Afghan embed Crew Chief Kerinne Schenk, Kandahar Air Field. An American Artist in the War Zone, the Afghanistan work relates to a GQ piece that ran in their online July 2012 issue. Fred Woodward, art director; Jeffrey Kurtz, design and app creation.
Kirtland AFB, Pararescue Team Training—Search and Rescue. Done via the Society of Illustrators Government Services Committee. All work is part of the permanent collection of the Air Force. No art direction. Just me.
USAFAP, Fort Wolters, Texas, Dusk Patrol.
Spc. Nick Weishaar, The Assessment, The Joe Bonham Project. Again, no art direction—just us going to Walter Reed documenting through drawings and paintings for the historical record.
Sgt. J.M. Ross, USMC. Physical therapy at Bethesda Medical (now Walter Reed National Military Medical Center), The Joe Bonham Project.
Afghanistan Mess for Rolling Stone.
Campaign Spotlight: Victor Juhasz
This New York illustrator takes on the hard topics
Victor Juhasz has made his mark tackling difficult and sometimes dangerous topics. He lobbied former New York Observer managing editor Peter Kaplan to obtain press credentials to embed in Afghanistan in 2011, where he created a powerful and wrenching body of work documenting life for our boots on the ground (that along with his writing was featured in a GQ app for iPad and later published in GQ online). This body of work garnered him both a gold medal from the Society of Illustrators and the Society's prestigious Hamilton King Award in January 2013. Recently he journeyed to Rwanda with Foundation Rwanda to do visual journalism of their mission. They provide funding for education of children born from rape during the 1994 genocide, link their mothers to psychological and medical services and income generating activities, and create awareness about the consequences of genocide and sexual violence through photography and new media. His illustrations also frequently accompany Matt Taibbi's hard-hitting articles on national politics, business, and the economy for Rolling Stone magazine.
Born in Newark, New Jersey, Juhasz is a graduate of the Parsons School of Design in New York City. He began illustrating for the New York Times while still a student. His humorous and trenchant caricatures and illustrations have been published in a plethora of magazines and newspapers including Newsweek, Esquire, GQ, Rolling Stone, the Wall Street Journal, the Washington Post and Playboy. Juhasz's work has been commissioned by ad agencies Ogilvy & Mather Worldwide, Foote Cone Belding, and Bozell, among others, and publishers including Harper Collins and St Martin's Press.
From the mid-1990s until the March 2012 issue, his illustrations accompanied David Feherty's "Sidespin" columns for GOLF magazine, and are included in two volumes of Feherty's collected writings (Ruggedland Press) and have extended beyond the printed page to collaborations involving Feherty's initiated charities including raising funds for wounded veterans, via his Troops First Foundation.
Additionally, his work appeared on the front page of the New York Observer for nearly 15 years, a job that he's recently returned to. His reportage on Foundation Rwanda was published in their UN issue September 18th.
He and his wife Terri Cole, a psychotherapist, transformational coach, speaker and writer, divide their time between the New York Berkshires where his studio is a converted barn, and a one-bedroom apartment with a tiny studio in New York City's East Village. "The New York City space is much smaller in comparison to the barn, but I have been getting creative in making efficient use of space," Juhasz explains. "It's a slow process. Ultimately, for me the key is concentrated time and focus and whatever environment you find yourself in will work." The long-married couple have three sons: Maximillian, a VP in sales living in the Dallas, Texas area; Alexander, an Emmy award-winning illustrator/animator; and Benjamin, a Staff Sergeant in the USMCR. "We are, to date, proud grandparents to Magnus, Joli, and Milo (thank you Max and Joyce)," Juhasz says.
Whether he's working as a courtroom artist for the Washington Post on the John Hinckley trial, on a troop embed, or illustrating one of the many children's books he's created for Sleeping Bear press, the versatile Juhasz puts his heart and soul into his work.
Juhasz has an active presence on Drawger, showing his dynamic thought processes via his rough sketches for editorial illustrations and personal projects. No less an eminent illustrator than Paul Rogers posted: "We are all living in the Golden Age of Victor Juhasz."
