I remember being really impressed by the shots in the original Matrix film back in 1999, but I had no idea, back then, that a little known Spider-Man artist first helped bring that movie to life with pencil & paper. Steve Skroce previously worked with Lana and Andy Wachowski on an obscure horror comic book called Clive Barker’s Ectokid, which was his first major work as a comic-book artist. Before his time as Matrix storyboard artist, Skroce worked on a number of high profile superhero comics, including Cable, Gambit, X-Man, and Rob Liefeld’s Youngblood with comics legend Alan Moore.
Today, Steve Skroce is putting out some of his best artwork yet on the creator-owned series We Stand On Guard with superstar writer Brian K. Vaughan. The story takes place a 100 years in the future and follows a group of Canadian citizens(Skroce is Canadian) defending their country from an invasion by The United States of America. The 4th issue just hit the stands and it appears that the first volume will wrap up with issue 6.
Skroce has drawn many storyboards for movies, including many more with the Wachowski’s. Some of those films include The Matrix Trilogy, V for Vendetta, Speed Racer, and Cloud Atlas. He also found time to make more comics, with a memorable 4 issue stint on Wolverine(2000) for Marvel and the independent series Doc Frankenstein(2004-present), which he co-created with artist Geof Darrow, for Burlyman.
Steve Skroce apparently doesn’t have much of a social media presence(he’s probably just too busy drawing!), so here’s a link to his wiki-page, if you want more information.
For more comics related art, you can follow me on my website comicstavern.com – Andy Yates
Post by Natalie
Esther Loopstra is an illustrator specializing in food, travel, hand-lettering, and surface design. Her illustrations are an extension of her perpetual curiosity and are filled with whimsy, dreaminess, and fluidity. She likes to explore textures, patterns, and symbols in her work. Her work has been used for print ads, editorials, books, stationery products, and textiles. She also teaches Illustration at Cornish College of the Arts in Seattle. See more of Esther’s work on her website.
Post by Chloe
Sarah McMenemy is an illustrator based in London who began by illustrating many of the beautiful houses in the city. Her portfolio now contains an abundance of painterly work depicting stunning architectural works around the world. Sarah McMenemy’s work has appeared in a range of magazines which have covered finance, beauty, architecture and home decor. If you would like to see more of Sarah McMenemy’s sophisticated colour palettes and characterful illustrations, please visit her portfolio.
Posted by Chloe Baldwin on 10/05/15 under artists
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If you’re like most Illustrators, then you probably ask the following question from time to time:
“Which is more effective? Email or print promotion?”
Obviously, you want to spend your time and efforts on the marketing strategies that will yield the most amount of work for the lowest cost and the least amount of effort. The thing is, all Art Directors are different in the ways that they like to receive submissions from artists, so there’s never going to be one universal answer to the question above. This means that it’s a good idea to promote yourself in a variety of ways while paying close attention to what works best for each particular client. In addition, it can be helpful to tailor your marketing strategy to fit your particular business.
To help you consider how much time and energy you’d like to devote to email vs. print promotion, here is a look at the pros and cons of each approach:
– EMAIL –
Low Cost – While crafting effective email promos and sending them to your contact list does take some time to do properly, this will always be the low-cost option, as opposed to the money you’ll need to spend on postcards and other print promotions.
Direct Link – One of the best parts about email marketing is that you can include a direct hyperlink to your portfolio website, where an Art Director can browse your work, learn more about you, and find the contact info that you’ve hopefully made easy to find.
Simplicity – Sending emails has likely become one of the most intuitive activities in your daily life, so sending more shouldn’t be a problem. You won’t need to agonize over which image from your portfolio to include in the email since you can instead send an Art Director to your entire portfolio.
Spam Filters – There will always be a chance that your email will get caught up in your recipient’s spam filter, which means they’ll never see it. Your chances of making it past the spam police are greater if you include less links and attachments in your email and don’t use punctuation such as exclamation points in the headline or body of text.
Risk of Annoyance – Even if you make it past the built in spam blocker, everyone has there own personal spam filter in their brains. It’s a well-known fact that some Art Directors simply don’t like seeing their email folder filled with submissions from artists, and therefore perceive it as spam and delete it without ever opening it.
AD Effort – Assuming an Art Director is open to email promotions, you are still requiring them to take the action of reading it and clicking on a link to your site before they ever get to see your work. This might seem like a minor thing, but keep in mind that Art Directors are busy people, and you’re not the only Illustrator sending them an email.
Pros Instant Visual – Probably the best part about sending a postcard or other form of print promotion is that when an Art Director receives it, they see your artwork right away, without having to take action or visit your website. As with any approach to marketing, you only have a brief moment to grab the attention of your audience, so why not use that time to put your work in front of their eyes?
Keepsake – If you impress an Art Director with your work, there’s always a chance that they will keep your print promo, and even put it up in their office if they really like it. If you’re lucky enough to inspire an AD in this way, they’re more likely to remember you when that next project comes around.
Cost – Obviously, there is some element of expense when it comes to printing and sending your physical mailers, so you’ll need to consider the effect that this will have on your bottom line, while weighing its potential for bringing in new work.
Time – Unlike email promotions, there is more time involved in designing, addressing, and mailing your print promotions.
Slush Pile – Art Directors usually receive print promos just about every day, which means that yours will be somewhere in a stack of those sent by many of your fellow Illustrators. While this is also true with email marketing, it’s important to remember this when designing your postcards.
