JOSH COCHRAN
I grew up in Taiwan, spending most of my time indoors, drawing fantastic creatures and comic book characters. Throughout grade school, I kept on drawing which eventually led me to decide to go to art school in illustration. I got my first big break from Steven Heller at the New York Times Book Review. Since then I've worked with clients such as, Entertainment Weekly, McSweeney's Books, Men's Health, the New York Times Magazine, MTV, Nike and Target. Illustrations have been included in Communcation Arts, the Society of Illustrators and American Illustration. My work is best described as a form of digital silkscreening. Most of the work I do for clients are digital while my personal work is either silkscreened or painted/drawn. I currently work out of a studio in Los Angeles, comprised of three graphic designers and one environmental designer (
www.uno.la) and live in Pasadena with my dog Cody. More artwork can be found at
www.joshcochran.net and processes at
www.theplundering.com
When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?
The pivotal moment was when I won my high school district competition for art, with a charcoal drawing of an old woman. Though to be honest, I've been drawing for most of my life and it was pretty much assumed that I would do something art related....I don't think I figured out that I could make a living out of it until one point in college. Come to think of it, I didn't know you could make a living out of illustration, until after I graduated and started working commercially! Teachers tend to be very furtive about pay etc. I was going to school at the Univ. of Souther California when I figured that I should probably enroll in a more specialized program. So one semester away from graduation, I transferred to Art Center in Pasadena and did the whole no sleep non-stop stress for 4 more years. Currently, addicted to coffee.
Who or what inspires you?
I'm hugely influenced by Japanese woodblock artists, classic graphic design, Paul Rand, Saul Bass, all the Pushpin guys. I studied from great teachers in school such as the Clayton Brothers, Jason Holley, Steve Turk, Bob Kato, Jeff Smith and Mark Todd, Esther Watson. All of which were huge influences on my early development as an artist. Being surrounded by great classmates who were constantly pushing me to do my best. School tended to be very intense.
Where does your training come from? Self-taught? College/Art School?
Art Center College of Design, and I also studied Fine Art and Film Animation at USC.
How do you keep "fresh" within your industry?
I try not to do the same thing twice. Or at least keep looking at new things that inspire me or influence me in some way. I'm always very interested in what's currently going on in the art world and I try not to live in a sheltered bubble of just my friends and peers.
What are some of your current projects?
I just finished an album cover , spread for Entertainment Weekly, and illustrations for the Shivas Iron Society and the New York Times Op-Ed.
Which of your projects are you the most proud of? And why?
I'm probably most proud of my personal work (the silkscreens), specifically "A Flurry", and my "War" series. (
http://joshcochran.net/gallery.html) These were done shortly after a death in the family and feel extremely personal and I was working with a few different themes that surprised me with the outcome when I finished the pieces. I love working in a certain direction at first and then not knowing how it's going to come out. It's all about risk!
Are there any areas, techniques, mediums, projects in your field that you have yet to try?I would like to get back into painting more. I use to paint all the time in school but have always felt like I was better at drawing and ended up pursuing that more when I started working commercially. I would love to learn how to use the letterpress machines. One of my studiomates does a lot of letterpressing so I'm always around it.
Any advice to the novice designer/ illustrator?
Work hard, be persistent. Keep an open mind to what your perception of what art might be. Learn what you're truly good at, and what you enjoy doing the most. Work to become excellent at that.
What makes a designed piece or illustration successful?If it communicates the idea on several different levels, all the while being a great piece of art. I think I read that somewhere though! Maybe from Norman Rockwell?!? But it's very true...illustration that achieves different things at the same time can be very satisfying.
What do you do to keep yourself motivated and avoid burn-out?
Having another life outside of work. Spending time with my girlfriend...Also, I just got a new puppy who keeps me entertained and cleaning his mess everywhere he goes.
And finally, what is the best thing on prime-time TV right now?
I actually don't own a TV right now. I've been watching mostly movies. However, my girlfriend has TiVo so I would have to say, Project Runway, hands down. Maybe because it's easy for me to identify with the designers and the stress. I hear the Office is really good, but I've only seen the UK version which I think to absolute genius. I was going to quote from the show, but it feels a little inappropriate here...??