From his blog, he writes, "So much of my early career was taking illustration assignments to pay for domestic responsibilities. Good fortune was with me in one sense that there was never a break in the workload. I would sometimes say, half jokingly, that the 25% of satisfying assignments would keep the enthusiasm going to do the other 75%. Now, after almost 40 years, my journey has gradually brought me to a point where most everything I agree to do nowadays holds an interest for me. I've been blessed with good, often long-term working relationships with art directors and, probably more importantly, editors who get it and don't gum up the works and when they do weigh in, point out something I hadn't noticed or thought of; my response is not a sinking feeling. Most of the time. "
To see more of Victor's work, visit www.juhaszillustration.com or www.drawger.com/victorjuhasz.
Q: What motivated you to begin drawing and making art? Were you one of those children who could always be found sketching?
A: I really think stress motivated me as a kid, as a way of working out the constant fighting that went on between my folks. The earliest pictures I still have are depictions of huge battles scenes—Revolutionary War, Civil War. It also didn't take too long to realize I sucked at sports. Drawing became my outlet.
Q: Who or what were your influences?
A: Well, I loved looking at those American Heritage books on the wars mentioned before which had all those great paintings in them. On the other hand there was a great attraction to slapstick humor, and I loved the early Warner Brothers cartoons: Tex Avery, Robert Clampett, Friz Freleng, Chuck Jones. The old Max Fleischer Popeyes. I lived for them and loved the artistry even before I understood exactly what I was loving. Some of the Disney work, as well, like Fantasia, but Disney was never subversive like Warner Brothers. Also the early Kurztman, Elder, Wood MADs. So, from the beginning there was a split—a strong attraction to both realism and sophisticated cartoons—serious and comedic/satiric.
Q: How did you develop your caricature/humorous style?
A: Those names mentioned above, plus, as I got older, brilliant artists like Ed Sorel, Rick Meyerowitz, and Ralph Steadman. Rick's "Mona Gorilla" for the National Lampoon was my epiphany about wanting to do funny illustration. I would actually prefer his Mona to Da Vinci's. My style in the beginning was an appropriation of artists like Sorel; I was greatly influenced by the spontaneity of his work and the great sense of fun it possessed. (We know, as we get older, that that spontaneity is the result of multiple attempts and re-dos.) I entered the profession in the early, mid-1970s. David Levine's caricatures were very prominent. I used to go to my local library to see the latest edition of the New York Review Of Books primarily to look at his drawings. The structure and solidity of his work at its best really impressed me immensely, but I eventually found that way of working way too constricting with little room to improvise off the basic look. The craziness and spontaneity of Sorel, Steadman, and Meyerowitz appealed much more to the way I approached drawing anyway. One of my instructors and mentors at Parsons, Bernie D'Andrea, would point out that my best work was in the early, sketching stages, where I had the most opportunity to allow my gestures, that drawing language, to get on paper. My finishes almost invariably tightened up. I spent many years trying to figure out and come to terms with that freedom that Sorel demonstrated. I didn't get good at it till my late 40s, early 50s, in part because I stopped thinking of the finished image, started getting comfortable with myself, and stopped thinking, "How would Ed make this work?" I'm a slow learner.
Q: What is your preferred medium?
A: Used to be pen and ink, but the older I get the less confidence I have in my technical abilities. I made the gradual shift to pencil with watercolor/gouache because I felt more free and uncommitted just drawing with pencils. Pen marks became too irreversible. I also saw it as a way to separate from the Sorel look and speak in my own voice. However, I do enjoy more nowadays drawing with those Uni-ball pens. They allow for greater freedom of movement and gesture. Those ink lines I can live with.
Q: What is your sketchbook process?
A: I am assuming you mean sketching for no commercial purpose. Rarely bring an eraser. Use Prismacolors or woodless pencils on various types of pads, though Moleskines have been the preferred pad paper for years. Just draw. If it fails, turn the page and start again. Don't erase. That's bullshit most of the time. I learned that from Howard Brodie, another friend and mentor. He was CBS's premier courtroom artist for decades. I grew up riveted by his drawings of the famous trials for Cronkite's nightly news. Again, I was attracted to the dynamic freedom of his drawing and the power of his images. We met at the Hinckley trial and it was a friendship, mentorship that lasted till his passing. I learned so much just watching him draw with three colored pencils, black, indigo blue and Tuscan red.
