A Disciplined Illustrator

Since I decided to make this site about illustrating most exclusively I had a vision of providing information directly from my experiences as an illustrator. Unlike prior posts here and posts on the sister site TheOWLE.Wordpress.com this information is neither purely a narrative account of being an artist, nor is it purely knowledge based instruction.

My vision for Exempla Vitae is to pass on wisdom attained from pursuing a full-time career as an illustrator.

I occasionally do one shot watercolor class, but mostly my activities have been based in cartooning for Bacon Wrapped Frog (BaconWrappedFrog.Wordpress.com), freelance, plein air painting, and personal projects.

The goal I wish to achieve is to have passive income (ongoing), freelance work (frequent commissions), gallery shows (maybe 2 a year), and a business in which I get to collaborate with creatives from other persuasions on unique and groundbreaking projects and products.

An artist must be disciplined and learn not only the craft and creativity behind their work, but must learn to be quick and technical. An illustrator must learn to balance using their style and process in such a way as to please their client or themselves if they have a personal project.

My time is divided between learning from other artists, ala copying their work in studies; learning anatomy; drawing animals; cartooning; and executing freelance work for other people.

Make no mistake learning to illustrate is central. No matter if I paint from life or draw from my imagination it all plays a role in learning the art and craft of storytelling visually.

I use time first thing in the morning and a 30 Day Art Challenge to keep me disciplined. Squeezing time in never really works, but finishing what you start and pursing passion and purpose over duty works even better.

Duty works if your attitude is set in that direction. Yet, you cannot turn off your emotions when creating work. Daily steps have to be taken to pursue one goal.

Title Of Story

Telling stories is a great tradition passed down from generation to generation and from age to age. It is a tradition so universal that pretty much every culture throughout history has maintained it in some form or another. The fact is, that it is one of the best ways to get your point across. Even the most analytical and heavy thinkers with the most scientific minds use it to demonstrate what theory they are trying to explain. Dry facts bore us to death. We might as well dismiss our humanity and plug ourselves directly into our favorite technology if facts are all we get. It is nearly impossible to comprehend something without a proper context. And if that context is not relayed with some accuracy or attention to detail, it also loses its potency.

One of the great things about my friend, Mark Thomas's art is that it has an affinity to give you all of the details you need and you can fill in the blanks about the story on your own. It is important to see art in a setting as opposed to viewing it second hand, because the live version of the art translates the heart and soul of its creator so much better.

On Mark's opening night I was privileged to have the opportunity to draw the very setting of the show. Often, these sporadic interpretations of reality are rough, but the point is not precision or even sobering reality. The message plainly rendered is that you get the mood and you recognize the primary details. So for any artist an opportunity like this presents itself as a practice in seeing and a remembrance of the experience.