Talented comic artist Todd Nauck will be hosting a special Q&A, signing and artist workshop event to celebrate his first art installation in an accredited museum, the Bakersfield Museum of Art. The exhibit opens February 4th. 

Todd Nauck has over 17 years experience in the comics industry. If you’re into comics, you’re probably familiar with his work for Image, DC and Marvel comics - Amazing Spider-Man, Friendly Neighborhood Spider-Man, Teen Titans Go, and Wild Guard, Young Justice and the Spidey and Obama teamup.

When he travels to comic shows and conventions each year, fans commission him to create artwork rendered in Copics.

Recently, we were lucky enough to chat with Todd on Twitter about his art making process, his Marvel Custom Solutions projects, and the artwork he created for Extreme Makeover: Home Edition, Lance Briggs (and others) for the NFL Superbowl, and ESPN.

We asked him to explain his unique creative process. His approach – which involves first defining the form in color – deviates from the more conventional approach of starting with pencils, following up with inks, then finally adding color. Seems that @RAHeight also likes working this way:

Judging from the dozen or more images he started posting, this method works very well for him. He chose the subjects from recommendations from his army of loyal Facebook and Twitter fans.

A few images unveiled during the conversation (see all of them, here):

During the Q&A session, Todd was answering questions from our audience. @Darksparkle asked about skin tone colors:

Next, @WorkingClassGMR asked:

Fellow Copic-loving artists @AH_AdamHughes, @CatStaggs and @MahmudAsrar each got shout outs for being inspirational Copic artists.

If you love comics, follow these great artists and let Todd know you enjoy his Copic sketch cards! He’s super interactive, and who knows – perhaps your suggestion will get chosen the next time the request lines are open…

On that note, what are your favorite comic titles? If you commissioned an original Todd Nauck Copic sketch, who would want him to draw? Let us know in the comments, below.

Todd Nauck online:
Website: The art of Todd Nauck
Facebook: Todd Nauck
Twitter: Todd Nauck

More information about the special Q&A, signing and artist workshop event at the Bakersfield Museum of Art.

Daniel Govar is an extremely talented illustrator with an impressive roster of clients, including DC Comics, Nike, Marriott and various U.S. sports teams. In addition to illustrating nearly 15 books, his work has been seen in worldwide publications such as Entertainment Weekly and TV Guide. Read on to learn more about Daniel, his work, and his love of Copics:

Tell us about yourself!
Originally I am from Arkansas, but I was an army brat and we moved all over – Hawaii, Canada, Oklahoma, and finally here in Maryland. I think at some point I’ve been to or lived in every state in the US save Alaska. I got my degree in Imaging and Digital Art from University of Maryland, Baltimore County, and was introduced to the wide world of digital art forms there, studying animation (both traditional and 3D), video development and editing, and interactivity and web programming. It was a pretty all-encompassing major and one they’ve since dissolved and broken into individual focuses. Personally I like the rounded approach and appreciate the education in knowing how all the pieces fit together. My personal interests were initially in interactivity and it’s possibilities, and I would always put my illustrations (of which I had very little formal training save figure studies and a few paintings classes here and there) into anything I created. I got a job out of school creating educational programs for children – an Astronomy program, a History program, and a program on Ancient Greece – all filled with illustrations and animations.

Do you prefer traditional or digital media?
I use both and find that when they work in harmony my work looks best. My DC comic series AZURE was done entirely digitally. From beginning to end I used Photoshop to create every page. It was only when I started going to conventions that I saw the folly in this as a comic creator – there is a huge market in original art that you lose when you work digital-only. I now do most of my color work in Photoshop, and do most of my black and white and grayscale work in traditional medias – Primarily using Copics for the traditional work with a few India ink washes for added textures.

What other mediums do you work in?
My weapons of choice have evolved over the years but it depends on what the project requires. I think I am most comfortable with pen and ink (Copics), markers, watercolor, and digital mediums. I have done large scale oil paintings, and sculpt from time to time as well, though these days the demands for my time are spread between paid art, friends and family, and my dog.

