Jean-Philippe Delhomme Talk

If you're in New York or the surrounding area don't miss a chance to hear and see Jean-Philippe's talk at Parsons tomorrow. Sorry for the late posting I just got word that he was doing this. Wednesday evening! At Parsons! Free!

For What It's Worth No. 12

Getting out of town helps clear the mind, getting out of the country creates a whole new perspective. Trying to avoid jet lag before the lecture series, we opted to land in Paris instead of London. Our first day was spent getting used to a new language, one that I'd feverously studied but came up lacking during our entire trip. All I really needed to tell them that I spoke no French was Je suis un Americain, I am an American.

Later that day we ventured into Pere Lachaise which was two blocks from our hotel--as many of you know I have a dreaded fear of cemeteries but somehow Pere Lachaise was different; perhaps it was the time of day--the quality of light and the fall colors made the place look radiant. Maybe I would have had my old familiar feelings had it been a cold, dreary day. Whatever the reason I embraced it, it was similar to visiting a sculpture garden, the variety of gravestones, the typography, the ornamentation all lent an air of artiness to the place and one I could enjoy.

The next day was a step back in time with a visit to Palace de Versailles, it was huge! I pictured something a bit smaller, something like what I would soon experience in London, but the massiveness of the place was almost overwhelming. And the crowds of vistiors spent little time in the rooms, preferring to raise their cameras above their heads and snap photos. Thankfully, the gardens were less crowded and much less so at the Petit Tranon, the simplicity of this place was much appreciate after the extravagance of the palace.

On the opposite end of the spectrum was Villa Savoye, the next day's excursion. Completed in 1929 it is a prime example of the architecture of Charles Édouard Jeanneret, aka Le Corbusier. The austerity of each room, the multiple views, the contrasting colors, the act of bringing the outdoors in makes it a home worth living in, though its tenants were very disappointed with the house and the workmanship--sometimes to be expected as the result of working with a genius.

Two ends of the spectrum, Louis XIV to Le Corbusier but both mad geniuses.

On to London via Eurostar, under the English Chanel which lasted only 20 minutes of the two and half hour trip from Gare du Nord to London's St Pancras. If they offered an cross Atlantic route I'd sign up. The trip was smooth, the food was what you used to get on the best airlines with service to match.

We tended to remain historic in our sightseeing, looking back at centuries past rather than searching out the contemporary scene. Our weekends were spent sightseeing, our weekdays conducting lectures on illustration at various colleges and art schools in and around London.

We also got to visit the offices of the Association of Illustrators in their shared loft space with Big Orange in East London. We met with Derek Brazell whom we have been in contact with for sometime and their new director, Ramón Blomfield who just celebrated his first full year this month. We talked about the difficulty and non-profitable aspects of newsstand distribution especially in the US and found we both share better interest in both Canada and the UK. Their house publication, Varoom, started off as their newsletter and my suspicion is that once they saw 3x3 they decided there must be a market for a magazine on illustration, several other publications have sprouted up since we started back in 2003, all with dismal results. A new one just launched this month in London.

I have long admired what the AOI is doing for illustration in the UK and feel they do a much better job than we're managing to do here in the States with our illustration organization which has a much longer history than the AOI. Why that's the case I'm not sure, but it does not bode well for illustration; we must all be doing more to increase the visibility and promote the viability of illustration.

Sometimes you have to get out of the country to see what you really are. Our visit uncovered the fact that 3x3 holds the only international student show as well as the only international professional show--something I hadn't really considered before. Being there pointed out just how insular each of our countries are. The fact that neither the AOI nor the Society of Illustrators actively invite international entries nor have international panels of judges pointed out our uniqueness and something we need to exploit as it gives our readers and our entrants a totally different "perspective" on what's happening in illustration.

Getting a first-hand look at the education of illustrators in the United Kingdom was one of the purposes of our trip; seeing the differences and similarities was helpful. What I noticed immediately was an intense sense of pride in each school, each went out of their way to explain why their school was the best in the country. Whether the claim was the largest, or the highest number of successful graduates or the star-quality roster of alumni, each school felt that they did it best.

