1. How have you found your style and has it changed since you started? I have drawing life and observations since I was 15 years old - mainly the human figure and mostly pencil drawings. I did this until I was 32 years old. I graduated from the School of Visual Arts, New York, in 2002. There were periods in-between were I hardly drew at all. During my Masters studies at SVA, I started to write conversation quotes I overheard into my drawings. I also started to scan sketchbook drawings into my computer and add colour to them digitally. A bit later I began to draw on location - taking reference photos of the people and places I wanted to use. Drawing from my reference material allowed me to spend more time on my work. This meant that
…show more content…
If I see a person who I would like to portray and to talk with I introduce myself. I tell them that I would like to interview them, then create a drawing of them. I also ask if they would mind their drawings being published in a magazine or a newspaper. If everything is okay for the person, I take reference photos and conduct an interview. When I’m back in the studio I look at the photos I took. I usually make little thumbnail sketches to send to the art director and to give myself a better idea how to layout the illustration. Should it be a single page, a double page spread, or a sequence of pages? Once this is sorted I work on the final drawing. Observing the photos and drawing what I see on an A2 sketch pad. I then scan the drawing in and import it into my layout programme. I design the pages and add colour to the drawings using vector shapes. During the colouring process, I often listen to the audio recordings of the interviews. Later I do transcripts of the interviews, edit them, and send them to the client. Once the text is approved and the grammar and spelling has been checked, I handwrite the text, scan it, and place it in my …show more content…
Draw from observation. Take your sketchbook wherever you go and use it! Be interested in what happens around you. Read the newspapers - not just the ones that you like - the ones that contradict your political views. Don 't wait until someone else gives you an assignment. Be proactive. Work on subject matters that interest you. Pitch projects to publications you 'd like to work for. Be ready to be turned down a lot! Look at what kind of work reportage artists are doing all over the world, and how and where they are published. Be ready to face the reality you may not able to make a living with your reportage work. It’s not easy, but when the work comes in, it’s the best job in the
If I see a person who I would like to portray and to talk with I introduce myself. I tell them that I would like to interview them, then create a drawing of them. I also ask if they would mind their drawings being published in a magazine or a newspaper. If everything is okay for the person, I take reference photos and conduct an interview. When I’m back in the studio I look at the photos I took. I usually make little thumbnail sketches to send to the art director and to give myself a better idea how to layout the illustration. Should it be a single page, a double page spread, or a sequence of pages? Once this is sorted I work on the final drawing. Observing the photos and drawing what I see on an A2 sketch pad. I then scan the drawing in and import it into my layout programme. I design the pages and add colour to the drawings using vector shapes. During the colouring process, I often listen to the audio recordings of the interviews. Later I do transcripts of the interviews, edit them, and send them to the client. Once the text is approved and the grammar and spelling has been checked, I handwrite the text, scan it, and place it in my …show more content…
Draw from observation. Take your sketchbook wherever you go and use it! Be interested in what happens around you. Read the newspapers - not just the ones that you like - the ones that contradict your political views. Don 't wait until someone else gives you an assignment. Be proactive. Work on subject matters that interest you. Pitch projects to publications you 'd like to work for. Be ready to be turned down a lot! Look at what kind of work reportage artists are doing all over the world, and how and where they are published. Be ready to face the reality you may not able to make a living with your reportage work. It’s not easy, but when the work comes in, it’s the best job in the