‘Hair Love’, which will be airing on HBO Max very soon.
I’ve also recently finished working with Warner Brothers Productions as a Story Artist on the upcoming feature, ‘Coyote Vs Acme’ Directed by Dave Green (Teenage Mutant Ninja Turtles 2016) and starring John Cena. Outside of this, the last two years, I’ve had the pleasure of working with Laura Henry-Allain (creator of JoJo & Gran Gran) on her next children’s series production titled, ‘Daddio & Co’, which I provided the main character designs for, and am honoured to say I’ll also be directing.
Finally, I’ve recently expanded to the world of children’s book illustration and am now signed with United Agents as an illustrator. If you’d like to keep up with my work, you can follow me on Instagram or subscribe to my website maximajination.com.
Maxwell Oginni
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]]>We talk to visual development artist, Eunbi Kang, about colour, composition and comparing yourself to yourself
The post An Interview with Eunbi Kang appeared first on Illustrators’ Lounge.
]]>Eunbi Kang, a recent illustration graduate, studied illustration but had her sights set on animation. Her artwork bursts with energy and playfulness, brought to life by her skillful use of light and colour, creating a vibrant and atmospheric world.
In our interview with Kang, she discussed overcoming challenges, leaning into your strengths and pursuing your dreams.
Illustrators’ Lounge: Tell us about yourself. How did you get into illustration?
When I was young, my mother bought me collections of children’s books to raise a child who read a lot. And I did. From her point of view, I might have been a good kid who loved to read, but I actually read the books over and over to see all the wonderful illustrations that filled the pages. Paintings that told stories were a huge attraction to me as a child and even now. When I was in high school, I found out about jobs in animation and grew and had an interest in visual development after seeing the paintings of Celine Kim, one of the graduates of the ArtCenter. I ended up majoring in the same Illustration Department at ArtCenter just as she did.
IL: What are your favourite projects you have worked on and what has been the most challenging project?
My graduation project based on the 1950s black and white film Roman Holiday, was the most difficult project I’ve done, but also one of my favourites. When I watched this movie for the first time, I shouted “Eureka” out loud. I thought it would be nice to remake this wonderful movie into an animation style. And, since this was a black and white film, it gave me the freedom to emphasise my strength, colour. However, at the same time, it created a lot of obstacles for me because there was no reference colour that could be obtained from the film itself. Adding onto the task, I also needed to create all the parts of character designs, props, sketches, and composition for this project. However, after all of the obstacles, I think I overcame my limitations, I realised I can paint better than I expected and design my project more than I could. I heard that the growth of art skill does not have a diagonal shape, it has a stair shape. When artists break through their limitations, they grow their skills. To me, Roman Holiday became a way for me to step over my limitations.
IL: How has your style evolved since working professionally?
I think my style has evolved and been tailored to the animation industry, especially 3D animation. My job is a visual development artist, who creates the pre-production ideation of the animation, such as props, backgrounds, and characters. And since I found my strength in colour, I did a lot of design work focusing on colour. Because of that, since working professionally my portfolio has been built to focus on an animation style and different scenes.
IL: Your illustrations have a warmth to them, because of your charming character and good use of lighting. What are your biggest considerations when composing a scene?
Thank you very much for the compliment. I think the most important thing in painting is harmony. This concept is not just utilised by painting, but also by sculpture, photography, and many other art fields. So, when creating an illustration, it is good to think about the point of view of the people who will see it. The first thing I think about is how to naturally draw the viewer’s eyes to the focal point. Directing the shape or location of buildings or objects to the focal point. An illustration fundamental that I first learned at the Art Center.
Utilising this, I think about which composition works best for the story. Illustrations are not animations. It can be the basis of animation, but since the character does not move, it cannot contain a vast story like animation in one scene. For example, in my Roman Holiday redesign project, there is a scene where Ann is getting her haircut And Joe, the male protagonist, is surprised to see her new hairstyle. There’s a variety of compositions that could suit this moment. You can capture Ann’s haircut and Joe’s surprise in the reflection in the large mirror at the salon. Or you can create a full shot of the salon while others adore Ann’s new look, Joe is surprised at the back. You just have to think about the different compositions and choose which best describes the scene.
IL: Do you have any painting tips?
Oh, that’s a very difficult question. While I have learned a lot from many people, the most life-changing words I’ve ever heard were spoken by Drew Hartel. “Don’t paint things, paint light.” These words completely turned my life upside down. Painting can be divided into light, objects that light hits, and shadows that objects create. I think painting expresses how light reflects off objects. Ultimately, it is the work of expressing light. After hearing this, my painting became easier and more fun. After all, painting is about how local colours react to light.
So when I start painting, I first imagine the colour of the light and the colour of the shadow. And think about what happens when the local colour is exposed to light and shadow. For example, imagine an apple under a blue sky bathed in yellow sunlight. First of all, I will think about the colour of light and shadow. Then, I will colour the apple, imagining what colour the red of the apple will be when it is in a yellow light versus what colour it will be when it is in a blue shadow. The part that receives the light is a warm colour, so it will be more saturated red, and the red colour in the shadow part will be low-saturated or blue. So rather than colouring the apple in what it would be known for, I’m imagining how the colour reacts to the light it is under. I don’t think it’s important to copy the exact colour from reality. The most important thing is that the viewer doesn’t have to question the light and colour of this painting.
IL: How do you keep yourself motivated and avoid burnout?
It’s a question my friends always ask, “how can I always draw and paint?” Well, I don’t think of painting as a job, it is always fun, and more of a game.
Everything around me becomes my inspiration. While looking at the buildings, trees, and passing cars that change with the time of day, I am constantly thinking, “Oh, this will be a really good reference.” The world is my playground, reference, and teacher. Paintings and this wonderful world never leave me bored.
But when anxiety and worries about the future come, I remind myself to focus on the present, which can be changed, rather than the future, which cannot be changed. Carpe Diem!
IL: Are you working on any personal projects?
Yes, I always do personal work! Most recently, I worked on an Able Sisters’ clothing store in Animal Crossing using Blender, a 3D modeling tool. I started learning Blender after seeing how helpful it is for other artists and decided to combine it with painting in Photoshop to enhance my illustrations.
IL: What advice would you give to other artists?
