The following tutorials is kindly submitted to www.khuantru.com, – produced and shared by the artist: Scott Cohn. 

(Please click the above banner to view the original post of this tutorial)

Also be sure to visit our interview with the artist at http://www.khuantru.com/2013/03/interview-with-scott-cohn/ where he shares his words of experience and also examples of his work.

Mixed Martial Art: A step-by-step drawing of Miesha Tate

Photo via scottcohn.com

Welcome to the second installment of MMAmania.com’s “Mixed Martial Art.” This round is the lovely Miesha Tate! For those of you not familiar with her, she’s 11-2 inside the cage, winning her last five fights to earn her spot as 135-pound number one contender under the Strikeforce banner.

The title is currently held by Marloes Coenen.

I chose Miesha as my first female fighter to draw because for starters, she’s got a rockin’ name. But more importantly, she represents toughness, fitness, and beauty equally. The “total package” as they say. I think most (if not all) of the female fighters bring a level of class and respect that elevates the sport and it can only help their respective divisions.

Keep it up, ladies!

It’s a bummer the UFC still thinks there’s no place for the women’s division right now, which admittedly is still growing and has a long way to go, because they put on some very entertaining fights.

But I digress … let’s get to Miesha!

Step 1:

This initial drawing I was really happy with. But after sleeping on it and looking with fresh eyes in the morning, I didn’t think it really looked like her. I emailed a friend the sketch and while he knew it was her, I didn’t feel that was enough to warrant being complacent and not fixing the drawing since he wasn’t adamant about it.

Step 2:

Much happier with this version. Really felt her nose wasn’t being represented well the first time. Plus the initial drawing looked too “generic pretty girl.”

Step 3:

I initially wanted to lay a black highlight shadow over her, but really wanted to keep a softness to her as well. Not that it wouldn’t have looked nice if done right, but I wasn’t feeling it for this piece. Plus, I also wanted to start “painting” a bit more with Photoshop.

Step 4:

Now that I have it where I want it, I tighten it up, again just like in the Rampage piece, using an HB lead. No ink. I wanted a little bit of roughness over slickness that would come with an ink line. Now I can move onto color. But first, I’ve gotta know which ones, son! With Rampage, it was easy. He always has some camouflage in his shorts, and the shorts are usually black. Not much experimentation there. But since I was drawing her AND acclimating to twitter, why not ask Miesha herself what she likes and make her happy, and promote me at the same time?

Step 5:

http://twitter.com/#!/MieshaTate
http://www.takedowntate.com
Follow her and say hi!

Step 6:

I tried all pink with neon green trim, but it wasn’t happening (for those of you wondering).

Step 7:

Laying in shadows now. I think this is usually my favorite part of any drawing next to actually getting in a good rhythm when I’m drawing a piece, because it starts to take the drawing from flat to some form, dimension, and depth.

Step 8:

Lighting has been laid in, plus a highlight color. I tried a myriad of different colors, but felt that green was the way to go, or there would be too many colors competing. And I wanted to accentuate, not clutter. But now I’m not so sure a flat pink in the background is the way to go. I know she likes pink, but I need to find a way that works.

Step 9 (final outcome):

Now this, I can live with. And she loved it, so win/win!

If you liked this step-by-step, and missed out on the first one go here:

http://www.mmamania.com/2011/4/16/2115003/quinton-rampage-jackson-art-step-by-step

I’m open for commissions, so if you’re feeling like you can’t live without a fighter in your man-cave, drop me a line!

http://scottcohn.blogspot.com/

http://twitter.com/#!/scott_cohn_art

http://scottcohn.deviantart.com/

http://www.facebook.com/scott.cohn.art

Mixed Martial Art: A step by step drawing of Quinton ‘Rampage’ Jackson

To quote my friend Ande Parks who, when a movie stopped and the lights turned on in the first minute, stood up and said, “You’re probably wondering why I gathered you all here today.”

My name is Scott Cohn. As in ice cream cone. I’ve been a professional artist for over 16 years now, working in comics, illustration, and storyboards for commercials. I absolutely love the sport of MMA and would love to help it grow in any way I can.

It’s mostly love of this sport that I started doing these illustrations, much like artists have, and still do, for the romanticism of boxing. And if people enjoy, great!

Everything starts with art, from the spoons you use, to the lights in an operating room, to the ring our favorite fighters fight in. I started with “Rampage” for two reasons: He’s a popular fighter and he has great body language. I wanted to start with someone who looks like a fighter. Physical with a ton of attitude.

Jackson was tougher to draw than most, so I took the liberty of doing a step-by-step to walk you through the beginning stages all the way to the glorious ending.

Check it out:

Step 1:

I was happy with the likeness, but wasn’t so sure that his body looked all that tough. And since I was using photo reference, there had to be a better one.

Step 2:

MUCH better. This is a combination of two photos. Now he feels like he has weight. But this is where the problems start. I’m not happy with his face, after all, and like I do with most of my drawings, I throw it on the light box and redraw on the back of the piece, fixing mistakes, reworking parts, or all of the figure. I rework his likeness to something I’m happy with and I have to decide — retrace it back through to the other side or just keep going and do it all backwards? That includes all the lettering on his tattoos and sponsors. Knowing that, why did I put my signature in at that point? I have no idea. Moving along.

Step 3:

Now I flesh out the direction I want this piece to go in. I know in the back of my head I want to have a color highlight. Doing the tattoos wasn’t as bad as I thought, in the end, it’s all shapes anyway.

Step 4:

Yes, it’s true! I drew this in col-erase blue pencil first. I feel like I lied to you on our first outing. I’ll never do it again. But no promises. For some reason I shot this with my i-phone instead of scanning it in. But I just wanted to document and show the tightening up process. I’ll scan from now on.

Step 5:

The hardest part. Tightening up his face and not screwing it up.

Step 6:

Okay, time to get down to business. FLIP! For those wondering, this is not inked. HB pencil darkened and cleaned up in Photoshop. I wanted to try to keep some of the roughness from the sketch in the final.

Step 7:

Alright, alright, alright, now I need to figure out what I’m going do here color wise. I grab an earlier version and start to color. Truth to tell, I did this step earlier, but it makes more sense to have it here. Don’t hate the player, hate the game.

Step 8:

Rampage colors have been flatted (meaning no lighting or shading). And since Quinton has a propensity for camouflage, I added some in from a pattern I made when I worked on a movie related Gi Joe book.

Step 9:

Now I’ve laid in the shading. I picked a blue hue, and set the layer in Photoshop to “multiply”, because I love how it plays with other colors. I also set it to 60-percent opacity. When I shade, I use a hard brush line at first to cover the areas I want shaded. Then I’ll set the brush to about 7-percent flow to soften some edges. I like the hard to soft. Makes things more interesting. Then I’ll section out areas, like his chest, and do some gradients.

Step 10 (Final outcome):

Lighting and UFC logo have been added. And we’re done!

I hope you all hung in there and dug the breakdown. I’ll be doing more of these as time permits. Thanks!

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 and 2012, events, commissions, projects etc?

