Exploring Illustration - Delmar Learning

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fle26210_fm.qxd 9/30/03 2:37 PM Page XXX XXX | INTRODUCTION | FUNDAMENTALS Seasoned illustrators—like pro athletes—will tell you that “illustration” is a mental procedure—one must have confidence in what he is doing. It may seem a funny starting point for an illustration techniques text, but I want to make a statement. Your cause is a bit righteous (as in good, upright, honorable, and honest). And you have a noble charge— nothing more than an unshakable faith in, and a distinct appreciation of, your own unique abilities. Realize, too, that the act of illustration can satisfy on a gut level (some might say a soul level). But also keep it humble; understand that the process can be pure pleasure, and know in your heart that that’s okay, too. THE “BIZ” As you read these words, the illustration “biz” will be going only one of two ways—up or down, it’s that simple. But frankly, Exploring Illustration is not really a book about the state of the illustration business or marketing strategies. As a freelance illustrator trying to keep his business afloat, I hardly make light of all this (or the real-world ramifications of my little off-hand opener in the previous paragraph). I deal with the state of the illustration business every day, and so will you. Hey, I’ll talk marketing strategies with you anytime. Both Sides of the Coin When I set about approaching contributors for this book, some illustrators were, shall we say, reluctant to participate. They did not have “a lot of spare time to give away free advice,” and felt that due to the extreme nature of the current marketplace, they weren’t “interested in sharing what has taken a career to develop.” Concerned that a book about illustration techniques would encourage “would-be illustrators toward a career that may be close to impossible to get started, given that market,” a few questioned the wisdom and motivation behind such a project. Why “benefit people who might end up being my competition, at a time when the market is already saturated with illustrators?” I had one illustrator, with tongue, I hope, planted firmly in cheek, tell me that he didn’t want to give up the recipe for the “secret sauce.” Paranoia? Hardly. A bad case of the grumps? No. These folks—good, upright, honest, honorable (and incredibly talented) illustrators, one and all—must be heard and respected. If this book nurtures your technique in any way, I still cannot promise you a boom market, nor will I paint a false picture of the possibilities. But, as illustrator Elwood Smith will tell you, “If there is one thing I’ve learned from my nearly 40 years as an illustrator, it is this: remain as open and flexible as you can. # 41921 Cust: Delmar Au: Fleishman Pg No XXX K
fle26210_fm.qxd 10/1/03 3:48 PM Page XXXI “Everything is changing more quickly than ever before,” observes Smith. “Trust me, I was there back then. Keep a tight grip on your optimism—muck about in the artistic soup of your pure creative self as much as possible. Remain vigilant, keep those creative fires tended.” So feel the burn; make that burn (and maybe discover the formula for your own secret sauce). DECISIONS Artist and educator Carla Steiger-Meister shared this with me: “Seeing is one of the basic ways we know the world, and creating an image makes order out of chaos. Illustration helps the viewer to focus on a selected number of elements to form the image.” The focus is on decision making.It’s about the many forks in the road—on your path—to making an illustration. Those little junctures where you decide what you’re going to do are the very core of your process—of what you are going to make, what the image is going to be. You’ll make more than a few stops along the way. Decision after decision . . . and it all adds up to your process and your particular manner of expression. That expression is highly individual. Okay, so perhaps, after that job from hell, you’ll moan and groan, “I’ll never be a great illustrator. I’ll never be as good as ___ (you can fill in the blank).” And maybe you won’t be. But you could learn to be a better illustrator, and you can improve. Just as you can practice kicking a soccer ball, so can you practice the art of illustration. MAKE THE JUMP | INTRODUCTION | Somebody, somewhere said, “Risk inescapably precedes growth.” Wise advice. You should always go for it. Keep your feet firmly on the ground, but don’t plant them there. Sure, baby steps usually come first, but babies don’t stay slow for long, as anyone who has attempted to keep up with a toddler at full speed will attest. Have just enough adult in you to appreciate possible consequences, but keep taking risks. Illustrator Paul Melia puts it nicely: “Taking chances keeps the illustrator improving and growing—it’s the evolution of your spirit. Your talent comes out progressively as you work hard and follow your intuition.” Have fun, because this is fun. Work hard, because frankly, you will have little choice. My career has been built on long, passionate hours doing something I love. And that’s what exploring illustration—that’s what Exploring Illustration—is really about! # 41921 Cust: Delmar Au: Fleishman Pg No XXXI K
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Exploring Illustration - Delmar Learning

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