Everyone has their own pace and path. It’s going to be very difficult, but I hope you don’t compare yourself with others. I think the moment artists stop comparing themselves to others, they can grow on their own. When I compared myself to my classmates, I felt pessimistic. But I soon stopped. I’m happy when I paint, but not when I compare myself to other artists. I decided to only compare myself to my past self. I only need to take one step ahead of yesterday’s me. I promised myself I would paint happily every day because it is my dream job and dreams come true when I paint.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
Thanks to social media, it has been easy to find the work of many great artists and learn about their processes and thoughts. The artists I like are as many as the stars in the sky, but the ones that come to mind right now are Celine Kim, Aliya Chen, and Rebecca Shieh. Their work has been my biggest inspiration. I always work hard because I sincerely hope that one day I will be able to work with these wonderful artists.
You can find more of Eunbi Kang’s work on Instagram and Twitter. You can also check out her portfolio at eunbikang.com.
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]]>We talk to Irene Neyman about making a career course correction, going beyond what is expected, and staying true to yourself
The post An Interview with Irene Neyman appeared first on Illustrators’ Lounge.
]]>Irene Neyman is a self-taught freelance illustrator and graphic designer who creates vibrant designs that establish a connection between brands and their audience. Working diverse range of media, including editorial, apps, websites, brands, and publications, as well as character design, Neyman consistently brings a touch of joy to every project she works on
In our interview with Neyman, she discussed her career and her experiences as an illustrator and graphic designer.
Illustrators’ Lounge: Tell us about yourself. How did you get into illustration?
Irene Neyman: It all began when I was 5 (the earliest memory I have). I was always passionate about drawing, but never considered it as a career path. I drew for fun and found inspiration from other artists. My friends and family admired my drawings, but nobody ever suggested it as a potential job. Years later, one day, I realised I wanted to change everything, and find what I loved. My husband was incredibly supportive and encouraged me to pursue illustration, so I took a leap of faith and quit my job (which wasn’t an easy decision), found online courses, and dedicated myself to learning everything there is to know about illustration. Since I couldn’t attend an art university, I taught myself through self-study. I started from scratch, not knowing how to find clients, take orders, set prices, or organise my files. But, I trusted my instincts and navigated through the unknown, with the help of my good organisational skills and by learning from my mistakes. Before I knew it, I was making progress and improving my skills. The emotion I felt when I successfully finalised my first order was unforgettable and I realised what I really want to do — making illustration my lifelong career.
IL: You are originally from Ukraine. Has your background influenced the work, and how has that shifted since moving to Canada?
IN: Actually, when I started working as an illustrator (while being in Ukraine), I immediately focused on the foreign market, so it’s hard for me to say whether my background influenced this in any way. But having moved to Canada, I believe that the new environment and cultural influences can bring about new ideas, perspectives, and styles. A new culture can definitely be inspiring.
IL: What unexpected challenges have you faced as a freelancer?
IN: One of the biggest challenges I have faced as a freelancer is balancing creativity with the business side of things. Working solo and having everything depend on me is already a challenge, but managing finances, paperwork, and attracting new clients, while trying to stay focused on illustration, can sometimes be overwhelming. Sometimes there may also be complex projects or clients that need to be approached in the right way. These are all unexpected challenges that I, as a freelancer, have to deal with every day. But a long time ago, I developed the habit of treating such difficulties as a game. I need to do something to get something. Why not a game? I like this approach because it helps me relax and I no longer feel so pressured by the problem. It’s like checkpoints in a game — by overcoming obstacles, I get closer to the final prize. And of course, the freedom and flexibility that comes with freelancing on inspiring projects make it all worth it.
IL: What tactics have worked for getting your name out there?
IN: Of course I still have a lot to achieve, but what has helped me so far is to be active. I have not stopped developing my portfolios and social networks all these years, I have tried to make myself better and show it in my illustrations. I also think that my approach to work played a big role – I take every project seriously and professionally, organising the whole process in a way that makes it easy and pleasant for the client to work with me. I do more than what is expected of me – I think this has a positive impact on the impression and recommendations I receive.
IL: Your illustrations strike a great balance between adhering to a structure and still feeling organic. What are your considerations when composing a drawing?
IN: I usually follow my own “checklist” when working on an illustration. The first and most important item on the list is always the message and its overall mood that I want to convey with the illustration. The second step is paying attention to the composition itself, making sure the elements are arranged in a good way. I also always devote a lot of time to the details, as I enjoy it and believe it enhances the overall look of the illustration and keeps it dynamic.
IL: Can you tell us a little bit about your creative process – from initial concept to the tools you use?
IN: Almost always, the process of creating an illustration begins with researching the topic or subject matter. While there are instances where the idea of what to draw is clear and flows into the work, most often this requires research, references, and composition sketches. The next step is selecting the colour palette. I try different options to find the one best suited for the illustration. I prefer a variety in colours and don’t often use the same palette for personal projects. The final drawing is the most enjoyable stage for me as I have already made all necessary decisions and usually have a good idea of the details and elements of style to use. However, there is always room for creativity and surprises :). The choice of tool depends on the task, but I usually use Procreate, Adobe Photoshop, or Adobe Illustrator.
IL: Are you working on any personal projects?
IN: I am currently working on a small personal project about pets. I love personal projects because they have no specific boundaries. I can do whatever I want and how I want. This is very inspiring! I also really enjoy working on projects in collaboration with other illustrators or animators, as it expands opportunities and ideas and provides a great addition to my portfolio.
IL: What advice would you give to others looking to make a living from art?
IN: I would advise to stay true to yourself above all else. Finding your style, seeking clients, determining pricing, and choosing a specialisation can be overwhelming, but these are all temporary challenges. With a little perseverance, you’ll find that you’ll naturally determine everything for yourself over time. Give yourself some time. Also, don’t be afraid to make mistakes or try new things. Embrace the learning process and always keep your passion for art at the forefront. If things aren’t working out for you, always remind yourself that the most important thing is having the desire and being yourself. Everything will fall into place if you truly do what you love.
IL: Finally, one of our goals here is to widen people’s pool of inspiration – who are the artists/illustrators that inspire you?
IN: I am constantly in awe of the incredible talent of Renaud Lavency, Clémence Thune, and Sarah Beth Morgan. My latest discovery, Kezia Gabriella, has also captured my heart with her amazing work. These artists truly inspire me!