No Direct Link – Even though you are showing the Art Director a sample(s) of your work, and hopefully your contact info, they’ll still need to take action to visit your online portfolio or learn more about you. Without the direct link that is included in an email, they’ll have to like your print promo enough to take further action. … After looking over the list of pros and cons above you may be feeling even more confused about which approach to take, but hopefully I’ve helped to outline some things that you’ll need to consider when creating your promotional strategy. As I stated earlier, every Art Director and every artist works differently, so I highly recommend trying a combination of print and email marketing, while paying attention to what works best for you. Also, some publications and other businesses list Submission Guidelines on their websites, so it’s always a good idea to try and figure out the best way to contact them.
Post by Chloe
Lea Taloc has combined her passion for the kitchen and illustration to create beautiful works which often appear in food blogs and magazines. Through her art and graphic design techniques she is able to convey emotions and add visual embellishments to every day life. Lea Taloc’s work has a bright and airy feel to it which is refreshing and cheerful.
If you would like to see more of Lea’s work, please visit her portfolio.
Posted by Chloe Baldwin on 10/03/15 under artists
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Happy Illustration Friday!
Please enjoy the wonderful illustration above by Kylie Millward , our Pick of the Week for last week’s topic of PRIZE. Thanks to everyone who participated with drawings, paintings, sculptures, and more. We love seeing it all!
You can see a gallery of ALL the entries here.
And of course, you can now participate in this week’s topic, which participants of InkTober are going to love:
Step 1: Illustrate your interpretation of the current week’s topic (always viewable on the homepage).
Step 2: Post your image onto your blog / flickr / facebook, etc.
Step 3: Come back to Illustration Friday and submit your illustration (see big “Submit your illustration” button on the homepage).
Step 4: Your illustration will then be added to the public Gallery where it will be viewable along with everyone else’s from the IF community!
I love the character and attitude that artist David Lafuente puts into his comics pages! This week saw the release of the fifth and final issue of Marvel’s M.O.D.O.K. Assassin, which features another deliciously dynamic cover by Lafuente. David Lafuente is from Spain and currently lives in London where he’s working on his next big project, a creator-owned series for Image Comics called The Ludocrats with fellow creators Kieron Gillen and Jim Rossignol.
Lafuente first cut his teeth in the mainstream comics world on the 2008-09 Hellcat mini-series with writer/artist Kathryn Immonen, then worked with Brian M. Bendis on the Ultimate Spider-Man relaunch. Some of my favorite art by David Lafuente is his interior work on the All-New Doop series in 2014 with Doop’s creator’s Peter Milligan & Mike Allred; check out those beautiful pages above!
Other notable works include Batman Eternal, Batgirl, Neli Gaiman’s The Graveyard Book, and The Runaways.
You can follow David Lafuente and see his art process on his tumblr page here.
For more comics related art, you can follow me on my website comicstavern.com – Andy Yates
Haejin Park is a Brooklyn-based illustrator, freshly graduated from RISD. Her illustrations are packed with intriguing and fun details and abundant color palettes. Each piece in her portfolio contains happy surprises, such as characters swimming in donuts, or beautifully detailed insects.
Pizze Beach is a great example of her talent for imagining unusual narratives, with pizza toppings sunning themselves on a cheesy surface.
Posted by Bryna Shields on 09/30/15 under artists
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Tom Hovey is a welsh illustrator who is currently based in Bristol. He is most known for his food illustrations featured on The Great British Bake off. His illustrations have appeared in such things as editorials, animation and apparel design. With clients such as The BCC, Red Bull and RSA to name a few.
Posted by Jessica Holden on 09/30/15 under artists
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Are you looking for an inspiring and effective way to build up your Illustration portfolio with the type of work that you’d like to be hired to create?
Illustration Friday founder Penelope Dullaghan often speaks about her success with using what she called Self-Assignments to boost creativity, have fun, and create new work. The basic idea was to commission herself to produce a new Illustration based on a certain topic, working method, or other set of criteria.
In fact, Penelope later used another creative technique that grew into the Illustration Friday you know and love!
I’ve often used a similar approach to build upon the body of work in my own portfolio. In short, I’ve been “hiring” myself for projects as a way of creating new work that both expresses my creative vision and shows potential clients what I might contribute to their next project. As a result, I’ve been producing work at a faster rate and targeting my portfolio to the types of clients I’d like to work for (as seen in the example above).
Focusing Your Efforts
Most artists already create personal work on a regular basis, but it is often done in a much more casual way than is being described here. By “assigning” specific projects to yourself, you can focus your energy on the type of artwork that is much more relevant to real-world applications. This will increase the likelihood that your latest piece will be strong enough to include in your portfolio, and make more of an impression on Art Directors and other potential clients.
Be Your Own Art Director
One of the major things that sets this way of working apart from more casual personal projects is that you are taking on the roles of both Art Director and Illustrator. By assigning projects to yourself with clear directions, limitations, and deadlines you can simulate the type of scenario that you would find yourself in if you were actually commissioned by a client. The benefit of this is that you will often end up with a higher quality of work than if you were simply left to your own devices.
Target Your Market
Another great reason to consider using self-assigned projects to build your portfolio is that it allows you to create the type of work that you would like to be hired for. For example, if your dream project is to work on book covers, assign yourself book covers. If you want to work in the editorial market, assign yourself editorial projects based on the latest news items. This method can be used for whatever your target market might be.
Basically, anything you can do to make yourself more attractive to your target market, and show your potential clients how you would interpret a certain project, will help to set you apart from the growing crowd of Illustrators out there. Even if an Art Director generally likes your work, you will be even better off if you can help to show them what types of projects you should be commissioned for.
In addition, you’re likely to have much more fun and find endless inspiration by assigning projects to yourself based on the type of work that you’d like to create.
Posted by Thomas James on 09/28/15 under business
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