Recent Work:
ELWOOD H. SMITH
Elwood H. Smith: The Long-Winded Bio
Elwood H. Smith was born in Alpena, Michigan on May 23, 1941. He studied art at the Chicago Academy of Fine Arts and the Institute of Design at IIT in Chicago. After spending eight years learning typography and design as an art director for a small publishing company and several advertising agencies, Elwood began his career as a full-time illustrator.
In 1976, Elwood moved to New York City, establishing himself as one of the most highly recognizable and well respected professionals in the field of illustration. His illustrations have appeared regularly in Time, Newsweek, The Wall Street Journal & The New York Times to name just a few editorial clients. He’s worked with many major advertising agencies world wide.
Elwood has done animation character development for R.O. Blechman and J.J. Sedelmaier at the Ink Tank. He is currently busy developing his own animation using Flash & Toon Boom Studio and other software.
Elwood has also written children’s books and two musicals for children with his wife & representative, Maggie Pickard and has illustrated children’s books for Viking & Klutz Press. He has been featured in Steven Heller’s Innovators of “American Illustration, The New Illustration”, published by The Society of Illustrators & many other publications.
Elwood has been playing guitar since the late ‘50’s and writing songs since the ‘70’s. During his five-year stint in Manhattan, Elwood was lead guitarist in “Ben Day and the Zipatones”, an all-artist band that included Lou Brooks, Bill Plympton and Mark Alan Stamaty. The band
appeared in two dazzling performances of the “Artists and Models Ball” for the Graphic Artists Guild. A 12-song CD, featuring Elwood’s songwriting is available on his web page. The songs are sung by John Platania (guitarist for Van Morrison, Bonnie Raitt, Randy Newman, Judy Collins & Chip Taylor), who produced & arranged the project.
In 1983 Elwood and Maggie moved from Manhattan to Rhinebeck, New York where they continue to live a chaotic life with Sophie, a Scottish Terrier; Girlie, an ancient feline nut-case and Luigi, the Best Cat in the World.
When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?As noted in my bio, I worked as an art director for 8 years. During that time, I did some illustration when the opportunity arose, but most often I hired freelance illustrators to do finished art based on my layouts. Near the end of that 8-year period, I became convinced that if I didn’t immediately jump full-time into the illustration game, my courage would slip away. In addition, I was getting frustrated as an art director. I was a poor fit in the corporate world. I developed an ulcer. I wanted to draw pictures, not attend meetings arguing with account executives. So I jumped, working for a short spell for a small studio in Chicago before taking on a freelancing career. I’ve never looked back.
Who or what inspires you?It’s easy to get stagnant. Any creative person needs stimulus and, over the years, I’ve found it in a variety of sources. In the early days, I turned to commercial art magazines like Graphis and Art Direction. Later, I left Chicago & lived for a while in the Dunes area near Michigan City, Indiana. There, I shared a studio with illustrator, Slug Signorino. He and I inspired each other as we worked on developing our personal styles. We also shared a love of jazz and Dairy Queen Buster Bars. Nothing gets the creative juices flowing like eating ice cream covered with chocolate & peanuts while listening to Miles Davis.
When I moved to New York, I was stimulated by all the illustrators I met at parties & art openings. Many of them were heros, like Seymour Chwast, Milton Glazer, Paul Davis, Ed Sorel and Marshall Arisman. It was a heady time hanging out with highly creative illustrators like Guy Billout, Steven Guarnaccia and Lou Brooks and designers like Michael Doret and Chris Austopchuk. The people and the energy of New York City were crucial to my growth as an illustrator during the five years I spent living there. These days, I jump start my creativity by embracing new endeavors, like writing and learning & creating animation. My wife, rep and creative partner, Maggie Pickard is a superb fine artist & has become an excellent graphic designer. We often work together on various projects including our self-promotion material. We fuel each other’s creativity.
Where does your training come from? Self-taught? College/Art School?I spent my last two years of high school taking art classes with the best teacher a green boy in Alpena, Michigan could have possibly asked for. Her name was Nancy Feindt and she was responsible for my decision to pursue art as a career. She nurtured me and gave me the kick in the ass I needed to leave my small hometown and head to art school in a big city. In addition, I spent two years at a mediocre art school in Chicago plus I attended some evening classes at Chicago’s Institute of Design. Mostly, though, I’ve learned through observation, imitation and gobs of elbow grease.