A: During that time I was involved in a number of group art shows all over California and a couple in Italy. I had a mini solo show at WWA Gallery in which I created 12 zodiac themed drawings for. I was also selected to be in Bein Art Surreal Collective’s “Anomalies” group show at Copro Gallery in Santa Monica California.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A: After going to graduate school for art I had a body of work big enough and with fleshed out enough I knew I was ready to share my work with the world. I always wanted to be an artist; actually it’s more like the art chooses you not the other way around because I just can’t stop creating. Many contemporary artists have influenced me like Dave MacDowell, Kevin Llewellyn and Chet Zar.

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: My main tools are a set of Derwent graphite pencils I mostly use 2B to 6H. A kneaded eraser, a fine tipped eraser, a few Prisma Color pencils, loose graphite powder, water colors and chalk pastels. As for the paper, I usually go with the feel of it depending on my mood or style of the piece, same goes for when I select the color of the paper. I don’t work digitally but yes I believe you should work out all the kinks first when experimenting with new media.

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’?

A: I did most of that in art school, I tried allot of different techniques and was guided by and learning from experts in those areas. It was a lot of trial and error and years of critiques. Own my I am still learning, I think just the more you do the more you figure out what works or doesn’t work for you. I have a few of my own techniques that I never learned in school that I have discovered. keep an open mind, try something new, learn from the masters and listen and look at what your contemporaries are doing. Always practice your craft to refine your skills.

Q5: How would you describe the important elements of creating ‘art’? is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: All the does and don’ts are in the back of my mind I’m not really aware it just happens naturally. However, keeping a sketch book and taking notes and brain storming ideas is a must.

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: I work very intuitively and spontaneously and so I force myself to try and slow down and plan things out. The more I do that the better my pieces are. Sometimes I get artist block and in the middle of a drawing I just don’t know composition ally where I am taking it. There is a self-imposed pressure to create perfection in every piece. It’s a competitive world and you want to stand out not blend in so the pressure to create something with wow factor under tight deadlines every single time is something I deal with. Tunnel vision is how I cope with when it feels like the world around you is about to swallow you. Put on your blinders and just do you. You gotta focus on yourself, your art keep focusing on how to make yourself better and not worry what others are doing.

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A:I am in the process of relocating overseas, to Vienna Austria  I have someone very special in my life. I would love to finish getting my Master’s degree. I am also recovering from a rather serious back injury in which I may need surgery.

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A:I always say to myself “Never stop creating, everything will work itself out if you push through it” also “No matter how bad life gets, you always have your art.”

Q9: Any predictions of what the future holds for art?

A:I predict that I will soon be creating a new body of work and take my theme in a new direction.

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A:

http://www.jessicawardart.net

http://www.facebook.com/jessicawards.art

http://www.twitter.com/jessicawardart

http://www.plus.google.com/u/0/108010714472286910190/posts?tab=XX

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A:Some of my friends have had huge issues with people stealing their images and pretending they created it. Some people use watermarks but I feel it’s enough that all your work is copyright and that you have the hard copy or original. Just confront, expose and report any fraud to the proper authorities.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: Not to sound cliché but I truly believe art is subjective, and means something different to every single person. I am not strict on this, for me it’s anything you experience that leaves you feeling or thinking something.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favor the most and why? Is there a subliminal message within your work?

A: My current portfolio is evolving and partially due to life changing events and also from all the many group themed art shows I participate in. I am not sure where it’s taking me but that is good I never want to be stuck doing the same things over and over again. The themes that fuel my current work are all still based on juxtaposing attraction and repulsion. I use idealized figures and distort and seal them to hint at the rotting of the mind and body or imperfection. Everything I envision in that mad world is made out my reoccurring character, hair. It’s not only my visual representation of eating disorders but it’s a way for me to tell each figure’s story. In each piece the inhabitants interact differently in their worlds made out of hair, is it protecting, torturing them? Could be a prop that suggests a regressive denial or falsehood? I leave this up to the viewer. J I don’t have a favorite drawing because I am always hoping the next piece I finish will be even better than the last.

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: On the contrary I am flattered people like me and my art enough to want to collab, feature or interview me. I don’t get that many requests so I welcome them when they come to me.

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 and 2012, events, commissions, projects etc?

A: Oh man, ha. I’d say just go here and grab a drink and explore- http://scottcohn.blogspot.com/

In 2011-12, I’ve done boards for Playdoh, A&E’s Vikings, Vidal Sassoon, Dr Pepper, Bud Light commercials, a Dark Knight Rises book for young adults, medical illustrations, a strip for WWE Magazine, some illustrations for a mixed martial arts magazine in the UK called Fighters Only. I’m all over the place. I wear a few different hats. That way, I’m usually always working.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A: I knew when I was 7 this was what I wanted to do.

http://www.scottcohn.com/batman_hulk_superman.jpg

It started with a babysitter with brothers 3 houses away who collected comics, and a neighbor who gave my brother and I comics instead of candy on Halloween. And because comics were my primary source of art back then, Mike Zeck, Walt Simonson, John Byrne, Alan Weiss, Floro Dery, and the list goes on of influences. Now I’m influenced by everything. Looking down a city street, a sunset, my cats, art, etc.

“When I was 17….” I met artist Mike (Dark hawk, Batman) Manley back home where I grew up in PA. Long story short, he took me under his wing and he’s been my mentor, but more importantly, one of my best friends for 22 yrs now. He was one of my groomsmen this past yr. He drove a lot of things into my head, which if you can find a mentor, is invaluable. School is great, but you see the teacher maybe once a week? Maybe more? He was/ is available 18 hrs a day everyday. I got to work in his studio every summer in between college (School of Visual Arts). Hell, ‘til my now wife moved in, I practically lived at his house when I’d visit home. I got to help on some things, ink backgrounds, etc. just stuff to get my feet wet. I got to meet other art friends of his, who I’m still friends with. Another being John (Quasar, Elvira) Heebink, who mentored me quite a bit as well. He’s another 20+ yr friend. I dunno, I was really driven to begin with, but I really wanted to be where they were, and it was extremely important to me to not only not disappoint them, but myself. You see what you want, you need to grab it. No one’s doing it for you. It’s a ton of sacrifice.

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: Lately, I’ve been using my cintiq (digital screen you draw on with a digital pen) to do all of my layouts.

http://www.scottcohn.com/studio_cintiq.jpg

The corrections are WAY quicker. Everything is quicker on the production end. However, the flip side of that is, I like starting out on a new piece or comic pg by drawing with the side of the pencil because it frees you up of getting down any real detail, and makes you focus primarily on shapes and movement, your line of action, and your gesture. All the things needed for a good foundation. Like building a house. You don’t start with the bricks and the windows.

I would encourage people to upgrade every so often. It doesn’t mean you have to go that route each time. A fusion of old school and new school is great. But to have access to what your clients are most likely using is a smart way to go. I recently upgraded all my computers for just that reason. Out of date programs that couldn’t read what my clients were giving me. Clients don’t want that hassle. They want to work with who’s easiest (as well as most skilled. But that part should be obvious).

Technology is always evolving. By the time you master something, it’s already ahead a few steps. Update when you can, and within reason. You don’t always need to have the very latest all the time. As long as they’re within a few yrs of each other, they’ll work together. That was another reason I upgraded. Everything went intel, and I was living in a powerpc world still. This may not apply to all. If you’re looking to do cgi, you may very well have to upgrade constantly. That knowledge is above my pay grade though!

