This guy gives me new appreciation for everything Big Phamaceutical has done for us Don’t miss Mr. Scheff’s book- Alchemy – available thru Blurb.com. Oh and the iphone portraits. Visit his online portfolio for a look at his wonderful iPhone portraits.

::: Artist(s) Name:::
Marc Scheff

::: Clients/Employers :::
EA, Breakthru Films, Zynga Games, Large Animal games, Mothership Pictures, other Freelance work.

::: Website:::
http://www.dangermarc.com

::: 1 ::: Tell us about yourself. Where did you grow up? What’s your favorite color? When did you first realize you were an artist? Did you draw as a kid? Color outside the lines?
I grew up in Boston, and I owe my artistic ability to both my mother and the pharmaceutical industry. My mother is an incredible chef, and was constantly experimenting with new techniques and presentation ideas. I learned a lot in that kitchen about how to be creative. My wife and I joke that I can take half an onion, a piece of tape, and a toothpick and make a four-course meal. I definitely use these MacGyver skills as an artist. For me, it’s important to have ideas and be willing to experiment, as much or more than extreme proficiency at just one thing.

As for big pharma, my dad is a pediatrician and when he’d take me to work he’d sit me down with the stacks of free pads and pens every drug salesman left in his office, and I’d just draw and draw and draw. Thanks to the marketing efforts of tylenol, immodium, and other Rx drugs, I got my first crack as an artist, a serious taste of the work-at-home lifestyle.

::: 2 ::: What comic book genres interest you the most? Who is your favorite comic book artist and/or writer? How have they influenced your work

I love fresh takes on the familar.

My favorite graphic novel of all-time is Arkham Asylum. Grant Morrison tells a well-woven tale, and Dave McKean’s illustrations are nothing short of visionary. The way McKean blends his collage, digital, and illustration work fits perfectly with the slightly shattered psyches of the Arkham crew, and of Batman himself. It’s a great story with great art, and they show that you can approach an old story in new ways, and you can combine ideas and styles visually with an ever greater impact that a single style.

I’ll also say that the original Hellboy books that Mike Mignola put out are amazing. More old stories with a new angle, and he keeps them simple with extremely tight sequential layouts. Look at some of his pages and you start to see that the panels don’t even just follow from the previous frame, but the work with the frame before and the frame above, and the one above that. Each page is truly a cohesive piece, and each frame cohesive unto itself.

Generally, I pick up my comics based on the art. I go to the shop a few times a year and just stock up on whatever I think looks pretty on the inside, occasionally noting a great cover artist to google when I get home. I don’t stick to a genre, but have been fairly faithful to Marvel, DC, and Image (and their sub-publications) over the years. I also collect annuals like Spectrum for inspiration.

::: 4 ::: What is your favorite story you’ve ever drawn? Favorite character?
I’ve always loved making up new characters, especially as a combination of characters and creatures. I think my favorite thus far is the Tiger-Octopus-Snake I currently have up in my portfolio. It’s a fairly straightforward mix of features, and I just loved the process of painting it. Every decision along the way seemed to come fairly effortlessly and I really enjoyed the result.

My favorite story is actually a book I’m working on now. It’s a kids’ book, but one that adults will enjoy. It will be about 30 full pages of full color illustrations. What I love about this project is that I’m using a lot of my broad knowledge from fine art, character design, illustration, and environment design. I also just did a reference photo shoot with my wife, which was very fun to do. It’s a big project and I’m really excited about not just getting it done, but about the process. If I’m not excited about the process, it’s probably not going to make my favorite list.

::: 5 ::: How did you come up with the concept for your creatures? How did you come up with the idea for the book?

I believe that creativity is all around us, we just have to be open to seeing it. I practice this in different ways, and a lot of them are what I’d call idea games, games where I give myself a few variables and create inside of those boundaries. For example, the Element creatures on my site were all created by asking friends to tell me their favorite animals, and I’d combine three in each portrait. After the first two, I decided to make it a series of 4, one for each of the 4 Elements. Playing the idea game around how to mash up animals, opened my thinking and the concept for the series was a continuation of that same brainstorm.

It doesn’t have to be so involved. Sometimes I draw what’s in front of me, and I’ll make it a creature, or a building, like laptop monsters and halogen-lamp lofts. Through constant improvisation, both with ideas and materials, I think you can become a much better conceptual artist.