How do you keep "fresh" within your industry?As I said above, I keep an open mind and I’m willing to try on new hats, like expanding my musical interests & developing my skills in animation. Some of my contemporaries shun the computer, but I embrace it. I’m no tech head, so I buy the manuals or pop over to Lynda.com and plug away, learning enough about the necessary software to use it as a creative tool. I love my dual processor G5. I can sit here in my small studio & create soundtracks for my animation projects using the symphonic loops available in Apple’s GarageBand and mix everything up, adding mandolin or sound clips from exotic instruments. All this would have been impossible before the availability of computers without a huge outlay of cash and a large studio filled with recording equipment. These are the best of times for creative people. I’m like a greedy pig, wallowing in the riches.
My animation doesn’t inform my illustration directly, but it does keep my battery charged.
What are some of your current projects?In the process of learning animation, I worked up some short animation projects (most are on my site), but I soon became bored with reinventing the wheel. Don’t get me wrong, I love the old masters of animation and Disney’s earliest animator, Ub Iwerks’ stuff, as far as I’m concerned, is as good as it gets. I am delighted by the best 3D stuff like “The Incredibles”. The more traditional “Triplets of Belleville” is a masterpiece. But my time is limited and I finally
concluded that I have no interest in pursuing conventional animation. When, two years ago, I attended my first animation festival, The Ottawa International Animation Festival, I discovered the amazing Gianluigi Toccafondo. His masterpiece, “La Piccola Russia”, completely bowled me over and changed forever my view of animation. At the festival, I finally met in person another of my animation heros, Chris Hinton. These two masters blew the doors wide open for me and, though my new stuff won’t ape their work, Chris and Gianluigi have inspired me to take this art form as far my talent will allow. Without commerical considerations. Without compromise.
To see a short clip from Chris Hinton's amazing animation,"Nibbles" go here:
http://www.acmefilmworks.com/and click on Directors along the left side. Click on Chris Hinton's name and it'll be the opening animation.
To view a RealOne Player movie of Gianluigi Toccafondo's "La Piccola Russia", click on this link:
LINKIt’s a pale version of what I viewed in Ottawa, but it’s still amazing.
About my latest project: It’s a short animation, built upon a seven-minute composition I created using GarageBand and sound clips from many sources. It’s not really a “true” animation, but more of a visual collage. I’m using still images, live action clips, animation clips and anything else the stew needs to attain the specific flavor I’m after.
I make my living doing illustration assignments, but whenever I can I work on my personal animation projects.
Which of your projects are you the most proud of? And why? My favorite project is the animation I’m currently working on. I’m especially fond of my last finished animation, “Little Green Monkey”, which is on my site. My earliest animations were created using Toon Boom Studio and, then, Macromedia Flash, but Green Monkey was done by creating hundreds of individual drawings on watercolor paper, adding watercolor washes, scanning each image and finally assembling them into a movie. My new project will contain clips created the same way and it’ll also feature the Green Monkey. When it’s finally done, I’ll let everyone on this site know where to view it.
Are there any areas, techniques, mediums, projects in your field that you have yet to try?Oh, yeah, tons! I’m a slow learner, so I hope I’ve been handed a long, long life. I am currently learning Apple’s Motion 2 to composite my new project and add special effects. I’m sure I’ll run into all kinds of things that will intrigue me as I continue to pursue animation.
Any advice to the novice designer/ illustrator?Just the usual suspects. Believe in yourself, keep your standards high and work your ass off. Mainly, keep an OPEN MIND. Let curiosity rule your life!
What makes a designed piece or illustration successful?It’s successful to the client if it sells. And to the creator if it satisfies the soul.
What do you do to keep yourself motivated and avoid burn-out?I keep the inner fire burning by fueling my curiosity. We all have to decide for ourselves how best to do that.
And finally, what is the best thing on prime-time TV right now?I have no idea. The Simpsons? But, on cable, it’s no contest: HBO’s “Deadwood”.
Related Link:http://www.elwoodsmith.com/Recent Work:
EDMUND MCMILLEN
Edmund McMillen, owner and director of Cold Storage, is an professional and award winning illustrator, graphic designer and cartoonist hailing from Soquel, California.
When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?