You can find more of Irene Neyman’s work on Instagram, Behance, and Dribbble. You can also check out her portfolio at ireneneyman.com.
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]]>We explore whether machines pose a threat to the future of commercial art
The post AI versus Art appeared first on Illustrators’ Lounge.
]]>In a world where speed, affordability, and quality are often at odds with each other, artificial intelligence (AI) seems to be the perfect solution. AI is revolutionising the way we write, code, compose, and draw. But before you start panicking about robots snatching up all the art jobs, it still has a way to go before it can match human artistic ingenuity.
The rapid development of generative AI technology has left many wondering what impact it will have on the future of commercial art. It’s also rekindling concerns about data protection, copyright laws, and business ethics.
Some of the discussion around AI echoes the concerns of artists centuries ago during the Industrial Revolution.
The Industrial Revolution of the 1800s was a time of major mechanisation and innovation. Britain transitioned from an agrarian economy to a manufacturing economy. From a mostly rural society to an industrial society. From creating goods by hand to using machines.
Not everyone was happy with industrial modernisation. The Arts and Crafts movement was born out of the belief that machinery and factory production was to blame for the decline of standards in the decorative arts.
The movement comprised many prominent figures of the time, whose influences are still felt today, including art critic John Ruskin, writer Thomas Carlyle, craftsman-designer-poet William Morris, and artist-designer-architect Charles Rennie Mackintosh.
Arts and crafts practitioners questioned the moral, social and aesthetic merit of industry[1].
They took offence to the use of machinery – how it triggered the division of labour and the loss of traditional craft methods. They believed factory-made work to be artificial, soulless, and dishonest.
However, the Industrial Revolution led to increased production, lower prices and higher wages. Beautifully crafted furniture, too expensive for average families to buy, became the inspiration for more affordable mass-produced furniture pieces. In turn, it amplified awareness and appreciation of authentic handmade goods.
The outcry and outcomes of the Industrial Revolution are common in most technological innovations. A push and pull of winners and losers. As old occupations decline, new occupations emerge.
Jump cut to present day and we are amidst this outcry. Tech companies and governments are pushing for rapid change while artists are, once again, challenging them on their moral and social responsibilities.
Many of the leading AI companies have trained their models using web-scraped datasets. These are mostly uncurated and are known to contain personal information and copyrighted material. Why is this allowed?
Due to the volume of data needed to train an AI, copyright laws grant exemptions that allow noncommercial researchers to make reproductions of copyrighted work for Text and Data Mining (TDM). TDM being a catch-all data processing term that includes Machine Learning and AI. This exemption helps researchers to work fast, staying competitive.
The only stipulation is reproductions are given sufficient acknowledgement…unless it’s not practical.
Furthermore, everything enters a grey area if the data is passed on for commercial purposes. An act referred to as “data laundering.” Numerous AI companies have either funded or set up non-profits for research purposes, to later monetise the models through for-profit companies.
On a side note, scraping data is its own contentious issue. Though technically legal, it has forced social media platforms to put in measures to combat being scraped. Many platforms now limit the content viewable if you’re not logged in. Some explicitly prohibit it in their terms of service. However, that does little to deter scraping companies.
For some artists, AI-generated artwork is uncomfortably similar to their own. And, at the rate of which the AI artwork is generated and shared, soon the original artwork will be eclipsed.
Logically, artists look to copyright laws for protection.
For most countries, copyright gives a person exclusive rights to their original tangible work, acting as a deterrent from exploitation. It is given automatically, no need to apply or pay, and lasts the owner’s lifetime, and then some[2][3].
Sufficiently distinctive characters qualify. However, ideas, creative techniques, and style of art do not constitute something ‘tangible’ so are not eligible for copyright protection.
In addition to the TDM exemption, there are also some more copyright caveats, that allow others to use copyrighted work for commentary, criticism, parody, or transformation.
Generative AI opens up many questions around copyright; Is the data input infringement? Are the AI-generated works sufficiently unique or transformative? Does machine-made work qualify for copyright protection?
The ambiguity around outdated copyright laws means that it’s up to the courts to provide answers to these questions in lawsuit, after lawsuit, after lawsuit.
All this flagrant use of data has people scrutinising terms of service on every platform they use; smashing that “opt-out” button whenever they see it.
With a lack of data safeguards, unresolved questions around AI’s ethics and legalities, many creators are voicing their concerns and some have banded together.
Concept Art Association, headed up by Karla Ortiz, is ‘fighting back against the unethical practices happening in the AI text-to-image space.’ The European Guild for Artificial Intelligence Regulation is an initiative by artists from all over Europe ‘united in bringing to the public attention how our data and intellectual properties are being exploited without our consent.’
Creative agencies and associations are advocating members’ rights and are liaising with policy-makers around copyright permissions, and financial remuneration[4].
Tech companies are also taking steps to make the fear of the unknown a little less scary.
There is a promising unified effort between The Coalition for Content Provenance and Authenticity (C2PA) and the Adobe-led Content Authenticity Initiative (CAI) advocating for responsible digital media creation and sharing. They’re focused on open technical standards that can provide context and history for different types of digital media.
The need for provenance and attribution of our digital content has never felt more important.
Similar to how the Industrial Revolution motivated craft makers to expand their skills, we are constantly seeking out new tasks. Ones that machines cannot perform yet. We strive to become experts in these areas so that machines cannot easily catch up.
Even if we stop finding human-only tasks, no level of technological advancement can replace our affinity for the human touch. It’s why we have a more visceral response to practical effects than to CGI. Why we admire printmaking over an inkjet print. It’s why observing excellent digital art on a screen will never have the same impact as viewing an exceptional painting in a gallery. It’s also why craft is still big business and traditional craft skills are safeguarded.
Your taste and choices, knowledge and experiences, personality and passions, everything that makes you unique, is the real value. The more honest and brave you are, the less pressure you’ll feel as the industrialisation of art presses on.
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]]>Exclusive video interview with freelance illustrator Owen Davey
The post Monographs: Owen Davey appeared first on Illustrators’ Lounge.
]]>We’re back with another Monograph — our behind-the-scenes video series where we interview illustrators in their studios.
When we met Owen Davey in June 2016 at his Leicester studio, he was working as a freelance illustrator juggling editorial, client and personal work.