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’?  

A: Be open. Or to steal a quote from the late Bruce Lee, “Be like water”. Meaning, adapt. Take on the shape you’re put in. A cup, fishbowl, vase, etc. be open to working in different styles. I’ve worked on Disney characters, WB, Ben 10, Krypto , Samurai Jack, Justice League Unlimited, Rugrats, etc.

http://www.scottcohn.com/_krypto_group_recolored_flat.jpg

but then sometimes I need to do a more mainstream comic style, sometimes something more realistic, and sometimes something just quick and sketchy. Every client is different. One size does not fit all. Like dating. Everyone has different needs, and the more skills you have, the more you’ll work, and the more you’ll be able to adapt to the styles that fall in between the ones you already have. You’ll learn about yourself and your limits.

I’ve had to hit youtube quite a bit for tutorials on how to draw in illustrator, and how to ink in Manga Studio. If you can’t do the jobs presented to you, someone else will, and you’ll be left behind as they do a good job for the client that will never forget them, when it could have been you.

If nothing else, think of it in terms of eating different foods. It’s that, or eating the same thing all the time. Ya dig?

Q5: How would you describe the important elements of creating ‘art’? is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: Everyone has a different process, but again, going back to the house building example, no one ever made a successful house starting with the windows and curtains. You don’t need to make notes, just find a process that works for you that builds a solid foundation. One of the things I’ve been doing the past few yrs that a lot of other creators do is to draw a small sketch, blow it up in Photoshop, and then print it out in a cmyk process called “blueline”. Why struggle trying to recreate a sketch on a larger scale? It’s not cheating. You did the drawing already. Get the job done and live your life. Ha.

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: EVERY job creates a new struggle, and a new obstacle. Something I’ve never done before, or don’t know how to do. Thankfully, I have a lot of artistic friends who walk different paths. I reach out all the time. Growing pains is a painful process, and the sooner you can accept that and come to terms with it, you’ll adapt and grow.

You also really have to love it. It’s a commitment and a love affair. It’s hard to have a life and be your own boss, if that’s the route you choose. I’ve been my own for 12 yrs now. There were a lot of times I would have loved to have gone out, but work comes first. A lot of missed times with friends and dating. However, you need to think of it in terms of all the projects you would have missed out on. Your friends will still be there. Opportunities usually only knock once!

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: I recently got married this past year, and we’re looking to have kids in the next yr or 2. We’re both gym rats. My wife is a National Spokesperson for the Academy of Nutrition and Dietetics/ personal trainer/author. It’s SO important to have outside hobbies besides art. The brain needs to rest and soak in everything it’s done. Plus, you’re sitting all day. It’s really important to take care of yourself physically. I WISH I could train mixed martial arts, but that’s all I need. Break my hand and then what, y’know? So I’ll just live vicariously through the tv.

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A: “Prepare for the worst, so the best can happen.” For me, that means making sure my studio is the best working environment I can make it. It doesn’t need to be a “happy place” when I’m jellin’, but on horrible deadlines, or on work I don’t enjoy, that room has to keep my spirits up. Also, get a pet or 2. They help keep you company. We adopted 2 cats, and they’re total sweethearts.

It also means, like I said before, about being comfortable working in different styles, so you can bend with the wind no matter which way it blows. You’re paid to do art, not head scratch.

Q9: Any predictions of what the future holds for art?

A: Yeah, it’s not going ANYWHERE. The world relies on it too much, from movies, to clothes, to more mundane things like spoons, chairs, drapes, packaging, you name it, it’s being designed by an artist.

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A: http://twitter.com/#!/scott_cohn_art

http://scottcohn.blogspot.com/

http://scottcohn.deviantart.com/

http://www.facebook.com/scott.cohn.art

http://thatwasthen-thisisnow.blogspot.com/

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A: I suppose in this day and age of google image search, it’s easier than ever to search out your images, and see if they’re posted in places they should not be. It may be a bit of a catch 22. You need the Internet to post your work, but someone might steal the images. You can put a watermark on them of your website, but I lean against stuff like that. That would deter me from using that image as a desktop image, which could be promotion. You can still put your site on the bottom corner, just not over the image. I haven’t heard much in the way of stealing images, except for losers like Josh Hoopes http://www.bleedingcool.com/2012/12/28/josh-hoopes-from-scamming-comics-to-scamming-games/

and Robert Granito
http://www.bleedingcool.com/2011/03/24/who-on-earth-is-rob-granito/

If your work is stolen in say comics, write to the sites that report on that industry. Also, contact a lawyer. Squash it quick before it grows.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: Art to me is a love affair. It means being whom I’m supposed to be. It gives me a venue that provides expression. Defeat, satisfaction, love, hate, frustration, relief. I can’t explain how I knew I was supposed to be doing this. It just ‘was’ one day. What’s important is that you listen to yourself, and stay true to yourself. Don’t live with regret and not follow what YOU want to do. That’s why we’re here. To live our lives out how we want to. If I let yrs and yrs go by not doing art, it would kill me. It’s all I’ve ever wanted to do. There are other things, but nothing would be as fulfilling to me.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favour the most and why? Is there a subliminal message within your work?

A: I have a few favorites, but each for different reasons. Some because I thought the drawing was really solid, or I liked the coloring I did. I would have to say currently, the piece I’m getting the most from is the piece I recently did for a UK magazine called Fighters Only of UFC Lightweight Champion @BensonHenderson.

http://www.scottcohn.com/WORK/FIGHTERS_ONLY/_FO_bendo_color_flat.jpg

He loved it, uses it currently for his twitter account, and a lot of people see it everyday. It got me into the studio to meet the host and co-host of one of the top mma shows in the business (The MMA Hour w/ Ariel Helwani), using prints of the image as a giveaway. Fantastic promotion and total flattery. It’s one thing to do a piece and be satisfied. It’s another to do a piece of someone ,and that person responds personally. I’ve seen all of his fights from his WEC days. So it’s surreal to be sharing tweets with him now. Doing that piece involves me in the only sport that I watch (mixed martial arts), and that scratches a lot of itches. Extremely satisfying. As I type this, I see him tweeting with my image. That rocks.

The other is the creator-owned work I’m doing. I’m doing everything. Writing, art, lettering. It’s fun to have all that control over the work. I’ve been butchered in the past by bad colorists or inkers. Now it’s all on me.

http://www.scottcohn.com/WORK/PARADYME1.0/paradyme1.0_cover1_color_v4.jpg

http://www.scottcohn.com/WORK/PARADYME1.0/_paradyme1.0_pgs2-3_color.jpg

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: 2 things absolutely annoy me more than anything. People who ask artists to work for free, like we live off rainbows or something. You wouldn’t walk into your mechanic’s garage and ask him to work for free, and this is absolutely no different. Seeing postings looking for artists, they have a great idea, can’t pay you. But they’ll share half the profits with you. Yeah, good luck with that.