What is the toughest part of comic storytelling?
I would have to say each part of the process has it’s challenges. Comics is a hugely social industry and many people go into making most comics. Learning to work with others and to be able to articulate in words what you aim to convey in illustrations is one of the most useful aspects of making comics. Many people you must work with will not be artists, and you will need to be able to explain or understand what they are trying to explain with words and then translate that into imagery. The best way to learn is to sit down and make a comic. Start small and work your way up to something larger.

Personal Site: http://www.danielgovar.com
DeviantArt: http://saulone.deviantart.com
Facebook: http://www.facebook.com/pages/Daniel-Govar/139723602709280
Tumblr: http://saulone.tumblr.com
Twitter: http://twitter.com/saulone

Tools used: Ballpoint pen, Photoshop, scanned paper textures

Allison Strom is a talented illustrator whose latest work can be seen in Vera Greentea’s independent comic Recipes for the Dead: Issue 2. Read on to learn how she incorporates Copics into her process and find out where you may be able to meet her in person:

Tell us about yourself!
I was born in New Orleans. I was probably drawing at the time, and then just sort of kept at it for going on 25 years. I think when I was growing up I wanted to do covers for fantasy novels like the ones my older sister and my dad read – Like the ones with big elaborate dragons and explosions and battleships and stuff. That was basically my entire impression of illustration until I started going to school at MCAD.

Do you have any formal art training?
I’m currently pursuing a degree in Illustration at the Minneapolis College of Art and Design, but I’ve also been working as a freelance illustrator since before I enrolled back in 2007. It’s slow going! But both are excellent teachers, and although learning to find a balance between them is rough, it’s been worth the stress so far. Being at MCAD has been like learning how to speak after years of thinking I already knew how, and I love seeing how my experiences at school translate into my work outside of class.

When did you first become interested in creating comics?


To be totally honest, I thought I’d finally scared myself away from it. I always liked the idea of drawing comics, but it wasn’t until I took Jim Keefe’s Intro Comics class that I really started to find my footing with creating them. From there, it sat in the back of my mind until I got the script from Vera for Recipes for the Dead. Then it basically took over my brain.

Tools used: Pencil, Copic Multiliner, Copic Sketch markers, Photoshop

What’s the most challenging thing about working on a comic series?


I like to be able to spend eons lovingly tailoring a piece of work. But with comics, that’s got to be the entire book, not any individual panel. It’s so hard for me to let a drawing go and just move on to the next!

The comic you’re collaborating with Vera Greentea on, Recipes for the Dead, raised over $9,000 on Kickstarter – more than quadruple the fundraising goal. How did it feel to have such a positive response to the project?


It would almost be scary, except it’s completely wonderful. It makes me hate the fact that I’m not more experienced, because I want this to be the best thing I’ve ever made.

Do you prefer traditional or digital media?
I spent a lot of time as a primarily digital artist working in Photoshop, but I was starting to feel like I spent all my life in front of a monitor. Nowadays, I like using digital media to enhance a foundation drawing or coloring made with traditional media. I love to work out of my sketchpad for as much of a piece as I can get away with. I use pencil mostly, but also pens, ink, watercolor, charcoal, pastels, colored pencils; it’s always switching around. I think that’s what I like the best about making art: You can always find another way to do something, or undo something, in a worst-case scenario.

Describe how you incorporate Copics into your work:
I use Copics to add tone and texture to my inks before they go to color. Sometimes I use warm grays to set the temperature of the light throughout the scene, that way the shaded picture doesn’t come out looking “shiny”. I’ll go through after that with cool grays to work up shadows and depth, and maybe to describe form here and there. Finally, I use Photoshop to add color and maybe a few more textures, if I feel like there’s a space that needs a little roughing up. I try not to let this part overpower the drawing underneath, and to keep it so that the finished piece still keeps all of the expression and liveliness of the scanned original. It is always tempting to just fix a picture to death!

Tools used: Pencil, Copic Multiliner, Copic Sketch markers, Photoshop

What are you working on right now? Any personal projects?
I love making storyboard animatics. I feel like it’s a medium stuck between comic and animation, and it’s extremely expressive. I’m currently poking at an idea for a short project about a ghost who lives in an abandoned lighthouse. It’s not getting finished any time soon with my current workloads, but it’s something I enjoy coming back to whenever I can find time. It’s not really for anything special either. I just think its important to have something like that, where there’s no pressure and you can just enjoy it no matter how long it takes to pan out.