The book I’m working on was actually someone else’s idea. He approached me with a story he had, and I liked it. His skills complement mine, he has more contacts in the publishing world, and so we decided to do the project as a partnership.

::: 6 ::: What was the hardest part of creating your upcoming book? What hardware (computer, scanner, printer, etc) do you use? What software?

I use Corel Painter XI, Photoshop, and the large Wacom Intuos 4. I have a laptop and a 24" montor on my desk, and the wacom is on a music stand on my right. I like to work with my left hand on the laptop and tablet on my right, I feel kind of like I’m flying a spaceship. I have a scanner too, an old epson 1200.

The hardest part of all of my work is constantly realizing how much more I want to learn. It’s also the most rewarding part. This book is challenging me to approach my illustration with a whole list of new variables. I like to tell stories in my images, and now I’ve got about 30 that tell the story. This means I can slow down and tell less of the whole story in each image. It also means each image has to fit the style and pacing of the previous illustration. The book has basically taken my typical single-image approach to a sequential world. It’s been challenging, for sure, but watching the project coalesce is an incredibly rewarding process.

::: 7 ::: How have you handled the business side of being an artist? How do you promote your book/website/comic? What’s the best and worst parts of being a full time, working artist?
The hardest part is the business side, definitely. I always carry cards on me, I always follow up with contacts. I send out a bi-monthly newsletter with news and new images. I go to figure drawing sessions in my area and meet other artists.

Aside from that, the truth is I’ve found most of my success simply through changing my speech around what I do. Speaking confidently about what you do inspires confidence in potential colleagues and clients. If you put up your work and start in with, "Oh, I want to change that, .. oh, that one isn’t my best piece" you immediately tell your audience that your work is not inspiring and they tune out. If you tell the story of the piece in a way that is inspiring to you, people will get that, and be attracted to your work. They can do their own critique for themselves, no need for you to help them!

I also believe that we, artists, have to work in the world in ways that support each other. We have to share ideas and resources. I open my home studio to a figure drawing group, there are other artists who do online tutorials, and still more who run big workshops all over the world. The more you share, the more genuine connections you’ll have in your network, and the more people will offer for you to learn. Being an artist, for me, is a constant learning process. Through speaking clearly about my work and sharing ideas freely, I’ve found that the learning process has only accelerated, and thus my own technical abilities and successes have followed.

::: 8 ::: Has the Internet helped your career as an artist? If so, how?

Hell yes. I use Cooliris, a Firefox plugin, to do LOTS of image research. If I don’t know what something is, or want to know what objects belong in a 17th century pirate scene, I’ve got dictionaries, wikipedia, and google/flickr image searches to find almost everything I need. I still take my own photos for larger-scale projects, but I’ll always hit the internet first.

Aside from that I’ve LEARNED a lot from the internet. There are thousands of tutorials and videos out there, and I’ve learned from so many. You could spend a decade learning all there is to know from your couch. Some of my favorites are the simple and quick drawings from idrawgirls.com.

::: 9 ::: What is one stereotype about comic book writers/artists that is absolutely wrong?

I think the romanticized starving artist is a myth, or the artist as anarchist. You don’t have to be a shrouded in negativity or "tortured" to create great art. You don’t have to draw a mustache on the Mona Lisa to make an impact or be important. David Lynch wrote a great piece summarizing this. He says,

"It’s common sense: The more the artist is suffering, the less creative he is going to be. It’s less likely that he is going to enjoy doing his work and less likely that he will be able to do really good work."

I wear jeans and a t-shirt most days. I smile a lot and like to run outside. I love my wife, my family, my friends, my awesome dog and I’m not afraid to tell you that I love my life. I think that living a fairly organized and compassionate life makes it easier for me to relax and tap into my creative energy when I sit down to work.

::: 10 ::: What one stereotype is dead on?

I have to draw and paint. If I go a few days without it, I start to go a little stir-crazy.

Oh, and the secret handshake and initiation rites. That’s all true.

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::: Artist Name::  Fip Buchanan

::: Media:::  Primarily skin and ink (tattooing), also watercolor and acrylic

::: Website::: www.fiptattoos.com

::: 1 ::: When did you first realize you were an artist? Did you draw as a kid? Color outside the lines?
I’ve been drawing all my life. My mother still has art I did when I was about 2 years old. I never liked coloring books much, I reperred to draw my own pictures.