He spoke with us about his positive experience at Falmouth university. The pains of pricing and how he gets around it. The values of being represented by an agency like Folio, and the benefits of being a member of the AOI. We also touched on his fascination with geometry and simplification.
Last year, Owen won ‘Best of Show’ at 3×3 International Illustration Annual Awards. He also collaborated with Domestika to create the course, ‘Stylised Vector Illustration with Color and Character.‘
We asked Owen for an update since the interview:
2016 feels like an age ago in so many ways; my personal life has changed rather radically in the last seven years. I’m now a parent and I’ve moved from Leicester to Worthing with my partner and our kids. Because of this shift in circumstances, my working life looks very different. I have had to set firmer boundaries with when I’m working and (crucially) when I’m not. Weekends and evenings are usually dedicated to time with my family and I’ve found that this time away from work is necessary to keep myself from burning out too. Breaks have become almost as important as the time I actually spend working.
I’ve worked on many books in that time and am embarking on the ninth book in my ‘About Animals’ series with ‘Flying Eye Books’. I’m also dipping my toes back into the world of fiction with a book named ‘Can I Come Too?’ which is being released this year under the new publisher ‘Rocket Bird Books’. It was fun to create, not only because it’s based on my direct experiences watching how my kids interact with one another, but also because I created it with the team I made my first picture book with in 2009; Editor (Libby Hamilton) and Art Director (Mike Jolley). I’m also still working on the TwoDots app (we’ve just had the eight year anniversary of its launch). I’m very lucky that I’ve stayed busy and mostly motivated, especially around all the ups and downs in recent years.
— Owen Davey
@owendaveydraws on Instagram and @owendaveydraws on Twitter.
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]]>Exclusive video interview with illustrator Neil Packer
The post Monographs: Neil Packer appeared first on Illustrators’ Lounge.
]]>Watch our new Monograph — the behind-the-scenes video series where we interview illustrators in their studios.
It was a wet February morning, in 2016, when Neil Packer welcomed us into his London home. He had recently wrapped illustrating a beautiful retelling of Homer’s classics The Odyssey and The Iliad written by Gillian Cross.
He spoke in detail about the hard work and planning that goes into a large project, the negative changes he has witnessed in the publishing world and the challenge of balancing life and art.
A lot has changed for Neil in the six years that followed the interview, so we asked if he could update us on his career:
“Since 2016 I have had two illustrated non fiction books published. I illustrated a children’s version of Peter Frankopan’s The Silk Roads for Bloomsbury which published in 2018 and in September 2020 One of a Kind a book I both wrote and Illustrated was published by Walker Studio. In 2021 it won the Bologna Ragazzi award for non fiction, also that year it was selected for the Bratislavian Biennale and in 2022 it was shortlisted for the V&A illustration award.
From late 2019 through to late 2020 I was working on a limited edition of Dante’s Divine Comedy for the Folio Society. 100 illustrations (one for each canto) plus designs for endpapers frontispiece’s and 3 large illustrations for limited prints suitable for framing. This was pretty much my lockdown project as if lockdown wasn’t strange enough already, but it was wonderful to get to know this book and to try to get to grips with its breadth and scale. It is currently shortlisted for a World Illustration Award. You can find more details about it here The New Current: Neil Packer and The Folio Society: The Divine Comedy.
From late 2020 through to late 2021 I was working as a guest illustrator along with Jim Kay on the Illustrated edition of Harry Potter and the Order of the Phoenix. Because of the size of this book it was felt that having a second illustrator on board might take some of the pressure off Jim and could work well. Jim is still illustrating the characters and the main drive of the plot but my role was to visualise many of the other aspects of the book which are pointed to within the text such as The BlackFamily Tree, and a cutaway of the Ministry of Magic.
It was a very different project to Dante but that is what I love about this job, the fact that you might be doing something entirely different next. I saw the finished books for the first time last week and they look fantastic. It was a pleasure and a privilege working with Jim who is not only a friend but also an inspiration as an illustrator. The Order of the Phoenix publishes on 11th of October.
Also, last October, I had a one-man show at the Coningsby Gallery which focused on a variety of recent and less recent work.
At the moment I am illustrating another large project for The Folio Society which is nearing completion but sadly it is under wraps so I won’t be able to talk about this until next year. As for what comes next it is anyones guess but most likely I will be taking a break for a few weeks as I have not really had one since this interview in 2016.
You can catch up with the last few years by visiting my Instagram or my website.“
— Neil Packer
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]]>We talk to illustrator Lia Liao about approaching clients confidently, not compromising her way of thinking and if fan art makes you more of a translator than a creator
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]]>Psychology major and proclaimed films and literature addict, Lia Liao’s interests are at the forefront of her artwork. She blends conceptual and narrative themes to create illustrations that are atmospheric and emotive.
Since graduating in 2019 with an MA degree from Maryland Institute College of Art (MICA), Liao’s editorial work has featured in The New Yorker, The Washington Post and PBS. Her work has been recognised by the Red Dot Design Award, Society of Illustrators and 3×3 International Illustration Annual.
We spoke with Liao about her career so far.
Illustrators’ Lounge: Tell us about yourself. How did you get into illustration?
Lia Liao: I studied psychology in college and spent a lot of time reading novels and watching movies. By writing reviews, I felt language can easily lead to misunderstandings, which made me start to use images to express myself. I drew as a hobby for four years and after I graduated from college, illustrations became part of me, where I can be true to myself and free to express my feelings.
IL: You majored in psychology but did you always plan to pursue a career in illustration?
LL: I didn’t start to draw until college, and always considered it as a hobby rather than a career. It was when I got accepted into the illustration MA program in MICA and fully engaged in the system that made me think about being an illustrator as my career. It showed me that as long as you think and draw, there are plenty of opportunities.
IL: You have worked with some very notable clients including The New Yorker and The Washington Post – how did these opportunities come about?
LL: It’s important to keep reaching out to contacts. I meet so many illustrators that are afraid of not being good enough so choose not to reach out until they are ready. But in my opinion, as long as you keep working hard and improving, you will never be satisfied with yourself. So don’t be shy and reach out confidently to tell the market that you’re welcome to any challenges and opportunities.
IL: What unexpected challenges have you faced as a freelancer?