I've been drawing since 3rd grade I cant really think of a pivotal moment where I decided that I wanted to be an illustrator, but there were many moments of inspiration through the years that I'm sure pointed me in the right direction. It started with ninja turtles, then garbage pail kids, super mario brothers and ren and stimpy. Those things made a huge impression on me as a kid, that really stand out in my work today.
Who or what inspires you?
Creative people inspire me. Realistic, humble creative people inspire me. Regardless of what medium they are using if you are honest in what you are making and show passion in what you do, chances are you will inspire me to be creative in some way.
Where does your training come from? Self-taught? College/Art School?
Most of my technical illustration skills are self-taught, but I did have a few memorable high school art teachers that helped me along the way. I tried to go to art school in San Francisco after I got out of high school but it was a little overwhelming so I quit after 4 days in.
How do you keep "fresh" within your industry?
Personally I don't really care much about keeping my work "fresh". My style changes a lot, but I never consciously change the way I illustrate to keep my style "fresh". if anything I think it's the artist's job to keep their work fresh to themselves, stay inspired and change what is viewed as "fresh" in the industry.
What are some of your current projects?
I'm currently working on character and game design for my next PC game, its very character heavy so its very fun, but also very time consuming. I'm also working on my 2nd PC game with Alex Austin (programmer of Gish) and some small side work like t-shirt illustration and Cd cover graphics.
Which of your projects are you the most proud of? And why?
Im most proud of my 1st Pc game Gish. Gish was a huge undertaking for 2 guys to take on and I was in charge of all the design, illustration, animation and level design. We were able to finish it in less then 6 months sometimes putting in 24 hour shifts. A year later Gish went on to win grand prize at IGF2005.
Are there any areas, techniques, mediums, projects in your field that you have yet to try?
Like a lot of other cartoonist/illustrators I'd really love to illustrate for children's books, I'd also like to try my hand at writing one.
Any advice to the novice designer/ illustrator?
Try and draw as much as you can, and don't censor your work just because it doesn't look traditionally "good". Go with what comes out naturally and try not to think so hard about what you are working on, just let it flow.
What makes a designed piece or illustration successful?
I personally think what makes a designed piece successful is the amount of honesty the artist puts into it. Its really easy now a days to just draw what's "fresh" and not push any limits when it comes to style and content, but I think its the job of the artist to try something new and put him/herself into their work.
What do you do to keep yourself motivated and avoid burn-out?
I usually play a lot of video games and watch movies when I'm burnt out, if that doesn't work it really helps to just go out and take a walk with my wife, I'm not a huge fan of people and crowds so I tend to stay inside, but it really does help to force yourself into the real world every once in a while.
And finally, what is the best thing on prime-time TV right now?
Arrested development is the only good thing on prime-time tv, but I don't know how much longer that will last.
Here are a few links to some images of mine:
http://coldstoragedesigns.com/image3.jpg
http://coldstoragedesigns.com/images/mech03.jpg
http://coldstoragedesigns.com/image2.jpg
http://coldstoragedesigns.com/images/roundies2.jpg
http://coldstoragedesigns.com/images/gish2.jpg
and links to a few of my games:
Gishgame.com
http://coldstoragedesigns.com/game02.htm
http://coldstoragedesigns.com/game03.htm
JARED CHAPMAN
Jared Chapman draws. Growing up in a small town in Northeast Texas, Jared drew a lot to pass the long, hot summer days and chilly winter nights. Over the next several years, Jared continued to draw, and was eventually paid to move to Austin, TX and do it full-time. When he isn't hanging out with his wife or drawing, he can be found looking for links to post on the inspirational weblog, DRAWN (
www.drawn.ca) or looking for music that labels him as a "nerd".
When did you first decide to become a graphic designer/ illustrator? Was there a pivotal moment?