Aside from that, I’m always working on new artwork to sell at Anime Conventions I attend. It’s fun designing buttons and posters of my characters from various stories I’ve got no idea how I’ll ever write. I love them anyway.

Tools used: Pencil, ballpoint pen, Photoshop

Any exhibitions or shows coming up?
I’m going to be at Anime Detour and Animinneapolis this year, both in Minneapolis MN. I’m also trying to get into A-kon in Dallas TX, and Mecha Con in New Orleans LA, but we’ll see what happens!

Find Allison on the web:
Portfolio: http://shirotsuki.deviantart.com/
Tumblr: http://alliebirdseed.tumblr.com/
Twitter: http://twitter.com/clearblueNEL

Tess Fowler is a California-based comic book illustrator. Her work includes a handful of books for Zenescope, including issues of the Charmed series, and a number of sketch card jobs for properties such as Marvel, Lord of the Rings, and Indiana Jones. In addition she publishes a web comic at www.borisandcharlie.com, and creates portrait and pin up commissions in Copic marker and ink.

Tell us about yourself!
I was born and raised in Northern California’s Silicon Valley. I have no formal art training. They tried to put me in art classes in junior high and high school but I either flunked out of them for disobeying directions, or begged until they switched me to drama classes.

Are you self taught?
The comic book community is small and close knit. There is always someone to offer tips or tricks for improvement. I’ve been tutored by some very lovely pros along the way.

When did you first become interested in creating comics?
From the time I was very small I made my own comics. I folded up stacks of paper and bound them with the traditional three staples. I had my own system for this where I tore apart a cardboard box and laid out my books flat, then opened the stapler and placed it over the fold line, followed by slamming my hand down to make the staple puncture the entire stack. Then I folded all the staples down with a butter knife. While other kids were outside enjoying the sunshine, or playing video games with their friends, I was sitting alone with a pile of markers making picture stories. I took my art very seriously even as a kid because I always felt like I had to be ready for the day I’d make real comics.

What’s the most challenging thing about working on a comic series?
Definitely deadlines. I like to add a lot of detail into my work and that’s just not feasible when a book needs to hit the shelves by a certain date. That’s why I started my own web comic, so I could have an outlet for my love of detail. It’s made me ten times faster.

And the best thing about working on comics?
The best part of working on comics will always be the work itself, for me. The act of creating a visual story onto a once blank sheet of paper is a magical experience that is hard to describe. But aside from that I have to say I really adore the fans. I’ve met such unbelievably wonderful people in this line of work.

Do you prefer traditional or digital media?
I do everything traditionally, except for scanning of course. All of my commissions and pin ups are done in Copic markers and Multiliners. For me there is nothing that can replace the feeling of paper beneath my fingers as I create my art.

What are you working on right now? Any personal projects?
I’m currently working on Charmed for Zenescope Entertainment, which is my fifth project for the company.  And I’m inking the entire book in Copic multiliners. I also have my own web comic called Boris and Charlie which is also inked with multiliners. It’s about a little eight year old girl who lives with a giant closet monster and a talking cat.

How long have you been using Copic products? How did you first learn about them?
I first discovered Copic products back in 2006 when I was working a comic book convention and saw them on another artist’s table. After experimenting with them myself that following winter I never turned back. They replaced every other product for me because of their versatility.

What’s your favorite Copic product and why?
I can’t live without my Copic sketch markers. The brush tip and square tip in the same marker give me a greater ability to play with effects, especially in portraiture. Blending and layering is made easy because the color flow is so smooth.

What advice would you give to girls interested in pursuing a career in the comic book industry?
Follow your heart, listen to your gut…and carry a really big stick.

Find Tess on the web:
www.tessfowler.com
Check out Tess’s web comic at www.borisandcharlie.com
Become a fan on Facebook!

Abdul H Rashid is a talented comic artist whose work is featured in the NEW-GEN series distributed by Marvel Comics. Read on to learn more about his work and love for Copics!