Q: What is your favorite type of assignment?
A: Assignments where I am in that ‘zone'; where you lose track of time and are completely immersed in the work. Also, the kind of assignment where I find myself laughing at the characters or gags in the illustration I'm working on.
Q: How do you approach the emotional content of a difficult subject or story?
A: Hopefully by staying focused with a clear head and a desire to tell the story the best way I can. That is something very important when doing the witness art-reportorial work.
Q: Which story you've illustrated has had the greatest impact on you personally?
A: Within the past decade I've had increasing opportunities to do reportorial type work, whether with the USAF, Troops First Foundation, the Joe Bonham Project, the embed in Afghanistan and just recently a mission with Foundation Rwanda to Rwanda spending time with my subjects and getting a chance to fill out details and tell their stories. There is no one story but many.
Q: What is your process for an editorial illustration?
A: I don't think I have a process. I have never been disciplined enough to be able to solve illustration problems using one consistent style, approach or technique. Go with whatever works to illustrate the story or topic. Try to get as much information and good reference as possible. Have plenty of expendable bond paper. Be honest with yourself and willing to throw out a piece and start over, no matter how far along you are with it, if it's not working. Also, be willing to switch tools, go from pen to pencil or brush, when what you are working with isn't cutting it. When all else fails, go to Looney Tunes for inspiration.
Q: Can you describe your studio environment?
A: The studio/barn has great old drafting tables, easels, lots of books, satisfying light, lots of CDs and audio books. My iMac streams NPR when I am not listening to music or listening to books. A bottle or two or three of wine. Lots of photos on the cork walls. Nice views of the property from the various windows and glass doors. A shotgun and critter gun to take care of varmints that get into my vegetable gardens.
George Stavrinos, Paper Lanterns, 1988, 17-color lithograph after a 1978 fashion ad for Bergdorf Goodman, donated to the Museum of American Illustration at the Society of Illustrators by Eleanor Ettinger, Inc.
Bill Mayer, Black Water Fiddler, signed artist proof, 11 x 11 inches.
Exhibitions of note nationwide.
The Vision of George Stavrinos
Through October 19
Society of Illustrators
2701 N. Sepulveda Blvd.
New York City, NY
The Museum of American Illustration at the Society of Illustrators presents The Vision of George Stavrinos, featuring over 100 illustrations highlighting Stavrinos's career as a draftsman and fashion illustrator. The work of this renaissance artist who was gifted as a designer, photographer, filmmaker and commercial illustrator remains an inspiration for art and fashion today. After graduation from the Rhode Island School of Design, Stavrinos was offered a staff position at the prestigious PushPin Studios, working with co-founders Seymour Chwast and Milton Glaser. In 1977, Stavrinos began producing fashion illustrations for Barney's, and soon become the face of the store's upscale look. In 1979 his career was firmly launched when he began a lucrative association with Bergdorf Goodman where he was given full artistic control over the creation of advertising. He also taught at the Fashion Institute of Technology in New York. He died in 1990 at age 42 of pneumonia related causes, one of many artists whose lives were cut short by the AIDS epidemic. The Society has partnered with Live Out Loud in conjunction with this exhibition, and will donate a portion of proceeds from this show to their Scholarship Program, awarded to college-bound LGBT high school seniors.
BLABSHOW 2013 group art exhibition
Through November 5, 2013
Copro Gallery — Bergamot Station
2525 Michigan Ave., Unit T5
Santa Monica, CA
Ana Bagayan, Lou Beach, Marc Burkhardt, Chris Buzelli, Bill Mayer, Tim O'Brien, Owen Smith, Edel Rodriguez and Souther Salazar are just a few of the stellar artists included in this 8th annual group show, curated by noted Chicago-based art director and graphic designer Monte Beauchamp. Blabshow will feature art from the upcoming Blab World 3, a deluxe annual anthology of art, illustration, articles, profiles, found graphics, cartoons and sequential art collected by the award-winning Beauchamp. From its humble beginnings as a self-published, fanzine conceived over 23 years ago, BLAB! has developed into a highly regarded compendium of contemporary art from illustration and painting, to printmaking, graphic design and sequential and comic art.