The other is waiting for clients to pay. None of them have any concept of you paying your bills late because they make you wait 2-3 months to get paid. Or longer. I waited 7 months last yr to get paid for one job. Adding insult to injury is that clients often need that work “yesterday” for their meeting/pitch/etc, but you’re just a wrist, and can wait. As a freelancer, you don’t get a regular paycheck. You just have to keep moving forward, and it’s exhausting at times hoping clients will have mercy and pay on time, or early. They all get their bi/weekly checks, and live with blinders on. Thankfully, my agent usually fights those battles for me.

Not all clients are like that. One pays the following week. That’s refreshing. I like buying things too. And keeping the lights on, which is ironic. If they don’t pay, I can’t see, and can’t do the work.

I don’t get many requests for collaborations. Mostly writers looking for an artist, that again, can’t pay. There are people I’d love to work with though. Writers, inkers, colorists.

Interviews happen once in a blue moon. Since I don’t do a lot of comics, what I do is a lot more behind the curtain so to speak, so not many people know about the projects I work on. I did do one for Fighters Only recently because of the Ben Henderson piece though.

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 and 2012, events, commissions, projects etc?

A: 2011 and 2012 were big years full of a lot of fun projects and commissions. One of my favorites was a couple of character illustrations that were used on the sides of a caravan that tours outback communities in Australia promoting healthy living choices.

I’ve also been experimenting a lot with sketching on iPads. I’ve always dreamed about being able to take all of my digital equipment around with me and sketch on location or at life drawing events and the iPad is now giving me the chance to achieve that realistically. When combined with a good pressure-sensitive stylus and the latest drawing apps it’s actually a surprisingly powerful tool.

As for an introduction, my name is Rowan Dodds and I’m a freelance illustrator working from Adelaide, Australia. I’ve been working professionally in the industry for 15 years and took the plunge into freelance work a decade ago creating Inksplat Studios. I do a lot of varied work from marketing and advertising commissions to wall murals, book covers and fine art prints.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A: Art has always been really important to me, and I’ve always spent a lot of my time drawing, doodling and painting. A lot of my influences growing up were traditional fantasy artists and painters like Boris Vallejo and Frank Frazetta and it wasn’t long before the Internet really opened up, giving me access to some of the best illustrators work from around the globe.

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: Although I trained as a traditional illustrator, these days I use an almost entirely digital work flow as I find the process works a lot better for me. I love being able to experiment with loose brushstrokes or interesting looks without the risk of ruining an image I’ve spent countless hours on.
I use an all-mac setup that I’m constantly upgrading along with a Wacom Cintiq screen for illustration input.

I find keeping up to date with technology extremely important. It’s advancing so quickly that if you lag behind it will soon show in the quality and finish of your work. I’d advise even those still learning to keep as up to date as possible as tools and techniques are changing so quickly and today’s tools can create results that wouldn’t be possible even a few short years ago.

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’? 

A: Practice, practice, practice. Draw what you love, and what inspires you, challenge yourself and expand your comfort zone, learn from those around you, both locally and in online communities and never stop loving what you are doing. Creating art is a continual learning process and is a combination of the artists own inner drive and vision, and the external influences of the society and art scenes around them. Become involved with art communities and no matter what never lose sight of the passion that made you want to pursue art in the first place.

Q5: How would you describe the important elements of creating ‘art’? is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: For me, the process of creation is often quite experimental and spontaneous. As I don’t really have a set ‘style’ to all of my work, it frees me up to be a bit more creative and find a look and process that works best for the individual project I’m currently working on. I certainly don’t make notes of what to do during the process and rely more on intuition and experience.

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: I think I’ve been quite lucky in that and haven’t had to face too many struggles. I was offered my first studio job at an international agency at the tender age of 17 and haven’t looked back since then. There are of course always internal struggles where you doubt your own work or skill but I’ve found the best way to overcome that is to just keep creating and prove to yourself what you can actually achieve.

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: All my creativity is really funneled into the art I create. Outside of that I try to make time for friends, family and relaxation but when I get the urge to create I’m always drawn back to my artwork, whether it’s a client commissioned project or something I’m doing just for fun. I have been playing around with the idea of illustrating a book or two but so far finding the time to devote towards large projects like that has been challenging.

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A: Have faith in yourself and your art.

Q9: Any predictions of what the future holds for art?

A: I think the coming decades are going to be extremely interesting for art. Advances in digital technology have already completely turned the art world on its head and it certainly shows no signs of slowing down. It’s simultaneously fantastic to see the new forms of artwork and illustration developing, and sad to see otherwise skilled artists fall to the wayside as they fail to keep up with the fast changing industry.

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A: I have an online portfolio of my professional work at www.inksplat.net and I also use my Facebook account to connect with other creative people and post occasional experimental and fun images I’ve created, so please add me as a friend there: www.facebook.com/inksplat

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A: Google Image Search is your friend. In the old days you had to rely on someone pointing the theft out to you, or happening to come across it yourself randomly, but now you can just drag images of your artwork into the image search bar and identify the majority of image theft very quickly and easily.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: To me, art is well executed creativity, whether that’s expressed visually, or in any other medium. It’s more about the communication of ideas, atmosphere or story than the medium used. A fantastic novel, movie or song is just as much ‘art’ in my opinion as a painting or drawing.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favor the most and why? Is there a subliminal message within your work?

A: I try to stay away from intentionally putting any complex subtext into my work. When working on commercial work I like to keep the message direct and clear, and with my personal artwork I like to let the viewer develop their own meaning and interpretation whenever possible.

I always have my own idea of what my work is about of course, but I find if the viewer is able to project their own personal meaning or interpretation onto an image the artwork becomes a lot more meaningful to them.

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: I guess the business side of being a freelancer can be a bit difficult at times. Always having to make sure you have new work coming in and never being completely sure where the next cheque will be coming from can be stressful, but I find it’s more than made up for with the freedom and joy you get from working for yourself so I really can’t complain.

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 and 2012, events, commissions, projects etc?

A: I am a traditional portrait artist recently converted to digital painting, who focuses on fierce Pinups and comic style work.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A: Art is how I connect with people, and it has always been that way. If you met me today you’d probably never guess how socially awkward I feel internally, but because of my work I am able to not only find common ground with my neighbours, but from people all over the globe! My greatest artistic influence was a man named Lou Cacioppo. He is a mask-carver and painter who works out of Gustavus Alaska. I had a rare opportunity to spend time up in his studio learning how to carve White Alder into fanciful creations using handmade traditional tools. He stressed the importance of attention to detail and looking at your work from all angles, no matter if 2D or 3D, and it changed my work a thousand times over! Thanks Lou!

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: Currently I mainly use a Wacom Critique 21ux and Photoshop CS5 for my digital work and graphic design. As far as updating equipment goes, I think you’ve just got to find what works best you. As a traditional artist first, I struggled with the other tablets because I had to know where my pencil lined up on the surface I was working with. But that’s just me and my shortcomings talking! I’m positive that it really doesn’t matter which program or system you use, the “secret” is in the dedication you show to learning it, and your adaptability. There’s artists out there right now who can paint digital masterpieces with free apps and know more than 5% of Photoshop, unlike my technologically stunted self!

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’?  