Who are some of your favorite artists/creators? 
I think you’ll hear these names come up from most of us in the industry that grew up with their art and innovative creativity in the late 80′s and thru the 90′s…Jim Lee, Todd McFarlane, Frank Miller, and (the late) Dwayne McDuffie. For varied reasons, each of these artists/creators has made it a point to develop established and creator-owned projects that have major influences in the industry. It’s my turn now. lol

When did you first become interested in creating comics?
I’ve always loved how art can tell a story, but not until reading ”The Dark Knight Returns” by Frank Miller, and “Watchmen” by Alan Moore, did I really consider venturing (seriously) into the arena of creating comics. The story telling and flow, both visually and literary, were done so well that it was one of those “ah-ha” moments for me that had me saying…”I want to do that when I grow up!” The idea of developing a product that allows for readers/viewers to have fun and escape from the “real world”, even for a brief moment, was and is something very important to me.

What’s it like having Mark Hamill on board as a Creative Consultant at NEW-GEN?
Very, very surreal!!! He and I sat next to each other during the NEW-GEN NYC Comic Con panel addressing the attendees for the announcement of the movie and the current comic storyline. There were well over 1000-plus people there, and I was simply more caught up with the fact that I was sitting next to such an iconic figure in the industry like Mr. Hamill. I’m significantly inspired by the level of professionalism projected by Mr. Hamill as well as the way he interacted with the fans during the Con…which is something that I intend to make a part of my growth in the industry. I think that the NEW-GEN project can only benefit greatly from having such input and experience infused in it coming from such a resource. I am more than excited to see things develop into film and projects beyond. I see NEW-GEN being something that many people won’t expect and will be pleasantly surprised with.

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What’s the most challenging thing about working on a comic series? 
My situation is a bit more unique than most artists as I have had the opportunity to help with the evolution of the project from a wider creative position. Developing both the visual and written content has been EXTREMELY fun and a great learning tool for the other projects that I am working on now and in the future. The biggest challenge that most artist would probably say…in general…is time. There is NEVER enough. Sometimes, I find myself wishing for 48-hour days during the times I’m creating.

Do you prefer traditional or digital media?
I actually favor both…and utilize them in regards to specific stages of the creative process. I love the traditional pencil and inks for the actual illustrations. Something about the “hands on” dynamic of that process via the “old school” tools is really fun to me. From the digital side…the colors that come from some of the software that’s out today (when used by a solid pro) are SO vibrant and amazing to bringing the black/white inks to life. I’m definitely a proponent for both.

What are you working on right now? Any personal projects?
I’m working on a few projects for the coming year. Of course, I will be working closely with APNG Enterprises on the NEW-GEN franchise as we wrap up the current storyline New Dawn that explains the origin of the main “super-dude” of the series, as well as the developments for the feature film going into production.

In regards to personal projects…I am developing a project line of new series and characters coming out of my studio, AHR Visions. It will generate a variety of series that will crossover to various multi-media as they evolve. The flagship titles are The 8 (Centered around a society of super-powered immortals engaged in an underground war unknown to the rest of the world), The Black Rose (Imagine Batman merging with the gangster movie King of New York), ReBirth (Sci-Fi anthology series in the spirit of Ghost in a Shell and Akira), Lady Skorn (The studio’s premiere female hero) and a few other projects, beginning summer 2012! I am very excited and anxious to be contributing new ideas into the industry. I’m hoping the fans really enjoy them all.

What’s your favorite Copic product and why?
Not to sound too much like a commercial, but I am a huge fan of the Multiliner pens. When inking, it is SO IMPORTANT to have a strong presentation of line boldness and sharpness. The Copic Multiliners are surprisingly precise in application. I find them to be a very comfortable and enjoyable brand of pen to utilize…especially for the amount of drawing I do. Having a tool that is just fun to use is pivotal to the creative process.

