Art Dorks : 08/08
I first saw Mark's work in a collaborative promotional calendar, Passion, in 1999. I remember seeing images by Mark Ryden, the Clayton Brothers and Gary Taxali, which was enough for me to be intrigued to look deeper and find out what Mark was up to. It was around that same time when Guapo Y Fuerte (Tough and Handsome) was published featuring Mexican Luchadores.
How did you get started working with artists and illustrators? Was it a means to promote yourself as a designer?
It all started with my fascination for great artists who appeared to fall under the radar. I wanted to celebrate living artists who loved what they do. People creating intriguing art pieces that did not necessarily follow acceptable rules. The whole idea was created as a way to creatively collaborate and push the boundaries of acceptable marketing. The cool thing was that it began as a creative experiment. I wanted to determine if clients would go for non-obvious alternatives and allow artists to tell stylistic, visually dense stories. Fortunately for all of us, the experiments worked and changed the way I approached my company. The company became a catalyst for inspirational exchange.
The promotional value has always centered around the artists and get them connected with creative buyers.
Read more and visit : www.artdorks.com : interviews
Spark : Creativity Magazine : 12/05
Interview with Lisa Cyr
Do you see the role of the illustrator changing in terms of what he or she should bring to a project?
No. I think the role of a talent now and always will be to clearly communicate, work hard as a collaborator and seal the deal with their unique thumbprint of originality and style. I think the role of art director/designer needs to evolve into a calmer, more approachable entity that remains in control of client solutions, project progress, schedules and budget. Today, there is a larger need for art directors that accurately understand how to manage time in direct relationship to how long the process of creating takes. This is something I continually work hard at and as all art directors can attest, this is not an easy task. So in return, the illustrators or artisans, must keep in mind that sometimes time is not a luxury afforded and the winner of the prize is awarded to the individual who can not only deliver compelling pictures, but to the one who delivers on time.
As a buyer of illustration, what do you think commissioned works (not stock) bring to your design content.
Originality. Freshness. Distinctive content that invites public participation and recognition.
Collaboration between an art director and an illustrator can be quite rewarding if it is the right match. What advice can you give to other art directors when it comes to choosing the right talent for the job at hand?
Careful project planning is key. When looking for creative talent it is important to research your talent. Approach 2 or 3 artists who might fit the parameters of your project and discuss availability and invite them to submit 3 to 5 images that represent current, compelling works. Once you have completed this process, evaluate the response of each artist and rate presented works. Lastly, choose your artist and negotiate your terms. Always have a second or third artist in mind, in case of schedule or budget conflicts. When maintaining a strong relationship it is important to present creative briefs to the artist at the outset of a project. Invite your talent to be a part of the brainstorming process, establish firm delivery dates, allow time to check in with the artist to evaluate progress on a project, and follow-up with the artist on the final project results.
How do you see illustration assisting in creating more memorable communications?
The best impression is a unique visual solution. This is as much the illustrator's function, as the designer or advertising professional. It has to be a 100% match made in heaven including all talents, writers, designers, composers, illustrators, etc. The public needs to be presented with solid solutions that are well executed, otherwise the moment will pass and there is no reflection. Provoking images tantalize, while the entire page needs to be thoughtfully put together and designed to have lasting impression.
Look out for Creativity on the MagRag Racks : Also featured in this article : Brad Holland : Steven Heller : Marshall Arisman