LL: Time management. Sometimes commissions all come together in one week and I get super busy, and sometimes there will be a long time I have nothing to do at all. But that gives me time to do my personal work, so it’s hard to say it’s a challenge.
IL: Your illustrations invite people to think, layered with symbolism and metaphors, has this approach received pushback from art directors who may have been wanting something more literal?
LL: Yes sometimes. I was struggling with this before, what if the market wanted something more direct instead of my work? But I think it is not only the market that is choosing illustrators, illustrators are also choosing their market. If I compromise my way of thinking, I will lose my personality and identity. But when it comes to actual commissions, I always make several sketches ranging from literal to symbolic for the art directors to choose.
IL: Can you tell us a little bit about your creative process – from the initial concept to the tools you use?
LL: I spend half of the time brainstorming and thumbnails until I come up with a perfect solution for the topic, after that I will do some colour sketches to build up the proper atmosphere and emotion for the image. Basically, I won’t start drawing before I can imagine a clear final stage of the illustration in my head, which makes my actual drawing process quite fast. I work digitally, Procreate most of the time, and with some collaboration with Photoshop.
IL: How important is it for you that the final image matches the vision you have in your head?
LL: It is the anchor. For me, drawing is more about designing a system than an experiment. Everything that appears in my illustration has its own position and function, to light up the main element or evoke a particular emotion.
IL: Are you working on any personal projects?
LL: Yes, in the long-term. I keep working on my personal work which is related to movies and novels, but my personal project will be totally about myself. It goes with my process of self-defining. I used to doubt myself for gaining inspiration from other artwork which makes me more of a translator than a creator. My personal project will still be a translation but to the one source I know the best of all.
IL: What advice would you give to others looking to make a living from art?
LL: Give it a try. Art is such a diverse market that needs all kinds of voices. I used to think I started drawing too late and the four-year psychology study was a waste of time, but it actually helps. And the illustration market today is growing, considering metaverse and remote working, so why not.
IL: Finally, one of our goals here is to widen people’s pool of inspiration. Who are the artists/illustrators that inspire you?
LL: That would be Tomer Hanuka. He made so many amazing pieces based on movies. It helped me see that what I do for a hobby could actually become my career. Among all others that inspired me, I think he is the one that had the most impact.
You can find more of Lia Liao’s work on her website and Instagram.
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]]>2D Concept Artist, Meghana Reddy, shares her experience of getting into the animation industry and breaks down the production process for the animated sitcom, Bless the Harts
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]]>Since leaving university, I have had the pleasure of working in the animation and film industry for over 5 years. Growing up, I was the kid who doodled in my notebooks while class was on. There were not many design/arts-related subjects where I studied so I took up art classes after school. It was the only creative outlet I had at that time but it paved the way for all that I do today.
When I first laid my eyes on Peter Jackson’s The Lord of the Rings trilogy I decided I wanted to pursue a career in art. For me, that was filmmaking at its best. I was in awe of the visuals and the concepts and dug a bit deeper into the making of all three films. That was when I came across the brilliant Alan Lee. Alan Lee was the main illustrator and concept artist for The Lord of the Rings trilogy written by J.R.R. Tolkien.
I flew all the way from India to the United States and graduated from Savannah College of Art and Design with a master’s degree in Animation. I am currently based in Atlanta, Georgia where I have been working remotely, thanks to Covid.
I have worked with multiple award-winning companies like Primal Screen, where we created the Elf on the Shelf animated movies that are currently streaming on Netflix. I then went on to work with the Emmy award-winning Los Angeles-based animation studio called Titmouse Animation.
I had the immense pleasure of working on season 2 of Bless the Harts, an animated sitcom co-produced by Disney’s 20th Century Fox and Fox Entertainment. The series is currently streaming on HULU and Fox.
Bless the Harts was created by Emily Spivey, and has an impressive voice cast, featuring some of my favourites in the industry, Kristen Wiig, Maya Rudolph, Jillian Bell, Ike Barinholtz, and Kumail Nanjiani.
Season 1 first debuted on Fox in September 2019, followed by season 2 which was released in September 2020. The creator and writer Emily Spivey was also known for her work for Saturday Night Live.
Whether it’s an animated film or a series, it all starts with a pitch. The writers of the show typically come up with a script and they present it to their team. Then there is a whole round of critiques, feedback, and notes that take place before they take it up to the producers of the show. When working in a team, it is essential to exchange thoughts and ideas in order to help polish the script.
Once there is a green light on the storyline, and all the notes and feedback have been taken into consideration, the writers start preparing the first draft. Once the draft is ready, there is always a table read, where the cast, writers, and producers of the show, get together and go over the script.
Due to Covid, these table reads may have been held virtually. Collaborating in the same workspace was a lot easier and definitely more fun, with the whole aspect of being in a work environment, being able to meet people and share creative ideas, because that’s honestly where creativity is at its optimal peak. Especially when working in an animation company, 95% of the time, you’re dealing with people who act like animated versions of themselves, who have a great sense of humour, and who enjoy comedy, cartoons, storytelling, and drama. No work environment can top that.
After the reading session, the cast members are called to perform the voice recording. Each cast member typically records their tracks individually and is later compiled at editing. Once the voice-overs are ready, the work transitions from paper to screen. The director, to whom the script had been passed over, will then head the animation team to start the production. It is the role of the director to fully envision the script along with the voice recordings, and verbally conceptualise the visuals and goals for the art team.
The next and first step for the animation team is to create the characters and prepare a character sheet with turnarounds, which means taking each character and drawing a 360-degree angle of it. It is the responsibility of the character designer to complete these sheets and have them approved. Once the characters are approved, they are then passed onto the storyboarding team, where they convert the script to frames, which include perspectives, camera angles, character expressions, character interactions, etc., and basically create a blueprint of what the show or episode would look like.
The storyboards are vital to the animation team because that’s what the animators and the background/prop artists use to create the look of the show. The storyboarding team later gets the boards reviewed and revised, along with some additional notes before creating the animatics, which is a series of images from the storyboards with the audio track added. The animatics are always presented in a video format which is then passed over to the layout team.
The next process is where my role comes in, the layout stage. My role was primarily background design, prop design, and clean-up. In this stage of the production process, as the background and prop designer, I was responsible for creating and conceptualising the different locations where the characters would be placed, this includes both interior environments and exterior. The prop designs are typically elements that the characters interact with.