Favorite band or musician at the moment?
I’m more of an “Old School” music fan. My taste varies from Public Enemy to Wu-Tang as far as Hip-Hop. I dig Rob Zombie to Rage Against the Machine. I’m into everything really…hip-hop, rock, R&B, classical. Well, I can’t do pop-rock or country. I struggle with those two. (lol)

Any words of advice for new artists? 
Practice, practice, and practice some more. Keep focused and stay targeted to your objective. You’ll get rejections, but keep learning from them. Make your own way and demand for the attention through your talent and professionalism. And be more than just “an artist”, be an all-around total-package. Illustrate, write, contribute to project development and creation…be able to do it all. BUT, be sure all you do is solid!

Find Rashid on the web:
AHR Visions
Visit APNG Enterprises for all things related to the NEW-GEN franchise and the developments of the current comic story arc and feature film.

Where are you from originally?
I grew up in Roeland Park, Kansas, which is a little suburb of Kansas City. Then I moved to Lawrence, KS for college, which is about 45 minutes away. And I never left! (except when I went to school in France for a year.)

Tell us a bit about your life and growing up, and when art became an important part of it:
I remember art always being in my life, and always making things as a kid. My Mom sewed all of our clothes, and my Dad was a stone mason. So doing things with my hands and being creative came naturally. I also had a great-uncle who was a printer, and gave me lots of pads of paper to draw on.

Traci used the Copic Airbrush System to create these journal pages.

What is your earliest memory of drawing or creating art?
I remember when I was in kindergarten, my teacher made comments on my drawings that I colored things the wrong colors and didn’t stay in the lines. I guess that hasn’t changed. I still have a little clay statue that I made as a kid of my dog (but it looks more like a cat).

What inspires you to create?
I think for me, I just have this feeling inside that I have to do it. And I’m happier when I’mdoing something creative, whether it’s taking pictures, or slapping some paint into my journal. And the more creative things I do, the more I’m inspired to create.

In what kind of environments have you learned about or “trained” in art?
I took all kinds of art classes in junior high and high school, including photography, printmaking, weaving and ceramics. Then in college I majored in graphic design. For my junior year of college, I went to la Villa Arson art school in Nice, France. But aside from that, I do a lot of experimenting on my own.

You’ve said you like finding the extraordinary in the ordinary. What are a couple of your best extraordinary finds or creations from ordinary things?
Some of my best “finds” I’ve used as printing or stamping tools. My first book, “Print & Stamp Lab” has a lot of these finds in them–such as using those oval and round corn cushions (for corns and bunions on your feet) to print with. And my favorite is using flip flops as printing blocks. Not only can you stamp the textured sole, but they can also be used as moldable foam to make your own stamps.

If you were stranded on an island, and all your basic needs were being met.  What three additional items would want to have? Tell us why, or explain what you would do with them:
Only three? My art journal, a Pentel Pocket Brush pen, and my bag of Copic sketch markers. (But I’d sneak in some glitter glue, too.) With the markers and brush pen, I could write and draw in my journal. Then I’d glitz it up with the glitter glue. I guess I’d have to apply it with my fingers, but I’m okay with that. I’d love to have a camera with me on that island, but then I’d either need some film and a photo lab, or my laptop & printer.

What’s your favorite part about being an artist?
That I get to make stuff! I get to do what I love for a living. I’m also never bored because I have so many different creative things I like doing. I also love experimenting with new materials and seeing what I can do with them.

What is the worst part about being an artist?
The financial part of it. Making a living as an artist is not easy. But I can’t imagine doing anything else.

How did you develop your particular art style?
Hmm, well that’s a tough one. I guess it evolved over time, and keeps evolving. I like to work intuitively, just doing what feels right, and working without laboring over decisions on what I’m doing.

Can you briefly describe your process?
When it comes to working in my art journal, I usually first apply a thin layer of gesso. Then I start layering on collage and paint. While I’m doing that, I start adding some text, stamping or writing a headline of sorts of what I’m journaling about. Then I get into more details with handwriting. I add photos, stamp with rubber stamps, and draw on the page with different coloring media. I basically work on the page until there’s no more room left to add anything. I don’t have a set way of working really. I do all of those things, but not in any certain order.

Do you wake up in the morning and know whether or not you’re going to have particularly creative or artistic day? What are the signs?
Not really. But I pretty much work all the time. I do start almost every day off by walking my dog through the cemetery that’s across the street from my house. I usually take my iPod Touch with me to take pictures. It’s a good way to start the day. I often get great ideas or problem-solve while I’m walking my dog.