Drawing Attention by John Hamersveld
Through October 12, 2013
California State University Northridge Art Galleries
18111 Nordhoff Street
This exhibition features 45 year's worth of legendary artist John Hamersveld's work concentrating on his distinctive designs through his approach to drawing. Born in 1941 in Baltimore, Maryland, Van Hamersveld attended and taught at the Art Center College of Design in Pasadena, and the California Institute of the Arts in Valencia. Works shown include his iconic Endless Summer poster art for the seminal surf film by Brown Brown, as well as music posters for icons including Jimi Hendrix. From his earliest positions as art director of Surfer magazine and Capitol Records, his career includes drawings and designs for album covers (including Magical Mystery Tour for the Beatles), posters, packaging, magazines, and book design.
A brief review of notable titles and inspiring monographs.
Drawn to New York by Peter Kuper with an introduction by Eric Drooker
208 pages, hardcover, published by PM Press, $29.95
This beautiful illustration diary is Peter Kuper's love letter to New York City, his home for the last 34 years. He captures the city in various media with his vibrant and colorful art showing every facet of the ever-changing city from the bankrupt days of the late 1970s to its present state, chronicling and celebrating it. "The city is change," Kuper writes in the book's preface. "That's its glory—it's a perpetually unfinished canvas, offering up possibility to each successive wave of artists."
From quick sketches of jazz musicians in the Times Square subway to comic strips of New York as "Jungleland" to pen-and-ink and watercolor renderings of a market in Chinatown, a visual guide to city smells to a moving portrait of the city as a hand composed of landmark buildings with two missing fingers, shown as ghost twin towers, Kuper captures every conceivable angle and nuance of life in this most dynamic city.
Alan Moore, author of Watchmen and V for Vendetta calls Kuper, "One of the strongest and truest radical voices to emerge from contemporary America." Kuper's illustrations and comics have appeared in Time, the New York Times, and MAD where he has written and illustrated "Spy vs. Spy" every issue since 1997. The award-winning illustrator is the co-founder of the political commix magazine World War 3 Illustrated and has been on its editorial board for over 33 years. He is the author of over two-dozen books. He will have an exhibition opening at the Society of Illustrators/MOCCA to coincide with the book's publication, on display through October 5th.
Brian Grimwood: The Man Who Changed the Look of British Illustration,
introduction by Peter Blake
224 pages, paperback, published by Black Dog Publishing, $45.00
This is the first book on renowned illustrator and artist Brian Grimwood, whose work has been featured in advertising, design and publishing. His fluid style personified the visual culture of the 1960s in publications including Nova, Playboy, Forum, New Scientist and the Economist. The introduction by Grimwood's friend and peer, Sir Peter Blake, places his work in the context of the swinging 1960s in London and beyond. He is also the director of the Central Illustration Agency (CIA) London, which he founded in 1983; as such he has been pivotal in promoting the work of a host of illustrators including Peter Blake, Jeff Fisher and Alan Aldrige.
Maurice Sendak and the Art of Children's Book Illustration (3rd edition), by L.M. Poole
268 pages, paperback, published by Crescent Moon Publishing, $32.00
Maurice Sendak needs no introduction: the late children's book author and illustrator was, and is, beloved by many, most especially by the illustration community. This third edition includes a new introduction, new bibliography, many more illustrations and the text has been completely revised and updated. This critical study focuses on his famous books Where the Wild Things Are, In the Night Kitchen, and Outside Over There, as well as earlier works and Sendak's depictions of Grimms's fairy tales in The Juniper Tree. (In the US, the book is available through Amazon and Barnes & Noble.)
www.jamesvictore.com — Iconoclastic designer/illustrator James Victore gives answers to "burning questions" in a series of YouTube clips. His sage advice on work, life and bucking the status quo is laced with his trademark honesty and trenchant wit.
www.ifitshipitshere.blogspot.com — Their mission: Keeping you up to date with the latest and greatest fine art, design, products and fashion from all over the world. You'll' find everything here from the sublime to the ridiculous.
newworldexpeditions.com — Illustrator Linda Howard Bittner is partnering with New World Expeditions to lead a Wildlife Art/Photography workshop in Kwazulu Natal, South Africa, February 7-17, 2014.
www.jar-online.net — The Journal for Artistic Research (JAR) is an international, online, Open Access and peer-reviewed journal "for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines." Text is woven together with image, audio and video into research documents called "expositions".