In parallel, the animators finish up the character animation to be placed in the background scene. Once the backgrounds are approved by the supervisors and the director, the colour teams do their magic on the line drawings of all the layouts, and the animators/compositors bring all the elements together to create and finalise an episode.
Once the episode’s overall look has been approved, the editing team add the final soundtrack, voice-overs, ambient music, etc. They pass on the finished episode to the director. As the production team familiarises itself with the process, it starts to speed up with multiple episodes in development, multiple rounds of feedback, and tons and tons of revisions until everything looks perfect.
The character, background, prop, and colour artists mainly use Adobe Photoshop as the software. The animators use Toonboom Harmony and the storyboarding team uses Storyboard Pro.
Since we were all working from home, we would have regular watch parties where we would screen the episodes virtually and get together while having lunch/drinks. The production started at the beginning of 2020 and ran until mid-January 2021. There was a total of 24 episodes in season 2. Season 3 was scheduled to start in spring 2021 but unfortunately was cancelled.
One of the biggest drawbacks of this project was not being able to meet my team. I had initially reached out to the supervisor and the lead via LinkedIn and that’s how I got offered the job in June 2020. Being someone who loves being around people, especially in a work environment, I was only able to interact with my team via zoom and emails. It was a large team of people who put the show together during what was an unusual time.
For me, doing good work and delivering on time was never a challenge but more on the side of not being able to meet the sweetest, and the kindest team of people I have ever worked with. They were very organised in creating a schedule that didn’t pressurise anyone with the deadlines. Often times some of my colleagues would have a lot on their plate and there would always be other teammates who would work around their schedule, hop in and help out with the workload. I would have definitely loved to meet the team. At the end of the production, my lead supervisor and producer sent me the sweetest email thanking me for my work on the show. It was heartwarming to read it.
2020 was undoubtedly a challenging year for all of us, being separated from each other for so long. But the one thing that brought a huge smile to my face, was when I first saw my name in the end credits when the episodes aired on HULU and Fox. It gave me a satisfying feeling of achievement. It was a big tick on my “career” bucket list to be a part of an animated series that was produced by one of the biggest production companies in the world.
Working with the top professionals gave me huge exposure to the creative industry, which is a challenging and highly competitive industry but I cannot imagine myself in any other field of work and hopefully, someday I will create my own animated series.
You can find more of Meghana Reddy’s work on her website and Instagram.
All images are a property of 20th Century Television.
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]]>With these practical tips, you can take stunning photos of your artwork to share on social media
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]]>Having a social media presence is a must for creatives. For those working in traditional mediums, capturing an image of their pieces can be challenging.
Here are some practical tips for photographing your art for social media.
The piece should be the focal point when taking a photo of your art. To accomplish this it’s important to have a neutral background that’s free of distraction. If you work on canvas, leaning or hanging your art on a blank wall is sufficient. Similarly, small pieces can be arranged for a flat-lay style shoot with the camera angled overhead.
For larger pieces, although you may have a blank wall to hang art for photoshoots you’ll have to stand far back to get the full piece, exposing the hallway or background area. If this is the case, you can use a blur photo background for a bokeh effect, eliminating the background noise and keeping the focus on the piece.
Using a neutral background doesn’t mean the photo should be devoid of anything else. Having the piece displayed over furniture or with a few plants at the edges can add dimension to the photo to keep viewers engaged as they scroll through social media.
Lighting is everything when photographing art for social media. Natural, diffused lighting is the best for capturing your piece’s true tone and texture. Indoor light can alter the colours of your artwork, impacting the perception of quality among remote viewers.
If possible, take photos of your art next to a window on an overcast day. If you notice shadows, use a white foam board opposite the window on the other side of your art. This will reflect some of the light from the window back at your piece. For wider pieces, consider rotating your work vertically for better light distribution from the window, then rotating the photo to its proper form in editing.
Consider investing in a simple light kit setup for photographing your work. Two lights with diffusers angled from either side of the piece will greatly impact the image quality.
Another significant challenge is finding the right angle— especially for larger pieces. The goal is to eliminate angles for a straight-on shot. When taking a picture of a hanging piece, use the grid function on your camera or phone to centre and align the shot.
For larger pieces, consider leaning them slightly against the wall and use a chair or stool to take the photo from above. Tilt the camera down so that you’re parallel to the piece at the same angle. This trick will allow you to take a straight-on shot while capturing the whole piece.
Keep in mind that social media platforms use different photo dimensions. Instagram tends to be the most challenging as it uses 1:1 square images, making it difficult to capture larger pieces. Take a step back and allow plenty of cropping room. If you’re using a smartphone, you can adjust your settings to use a square shot for framing the image. However, you should switch back to the 4:3 setting before taking the picture.
Use a tripod and timer to ensure your photos are crisp and clear. The tripod will keep your camera or phone still, and the timer will ensure it has time to stabilise after you click the button. This will also help you take consistent shots if you need to shoot large pieces from above.
Finally, use a basic colour correcting tool in editing to finish your photos and avoid using filters. After you use the colour correction tool, hold the picture next to your piece to compare.
If your core photography goals are taking photos of your art, there’s no need to invest thousands in a photography set-up. Here’s some of the best, simple gear to help you market your work:
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]]>Watch our exclusive video interview with illustrator and visual development artist Alex Wilson
The post Monographs: Alex Wilson appeared first on Illustrators’ Lounge.
]]>We’re back with another Monograph — our behind-the-scenes video series where we interview illustrators in their studios.
When we met Alex Wilson in May 2016 in his North of England home, he was working as a freelance illustrator with a focus on children’s books.
He shared with us the inspirational spark that drove him to pursue illustration as a career. The winding road that led him to create work he enjoyed. He spoke frankly about his experience being a small part of a “big books” agency. And stressed the importance of meeting face-to-face.
A lot changed for Alex in the six years that followed the interview, so we asked if he could update us on some of his journey since the interview:
Shortly after this interview was filmed, my career in art took an abrupt turn. I had been struggling to strike a balance between working in Illustration for a living and financial stability for a while. In early 2016 I came to the realisation that the path to a regular income substantial enough to provide for a family of four was probably out of reach in the near future for an illustrator of my calibre at that time. I would need to find something a little more consistent if I was going to be able to draw for a living and be the sole breadwinner for my family.