Tell us more about working with layers (you mention them in your artist statement):
I find I like to use layering in all of the different media that I work in. In photography, I like to take pictures that use reflections or double-exposures, layering different images, color and textures on top of each other to create a new image. When I dye spinning fiber and yarn, I layer colors in the dye pot to get a rich, multi-colored effect. An0d when working in my journal, I apply thin layers of paint and collage, adding and subtracting as I work, revealing what’s underneath a layer while creating another one.

When and how did you start using Copic markers?
Some years ago I was teaching at an art event in a hotel that had a “store” set up near the classrooms. I think that was the first time I saw a Copic Sketch marker. I liked the size of it and bought one to try it out. I was hooked! In my journals, I often draw outlined letters for my “headlines.” I like to use the Copic Markers to color in the letters.

What motivated you to use them?
Since I work in layers, I like to use permanent pens, markers & stamp pads. That way if I’ve done some work and decide to apply another layer of paint or a wash of color on top of it, I can do it without things running or bleeding. Since Copic markers are permanent, they work great for my style of working. I also love using the Copic Airbrush System with stencils to create backgrounds or borders in my artwork. I probably mainly use the brush side of the sketch markers. I like to color things in with them. The size makes it go fast!

Who are some of your favorite artists?
The main one who comes to mind is Hundertwasser. I love his sense of color and organic shapes in his drawings. As far as journals go, Dan Eldon and Peter Beard. I love that they use their photographs in their journals and also rework them to create a new piece of artwork, which is something I like to do too. I’m also drawn to outsider artists.

You’ve published two books and have numerous online tutorials. Tell us a bit about them:
My first book is “Print & Stamp Lab.” It’s a DIY book that shows you how to make 52 different stamps and printing tools from things around the house, or from things that are normally used for other purposes (like flip flops and corn cushions that I mentioned earlier.) My second book is “The Art Journal Workshop.” It gives basic information on different mixed-media materials that can be used in art journaling, then has 20 different journaling exercises. I’m known for my “raw journaling,” so the exercises in this book go beyond the surface and into deeper self-exploration through journaling. It also comes with a DVD that has 6 videos of me creating some of the journal pages in time-lapse photography. Right now, I’m working on a kid’s book called “Print It!” It’s a short book for a British publisher that has 12 projects for kids to make They learn how to make the stamping or printing tool, and make a project that uses it at the same time. That book will be out in 2012. Aside from those books, I’ve got online videos such as me creating a journal page, how to mount rubber stamps, how to use henna stencils in an art journal using both paint and the Copic Airbrush System, and how to make moldable foam stamps, and some others. They are all on my blog at http://www.TraciBunkers.com/blog.

Tell us about your 30 Days of Journaling project:
Last winter I needed something to get me going. I felt like I wasn’t doing anything creative just for me and wanted to change that. So I decided to do 30 days of carving, where I carved a stamp and blogged about it everyday for 30 days. I also did a sketch or drawing and posted it too. I got such a great response and enjoyed doing something creative everyday, that I wanted to do 30 days of something else. Bianca Mandity, inspired by my 30 days of carving, told me she was going to do 30 days of journaling. I decided to do it too. So everyday for 30 days, we both worked in our journals and blogged about it. Normally I do a journal page from start to finish in one sitting, but didn’t have time to do that everyday for this. So I set a time limit of a half hour, and whatever I got done in that time was what I did for the day. Then the next day, I’d finish what I had worked on the day before, or start a new journal page. Before this experience, there were times I just didn’t work in my journal because I felt I didn’t have enough time for a whole journal page. This showed me a new way of working and that I could work in my journal in small amounts of time. It also showed me that I could follow through with a commitment like that! Since then, I’ve done two rounds of “30 Days of Get Your Art On” where I just did some sort of art every day and posted it on my blog. And in December I did “30 Days of Drawing.” Check out my blog to see all of those.