Featuring over 180 blogs from artists and their representatives.
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Artists' rep Lilla Rogers has turned her passion for making things into an inspiring and informational book to jumpstart the most recalcitrant among us. Directory of Illustration member Rogers has impeccable credentials: An MFA from the Academy of Art University and a stellar illustration career with clients including Levi's, Barneys, Bloomingdale's and Bergdorf's, as well as editorial clients like Vogue and New York Magazine. She wears many hats: teacher, illustrator, lecturer, mentor, crafter, mother, and head of Lilla Rogers Studio, representing over 38 artists internationally. This book, designed in her trademark colorful style, offers activities, play sheets, creative exercises and good practical advice."How to Make Great Art, The Twelve-Step Program" is excerpted from I Just Like to Make Things: Learn the Secrets to Making Money while Staying Passionate about your Art and Craft by Lilla Rogers (c) 2013 Quarry Books. To order a copy of Rogers's book (128 pages, spiral-bound, published by Quarry Books, $16.98) visit qbookshop.com.
How to Make Great Art
The Twelve-Step Program
When I lecture, people often ask me, "What's the best promotion?" My answer may surprise you: Great work is the best promotion. It's so much easier to get work when your art is great. You have to do less promotion. Every promotional will get more results, too. You have to struggle much less. So the question becomes, "How do you make great work?"
Of course, there is no formula. But over the many years that I've been working with great artists, I have found some commonalities. Let me tell you what they are.
- Put your art first. Not all the time, but a lot of the time.
- Stay physically fit, eat well, and get exercise. You will need a lot of energy for your brilliant career.
- Continue to evolve your talent, either by taking classes or going to art retreats or conferences.
- There is no substitute for the hard work of just sitting down and making pieces. Watch less TV and make more art.
- Stay open. It's an opportunity to learn from others.
- Manage your emotions either through journaling, therapy, friends, or meditation. (Meditate, meditate, meditate.) Mental health is key. You will need it for the ups and downs of a creative career.
- Figure out how to stay inspired. How do you keep yourself excited about your work?
- Make lots of art. And do it when you have your best energy, not when you are fatigued. Figure out when you are most rested and energized.
- Make your very own pleasant ritual for getting started in your studio or work space.
- Find a way to get emotional support, either by joining a group or starting one of your own—maybe with a friend who loves to do creative things with you.
- Visualize your success. Use positive affirmations for what you want to achieve. Create a one- or two-sentence mission statement.
- Learn to listen to your instincts. Don't dumb down your style or taste level. Don't create for who you perceive will buy your work. Create what you would buy.
Marta Spendowska, Leonora, watercolor on board, 16 x 20 inches, framed in gold leaf.
Illustrator and surface pattern designer Marta Spendowska was a finalist in the prestigious Richeson 75 International Figure/Portrait 2013 art competition. Her painting Leonora (Leonora Carrington) was chosen for the exhibition in September 2013. Leonora is part of Marta's project on Lost Genius featuring women artists like Virginia Woolf, Sylvia Plath and Leonora Carrington.
If you have received an award, published a book or have other exciting career news, please email firstname.lastname@example.org.
David E. Lesh
Illustrator David E. Lesh, founding board member of ICON (The Illustration Conference), boat builder, husband and father, passed away on June 21, 2013. David and Vicki, his wife of 38 years, moved to their cottage on the west shore of Burt Lake, Michigan, in 2002, after their sons David and Joe went off to college. He received many accolades in his 35-year career as an illustrator for clients including Sports Illustrated, Time, Newsweek and Texas Instruments, with his unique artistic style. David was a dedicated father who coached soccer, led the local Boy Scout Troop and fostered his sons' love of the outdoors. He was instrumental in founding the Great Lakes Boatbuilding School in Cedarville, and the Michigan School of Boatbuilding and Marine Technology in Wallloon Village. He was often pictured with his constant companion Keeper, a Newfoundland. David was a talented and generous man who will be missed by all whose lives were touched by his friendship and his art.
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