A: I think the missing element with people learning their own ‘art’ is personal experience. Sure, tutorials are great to teach you technique, but what makes your work unique is the story you’re telling with it! Researching your subject by placing yourself in the situation or location can dramatically affect the ambiance and overall ‘style’ of your work. I personally have an affinity for dangerous weapons and just as deadly ladies. Knowing this, it would be impossible to capture the right attitude of an extensively tattooed and pistol packing icon if I had never been tattooed before or shot a handgun, not to mention if I’d never even met a lady with Mohawk! So I surround myself with those specific elements of interest, and that’s what keeps the inspiration constantly flowing and my style what it is.

Q5: How would you describe the important elements of creating ‘art’? Is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: The process of creating work is different for me with every picture. This is mainly because I believe the best artwork comes from taking a big risk and learning how to fix it. Sure, maybe it will begin with a similar process of sketching, tone blocking, and detailing, but the definition of “new” work in my opinion is actually trying something new. Somewhere in the middle of that game plan it’s nice to throw yourself a curve ball. For example, maybe attempt different proportioning with a character or testing out a new colour theory instead of keeping it black and grey. Perhaps adding in shadows from overhanging branches instead of direct light would be more interesting. I’m always fighting myself with these ideas because I know it just means spending more time in front of the drafting table, but if you learn one more trick with every piece, that’s going to quickly add up to saving yourself time in the future, when the commissions get heavier, and the deadlines are coming at you quicker!

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: All great things in life require sacrifice, and there is absolutely no way to make it as an artist if you are not willing to give blood for your craft! In my experience I’ve had to shed derisive relationships that I though was valuable friendships, including negative family members, as well as a great deal of excess material things to purchase equipment or supplies. An exciting weekend becomes less about a bar, and more about tone studies, but if this is truly what you want, nothing else is more satisfying. Suddenly the ‘struggle’ isn’t the sacrifices you must make to do your artwork; it becomes more about how you feel doing anything else! Even now, it’s very difficult to enjoy sitting in a theater watching a movie, or even going to the beach for some sun, because I know that greater things are coming if I just work harder. And I’m addicted to the work!

Q7: besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: There is no “Plan B” for me, or any future plans that don’t involve art. This is it…always has been, and always will be!

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A: “Be in the periphery.” While the “outside” world is doing whatever it is they do, observe, but don’t let it affect you. Your work is all that should matter and whether people love it or hate it, one who exists around the borders really doesn’t care. And once you stop caring about it all equally, from success to rejection, then you can fearlessly advance your work toward its true potential regardless of consequence.

Q9: Any predictions of what the future holds for art?

A: There is a paradigm shift in the human aesthetic happening right now that I believe will have a major cultural influence in the upcoming years. The tattooed individual is appearing in high fashion magazines and in “teacher of the year” broadcasts on the news. They are getting hired in high level positions with visible work showing on their hands and necks. Therefore, I believe that the future will spotlight a person as a living canvas in ways we can’t even imagine, with Victoria’s Secret Angels in full body suits and the President of the United States with her head shaved and leg sleeves peeking out from her formal wear. And I can’t wait!

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A: FB: https://www.facebook.com/hintlukeatay
IG: ghruci_ghoti
Print website: www.artilleryink.imagekind.com
MM: http://www.modelmayhem.com/2851286

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A: Be in the periphery. If someone steals it, it’s old news anyway. Just do something bigger and better for your next work. Most likely it’s either going to happen, or has happened already. No point in losing sleep over the past.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: Art is a studied and researched skill. Expression is not. Someone who claims they are an artist should do so proudly and have the knowledge and tools to support that claim just as any other professional should. It is their life. Expression is what one does for a hobby, or for fun. They don’t believe that composition, colour, or any other study is necessary. What separates their work is intent, and the Expression “artist” should not claim to be an Artist until they are willing to put in the work.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favour the most and why? Is there a subliminal message within your work?

A: I grew up with the world’s baddest lady as my mother. She was a combat boot wearing, cursing, cigar smoking, and whiskey drinking bow-hunter who taught me to respect a lady, or face dire consequences! She also showed me that women can and should rule the world. We men have to be wanted, because we’re certainly not needed, and therefore need to have a valuable skill to bring to the world. My work pays tribute to this reality and the ladies who exist in it!

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: I get a lot of people who want to commission me to draw subjects that are completely outside of my portfolio and fields of interests. A Hello Kitty tattoo will NEVER be an acceptable request, and I will flat out refuse to draw Jesus doing just about anything serious, because I’m just not wired that way!

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 and 2012, events, commissions, projects etc?

A: During 2012 I had an opportunity to visit Peru, which was a brilliant experience that enabled me to do some travelling and to soak up lots of inspiration. My work mainly focuses on portraiture so it was really a privilege to be able to meet new people, including those indigenous Peruvians who still live a traditional semi-nomadic and tribal lifestyle. It was so interesting to experience a totally different way of life up in the Lares mountains where the costume and culture has changed little over the generations.

Let’s start with the common question, if you can kindly introduce yourself and what you do.

A: I’m a fine artist specializing in portraiture. My background in scenic art has lead me to develop an interest in the notions of theater and of the theatrical. I have taken myself out of the theater  but I’m interested in the idea of putting the theater back into my work. Currently, the main subject matter for my paintings is female portraits. I am interested in creating beauty with a dark edge, a hint of unease, female creatures with a mask to hide behind. I want to create characters which invite the viewer to generate their own ideas about the identity of the subject.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A:I can remember that I wanted to go Art College by the time I was in primary school, so art has been important to me for pretty much as long as I can remember. I grew up having art classes with my Gran from the age of 6 and so that has been a big influence in my life. As far as artists go, I’m inspired by so many, both traditional and contemporary. Painters, illustrators, graffiti writers, tattoo artists, woodcarvers, puppeteers and theater performers.

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: I have quite an old-school approach to art. I like to use my hands. I like the smell of paint, of pencils, the feel of paper and getting my hands dirty. I look back at the old masters and try and work out how they created their work and to try and understand their processes and techniques. I work predominantly from photographs and I paint with oils on canvas. I like to experiment with different materials too, some of which include spray paint, latex and ink.

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’?

A: I think when it comes to art you should always strive to keep on learning and to keep getting better. You have to be excited and inspired about what you do, and I think a good way to keep things interesting and to keep learning is to keep pushing yourself and trying out new ideas, techniques, methods and subject matters. It’s about stepping outside of your comfort zone, never stop experimenting and trying new things.

Q5: How would you describe the important elements of creating ‘art’? Is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: The first thing that is really important, as I said, is to be inspired, excited, or at least engaged with your subject matter for your work. It has to mean something to you. I also think it’s important to retain originality in your work, and for some sense of yourself to go into the piece.

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: I think the vast quantity of art out there, particularly online, is something that is very exciting and inspiring. I’m constantly looking for new artists who inspire me, or new ideas and approaches to my work. The fact that there is so much that is so easily accessible can only be a good thing.

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: I would definitely like to go back to India at some point and to do more travelling because I think that experiencing new cultures and places really enhances and develops you as a person. I’d also like to return to dance at some point. I particularly love Indian dance, from Bollywood, to Bhangra to Bharata Natyam. I think dance is another way to express yourself and to get in touch with your creativity.

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A:I actually love inspirational quotes and have quite a few of them pinned up in my studio. I think the one that I most need to pay attention to is one I wrote for myself saying, ‘Be Prolific. No Distractions’. I’m still working on that one.