In a number of the schools a student would get instruction from a single instructor for each level, others may interact with one or two more but I did not encounter anything like we have here in America with multiple instructors for each year. And their programs ran three years, not four. What I did notice was an emphasis on idea generation rather than style which I found refreshing. In America we seem too worried about developing a personal voice, sacrificing sound market-driven visual solutions in the process: Students may develop a voice but they often times have too little to say. I didn't find that in the UK, and from the class I sat in on the problems are not simplistic, they're quite involved requiring research before laying pen to pad. I wish our schools did more of that. But from what I learned their national government has put much more emphasis on practical knowledge and as a result those studying applied arts learn how to apply their craft though at times sacrificing experimentation in the process. There they can learn something from us Americans. No educational system is perfect, ideally it would be a mix of the two systems I've witnessed.

Being abroad also puts today's news into focus. What I also gathered is that the 24-hour news cycle has exploded the recession way beyond fact. While there was a downturn in the early part of the year, the illustrators I've spoken with, here and abroad, all say that they are busy, and some are busier than they've ever been. Which is really good news, for illustrators and for illustration. And it looked like the Christmas season was already in full swing judging by the crowded streets and stores.

Getting out of one's homeland points out differences but also similarities. Looking at the faces of the students in the crowded lecture hall was no different than here in the States. Bright, enthusiastic faces that will soon become the next generation of illustrators. General remarks about our talk were that it gave a more "American" approach to being an illustrator, the fact we stressed about illustration being a business, that it was important to be visible and the fact that using the correct marketing tools led to a successful illustration career were appreciated with more interaction from both students and faculty than we've received before. Though I did add two new sections to the talk since last speaking in the States, so it may not be a fair comparison. Whatever the response I'm glad we went, I'd like to thank all of the schools who invited me to speak, for their warm hospitality and welcoming spirit and I'd like to thank Sarah for the planning of the trip and keeping us on schedule.

Illustrator Barbara Nessim Honored as Norman Rockwell Museum's First Artist Laureate

This is a bit late but we wanted to recognize Barbara's honor by the Norman Rockwell Museum. Barbara was our magazine's second ICON and first Educator/Illustrator of the Year back in 2003 and I've been a huge fan for years--one of my very favorite artists and a wonderful person. She's been supporting our efforts since day one and we greatly appreciate it and her sage advice. Here's more from the NRM press release:

STOCKBRIDGE, MA.- Norman Rockwell Museum announces the honoring of Barbara Nessim as its first Artist Laureate. Nessim, an internationally known artist, illustrator, and educator, also served on the Museum's Board of Trustees from 1999 until 2008. The award will be presented to Nessim on behalf of the Museum's new Rockwell Center for American Visual Studies during its annual Board of Trustees meeting, held on Saturday, September, 26.

"We are honored to award our inaugural Artist Laureate award to Barbara Nessim," says Laurie Norton Moffatt, Director/CEO of Norman Rockwell Museum. "The commendation of this award recognizes Barbara's exceptional skills as an influential visual communicator and an early visionary in the digital arts. Barbara's ongoing dedication to the Museum, where she has worked closely with curatorial staff, and served as a passionate advocate for the Museum's expanded collection mission continues as she lends her vision and support- connecting the Museum to new illustration communities and younger artists."

A selection of Barbara Nessim's work will also be on view at Norman Rockwell Museum starting Saturday, September 26, and includes "Women In Madness," an original work generously donated by the artist for inclusion in the Museum's illustration art collection. Later that day, Nessim will present "Graphic Change," an illustrated talk about her evolution as an artist and her creative inspirations.

