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.