::: 2 ::: Why did you become a tattoo artist? Do you consider it an art form? Do you have a sketchbook to work up ideas? How does the design process work?
I became a tattooist because I thought it would be a fun way to do art and interact with people. I talk to the customer to see what they have in mind, and draw the design up from there.

::: 3 ::: Could you tell us some more about your paintings? How does your "canvas" affect your design? Which of your tattoo designs is most important / personal to you? Why?
My paintings are really done for myself, because when I tattoo each piece of art is a private commission. Painting gives me more freedom and it’s a much looser art form than tattooing.

As far as tattooing, the placement on the body affects the design as it has to fit the body right.All my designs are personal, as each one contains a lot of me in it. Through the years I’ve developed a style that my clients are attracted to, and each client is important to me.

::: 4 ::: How did you become a tattoo artist? Where did you receive your training? School? Apprenticeship?
I went to the Art Institute of Pittsburgh, Pa. from 1982-1984. While there I met Red Schuster and Duke Miller, local tattooists, and I was helped a lot by them. Other than that, I learned mainly through observation . I always watch closely when I get tattooed, and I have learned also by looking at photographs of others artwork and tattoos.

::: 5 :::  Tattooing has become very mainstream recently. How has that affected your designs?
I wouldn’t say it’s really affected my designs at all, but it has increased the demographic of our clientele.

::: 6 ::: What famous artists have influenced you, and how? (could be other tattoo artists, painters, pop culture, etc)
Ed Hardy, Jack Rudy,Greg Irons and Bob Roberts were my earliest and most important influences in tattooing.

::: 7 ::: How have you handled the business side of being an artist?
You get tattooed you pay me. Pretty simple, right? Actually, the paperwork and other business aspects of tattooing are the least fun for me. I really just like doing artwork, and for the most part, the business takes care of itself.

::: 8 ::: Has the Internet helped your career as an artist?
Yes, my website helps tremendously,and other reviews, blogs, etc. also help spread the word.

::: 9 ::: What’s the best and worst parts of being a full time, working artist?
The best part is working for yourself, and the independence that brings you. The worst part is probably the uncertainty of your income. Some days you may do real well, and the next day, nothing.

::: 10 ::: What advice would you give to an artist just starting out?
Work hard at what you do. Just because you’re an artist doesn’t give you a license to be a slacker. Also, you have to learn how to take constructive criticism well. I’ve had people ask what I thought of their artwork, and when I give them my honest opinion ,they sometimes get mad about it when I’m not patting them on the back. If you’re going to ask me or anyone else whose opinion you respect, don’t get all hurt when the answer isn’t what you were hoping for. Take the advice and better yourself. It’s very hard to be objective about your own artwork.

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Katie Cook is a very busy girl: she has recently finished the first season of the Starwars.com Clone Wars webcomic, Her 8-page "Tricks of the Trade" was published by Dark Horse Comics in an anthology and she has just been commissioned by Strathmore Papers to create the cover art for a line of sequential lined bristol board. She also designed 25 "X-Men Origins: Wolverine" trading card set for Rittenhouse Archives AND she recently co-curated Visual Storytelling, an multimedia exhibit for Gallery Project in Ann Arbor showcasing sequential artists. I wonder when she sleeps…
-Madbadcat

::: Artist Name:::
Katie Cook

::: Title of Work(s):::
I’m all over the place…. but right now I’m currently working on the webcomics for the Star Wars the Clone Wars (via starwars.com) and a small project for DC Comics.

::: Website:::
www.katiecandraw.com

::: 1 ::: Tell us about yourself. Where did you grow up? What’s your favorite color? When did you first realize you were an artist? Did you draw as a kid? Color outside the lines?

I grew up in the Ann Arbor, Michigan area and have yet to learn anything about football. I love a good lime green, but if it’s too "limey", i don’t care for it. I’ve been drawing all over the margins of my papers since kindergarten and have been telling people i was going to be a cartoonist since then.

…and no, i always colored inside the lines. i used shading too! very impressive, i assure you.

::: 2 ::: What comic book genres interest you the most? Who is your favorite comic book artist and/or writer? How have they influenced your work?

I’m a huge fan of superhero comics… yet i don’t think they influence me as much as they should. I actually think a lot of my influence comes from the illustrations in books that i loved as a kid (like anything dr. suess, i think he was actually a big influence on my linework!)

and my favorite writers and artists can change every wednesday, so that’s not always a fair question!

::: 3 ::: How did you get involved in comics? What was your first comic?

i’ve wanted to draw comics and be a cartoonist for most of my life, so i feel pretty lucky. a few years ago, i started to draw some pages for a few, creator-owned things and eventually have worked my way up to being able to work on some of my favorite licensed properties (mostly from word of mouth through peers and art directors).
and my first large comic was one that i drew on lined paper about one of my teachers (back in middle school) that was stuck in several edgar allan poe short stories. if i remember correctly, she didn’t make it out alive. i’d not sure what that says about me… but i’m sure it has to do with fluffy bunnies and kittens.

::: 4 ::: What is your favorite story you’ve ever drawn? Favorite character?

It’s really hard to say, as i can’t actually talk about that project until…. march-ish. ha!

::: 5 ::: What was the hardest part of creating your work? What hardware (computer, scanner, printer, etc) do you use? What software?

the hardest for me is sometimes motivation (but the reminder i need to pay my mortgage normally takes care of that), but sometimes it’s sitting down and realizing how many people *see* what you’re working on after the fact. it kind of gives me stage fright and i get a little jittery about starting.

and i’m a mac.i have an intel 20" imac, an epson scanner that’s giant and slow, and printer that looks more like a VW bus than a machine… all crammed into a tiny room with a cat, a button maker, and a "wall-e" poster.

and i use the adobe CS3 suite. photoshop and illustrator are my two best friends. i also like to mix watercolor and other traditionally painted pieces with digital elements.

::: 6 ::: How have you handled the business side of being an artist? How do you promote your book/website/comic/work?

for the longest time, i was (awkwardly… and badly) handling the business side of everything. i have since handed off that charge to a man much better at this kind of thing. my husband ryan has taken over the roll of manager and he really helps me keep better track of everyhing. i’m a little scatter-brained sometimes so it’s really helping me out.

and i think that most of my promotion comes from having a blog and just making myself available online.
also, most people think my cat (named "ipod") is pretty adorable, so i’ve got a few crazy cat lasy followers.

::: 7 :::What’s the best and worst parts of being a full time, working artist?

the worst part is sleepless nights, deadlines and pulling out all of my hair because of said deadlines.

the best part is being able to wake up and say "i, in no way, shape or form, want to put pants on today". then you trudge to your studio in you pajamas and get to work… a cat in your lap and a dog at your feet.

::: 8 ::: Has the Internet helped your career as an artist? If so, how?

i think one of the best things you can do as an artist right now is have an internet presence. i have people that not only follow my work, but follow me… in a non-stalkery kind of way. but when people connect with your personality, your life AND your art. it’s pretty awesome and you’ve earned a fan-for-life.

::: 9 ::: What is one stereotype about comic book writers/artists that is absolutely wrong?

that we’re angry, bitter people.

::: 10 ::: What one stereotype is dead on?

that we’re angry, bitter, *lonely* people. (ha! just kidding…. maybe not)

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 Madbadcat’s Note: The first time I saw Jaye Frisina’s work, I laughed out loud. How is it possible for that whimsical ninja to be endearing and threatening at the same time? The answer to that question is probably the essence of Ms. Frisina’s talent.

::: Artist(s) Name:::
Jaye Frisina

::: Title of Work(s:::
FIN cartoons, and Thirteenth Story zines

::: Publisher:::
Self-published

::: Website:::
ThirteenthStory.com

::: 1 ::: Tell us about yourself. Where did you grow up? What’s your favorite color? When did you first realize you were an artist? Did you draw as a kid? Color outside the lines?

I grew up in Boston, and have not left yet. And oh yes, I have been drawing since I was a child! I used to draw on furniture with those scented Mr. Sketch markers, and I once drew on my white cat with red chapstick. Those endeavors didn’t go over too well. But art has been a constant part of my life, and I am grateful for it.

::: 2 ::: What comic book genres interest you the most? Who is your favorite comic book artist and/or writer? How have they influenced your work

Comic books interest me, period. There is no one genre that I gravitate towards, and the diversity of storytelling within comics brings me much joy.

My favorite contemporary comic book artists are Mike Mignola and Min-Woo Hyung. They, along with classic artists like Alex Toth and Bernie Krigstein, have taught me how to use black ink to the fullest, how to lay out a page, and how to use hard lines without compromising the softness of an image.

::: 3 ::: How did you get involved in comics? What was your first comic?

My first comic was Prince Valiant, which I read strip-by-strip in the daily newspaper at home. Hal Forester didn’t skimp on illustration, and each panel gave me a lot to spend time with visually. It would be a while before I found the local comic shops, though when I did, visiting them became a habit.

::: 4 ::: What is your favorite self-published creation?

Right now I am working on the fourth issue of my art zine called Thirteenth Story. Making this zine has been a tremendous learning experience in regards to deadlines, publishing costs, and distribution. I’ve taken some hits, both financial ones and critical ones, and the process itself has made me grow as a person.

If I find something interesting enough, or important enough, or visually pleasing enough to put out there in this mini-magazine form, I will. But that doesn’t mean its worth any money to other people, and even selling them for $1 each has been difficult. I think I have given more away than I have sold! And that is okay for now. Each issue strives to fill in where the previous issue fell short. For example, the first three were sixteen pages long, which has been considered short, and this fourth one will be twenty-four pages. There is a lot of trial and error, but I am proud of the end product, and energized while making a new issue.

::: 5 ::: How did you come up with the concept for FIN ?

There is something about telling a story with sequential illustration that calls to me. I was often writing scripts, designing characters, and doing thumbnail sketches of comics that never came to be. I realized I was setting my sights too high and that to start out in comics with a novel-sized story line was just too overwhelming, and I never got past page one in ink. After much thought, I decided that if I were to do a cartoon in the drawing style that people were already so responsive to, then I could keep a manageable pace and feel what it is like to create consistently with the same characters and within the same world. The decision to have a ninja as the main character is solely based on being able to use a lot of black ink, for black ink is my obsession.

FIN is still new- there are only six official panels so far, and my schedule is a simple monthly one. But I have been selling limited edition prints of these cartoons, and FIN is getting a lot of attention. It bodes well for more comics from me in the future, and for re-visiting those longer scripts and sketches I have in my files.

::: 6 ::: What was the hardest part of creating your comic book? What hardware (computer, scanner, printer, etc) do you use? What software?

The technical process of creating this cartoon is pretty clear-cut. The originals are all five inches by five inches, your typical square. I draw in pencil on Bristol Board, then ink the blacks. The colors are all done with acrylic paints applied with a dry-brush style. If I had to choose a most difficult aspect, it would be the lettering, but only because I have to use a ruler and do some math. I letter in my own handwriting, because I like the original pages to be complete. So although I have the Adobe Create Suite, I only use it for removing dust marks and giving the drawing a thick black border.

::: 7 ::: How have you handled the business side of being an artist? How do you promote your book/website/comic? What’s the best and worst parts of being a full time, working artist?

Well, I am no longer a full time artist. I did try that for a few months, and decided that I need to save up a lot more money before I can devote myself to art full time; plus I needed a health care plan, which is the law in Massachusetts. So I picked up some work as a Personal Assistant to the president of a local company and I make the most of the flexible schedule.

Someone once told me that being a full time artist is 50% administrative and 50% creative. I am still trying to strike that balance between business time and drawing time. The best thing I have done is to limit my hours online. Before, if I logged-on in the morning, it would be dark out before I realized it. Keeping tabs on that has helped protect my drawing time. Its difficult because most of my online time is spent on art business (on forums, blogs, and processing internet orders), but being realistic about the time spent in front of the computer is critical to my success.

I also sell my art in stores, galleries, and at craft fairs. Much of the promotion for those venues is done by folks other than me, which is a huge relief- but being prepared and organized for these situations is just as time consuming. I’m still making adjustments to where my energy goes, and I’m sure those adjustments will continue for quite some time, at least until I need to hire my own personal assistant.

::: 8 ::: Has the Internet helped your career as an artist? If so, how?

Years ago, I participated in a pin-up contest for Runes of Ragnan, and it was the first comic-related drawing that I had shared with anyone. There was a gallery with all of the entries, the feedback was instant. It was a big moment when someone said that my drawing was now their desktop background. That quiet comment from god-knows-where changed everything for me. That beginning gave me the confidence to keep posting my artwork, and all responses since then, positive and negative, have helped me grow immeasurably.

::: 9 ::: What is one stereotype about comic book writers/artists that is absolutely wrong?

We’re not shut-ins. I find that living life is important to the process, and its much harder to keep creativity alive if worldly experience ceases.

::: 10 ::: What one stereotype is dead on?

The notion of the struggling, starving artist. Its not easy making a living at making art in this world, but luckily we are a creative bunch and can figure something out.

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