Illustrator Barbara Nessim has been a vital contributor and influential visionary in the art world over the past several decades. A digital art pioneer, Nessim helped shape the MFA Computer Arts Program at the School of Visual Arts, and was Chairperson of Illustration at Parsons School of Design for 12 years. Her work has graced the covers of Time, The New York Times Magazine, Rolling Stone, and many other publications. Most recently, the artist has been commissioned to create several large-scale works for various building lobbies in New York City. In addition to several years of dedicated service as a member of Norman Rockwell Museum's Board of Trustees, Nessim acted as liaison to the Museum's Illustrators Advisory Committee, helped develop the exhibition and participated in early discussions related to the development of the Rockwell Center for American Visual Studies. In addition to Norman Rockwell Musuem, an exhibition of Nessim's art will also be on view at The Sienna Gallery in Lenox, Massachusetts, starting September 25.

Photo of Barbara in her Soho studio, 2003 from the 3x3 Student Annual

For What It's Worth No. 10

In my advertising days we would often hear from clients that they wanted their job "good, fast and cheap". And we would always tell clients that only one of those were possible at any one time. You might get the job "good, fast or affordable" but you couldn't get the job "fast and cheap" nor should you expect it "good and cheap".

Clients were buying our marketing and advertising expertise and while they may have an unreasonable deadline or budget or both, we had to school them that there was no way for us to do a job "good, fast and cheap".

In a time where budgets are shrinking we once again hear from clients the three little words, how do you combat that and still keep the job?

First you tell clients that you always do the job good, and sometimes great no matter what the budget, it's a matter of pride and professionalism that you approach the job giving it your very best. The second thing you explain is that you are willing to work within any budget within reason, we all understand budgets vary by client size and project and we bill accordingly. And you'll work within any reasonable timetable.

The bottom line, we're striving to do a good job within a reasonable timetable and be paid accordingly. However, if the client wants the job overnight, cheap is no longer an operative word, the client is billed more for wanting it faster. If the budget is ridiculously low then the client must sacrifice time, the job will take longer to produce you'll work the project into your schedule, not theirs. Any professional would do the same. Try getting a printer to do a job overnight and charge the same, never. Or an accountant to do your return in less time. Certain things take time, fresh ideas is certainly one of them.

Too often we take the job and never even broach the subject of more money for the job that has to be done in less time. Or to get more time if the budget is less. While this can't always be the case, illustrators in particular never seem to draw the line on what is unreasonable. Counseling the client in how long a job should take is part of the communication process between the artist and the patron.

Remember a client has no concept on how long it takes to come up with an idea--a good idea--nor do they understand the process of completing the assignment. It is your job to explain patiently how long the job should take, if there is no budge on their end then you must charge more for the project just to compensate for the sleepless night, or nights, you'll be up completing the assignment. Granted, there are clients who could care less about your sleep, but until we stop taking every assignment with unreasonable deadlines, or budgets clients will continue their habit of abusing us.

As freelancers we seem to think we have no power to change opinions or circumstance. Large design firms or advertising agencies employee client go-betweens who handle the time/money situations much as artist's reps do for illustrators, but that's not to say that as independent illustrators we cannot stand up for what is right and fair. Sometimes we're too eager to do the job and frankly, get taken advantage of. For every illustrator who stands up, the less chance there will be abuse for the rest of us. But it takes more than just a few artists doing it, it takes a mass effort to change the dynamics. It can start today or we'll be hearing for "better, faster and cheaper".

For What It's Worth No. 7

I'm continually amazed at the positive response we get from our magazines, whether it's 3x3 or our sister publication Creative Quarterly.

In a down economy magazines are having a hard time surviving and to be a young fledgling publication in these times has been difficult. We’re not backed by a major publisher, we’re not a spin-off of a larger conglomerate, we’re just a simple set of magazines started by individuals who believe that there is talent out there that’s not being recognized.

Entries into are shows continues to grow—we had our strongest showing ever in January at the heart of the recession. But we positioned ourselves correctly, our entry fees are low compared to most shows and we only select the best work unlike shows who seem to have a quota when it comes to filling their pages. When so many people are painting the economy as bleak we see colors.

It’s a time of innovation and there’s no better time to pull out the stops. In past recessions our design firm we would find that while clients tend to play it safe in a good economy they turn much more daring in a bad one—poor economies unleash the chains that holds back creativity. Sure it’s not all going to work, but it isn’t a time to play it safe, it’s a time to be bold and daring. And the work in our publications reflects that.