Watch Traci use Copic Sketch markers and the Copic Airbrush System in an art journal:

Find Traci on the web:
Website
Blog
Etsy Shop

Tell us about yourself!
I was born in a town called Victoriaville (Québec/Canada) from a Belgian mom and a Canadian dad. My mom is an artist and she initiated my three brothers and I to drawing, pastels, collage, acrylic and oil painting. I also learned piano at an early age and this strong connection with music, especially classical, is an extra filter. It makes me draw and see things with musical sensibility.

I studied Sciences, French literature and History and graduated with honors from University of Montreal. I did all sorts of jobs: interpreter, journalism, pianist, public relations, fund raising, teaching French and scuba. I had the chance to do this in Montreal and abroad: Brazil, England, Turkey and the Caribbean.

Now, let’s talk about chance, faith and dreams. When I moved to Los Angeles I met my husband. Having a life partner that believes in my art was a drastic turn in my career. I started doing drawings incorporating intricate fabrics. One day, I entered a beautiful stationery store in Coronal del Mar and the owner, Harriet, saw these pieces and suggested me to send them to Constance Kay inc. Tip number one: Always have sample of your art on you, even in micro version! The rest is history as they say. Constance Kay has been an incredible mentor and guide for my art. My greeting cards are now sold in Japan, England, Switzerland and across U.S.A. It is a great joy to see my work transcend languages and cultures around the world. For my illustration work, another great luck struck me. My illustrations were hanging on the walls of my friend Virginia. Tip number two: be surrounded by friends that believe in you and give them your art pieces. A common friend who owns a beautiful agency in Venice California, Nouvelle Vague LA, saw my pieces and took me on board. Tip number three: get an agent. Sandrine gave me great visibility and opportunities.

What is your earliest memory of drawing or making art?
My earliest memory is probably throwing spaghetti on the walls with my brothers. Very modern. Or shall I say: A classic. Every kid draws. I did the same thing but because my mom was an artist I had tutorials, tools and even early critic! I remember drawing a lot of 18th century dresses, princesses and birds. Every year, at an early age, I was making a different Christmas card for each member of my family. I got good at cartooning and using humor to share my love. Humor is my favorite way of communicating.

What are your biggest sources of inspiration?
People. The best designs I did where initially created for someone. It’s easy to make something beautiful and inspiring when it is led by love. My inspiration is deeply shaped by my gratefulness for life, nature, hiking, scuba diving, yoga, colors, fashion, witnessing kindness between people, and finally but not the least, by my family and my friends.

Describe your creative process:
Everything starts with a coffee at 7am every morning. Routine and discipline are my golden keys. It’s all about ideas and concepts. These are the most important things for an illustrator. When I work on a project, I brainstorm and cartoon all my ideas. Illustration on the drawing table is most of my work: Hands on work, old fashion. Then the best ones are turn into final pieces. For the greeting cards, they’re all handmade so there is a craftsmanship part to my work that I really enjoy. I am some sort of art engineer that finds the right material to make the concept look flawless.

Has your illustration process changed over time?
I stick to a routine but how I do my illustrations have changed. Using Copic markers for instance was a drastic change. I first bought few colors to integrate them in my work and two weeks later I had a vast range of colors. It speeds up my work, adding precision and vibrant colors while offering transparency. The requests for my clients make me evolve as an artist because it brings me to work on different topics using broader styles. I have learned to create more elaborate pieces as opposite to my initial minimalist style.

Why do you choose to use Copic markers for your illustrations?
What’s not to love about Copic? We are a lot of fans out there! Copic offers so many transparent and gorgeous colors. They are durable, precise and easy to find. They are easy to work with and integrate to any pieces I work on. They also accelerate my creative process because I can quickly lay colors on my drafts. It does not blurry or mess up the fine details of my illustrations. I love their design, the way they lay in my hands. I use them for touch up on fabrics and papers. I also work with watercolors and ink but I would say that using Copic now covers 60-70% of my illustration work. I have YR00 Pink Powder for breakfast, lunch and dinner. I use this color a lot. It saves me so much time with my skin tones. I am grateful for such a great tool and our Copic community.