I had been doing freelance for Marvel Animation since late 2015, and started taking as much work in animation as possible. By the summer of 2016 an in-house position opened up and they offered me a spot on the team full time and I jumped at the opportunity, moving to Los Angeles over a weekend to start work on the following Monday. Since then my career has been entirely focused on animation, working on various productions as a Character Designer, Prop Designer, BG Designer and occasional Story Artist for a range of studios. I have been lucky enough to contribute to some of the most widely recognised characters and IP’s in popular culture.
Moving forward, my ambition is to keep improving my craft and resume writing and illustrating the stories that I’ve always wanted to tell, but never found the opportunity to do so.
Thank you to George and his team for filming this interview and sticking with it after all this time, and thank you for watching.
I hope that there is some value to be found in my rambling, even if that is the knowledge that if someone like me can find a way to make a living from drawing, then you definitely can.
— Alex Wilson
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]]>If you have questions about publishing a graphic novel, you'll find your answers in the episodes of Graphic Novel TK.
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]]>Graphic Novel TK is a podcast about the process of making graphic novels. A behind-the-scenes insight into the publishing business.
Hosts Benjamin Wilgus and Gina Gagliano are joined by guest experts from each side of the publishing world to uncover the specifics of how graphic novels are made and sold. Wilgus and Gagliano get answers to the questions that all authors and artists are dying to know, as well as some that most had never thought to ask.
Benjamin Wilgus is a writer, editor and cartoonist; his comics have been published by Tor, First Second, Dark Horse, DC and Nickelodeon Magazine.
Gina Gagliano has worked in publishing at Random House Graphic and First Second Books, and has worked with organisations such as the Brooklyn Book Festival and the Toronto Comics Art Festival.
Since its launch in 2018, the podcast has aired 38 episodes. In addition to the main series, there are two Backmatter episodes, where Graphic Novel TK follows a book through its publication life from book deal to post-publication.
Every episode is packed with great information, but make sure you don’t miss these ones:
You can listen to all the episodes on The Beat’s website, Soundcloud, Apple Podcasts or find it on your favourite podcast platform.
And if you are wondering Why “TK?” It’s a commonly used shorthand in publishing for “to come.”
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]]>Blocking is an essential part of filmmaking that you can use in your illustrations and comics.
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]]>I was familiar with the term “blocking,” but only had a general understanding of it. I never considered applying it in my illustrations.
Recently, while working on my comic, I was struggling to juggle multiple characters in a scene. It resulted in fragmented and disorientated pages. I needed a way to track the movement of each character which led me to learn more about blocking.
Blocking is the arrangement and choreographed movement of people and props in a scene.
The term “blocking” derives from the practice of 19th-century theatre directors such as Sir W. S. Gilbert who worked out the position of each character using a model stage and little wooden blocks. [1]
In theatre, blocking is the precise positioning of actors to facilitate the performance of a show.
Somewhere between Sir W. S. Gilbert and Sir A. J. Hitchcock the term was adopted by filmmakers, who considered the movement of the camera as part of the blocking process.
Blocking in comics is less discussed, but countless comic artists have applied this filmmaking technique to enhance their storytelling.
Blocking is a tool for establishing or changing the significance of a scene. Careful blocking can transform a dull or confusing scene to one with interest and depth. Adding purpose and sub-text to each movement and interaction.
In addition to the subconscious implications it has many practical ones too. In film, it can inform where to position lights and cameras. In comics, it can help track multiple characters in a scene. Making sure details are consistent from panel to panel, retaining continuity and realism.
Now you know what blocking is and why it is important, here are 8 blocking tips to improve your visual storytelling:
The position of characters in a frame, in a setting or in relation with one another gives the viewer a lot of information before they even register body language, expression or dialogue.
A character placed in the centre of a frame gives them importance and power. Conversely, to indicate a less powerful character, they can be placed on the edges of the frame.
To clarify, I am using “importance” and “power” in relation to the scene, not the wider story. For example, a character could have importance if the current situation directly revolves around them. They could have power if they know something the others don’t.
An elevated character will imply dominance. Be it by standing while others are sitting, or by positioning them on higher terrain. A character looking down on another shows that they have control of the situation.
Adding distance between characters suggests unfamiliarity or even a disagreement, whereas characters closer together signify an understanding.
If you have two characters with opposing views, you can have the other characters stand behind the character that matches their ideology. If you have a group of characters in agreement, all except one, you can visually represent how their opinion disrupts the status-quo by having them walk through the group.
When deciding where to position your characters in a panel, consider the order of dialogue. Placing the character speaking first on the left can avoid awkward balloon placement.
A technique that is used to good effect in films is the match cut. Match cuts keep the focal point and/or motion continuous from shot to shot. It works particularly well in films projected on large screens, as viewers’ eyes can wander around the screen, but it is a useful tool in comics too. For complex scenes, a match cut can quickly guide the viewer to the intended focal point, panel to panel, before any meaning is lost.
Size can change the perceived relationship between characters. It can also indicate a character’s command of a scene.
A small character in the centre of the frame may have importance but will appear powerless. For example, if a character is trapped in a cave with no way out.
A character large in relation to the elements around them, so big they are cropped by the frame, can feel imposing, even menacing.
Two characters the same size signals that they are equals. But you can have them get smaller or larger in relation to each other as their power dynamic shifts. You can control the weight relationship by positioning one closer to the camera.
If you are familiar with film terminology, you would have come across the three main shot sizes: long shot, medium shot, and close-up. The relationship between shots creates a sense of continuous space, emphasises cause and effect, and infers deeper meaning.
A Long shot, also referred to as a wide shot, is typically used to orient the viewer to the general mood and relative placement of subjects in the scene. They are often used for establishing shots and to inform viewers of a change in location.
Medium shots establish a character with their surroundings. Characters are framed from the waist up. It can be used to frame characters that have less power.
In a close-up shot characters are framed from the shoulders up. It brings us into a more intimate relationship with the subject, asking the viewer to pay attention to their expressions or dialogue. Use close-ups for characters in power.
An extreme close-up shot puts the camera right in the face of the character, often cropping out the chin and forehead. This shot is very intimate and invites you to consider what the character is feeling and/or thinking.
Lines, whether literal or implied, can set a mood, guide the viewer’s eyes, and reinforce body language.