Creative people embrace downturns, it tends to get rid of waste, of duplication or incompetence. A bad economy focuses us. We’re only worried about today and not forecasting for the future. Things are clearer. More understandable. Black & White. There is no wishing there is only doing. And doing it like there’s no tomorrow. You can be fresh out of school or a long-standing artist or designer, it doesn’t matter, we’re all approaching the situation with a unique vigor and it will pay off. Maybe not monetarily in the extremes—do we want to go back to extremes?—but our work creates a worth of its own.

And good work moves people to action. Whether they buy a painting in a gallery, or respond to a poster for a Broadway show or an ad for apple juice, good work works. You keep producing, we’ll keep recognizing it and showing it and the world will applaud.

Lunch with Carlo Stanga

What could be better on a grey, rainy, humid day in New York than a visit from distinguished illustrator, architect Carlo Stanga from Milan. The minute he walked into the studio he lit up the room, charming, gregarious and funny it was a delight to sit in his company. Usually it is all work and no play around here but today was different, for a good three hours we were entertained more than being the entertainers.

When asked how he learned to speak such good English, he commented that he taught himself--movies were a big help but also the cultural influences of music and literature played its part; his English was so perfect it sounded as if he lived in the States. Based in Milan Carlo spends at least a week out of every month in Berlin. Fascinated by the art and architecture scene there, he has settled into an apartment of his own but has yet to master the Germanic tongue--and may never. Fortunately most speak English though he admits their English is a different than here; one thing they speak slower than most New Yorkers.

Carlo had come over to New York to meet some friends from Rio as well as to spot his new subway platform poster for the MTA which is featured in the current issue of 3x3. Of course another stop was with his agents, the lovely Vicki Morgan and Gail Gaynin. And we were pleased that he put us on his schedule on his way to the airport--another reason it's good to have a studio in Brooklyn, close to all three airports, JFK and Newark in particular.

Lots of discussion about art, illustration, art supplies and architecture and he was one of the rare guests to recognize our collection of mid-century furniture by name. He was only in the city for a short time be he shared his views on both art and architecture: Impressed by an exhibit on Afghanistan at the Met, the architecture of the New Museum and disappointed by the the new MAD museum on Columbus Circle, it was an interesting discussion on architecture in America. We shared with him our images from our trip to Philip Johnson's Glass House last week which got him excited about the next trip to New York.

In relating the current illustration market in Italy he says that he's never been busier, that editors have found a new-found interest in illustration, replacing well used photography with drawn visuals. And he's picking up assignments within even more traditional markets--his work for a Italian law firm has him busy with dozens of portraits and conceptual spots--all to be used online. Talking about technique he prefers the tools of an architect over the use of a tablet; his poster of the skyline of New York done for the MTA was actually completed in pieces, each building hand-drawn with a Rotring pen and then assembled and colored on the computer.

Lunch consisted of Sarah's Bombay Chicken Salad served with kiwi, peaches, plums, toasted coconut and almonds with chicken, curry and sour cream served over a bed of watercress. An architectural masterpiece in presentation. Desert was a literal flop, the Chocolate Walnut Cookies failed to rise and stay firm--probably the humidity--but were served in pieces eaten with a spoon. Embarrassed to make Espresso for a true connoisseur, it seems our guest was nevertheless impressed as we sent him off to catch his flight home. Ciao, Carlo.

Pictured above: Carlo and Jessica, at left dueling photographers

Lunch with Jon Burgerman

As is our habit, when illustrators come to New York we like to invite them over to the studio for lunch. Many times this doesn't happen, they're only here for a short time so I'll come into the city. But Jon Burgerman is a special case, he's here for the summer so lunch at the studio could be more leisurely for everyone.