Q9: Any predictions of what the future holds for art?

A: Hopefully a lot of new, exciting and diverse things.

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A:

http://sollykiri.blogspot.co.uk/

https://www.facebook.com/home.php#!/pages/Solly-Solomon/422311801147332

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet

A:I think all artists are inspired by the work of other artists and this will have some influence and impact on the work that they create and produce. Art theft on the internet is not really something I’ve ever worried about.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: I think art has very different meanings for different people; it’s such a diverse subject and is of course, incredibly subjective. For me, art has to be something that speaks to me in some way, either through beauty, or by evoking some kind of emotion, it has to touch me in some way, otherwise I’m left cold.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favor the most and why? Is there a subliminal message within your work?

A: Ideally I like each painting to be better than the last and to constantly improve and learn, so the paintings that are possibly my favorite are the one’s I’m working on at the moment and are not yet online. However, I’m really pleased with Adeona Vetali, which is a portrait which I think goes some way to convey a notion of the theatrical and to evoke a sense of beauty with a hint of darkness.

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: I don’t have as much time to paint as I would like and that is definitely what annoys me the most.

Q1: Let’s start with the common question, if you can kindly introduce yourself.

My name is Adam. I am a Vector Artist. I am working as game art designer for flash game n Mobile games. But outside of my job as game art designer, i always draw some detailed vector art for my personal project. And i always try exploring vector with different levels and style.

Q2: How did you get into the field of your work?

I won a CG contest in my country. And from there i got many offer to work from game studio. And i landed on ArtLogic Studio, and that is my first experience working in CG industry. Before ArtLogic i was working at local magazine in my city.

Q3: Do you have any current favourite artists, comic artists, photographers who may have influenced you to become the artist that you are?

Dragon Ball and One Piece really inspire me as a child. Those manga had gave me the love to draw. Then i stumbled on animation movie by Ghibli which show me the drawing quality and coloring to the level that i never imagined. An inspiration to learn and know more about art world espcially CG. After i stepped on CG world , i learned about deviant art. And from here i found many talented artists like Limkis,Janaschi,Warren Louw,Kekai Kotaki,Adam Hughes, Udon Crew,Artgerm,Mario Wibisono, etc that inspire me to improve my technical skills and widing my ideas.

Q4: What are the main tools of your trade?

I’m using stand art home desktop, and Wacom Standart Bamboo Pen n Touch. I prefer drawing on Adobe Illustrator, and Adobe Photosop for last touch.

Q5: How was it for you to learn the process of that? Did you teach yourself, take classes or learn from other existing artist’s tutorial?

I never formally learn art. I love drawing since i can held a pencil. I started learning vector since my senior high school but i started to learn zealously in the last three years ( since i learned about deviant art ). And i keep learning about idea and concept through references from internet. And inspired by big artist that i follow on deviant art. And improving my technical skill from tutorial videos.

Q6: Do you think its possible for you to describe the process of your art style, what are the dos and don’ts, the important aspects you set yourself to achieve your style of design?

I always felt that i never had my own style, because i always adopt realist art and heavily influenced from Japanese Mangas and American Comics.

On drawing i rarely had initial concept, even though i do have the image what i want to draw but when the progress goes on i will add more details,idea, or new elements which often make end results vastly different from initial concepts. Because i love thing such as detail, i will not satisfied before i filled my canvas with details. Thus it took long time to finish my personal project because the numerous revisions that i can barely count. And i always use reference in every work i draw.

Q7: What are the biggest struggles you encounter as an artist?

My Biggest struggle come from my self. I always fighting to drive away the laziness that always come to me. Sometimes my job as game art designer draining my energy to draw anything after. So i always motivate myself to finish my personal project and looking for commission project. There are also more challenges in looking for commission project due the ever increasing competitor.

Q8: Do you have any other future plans that don’t involve creative art? Would consider working outside that field and into something new?

( yang ini diganti bro dia nanya apa rencanamu yang tidak berhubungan dengan art. Jadi apa kamu punya rencana jikalau kamu tidak lagi berkecimpung di dunia art )

I don’t know. Because art is already part of my life. Separated me from that i don’t know.

Q9: Do you have any personal mottos, quotes or existing quotes that motivates you to do what you love doing? Can you share it with us or provide words of wisdom from your experiences for those who look up to you?

My Favorite Motto is “Every Detail makes me satisfied “. In all my personal project i always put my attention on details, and in some occation it really torture me, because i have to cut my time to sleep only to finish it. Especially when i have pile of commercial projects, i don’t have time to put many details. So in the end i have to keep on working in much more efficient and faster, this brought me to another new level to improve my skills,technique,planning,and execution to create a better art work. Beside details i also exploring colors, and it teach me many thing like lighting, ambiance, depth of field, etc.

Q10: What do you think the future will hold for all artists from now onward?

I think the most important thing in creating art is will. Although talent is one of important tools but the will to create art work is the most significance.

Sometimes we felt the too tired to finish our work, but we have to force our selves to finish it, to show the world of our work. Or when our work were unappreciated, even though we gave everything to our work. Or when more competitor came and they were one step further than us. As long as there is a will to draw more work, we can change all of that into motivation. Use every challenges to motivate your selves to create a better art. Because in the future more challenges will come may it be from new competitor or new media. So we no longer try to create a better work but also find a better way to promote our work. And always protect our work from Plagiarism.

Q11: To round off the last question, where can your fans and new fans find updated news and progress from you,  - Where can we find you?

Right now i only have deviantart. You can can find me at : http://adamtny.deviantart.com/

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 or 2012, events, commissions, projects etc?

A: I don’t really have any on-going projects, but I have been doing commissions somewhat regularly. Been trying to get out to any comic conventions that are within the state of Florida.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A: Maybe a year ago or two ago I felt my art was at a point where I could start taking commissions. Just wanted to get my art to a place where I feel I might buy it. So it took a bit of time to get there.

Plenty of people on Deviant Art inspired me and still do to this day. But inspiration can come from many places. There are way too many to name them all but a few inspirations are: Bruce Timm, Gil Elvgren, Alberto Vargas, Chris Sanders, Bill Pressing, Tex Avery, All the old-school Disney animators, the list goes on and on.

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: My main tool is a Wacom Intuous tablet. Since my artwork is 100% digital these days that’s all I really need.

I would recommend trying anything new, if at least just once! You never know, you may just really like the new way of working or drawing. My view on equipment or software is if first finding a method or program that allows you to draw with the most ease and most fun. Where you are not fumbling around searching for tools. It be as smooth a process as you can make it. It’s not necessary to update to the newest thing. But if it makes the process go smoother, why not?

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’? 

A: When I first started drawing I’d say my influences where more along the lines of more realistically. A main influence was Adam Hughes. And I indeed started drawing trying to emulate him. But also was just plain trying to learn to draw the human form.

Countless hours was spent on the website posemaniacs.com where it displays an image of a human 3-D model in a pose for 30 seconds. You are to then draw it doing your best to capture the pose. This helped in learning how to draw the body naturally along with drawing the figure realistically. I would often do this while listening to a podcast or music for long periods of time.

This helped my understanding of the human body and the shapes that are used to create them. I find once you have a good understanding of how everything works in the body, you can then simplify the forms down into a more cartoony style.