Literal lines can be the ones painted on a road or the contours of a building. Whereas implied lines can be created by a row of trees or the general directions of their branches.
Vertical lines suggest height and strength. Guiding the viewers upwards to the sky, they are great for giving a sense of grandeur and inspiring awe. When a character’s posture follows a vertical line, it can make them look assertive and unshakeable.
Horizontal lines suggest calmness and stability. A horizontal line feels peaceful. When a character adopts a more horizontal position, it can convey restfulness or submissiveness.
By contrast, diagonal lines suggest instability. They usually make a composition feel unsettled and evoke movement. Diagonals are dynamic and chaotic, making them great for action scenes and scenes of tension.
Consider how your established lines in one panel affect the next, or the page as a whole. You may be able to create a harmonious path guiding the viewer from one focal point to another.
Readers will naturally follow characters’ eyelines, so it’s important to consider their position.
A character looking in the same direction as the visual elements can show determination and focus. A character looking in the opposite direction to all the visual elements can show independence.
Placing a character’s eyes above the horizon line can show dominance, especially when looking downwards on a character. Placing a character’s eyes underneath the horizon line will have a diminishing effect.
A good way to indicate a character’s lack of power in a scene, is to position all the other character’s eyes higher.
Nothing is duller than two characters just talking to one another. A back and forth of head shot after head shot. Give your characters something else to do. They could be cooking, stroking a cat, looking for a file. Keeping your characters busy will break up the monotony of dialogue-heavy scenes.
Their actions can also be used to signal a gear change in a scene. It can be as obvious as standing up in an attempt to show power or sitting down to concede. It can be as subtle as closing a book. The insert will subconsciously signal to the viewer that something has changed.
When a character is walking, consider the direction they are going. When a character moves from left to right it is perceived as positive and things are going well. When a character moves from right to left it is perceived as things are difficult.
Any action in a scene should progress the same direction for momentum and clarity, unless to imply a dramatic turn.
There’s a famous rule in filmmaking called the 180-degree rule, which helps the audience keep track of where the characters are in a scene. When you have two characters, or a character and object, the rule dictates that you draw an invisible straight line between them. The camera is positioned on one side of the line and within a corresponding 180-degree working space. The camera cannot cross the line.
Following this rule ensures that characters are looking at each other when cutting between shots, as opposed to both facing the same direction, looking into the abyss.
When dealing with multiple characters in a shot, think of them as if they are on a stage. Draw the invisible line somewhere in front of all the characters.
In film, there are multiple techniques to move the line, but most of them involve following the movement of a character, which is difficult to emulate in comics. The best way to move the line in comics is to use a bridge shot (also known as a cutaway or neutral shot). For example, you can interrupt a conversation with a shot of a door opening. Then, a new line could be drawn from the door to the two characters.
You can however choose to break the 180-degree rule for effect. Breaking the rule can add an element of disorientation for the viewer, which may be what the scene requires.
Now you know the importance of blocking, moving your characters through a scene and camera positions, you may be asking yourself, how are you supposed to keep track of all that?
There are a few easy ways. The first harkens back to Sir W. S. Gilbert and his wooden blocks. Draw, or build, a small stage and use blocks, or figures, or salt and pepper shakers to represent your characters.
The second option is to draw a floorplan of the setting and mark on the floorplan where your characters and camera will be positioned and the path they may make.
My last suggestion is to use 3D tools. There are many good ones out there, some for free. I found Magic Poser Web to have an easy learning curve. Position your characters, pose them, move the camera and take a screenshot.
For the most part, blocking in comics shares many principles of composition but with a layer of visual language learnt from years of watching films and shows. The practice of blocking has changed how I approach drawing comics. Instead of working out the best composition per panel, I look at the scene as a whole. I imagine the cameras following my characters on a set, each panel is a single frame, and I choose the best shot to tell the story.
I hope you found these tips useful. I have included some further reading if you want to learn more about blocking. Let us know in the comment section if you use blocking in your work and if you have any more blocking tips.
Articles
Videos
Books
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]]>Papier Crayon is an interview video series with a difference, illustrators and designers answer questions with drawings
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]]>Papier Crayon’s simple premise of interviewing artists who draw their answers is elevated by its fun and polished aesthetic. It also helps that over the course of 60+ episodes, they have interviewed many incredible illustrators and animators.
The series is produced by Paris-based media outlet Konbini. Founded in 2008 by Lucie Beudet and David Creuzot, Konbini has established itself as a progressive source of modern pop culture.
Papier Crayon’s improvised drawing format reminds me of another French show that aired in the late 1960s called Tac au tac. That show similarly featured some of the greatest comic artists of the era, albeit in friendly competition. I would welcome more shows adopting Papier Crayon’s formula. It is so relaxing and rewarding to watch masters at work, even if it is impromptu scribbles.
Here are some of our episode recommendations:
You can find Papier Crayon playlists on Dailymotion, YouTube and Facebook. Of the three, Dailymotion currently has the most comprehensive list.
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]]>British Pathé is a newsreel archive of 85,000 films, unrivalled in their historical and cultural significance.
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]]>Take a trip through time, from 1896 to 1978. British Pathé was at the forefront of cinematic journalism and over the course of a century it documented everything from major global events, famous faces, fashion trends, travel, science and culture.
Its roots lie in 1896 Paris, France, when renowned filmmaker Charles Pathé, along with his brothers founded Société Pathé Frères. French Pathé began its newsreel in 1908 and in 1910 Pathé opened a newsreel office in Wardour Street, London.
It created a phenomenon, as millions of people around the world attended movie theatres for their weekly dose of filmed news. By 1930, British Pathé was covering news, entertainment, sport, and culture.
In 2002, partially funded by the UK National Lottery, the entire archive was digitised. In an effort to make the archive more accessible, on 7 February 2009, British Pathé launched a YouTube channel and by April 2014, had uploaded the entire collection of 85,000 historic films. As of 2020, the British Pathé archive includes material from the Reuters historical collection.
The British Pathé archive is a rare and useful source of historic reference, which is certain to inspire.
Here are some of our video recommendations:
British Pathé also runs an award-winning online video streaming service called “British Pathé TV”, featuring hundreds of full-length documentaries and classic movies.
The entire British Pathé archive is available to view online for free via their website and YouTube.
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