Luckily we had prepared a lunch of salad and risotto balls followed by homemade pineapple sorbet as we learned as we sat down that Jon is a vegetarian. And that's not all we learned, Jon is a world traveller, sometimes flying in for a day at a time in some exotic locale to do one of his wall paintings and then back home. We found out that he uses, not a Sharpie but a Japanese pen that actually spits out a substance closer to paint than ink; that way he is able to fill in areas and maintain the same flat surface and texture. We learned that he's in the process of moving, well, kinda. He hasn't made up his mind exactly where but feels like he's stuck and needs to make a move--not that all that traveling hasn't given him lots of choices, including New York.

Looking and listening to Jon reminded several of us of the actor Clive Owen, close your eyes and you hear his voice, remove the beard and you'll have a very young looking Owen. Clive, I mean Jon, moves in different circles than most illustrators, he is more at home with street artists and gallery artists than hanging with fellow illustrators at the Society or AOI. And he's gone solo, after a period with a rep firm here in New York he now fields all his work on his own--he does have a UK rep, Debut--and tends toward more specialized projects that utilize his work more perfectly. A constant namedropper--a good thing--we were busy looking up artists we weren't familiar with after he left. A good time was had by all.

Feeling badly that he'd missed a previously scheduled lunch in February he left us all with a ton of stickers that he always carries with him in his rucksack. He's got a book-signing this weekend at Kid Robot and a show coming up in August. Just look for that Clive Owen look alike.

Art Director Don'ts

This is a follow-up to my last posting on For What It's Worth. Scanning the web today I found the following piece on José Cruz's site. Every illustrator should keep this posted right above their computer...and every art director should take note:

Don't ask me to do art for free!
Don't ask me to sell my art CHEAP!
Don't ask me to incorporate ideas that don't work!
Don't ask me to do BAD ART!
Don't ask me to work on SPECULATION!
Don't ask me to put everything into a piece of art including the Kitchen Sink!
Don't bother to call me if you don't like what you see in my book!
Don't ask me to illustrate like another illustrator!
Don't ask me to underbid another fellow illustrator!
Don't get estimates from several illustrators and choose the cheapest!
Don't ask me to Think Like You!
Don't ask me to Read Your Mind!
Don't ask the client what he thinks!
Don't ask the client what you think!
Don't ask me to wait 90 days for payment!
Don't ask for something overnight unless you pay me overnight!

Good art directors already know these don'ts but it's up to us to make everyone aware of why you do hire an illustrator and the value of illustration.

For What It's Worth No. 5

There seems to be a pervasive request for freebies lately; it's almost like the buzzword for the 21st Century is Free. Whether it's Google trying to get illustrators to create work for Chrome for nothing or the free downloads that seem to be invading cyberspace. There's nothing wrong with bartering in tough times, it's a historical fact that artists have bartered their art for food and shelter but the idea that a multi-billion dollar corporation can't pay an artist's fee for usage is downright despicable. But it's not unusual.

Unfortunately illustration lacks the respect of the vast majority of art directors, art buyers, editors and the like. They view illustration as second-rate, only to be used when they can't afford photography or just to fill a space. They don't view what an illustrator does as anything special, nor worthy of a high fee.

And the worst thing of all is that too many of us are willing to work for free or very close to it. And everyone knows it. You wouldn't find a photographer taking the bait from Google and more importantly, Google wouldn't even bother to approach them because they know what the answer would be--NO.

It's like the difference between cats and dogs. Illustrators can be like pups who sit there wanting to be loved, waiting for someone to throw them a bone. Cats on the other hand are aloof, sure they can be affectionate but they're not there begging for attention. When they approach you it's on their own terms. Cats know their value and they play to their strengths. If illustrators were more like cats they wouldn't do assignments for free or for a ridiculously low fee. The illustrators who turned down Google are like cats, the ones who took the bait are like dogs. We all need to be cats.

The Little Chimp Society Interview

Darren Di Lieto of  The Little Chimp Society has uploaded his interview with me on his online illustration news portal. Not your typical interview Darren asked some pretty interesting questions both illustration and non-illustration related. Thanks Darren for publicizing our work here at 3x3.