Q5: How would you describe the important elements of creating ‘art’? is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: Some important elements in creating art are: collecting references, without knowing what it is you are drawing, you will be taking from information in your head which may be incorrect, distorted, or you may just be repeating old ideas.

Another important element is collecting inspiration, I usually assemble a few images at least, that when I look at the images it makes me excited to want to draw. Because without the motivation behind wanting to draw something and having fun with it, the piece will come out with no emotion or soul behind it.

I think also creating small thumbnails is very important in any process, it helps get ideas out. Even if they are bad ones. Finding what doesn’t work in a piece is often as important as finding what does. So you can use that information later.

Some things not to do, might be. When sketching or drawing thumbnails taking too long. It’s about getting ideas out quickly. If you noodle around too much you might lose your creative flow and it’s important to stay in a rhythm.

Another thing would be to not stare at a piece you are working on too long. Your brain needs to take a breaks every so often. So even a 10-15 minute break doing something away from the computer can refresh your view on what you are working on. And often coming back to it after that time may allow you to see any mistakes you might have made.

 Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: Struggles of seeing others artwork and feeling they are better than I am and that I’m not good enough, or not liking the art I created in the past. How I’ve learned to cope with it was thinking:

Everyone learns how to draw at different speeds. Also, every artist has differing inspirations of what gets them motivated to draw. Why would you compare yourself to someone that’s is completely on their own path or has been drawing longer. You should instead focus on you, and do what it takes to make your own work as good as it can be where you are proud showing people.

I used to take my bad sketches, look at them and break it down what I do and don’t like about them. When I find something I didn’t like, pointing out what that was I didn’t like about it, finding some other way of drawing it or re-drawing it different ways over and over until I came to a something I liked and a conclusion about how to tackle it next time.

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: I think it’s important to have hobbies out side of art that you can do regularly. Video games and Disc Golf are two things that I do to keep my mind busy.

No plans at this moment in time.

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A: I’ve had a quote on a dry erase board where I draw, although I can’t remember who said it.

“Do what you’re genuinely interested in. When you love what you do improvement happens very rapidly.”

Q9: Any predictions of what the future holds for art?

A: I sure don’t. Just having fun with it while I’m alive and able!

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A: DeviantArt: http://thecosbinator.deviantart.com/

Facebook: http://www.facebook.com/pages/Chris-Harper/354101167935388

I also have a group of friends in which we collaborate and go to comic conventions:

http://www.facebook.com/pages/Dynamic-Rex/329957627026045

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A: I personally have been lucky and haven’t had to battle with art theft like a lot of artists.

Other than posting low resolution images with a water mark. (And even then people will find a way to steal it.) There really isn’t anything you can do other than educating people that just because an image is online doesn’t mean that it’s free. You should always, always give credit to the artist and most importantly ask before you use someone else’s artwork for something.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: ‘Art’ can be such a loose term, but I’d have to say art is anything someone creates really. And yes, that leads to all sorts or paint splatters on canvas being labelled art. But it doesn’t really bother me.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favour the most and why? Is there a subliminal message within your work?

A: I’d say this image.

http://thecosbinator.deviantart.com/art/A-Bootiful-Present-342005003

It’s the only thing recently that wasn’t 100% digital because I sketched it out on paper. I think it says that I’m still trying to grow as an artist, and trying new things. Yet it’s still a pin up, which is a topic that I’ve come to love.

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: Hmm, if anything I’d probably say when I see art theft happening to other artists. It annoys me because I know how much time is put into a piece of art, and for it to be stolen and used for a t-shirt, print, or simply claiming it as your own. To the artist I imagine is beyond frustrating.

I do get a few art requests for collaborations or features, and personally, I try to take them all. It’s more exposure, and that’s something In the beginning I set out as a goal when I started taking commissions. Because if you have a pretty large following, there is a much greater chance of getting people that are interested in a commission or buying some of your work.

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011, events, commissions, projects etc?

A: Hi. I’m OriginalNick…. and I draw shit.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A:  I don’t think my art is important… I think, (or hope) it’s entertaining, if anything.

It really wasn’t anything that I set out to do… I was always able to draw and I like to do it which is why I (still) do.

As for influences, two names come to mind… Mort Drucker and Robert Crumb… But really, I think everyone and everything influences me.

I see shit all the time and my thoughts are, “Man!! Why didn’t I think of that??!”
I’m always a little hard on myself when I see some hilariously obvious parody that didn’t come to me first..

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: “Use what you have” that’s my motto.

I don’t use fancy tools because they were never at my disposal. I have however, been known to swipe a few dozen pens from restaurants, because for some reason, they always have the most perfect pressure, black ink pens.

My tools of the trade, if anything, would be pale yellow card stock… for the simple reason that I prefer my backgrounds pale yellow vs white.

The black pens, red pens, and pencils that I use can all be classified as found objects… I have no loyalties to brands of any sort.

I’ve tried to get fancy in the past – went to the art supply store and bought everything I thought I needed to be good, but it’s just not my style.

I go into the art supply stores nowadays to check out all the cool shit they have, but I still shop at the dollar store…

When it comes to new equipment, I say, try it all… and try it all at the same time – no need to master something before you move on, where’s the fun in that?!!  Do something because you like it, or want to, not because you’re necessarily good at it. You’re not gonna know what works for you until you’re run through your gamut of options.

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’?  

A: It’s ongoing.

I compulsively doodle all the time… sometime my doodles are better than my finished products… It drives me nuts. I’m rarely completely satisfied with anything that I produce.

With my drawings, I can I see a noticeable difference every year… almost as if someone else’s hand drew it.

I don’t even think that I’m consciously trying to draw differently, it just kind of evolves on it’s own. I think I’m at my best now… but I said that last year too..

For instance, I used to draw ‘blank eyes’ on everything I did, people were beginning to think that that was some sort of signature of mine…

Nope. I just didn’t like the way I drew eyes… now I do, so now they all have eyes.  :)

My suggestion to others: Practice, trace, copy, experiment, don’t forget to credit, but don’t be afraid to try new things too… even if you fail, who cares?

You’ll develop without knowing it – on memory alone.

Just don’t rely on the praise – trying to please people should not be your focus, just please yourself..

Q5: How would you describe the important elements of creating ‘art’? is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: No rules. No limits. Start with an idea and run wild with it.

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: My only struggle is like what I said before… when I see something so awesome and I didn’t think of it first. I mean, you can always tribute a piece you like, but, it’s never going to be the same as the original.

So, in a way, my so-called struggle keeps me on my toes – because I want to think of the ideas first.

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: I am a fan of the dirty limerick!

In the back of my mind, I want to write a Mother Goose type book for those twisted individuals, such as myself.

I don’t think my art is half as depraved as my writing is…

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A: “There is no spoon…”

Q9: Any predictions of what the future holds for art?

A: Zombie Apocalypse… Every man for himself!!

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A: Well, for anyone interested in my daily rants and nonsensical rambling you can find me at:

http://www.originalnick.deviantart.com/  (deviantart)

http://www.facebook.com/shelly.inspace       (facebook)

http://www.originalnick.com/   (webfolio  – art, no insight)

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A: How to protect yourself? I don’t know what advice I can give seeing as I rarely sign my work and can barely manage to slip in a tiny watermark from time to time… But I know what’s mine (I want to believe that that’s enough…)

and I’m pretty good about keeping all my originals in the event of… whatever.

