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Website:
www.jackpittman.net
How did you get started in the
illustration field?
I actually started in high school. I had a downtown office
in my hometown for the summer of my junior year. I did a
series of outfield signs for a ballpark and newspaper and
brochure artwork. My major in college was architecture.
Between classes, I also worked part-time at a local PBS
affiliate doing camera card illustrations, animation, etc.
for educational programs. I graduated with honors in architecture,
but had decided by that time that I was going to pursue
a career in illustration instead. My first job out of college
was with a typesetting shop. Within 6 months I moved on
to a staff illustrator position with the Raleigh News &
Observer. My duties included doing illustrations for feature
stories, maps, charts, sports cartoons, editorial cartoons,
and courtroom illustration. I was the courtroom illustrator
for the infamous Dr. Jeffrey MacDonald trial that was made
into the book and movie “Fatal Vision.” A&E
also did a 25th anniversary feature on that trial and used
my sketches in their documentary. I also was courtroom artist
for the late Senator and Watergate Hearings Chairman Sam
Ervin’s last case argued before the state supreme
court. The sketches I did for that were picked up by Newsweek.
After 9 years at the newspaper, I found I was actually doing
more freelance work than what I did for my fulltime job,
so I left to freelance in 1983 in my home studio. |
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How did you find
your style? Has it changed since you started?
I don’t believe in aiming for a style. I think it
just evolves as you incorporate influences into your work.
Working at the newspaper, with tight deadlines, was great
training for the fast pace of advertising illustrations
that I do today. I would say my style has remained basically
the same, but my attention to detail has increased so that
my work has become increasing fine-tuned.
What
is your process when working with clients? Can you run us
through a typical job?
I work either of two ways—some clients are very tight
with their requirements, and the job is so planned all you
have to do is render what they request. Others are freer
in their approach and just give me the copy or an outline
of the points they want to convey and I have creative license
to do what I want. I’m comfortable with either approach,
but I will say the pieces for which I have won awards have
without exception been the ones I have had free rein to
generate the idea as well as the illustration. |
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What is your creation
process (start with sketches, etc…)?
I will work up fairly tight pencil sketches for each project,
send a jpeg to the client for approval, and proceed to finished
art. These days, I do more illustrations digitally than
traditional. I work with a Wacom Cintiq tablet which allows
me to draw directly on the computer screen. I alternate
between Painter IX and Photoshop CS2. I still do prefer
the look of natural watercolor and ink or colored pencil,
but have developed the skill with Painter IX to simulate
what I used to do traditionally. And I suppose it works
out better for the client to have a CMYK file rather than
require separations to be made. |
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How do you market/promote
your work?
I subscribe to Adbase for contacts, use Modern Postcard
for mailings, and link to my online portfolio. Most of my
work comes via the postcards and website. However I have
several regular publishers, ad agencies, and corporate clients
I’ve worked with over the past couple of decades.
Do
you have a rep? Why/why not?
My rep is Will Sumpter & Associates out of Atlanta.
Will is an excellent rep, allows me the flexibility to rep
myself, and is just a great individual personally. I would
say the bulk of my projects come from my own repping, but
Will has brought some high-profile clients my way that I
greatly appreciate. |
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What was one of
your favorite assignments?
I did a series of Major League baseball trading cards in
the 90’s that was a terrific project. Currently, I
produce several family theme park illustrations that is
a nice series as well. I also enjoy doing Gatorade’s
corporate Christmas cards each year. And I’m doing
a 10-foot cartoon mural for the NC Wildlife Resources Commission’s
new offices on NC State University’s Centennial Campus.
And I enjoy the illustrations I do for “Focus on the
Family.” And National Geographic assignments are always
interesting. Oh, you asked for one favorite assignment!
I enjoy them all—it’s too hard to narrow it
down.
What
is the best part about what you do?
I’ve wanted to be a cartoonist since I was old enough
to hold a crayon. I enjoy it all! It’s been especially
nice to be able to work at home while my children were growing
up and be accessible to them. |
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Describe your work
setting.
My workplace is currently a converted dining room with doors
adjacent to my deck. I have a stream in the back so it’s
pleasant sometimes to work outside when the weather is nice.
I have a traditional 6-foot drawing table from my architect
days, and my computer/tablet/scanner set-up is directly
across the room from the drawing table.
Do you have side projects you work on?
I do occasionally work on projects that are not the typical
publishing assignments I do. I just completed a 4-foot “fine
art” cartoon for a pediatric wing in a NC hospital.
And I’ve done personal requests for friends when time
has permitted. I sketch for myself, but don’t really
so finished art. I have done realistic charcoals and watercolors
of my children that hang in my home, and have done some
fine art from trips to Italy and New York.
How do you maintain
balance in your life between work and play?
I also have a strong Christian faith and teach a couple
of adult Bible studies. The discipline helps to keep life
in balance. Also, since the illustration business can be
a feast-and-famine lifestyle, it helps to have a larger
perspective. I also work out on weights every other day,
and jog on alternate days. Just getting outdoors is good
for those of us who sit at the drawing board all day long. |
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Do you ever have
creative slumps? What do you do then?
Being a cartoonist is like being a stand-up comic—you
have to perform even when you feel lousy. My attitude is
much like an actor’s—the show must go on. I
learned early on in my newspaper days that it’s not
necessary to hit a “home run” every time. A
consistent “batting average” is what I aim for.
As long as your clients know your quality is consistent
and you meet their deadlines, they’re generally happy.
What do you
do for fun/when you're not working?
I also play drums in a blues band and occasionally do classical
and pops work with a small ensemble from the NC Symphony.
I played in a rock band in high school and college so it’s
been nice to get back into that as time permits. You can
hear a sample of my blues band at http://www.jackpittman.net/AdjustydBluz/Crossroads.mp3
I also like to travel. Being a member of the National Cartoonist
Society is nice to get together each year with professional
peers for the annual Reuben Awards. We have many nice locations
around the country where we meet and it’s always a
festive atmosphere.
What has been inspiring you lately?
I’m inspired by my best friend Aurora Vanderbosch
whose photography I admire and who offers her support and
encouragement in my work. My three children—Jay, Jon,
and Joy—also assist me on projects from time to time
and inspire me with their creativity as well. My parents
are an inspiration in how they have met challenges all their
life. Their example has given me strength to persevere toward
my goals.
Any advice for others who are pursuing
creative goals?
I would say only pursue a creative profession if you MUST,
if you cannot be content doing anything else. There is such
competition and rejection in the field that you must have
a thick skin, persistent inclination, and love for what
you do that transcends commercial gain. Just as actors don’t
generally encourage others to get into acting, I think an
artist is going to be an artist despite whatever discouragement
comes their way. You can’t be lukewarm about it. You
can’t go at it half-hearted. It must be your passion.
But the personal gratification from doing creative work
is so invigorating and rejuvenating! I had breakfast with
Charles Schulz before he passed away. And his advice was
to always have several irons in the fire. By doing so, you
increase your chances of success and the practice ain’t
too bad either!
Thank you very much, Jack! |
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