To be honest, I'm not sure of the moment when I decided that I wanted to be an illustrator. Growing up, I was really mesmerized with most anything animated, so I wanted to be an animator for a long time... but I also said that I wanted to be a geologist, archeologist, and a caveman as well. Fast forward several years and I found myself graduated from high school and attending Texas A&M University, all in the hopes of getting into their Viz Lab program (a graduate level 3D program) four years later once I received my bachelor's degree. The first semester was rough. I was miserable, so I decided to apply to an art school. With luck on my side, I was accepted to the Savannah College of Art and Design and was finally able to start pursuing my dream of becoming an animator. With the constant drawing and learning that I was going through during this time in my life, I started noticing the work of other artists. I was able to put names with styles, observe what different people were doing with their work, and really just take notes on the things I thought were successful and the things that I didn't care for. This was my segway into illustration. I became obsessed with illustrators and found myself becoming hooked on their work. After I graduated in 2003, this obsession really took off, and I found my own work becoming increasingly more illustrative... it still is.
Who or what inspires you?
Sheesh. I could rattle on about this one all day and most of the night, but in order to save everyone the sore ears, I'll boil it down: everything inspires me. Broad answer, right? I'm always looking for new artists. I find the work of others to be very refreshing. If you can find that one artist that has a great, new take on things, unlike anyone you have seen before, well, I get more excited about finds like that then I do about my own birthday! Drawn is a fantastic resource for this. Music is a constant source of inspiration for me as well. I also really find old, small towns to be a huge source of inspiration... that may be attributed to the fact that I am from a small town. They never fail to be a diamond mine of quirky stories, people, and customs.
Where does your training come from? Self-taught? College/Art School?
I graduated from Savannah College of Art and Design, which really laid the ground work and stirred the drive for my own explorations in my work. Having said that, I can't help but feel that there is no college or art school that can really teach you when it comes to your own unique voice. They (the school) can take you to a certain point by teaching you different techniques and methods of working, but taking these things and applying them to your vision is up to the individual. The biggest periods of growth in my short artistic career have been on my own.
How do you keep "fresh" within your industry?
For me, the secret is to continually be trying new things. Sometimes these experiments go no where or end in mass destruction. Other times, something good will come out of them. What is important for me is that I am pushing my boundaries as an artist.
What are some of your current projects?
Right now I am working on an illustration for an upcoming collaborative book that will be published this Spring. It sounds like it will be a pretty cool book once it is finished. I'm a big fan of some of the artists that will be included in it. Other than that I have a few personal projects that I hope to complete this year.
Which of your projects are you the most proud of? And why?
Though they weren't for a particular project, I really enjoy my sketchbooks. I really enjoy the "anything goes" approach that I take in them... they are really fun to play in, plain and simple. I?ve also been happy with some of the pieces that I have done for Illustration Friday as well... funny enough, some of the pieces that I have enjoyed the most didn't receive as many comments as other illustrations I have done for IF.
Are there any areas, techniques, mediums, projects in your field that you have yet to try?
Yes! Screen printing! That is one technique that I have been dying to try out. I really want to apply it to the work that I am currently doing... see what kind of looks I can achieve when I combine it with other mediums and techniques. I actually dream about it at night... I obviously have no life.
Any advice to the novice designer/ illustrator?
Sure. Keep your eyes open to the things around you. Whether it be what other artists are doing, the way a leaves grow on a tree, whatever, you?ll be amazed at what you can learn just by observation. Also, be sure you're having fun with what you are working on. Nothing stinks more than something that is forced. Finally, be sure to keep people of wisdom in your life. My dad once told me that and I live by it.
What makes a designed piece or illustration successful?
I'm not sure I can give a simple answer to this question. I would say a well though out idea that has been carried out to perfection... but I don't think that ever really happens. At least it has never happened with my work. I think perfect means something different to every person. For me, I like to see the flaws in a work. There is a certain type of charm that flaws add. Just knowing that a person used their hands and imagination to craft an object... it's great.
What do you do to keep yourself motivated and avoid burn-out?
I tend to work in cycles, so the moments of unmotivation are inevitable. When those times hit and I am in the midst of a creative drought, I do nothing. I watch TV, read magazines, listen to music, and think... just whatever. Recently I've been fishing a lot... and I discovered four wheelers. Eventually I come out of my slump... it may take a week or so, but things always get better.
And finally, what is the best thing on prime-time TV right now?
Hmm... good question. You can never go wrong with The Office. The new season of Project: Runway just started a few weeks ago, so my wife and I have been watching that... it's not on prime-time or still on air anymore, but I really like catching reruns of Grounded For Life in the afternoons as well. With the exception of these shows, I probably don't have the best taste when it comes to TV.
Related Links:
