SI on the Fly!

Here's another installment of our Staff picks! We choose a piece we really love and share a bit about it with you!  The Korshak Collection: Illustrations of Imaginative Literature closed 8/26 and we wanted to re-visit one of the amazing illustrations which we had on display. Come in to the Society of Illustrators to see our newest exhibits today!

Specialist Angelo Madrigale of Doyle New York recently reviewed The Art of Spider-Man, our newest exhibit featuring the largest collection of original Spider-Man artwork including some never before exhibited drawings by notable artists like John Romita and Steve Ditko. Angelo's article is extremely comprehensive and well worth the read! 

THE DEADLINE FOR ENTRIES HAS BEEN EXTENDED! The new Call for Entries Deadline is now Friday, August 4th

THE ORIGINAL ART 2017 CALL FOR ENTRIES

The Society of Illustrators invites publishers, illustrators, agents, and authors to submit books to the 37th annual exhibition of The Original Art. Founded in 1980 by Dilys Evans and sponsored by the Society since 1989, the show celebrates the fine art of children’s book illustration. A jury of outstanding illustrators, art directors, editors, and experts in the field of children’s publishing will choose which books are to be represented in the show and will select gold and silver medal recipients. Jurying is anonymous, and an artist may have no more than two books accepted for the show.

ANYONE MAY SUBMIT: Publishers, illustrators, agents, and authors. Publishers, please pass along this website link How to Enter to eligible artists if you are not able to submit their work.

We have a super special event coming up this Thursday evening! Its The Outer Limits / Dinner + A Movie!

Here's a very special event you really won't want to miss!

Harvey Dunn (above) and here is a poster he did during WWI:

Wallace Morgan on horseback (above) Here are some sketches from his time in the service during WWI:

This Saturday July 8, top fantastic illustrators will demonstrate their skills and techniques in an open forum. Featuring artists Wayne Barlowe, Donato Giancola, and Greg Manchess!

Visit Society of Illustrators website for tickets and information

Check out this wonderfully written piece by Dan Greenfield from 13th Dimension: Dan gives you a unique look inside the Greatest SPIDER-MAN Art Exhibit You’ll Ever See, and it’s right here at the Society of Illustrators!

The first time I became drawn to the idea of creating art for the entertainment industry was when I saw Feng Zhu's Youtube tutorials. I didn't realize there was such a field before.

I later discovered Sparth's work, and was blown away by the beautiful images, and came to realize how much I love environment and storytelling.

I had the chance to create images with architecture and interior as the subject, and I realized how much I loved them. My experience on construction sites when I was little, because my dad was a civil-engineer, helped a lot.

After I started to put my hands on mechanical design as a subject, I also realized that I actually loved mechanical stuff too. Again, my childhood memory contributes to that.

But before all that, it was when I saw my dad play Starcraft, that my journey of becoming a professional artist began. Only I didn't know back then. Many other games after that helped shape my aesthetics in one way or another.

The same thing happened again right after Starcraft when I saw my dad watch The Matrix, and then I watched Neo Evangelion with my cousins. Then I watched The Fifth Element and Solaris. I was blown away by how images and designs (with many other movie elements such as spacing and editing) could tell so much story and create such a strong impact.

Alongside movies, animes and games, I was fortunate enough to have had great friends who shared with me their love toward illustration. I have been very fortunate that my friends love the same illustrations, animes and games I love, so my passion can continue being nurtured. 

And, I love fine art too. I find the beautiful lighting, colors, compositions and values rejuvenating. To me, it is one of the origins where all the above beauty comes from. It was and still is, and I believe it will keep being so.

Last but not least, my love towards books. I love novels and philosophy. The older I grow, the more I feel the ability to think abstractly helps me greatly as an artist. I can see from a more overall, or bird’s-eye- view perspective; analyze and feel my subjects better. Here is just a small collection I happened to have with me at this moment.

Gold and Silver medals are awarded to top pieces displaying high-quality technique, a strong narrative, and an interesting composition. Medals winners will also receive the M. Prize, a financial award given in memory of Timothy Patrick Moynihan. Gold medalists will each receive $200 and silver medalists will receive $100. An Opening Reception and Awards Presentation for all medal winners will take place tonight, Friday, June 17th beginning at 6PM at the Society of Illustrators.

The displayed artwork has been carefully selected by prominent artists, publishers and editors. Some of the artists featured in our show have items on display in the Society’s Museum Shop.

Gregory Benton’s wordless book entitled B+F earned the MoCCA Award of Excellence in 2013 by the Society. Benton has been making comics since 1993 and his work has appeared in the New York Times, The Village Voice and Fortune. Another of his wordless books, Smoke (2015), as well as pins he has designed of characters featured in his stories are available at our shop. Through Benton’s wild illustrations, Smoke tells the story of two brothers and their typical day at an industrial tobacco farm.

A couple other new additions to the store include the books Lost in NYC: A Subway Adventure and Eventually Everything Connects. Lost in NYC: A Subway Adventure is a children’s book written by Nadja Speigelman that tells the story of a boy named Pablo who gets lost on his first day in New York City because he took the wrong train. The illustrations are by Sergio García Sánchez, who is also featured in the CCA show. The book contains maps photos and facts about the city, which makes the book not only fun to read but even informative. The New York Times enthusiastically praises Spiegelman and Sánchez’s book; "García’s adroit art bursts with activity, while the story highlights the ingenuity city life brings out in the young. Packed with subway maps, lore and miscellany, it’s sure to be treasured by tweens and adults, too."

 Eventually Everything Connects is a special format, accordion book by Loris Lora, yet another successful artist whose illustrations will be on display at the CCA.  Unfold the four yards of beautiful pictures to discover the interconnectedness of the artists of the California modernist movement. Lora’s drawings illuminate the storyline of these artists’ lives. In the back of the hardcover you’ll find a word map detailing how these artists are all linked to each other. A Charles Eames’ quote wraps around the length of the folded diagram: “Eventually everything connects – people, ideas, objects… The quality of the connections is the key to quality per se.”

Artist Kevin Czapiewski (known as Kevin Czap) of Providence, Rhode Island has illustrations in the show. Czap’s “Froggy Perf” enamel pins can be purchased in the store as well.  They are the perfect addition to your jean jacket or bland backpack!

Over the next few weeks Jessica will be guest posting here and taking over our Instagram as the New Visions Featured Artist. Read her interview below and make sure to visit her website! 

Cear Tintagel

When and how did you decide to become an illustrator?

It was more the case of when I decided to become an artist. The idea came up when I was deciding which major to enroll when I was applying for college. However, not until I really started studying different types of art, did I become sure about the path of being an artist. There are many aspects about art and design that I love, such as story-telling, composition, light and shadow, structure and shape, communicating with and creating impact on audience, providing a new vision and an inspiring experience, problem-solving to achieve a beautiful yet comprehensive design, and the list goes on. There are many ways of fulfilling them, and illustration is one of the ways which I enjoy very much.

Who are the biggest inspirations for your career?

In terms of artistic inspirations, although I no longer follow their styles, Feng Zhu’s and Scott Robertson’s design logic opened the initial door for me. 

Other artists that inspire me include John Wallin Liberto, Fausto De Martini, George Hull, Sparth (Nicolas Bouvier). Ruan Jia, Donato Giancola, Kekai Kotaki, and Karla Ortiz are some artists I really admire. When I am doing more animation style, Dice Tsutsumi is my go-to inspiration.

I also really appreciate what I have learned from my instructors in my grad school, including Steven Player, Brandon Luyen, Joko Budiono, Zhaoming Wu, Zin Lim, Craig Nelson and Gilbert Banducci for both artistic and work ethic inspirations.

Tree of Life

Name one non-illustration inspiration in your career.

It is difficult to name just one, but if I can only name one, I would say it’s the world. I love walking on the streets and visiting different places. My aesthetics is best nurtured by the designs in our civilization and the nature, such as the architectures, the interior designs, the fashion, the tools, the machines, the vehicles, the lights in different times of a day, in different seasons, and the list goes on. 

If I can name one more, it would be my parents, who have great work ethic and are supportive and open-minded to their a little unconventional girl.

I really need to name one more, which is my experiences combined with my relationships with people so far. I feel that to be a good artist, one needs to be able to empathize very well and deeply.

The Critical Moment

What is the best advice you have been given as an artist?

“Artist should lead, not just follow” is one of the greatest advice I’ve gotten so far. It was given by John Picacio. He explained that it doesn’t mean that artists can do whatever, but instead, we should strive to provide visions which are better than what our clients/supervisors expect while fulfilling the requests.

What is your creative habit? What do you have to do to get into your creative zone?

In order to be creative yet fulfilling the clients’ requests, I like to browse through the references which I gathered for the particular task. If there is not a board of references yet, I look up on the internet or look into books to get references. Even if it is for personal projects, reference gathering is always the best way for me to warm up.

What music and books inspire you to create?

I love many types of musics, but most time, motivational songs or indie musics can help me see visions more easily and clearly, while pop rocks help me calm down and concentrate on a piece that’s already been started.

I also love all sorts of art books, fine art, art books of movies, video games, animations, architectures, cultures, even travel books with beautiful photography, and of course photography collections.

Enchanted 

As it relates to illustration what advice have you never forgotten?

All the unforgettable advice I have gotten so far is for being artist in general. If it has to be specifically for illustration, it must be something technical. I would say any advice about lighting, composition, and story-telling elements.

Do you see illustration as a group of individuals or a community?

I can’t really say one or the other, since, to me, a community is a group of individuals, and we share information and ideas with each other, grow with each other, communicate with each other, challenge and inspire each other. I also can’t see a community long lasting without individuality. Individuality gives a person a sense of self-worth, and only when we feel ourselves worthwhile at a right degree, we like to share and encourage others and grow with others.

What sort of things keep you involved in the world of illustration?

Envisioning an alternative reality, or future, or another world, and beautiful and impacting images. It could be in this time and space, or in other time and space. I love both beautiful, dramatic and emotional visuals and the feeling of infinite possibility.

What is your dream project?

I am doing my dream projects now in one way or another. I love illustrating/designing for projects related to future cities, or possible alien occupation in an ancient time, or alien civilization, imaginary worlds, or space colony, or alternative present or past, or experimental design styles. Nevertheless, if I can work with NASA or VR/AR development, it would be super cool.

Lake Plaza

If you could time travel what year would you go to?

Ten thousand years from now. I really want to see if humans are still there and how we are doing, and if we find some fellows from other parts of the universe.

What’s the most rewarding part of your job?

When I have ah-ha moments with a new technique/method, and when I have ah-ha moments for good ideas which I emotionally relate to a lot. Also, When I see the face of my audience, be it my clients, my supervisors, a by-passer, a fan, lights up, or when I read their excited or touched responses. I know that my heart and effort and ideas in the piece are being received in one way or another, and have created an impact on them.

What’s the most terrifying part of your job?

It is a little scary that when sometimes there doesn’t seem to have enough time for a task. Fortunately, if I was able to maintain good work ethic, health and time management, I usually could fulfill the request.

Love the Internet or hate the Internet?

Absolutely love the Internet. A lot of my researching work depends on the Internet, either as direct references or as a validity check.

The Society of Illustrators is honored to host three prestigious scholarship programs to recognize outstanding college-level students throughout the United States.  

On behalf of the Will and Ann Eisner Family Foundation, the Society is pleased to announce the second annual Will Eisner Scholar, dedicated to one of the most influential comic artists of all time.  This scholarship is awarded to the best comic and sequential art student currently enrolled in an undergraduate program in the US.  Junior-level students are selected by their faculty and submit a portfolio to the Society. Chaired by Steven Guarnaccia, the jury this year included comic artists Nathan Fox, Nora Krug, Jason Little and Mark Newgarden, as well as Graphic Novels Librarian at Columbia University Karen Green.  They chose Devon Bragg, Joy Ho, and Eleeza Mei Tourigny as finalists.  All three students attend the Maryland Institute College of Art. After in-person interviews and a review of their comic work, the jury selected Joy Ho (artwork below) as this year’s Will Eisner Scholar.  

The Zankel Scholar, established in 2007, is named in memory of Arthur Zankel, whose generous bequest made this scholarship possible. Mr. Zankel was a firm advocate for higher education, and the Society is honored to seek, in his name, the best illustration student of the junior class. Top students are nominated by faculty, and submit a portfolio of work to the Society. This year the jury, chaired by Melanie Reim, included Chad Beckerman (Art Director, Abrams Books), Illustrators Diane Dillon, Aya Kakeda, and Sean Qualls, and Alexandra Zsigmond (Art Director, New York Times).  They chose Jenice Kim (Rhode Island School of Design), Elena Lloyd (Parsons School of Design), and Lizzy O’Donnell (University of the Arts) as finalists.  After in-person interviews and a portfolio review, they selected Lizzy O’Donnell (artwork below) as this year’s Zankel Scholar.

In 2010, the Society established the Society of Illustrators Scholarship in Memory of Joyce Rogers Kitchell, to honor her legacy as an illustrator and longtime member. The scholarship provides annual support for a student within The School of Art and Design at San Diego State University. Nominated students are selected by a committee of faculty members, and finalists are chosen by the Society based on their portfolios and written statements. After interviews by the Society and a presentation of additional portfolio work Christine Prado was selected as this year’s award winner.

About the Society of Illustrators: Founded in 1901, the Society of Illustrators is the oldest nonprofit organization dedicated to the art of illustration in America. Our mission is to promote the art and appreciation of illustration, its history and evolving nature through exhibits, programs and education. In 2012, we acquired the Museum of Comic and Cartoon Art (MoCCA) Permanent Collection and created a MoCCA Gallery featuring rotating curated exhibits of comic and cartoon art.

About the Will and Ann Eisner Family Foundation: The Will and Ann Eisner Family Foundation fosters innovation and creativity in graphic literature, sequential art and comics. It encourages others to continue and build upon the legacy of Will Eisner, who broke new ground in the development of visual narrative and the language of comics and was the creator of The Spirit, John Law, Lady Luck, Mr. Mystic, Uncle Sam, Blackhawk, Sheena and countless others.

This essay by Sylvia Harris, titled Searching for a Black Aesthetic in American Graphic Design Education changed how I look at myself in the context of illustration last year. This essay stresses that it is important that Black designers (or illustrators, in this case) are working at a disadvantage in school because we don't know our aesthetic heritage as image-makers. That prompted me to do some digging, and looking through the art of the New Negro Movement lead me to spectacular artists like Aaron Douglas, who I believe informs in the aesthetics of a lot of working illustrators today.

And from there, Cuban poster art and the really loose illustrators of the golden age started to appeal to me. I'm a sucker for a lively line.

To be honest though, I wouldn't be where I am at all if it weren't for Shonen Jump. I was grounded after fighting a kid in the 6th grade, and my mom took away my TV and all my games. Little did she know I had stacks of these and my own imagination to dive into.

And through manga, I found artists who broke off from the mainstream and told stories that appealed to me as I got older. Since finding Taiyo Matsumoto’s work, I've been more level-headed in my own storytelling sensibilities.

And this video, because watching neighborhood kids turn up reminds me to always have fun at this. Illustration can be serious and paralyzing sometimes.

Last Friday Chris took over our Instagram as we celebrated the Student Scholarship Competition exhibition opening and his Scholarship win. Today learn more about Chris in the interview below. 

1. When and how did you decide to become an illustrator?

At VCUarts Portfolio Day in 2009. It was my senior year of high school and I spent the day shopping for art programs that I thought I wanted to go to. VCU was the last one I went to for the day, and Sterling Hundley just happened to be running that table. When I met him and told him I was maybe thinking about pursuing illustration, he gave me the most thorough portfolio review I’d ever had, and told me exactly what I needed to know to become an illustration student. Took 3 years after that day, but it paid off big time.

2. Who are the biggest inspirations for your career?

My friends. A lot of them I used to follow on Blogspot back before I moved to Richmond. They were (and still are!) a ragtag group of creatives who focused on the work and being as dope as possible. That energy is what inspired me the most. Even now I’m glad to be surrounded by folks who are always grinding, not only to be the best at what they do, but to be the best selves they can be.

3. Name one non-illustration inspiration in your career.

Prince.

                                                                                                                 All Black 

4. What is the best advice you have been given as an artist?

Know when not to take advice—When you get advice that steers you from where you want to end up, you’re by no means obligated to follow it.

5. What is your creative habit? What do you have to do to get into your creative zone?

I have to start in the morning, or else it’s exponentially harder to get into the zone. I need quiet or ambient jams to contrast my surging thoughts before calming down to focus.  

                                                                                 Boxing Taught Me to Survive 

6. What music and books inspire you to create?

I’ve been reading a bunch of Octavia Butler lately. The contrast between intimacy and brutality are themes I want to explore in my work soon. Also recently finished Sorcerer of the Wildeeps, by Kai Ashante Wilson. His attention to detail and matter-of-fact style of world-building is really up my alley.

For music though, I’ve been playing Lil Yachty’s Lil Boat a lot. It’s really playful, well refined Atlanta trap that’s easy to rope you in. Also Chance’s Coloring Book is flames. 2016 is a good year for music. Lemonade, James Blake’s The Colour in Anything, and Kaytranada’s 99.9% were instant downloads for me.

7. As it relates to illustration what advice have you never forgotten?

“Be loose without being messy.” It was recent advice, but hearing it when I did made things click for me—I’ve had the most fun drawing loose figures in motion, or anything in motion for that matter.

                                                                                                                Fanfiction

8. Do you see illustration as a group of individuals or a community?

That’s a tough one. Illustration to me is me and my friends I’ve met from all around. The wider that net of friends, the larger the community. However, I do wish illustration at-large could be as tight-knit as comics can be.

9. What sort of things keep you involved in the world of illustration?

Knowing that social discourse can be important within the image-making profession and as an image-maker. Illustration is the most impactful tool I use to communicate.

10. What is your dream project?

I want to run an animated show or direct a feature. Along the way, I want to work on a graphic novel.  A dream project for me is one where I can have total creative freedom without struggling to eat.

11. If you could time travel what year would you go to?

2100. When people talk about the future, they talk about the state of the environment and technology. I want to see how far society has progressed. I want to know if someone like me can walk around without people locking their hovercar doors, haha.

                                                                                        Benefits of Collaboration

12. What’s the most rewarding part of your job?

Knowing that my work has touched someone’s life in a very real way. Alternatively, when I go grocery shopping with money I got for drawing pictures. That’s so surreal to me.

12. What’s the most terrifying part of your job?

That moment when you send up your final draft and you wait to see whether or not there are revisions.

13. Love the Internet or hate the Internet?

Who would hate the internet?

The Society of Illustrators is pleased to present a major retrospective to celebrate the work and career of iconic artist Ralph Steadman, on exhibit September 6 - October 22, 2016. This special exhibition will cover three floors of galleries and is a once-in-a-lifetime chance for the public to view a collection of his groundbreaking pieces spanning his 50 year career.

Today, Steadman is revered by the illustration community as one of the most important and influential illustrators of our time. His art has become recognizable and celebrated by fellow artists and authors, celebrities, and the general public.

Ralph Steadman’s colorful, satirical linear drawings first appeared in print during the 1960’s in such notable magazines as Punch and Private Eye. Around this time, he also began illustrating children’s books, and created the art for Lewis Carroll’s Alice in Wonderland, which was honored as the winner of the Francis Williams Book Illustration Award in 1972. Five years later his even more striking edition of Through the Looking Glass also received high praise.

In 1969, history would be made when Steadman was partnered with journalist Hunter S. Thompson to cover the Kentucky Derby for Scanlan’s Weekly. Their collaboration continued with the definitive Rolling Stone article titled “Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream”. Four of the originals from this iconic work have been kindly loaned by Jann Wenner, Rolling Stone Founder and Steadman’s friend and colleague, and will be featured as part of the exhibition.

Steadman’s trippy style and fluid drawings were the perfect fit for Thompson’s words. With this historic partnership, a new movement in journalism was born. Gonzo journalism, or reporting without claims of objectivity via a first-person narrative, became associated with Thompson’s writings. Steadman created the art to go with it, later covering such important events as the presidential campaign in 1972 and the Watergate hearings.

Steadman’s client list includes The Times, The New York Times, The New Statesman, Observer Magazine, Radio Times, and many more. During the 1970s he began work on a series of award-winning books. Sigmund Freud (Firefly Books); I, Leonardo; and The Big I Am (both Summit Books), were all written and illustrated by the artist. Steadman’s illustrations also appeared in commercial and advertising enterprises. During the 1980s and 1990s he circumnavigated the world on behalf of Oddbins Wine Merchants, and created a masterful collection of images used for Oddbins wine and whisky catalogues.

He also continued to illustrate children’s books including his series created with good friend Bernard Stone featuring the titles Emergency Mouse, Inspector Mouse, and Quasimodo Mouse (Turret Books). Other well-loved titles include No Room to Swing a Cat; Teddy, Where Are You? (both Anderson Pr Ltd books); Fly Away Peter; The Big Red Squirrel; and The Little Rhinoceros (Pavillion books), as well as the classics Robert Lewis Stevenson’s Treasure Island (Cupress Ltd) and recently Ray Bradbury’s Fahrenheit 451 (Graham Press).

In 2011, Steadman worked with filmmaker Ceri Levy for the conservationist show “Ghosts of Gone Birds”. He created hundreds of drawings of birds, which were later published in the book Extinct Boids (Bloomsbury). And in 2012, the documentary film by Charlie Paul, For No Good Reason, premiered. For over a decade, Paul captured Steadman at work, and included in the production conversations with good friend Johnny Depp.

Starting with sketches from his student days, this groundbreaking exhibition will feature pieces from the legendary illustrators entire career including originals from the Watergate Hearings, his trips with Oddbins wine merchants, political satire, illustrated literary classics such as Treasure Island and Alice in Wonderland, pieces from his children’s books such as No Room to Swing a Cat and Teddy Where Are You? and his masterful portrait of Walter White from the Cult TV hit, Breaking Bad. It will also include a work from his latest project with conservationist Ceri Levi, Critical Critters, due to be published Autumn 2017 by Bloomsbury.

An Opening Reception to the public will take place on Friday, September 9, 2016. A schedule of collaborative events and arts programming will be announced at a later date.

About the Museum of Illustration at the Society of Illustrators: Founded in 1901, the Society of Illustrators is the oldest nonprofit organization dedicated to the art of illustration in America. Our mission is to promote the art and appreciation of illustration, its history and evolving nature through exhibits, programs, and education. Our Museum of Illustration was established in 1981. We offer year-round themed exhibits, art education programs, and annual juried competitions. Our permanent collection houses 2,500 pieces that are cataloged for scholarly use and displayed periodically. In 2012, we acquired the Museum of Comic and Cartoon Art (MoCCA) permanent collection and created a MoCCA gallery featuring rotating curated exhibits of comic and cartoon art. Approximately 25,000 people visit our exhibits annually. We are thoroughly committed to advancing our mission as a singular cultural institution promoting all genres of illustration.

John James Audubon’s beautiful work is one of the most inspiring things to me. Did you know you can download high res plates on audubon.org for free? These Carolina pigeons are one of my favorites.

Another naturalist-illustrator whose work I love is Maria Sibylla Merian. She not only made beautiful works that document the life cycles of insects, she was also a leading entomologist of her time. Previously, people thought insects were born out of mud - Merian’s work was instrumental in showing that this was not the case, and she detailed the metamorphosis from caterpillar to butterfly.

Dutch photographer Remo Jacobs (@livingitrural on Instagram) is one of my favorite photographers. He captures animals with such grace and texture.

I love this music video for so many reasons. Jordan Bruner’s work is absolutely incredible.

The Creative Pep Talk podcast is one of my favorite things to listen to. It gets me pepped up to work on my illustrations, and Andy J. Miller has so a great, positive perspective on the illustration industry.