I haven’t personally had the problem with someone stealing my work for financial gain …Or maybe I just haven’t found out about it yet…

My problems are usually lack of credit…. which I guess is my fault since I rarely sign my work. If I catch it, I try to track it down and make it right..

If you ever come across a book called “Mail Me Something” check out page 62-63, those are my pictures, but that is NOT my name… not even close.

His name is Jeff, my name is Shelly… somebody fucked up.

Long story short -  Someone said ‘sorry’ and offered me  some sort of mysterious consolation prize for the ‘triple-checked’ slip-up – that is, providing I made my way down to Brooklyn to get it…

I guess postage was beyond the terms of the apology.

Did I learn from it? I hope so.

Would I let it happen again? I hope not.

I laugh about it now because it’s all so stupid.

I guess the moral of the story is to sign your work, claim your work.

I’m still working on that one myself.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: It is what it is…. It’s unexplainable, time-consuming, infinite everything and nothingness.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favour the most and why? Is there a subliminal message within your work?

A: I’d say there are subliminal ideas in some of my drawings… sometimes no one gets it, but I know it’s there for anyone willing to notice.

I like to hear people’s thoughts because sometimes they see valid shit that even I didn’t even think of.

Case in point, I have a picture titled, “Sharon Tate’s Revenge”

Here I am thinking I just drew a standard gruesome picture –  murdered woman… unborn zombie child… just happy horror stuff, you know…

But others have looked at it, and claimed deeper meaning, ‘a baby grasping for every chance he never had…’

That blew my mind.. ’cause it’s true, but that was far from what I saw/thought when I came up with it.

But I guess that’s it; art. You don’t explain it. It explains itself… individually.

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: Hah! Well… my ‘heavy sigh/giggle’ moment is usually when people find out I can draw.. they will undoubtedly look at me and say, “draw me” and then strike a fast pose, like they want it done right then and there.

I can’t draw on command.

So, even though I might want to draw ‘you’ the moment you ask me to, it’s like my brain freezes and nothing will come out…. ever.

I’ve been getting quite a few requests to illustrate people’s comics.

I’m always honoured, hugely honoured. But it’ll never happen…

If I could, I would do it in a heartbeat, but I know I can’t…

I wouldn’t want to taint someone’s comic with my shoddy attempts.

So please, consider it a service.

As for collabs, I don’t mind them at all… but it’s getting harder with everyone gravitating toward the digital realm… I’m just good ol’ pen and (pale yellow) paper… if we can work it out.. let’s do it.

Q1: Before you introduce yourself and the type of work you are in, can you possibly share what we missed out on from your progress in 2011 and 2012, events, commissions, projects etc?

A: Hello, thank you very much for this interview. In the years 2011-2012, I worked in my professional area, since i’m a systems engineer. Currently, i work developing information systems in a public company of my country, Venezuela. I was also doing personal works with vector design, but my time has been greatly reduced for this because of my current job.

Q2: When did you realize your art was important, that your art was what you wanted to do, did anyone influence you, existing digital or traditional artists?

A: In 2008 I became interested in the design, first testing programs like Photoshop and playing with their tools. Then I started to experiment with Illustrator, and it seemed much better for what I was looking for, vectors. Since then I have not stopped making vectors with that software. My main influences were digital art, and some traditional. I started seeing a lot of digital artists as Crisvector, Artgerm, Owaikeo, etc.

Q3: Can you explain what your main tools are in creating your art?, and also would you encourage others to update their equipment or master what they have before taking on something new – is the need to update equipment or software programs important in order to producing art?

A: Well, mainly use Adobe Illustrator, paper, pencil and scanner. I think the important thing is the imagination and creativity more than any tool. After having a good idea there is to know express using the tool of choice.

Q4: Everyone endures a long or short process of learning and adapting, as well as the ability of mixing up styles from existing tutorials. How was your experience of learning your own art? And what would you suggest to others who are trying to learn of their own ‘art’?  

A: In the early works made ??numerous mistakes, of course, at that time the person does not realize, by the same artistic immaturity and lack of knowledge. But over time these errors are corrected and you get nice results. As I mentioned, I learned a lot watching other people’s art, and adapting those things to my personal tastes.

Q5: How would you describe the important elements of creating ‘art’? is it important to create a guide or notes of what to do and what not to do when you begin the long process of creating an art piece?

A: The most important things for me is the inspiration, imagination, humor and time. All other things are given over time.

Q6: It is very common to endure the ‘struggles’ and the ‘weight’ of art around you, what were the struggles that you encountered and how would you suggest to others on how to cope with it?

A: Yes, sometimes can weigh. But with the passage of time and the acquisition of experience, the person is becoming more consistent with the own work. This reduces the cravings to do spectacular work, which can be achieved in my opinion after a considerable experience.

Q7: Besides the current field of work you are in, do you have anything outside that you would like to share with us? Any other future plans that don’t involve creative art?

A: Continue working in my career; take time to do more vectors, that for now, i’m not planning many things.

Q8: A few artists go by a quote or a motto to keep reminding them selves to work hard and think positive if they are to encounter ‘a bad day’. So are there any words you want to share out to others that may inspire them to work hard and continue working. An inspirational quote to motivate others?

A: Never forget that there will be a next day, to forget those “bad days”.

Q9: Any predictions of what the future holds for art?

A: Well, I think that for now will remain the same, there may be changes at the tools, but for me art is constant.

Q10: I’m sure you have sites you would like to share with us of your work, so please do share them with us here for fans and followers to keep an update of your progress.

A: Well, I’m in:

devianArt: http://www.hexthor.deviantart.com

Behance: http://www.behance.net/hexthor

Shadowness: http://www.shadowness.com/hexthor

Facebook: http://www.facebook.com/hector.alf

Q11: Last year I asked a question regarding ‘art theft’ this year will be no different. Do you have anything you would like to share out regarding ‘art theft’ and maybe also shed some light on what artists should do when exposing their art work on the vast world of the internet.

A: Using watermarks is a good option, display jobs with medium resolution and do not forget to also add copyright.

Q12: I didn’t get the chance to include this question for 2011, so here it is for you. Everyone has their own opinions regarding the meaning of art, or the definition of art. Any chance we can hear what you think art is from you?

A: It is a way of expressing thoughts, feelings and concerns of the people, relaying messages, sometimes in subtle ways, and other very directly. And every viewer can assimilate each work of art in a different way is something that changes with each person. The important thing, in my opinion is that the creator of the work to feel comfortable with the results.

Q13: And finally for the last question to round off our interview, ‘a picture says a thousand words’ or ‘tell a story’ out of your current portfolio, do you have one that you favour the most and why? Is there a subliminal message within your work?

A: I always think to show a balance between good and evil, contrasting things together. But always with nice colors or pastels.

Q14: Ok so this is optional, just out of curiosity what annoys you the most in your field of work? Do you get a lot of requests on art collabs, interviews, features etc etc?

A: Well, I think what bothers me most is doing things for free, however simple they are ‘ha ha.’