What are you working on right now?
I am working on Valentines cards design for Constance Kay inc. It’s all pink, bubbly, kinky, colorful and funny. For Nouvelle Vague LA, I am working on London 2012 Olympics and a series of illustrations filled with words for advertising and tourism projects.

Any words of advice for new artists?
See my tips above! Stick with people that love your work and support you. Maira Kalman gave me a great advice one day, with that same question: “Get deadlines!” That’ll make your work clearer, vibrant and more precise. Be prolific! Be inspired, loved and know that you are doing the right thing just right now, as you are.

Find Gigi on the web:

For greeting cards:
Constance Kay

For illustrations:
Nouvelle Vague LA
Directory of Illustration

Kate Sikorski is a California-based artist whose next project, Burkini Surf Series, is currently seeking funding on Kickstarter. Read on to learn more about Kate and her latest project:

Tell us a bit about yourself!
I grew up in Orange County. My teachers were always very supportive growing up – in 8th grade, my teacher let me paint a mural in the library. After getting twice rejected from the private art college on the campus of University of California, Santa Barbara, I went on to study international politics, gaining a unique perspective that continues to feed my art today. After graduating from UCSB, I made props for Greenpeace. I’ll be receiving my MFA from California State University, Long Beach this December!

Describe the Burkini Surf Series project:
I’m embarking on a new series that will continue a theme I’ve been interested in for some time now: the freedom to play beyond childhood, everyday women in sports. I have a handful of local Muslim women who are interesting in participating in a one day free surf camp. My sketches of this event will be done in and developed with Copic markers and multiliner pens. This visual research will be later used in composing the designs for large scale mixed media drawings on recycled wood and commercial fabric.

What inspired you to do this project?
I’ve had this project in my head for 6 years. I believe that art has a sociopolitical responsibility. In France, controversy over women wearing burkinis to public pools has led to racism and widespread news coverage. What most people do not realize is that wearing the headscarf is an act of non-western feminism. By using cheerful colors, non-competitive sport, and women (perhaps less threatening than men can be) I want to expose the public to the Muslim world within our own communities, normalizing images that seem strange and threatening to a public who associates Islam almost exclusively with violence, terror, and war.

Sketch with Copics - Visual research for the pictorial environments Kate will create for her Burkini Surf pieces.

How do you incorporate Copic products into your process, and what do you like about them?
I find drawing with Copic markers is sort of gutsy and fresh – you can’t erase! – and I want to be more brave with my drawings. When I look at other artists’ work, I admire drawings that are good, yet have human flaws. These drawings hold my attention unlike perfect mechanical-looking photo drawings. I use Copic markers not to add local color to objects, but as colored line delineating forms in space.  For a long time, I’ve known that I am more of a drawer than a painter and I have observed that painting is socially perceived as a higher form of art. Drawing in color adds more complexity to compositions–temperature and saturation, as well as value, line, and shape. More than a paint brush, markers give a sharp edge and the ability to be precise. Copic markers are louder than ballpoint pen and colored pencil, too, which is really good for me since I am most interested in my initial lines, not finished value renderings. Most of all I love Copic markers because when you draw with them you don’t have to spray them with nasty, toxic fixative like you have to do for charcoal, pastel, and graphite drawings.

Favorite holiday tradition?
Every Christmas I look forward to decorating Christmas cookies loaded up with red hots (spicy candy) with my family and friends.

Any upcoming events or announcements?
If you are in Long Beach, you are invited to my thesis exhibition Sunday, December 11th, from 5-7pm on the campus of California State University, Long Beach. It will be at Max L. Gatov Gallery, on East Campus Drive, which is off of 7th street (the end of the 22 freeway). More info can be found on my artist Facebook page.

Sketch with Copics - Visual research for the pictorial environments Kate will create for her Burkini Surf pieces.

Find Kate on the web:
www.katesikorski.com
Facebook
Kickstarter

Julie Fei-Fen Balzer is a mixed media artist based in New York City. Julie is currently the co-host of Scrapbook Soup TV (PBS) and has been featured in numerous magazines and TV segments. Read on to learn more about this talented artist:

Do you have formal art training or are you self-taught?
I am self-taught.

What is your earliest memory of drawing or creating art?
My Mom used to give me a bag of mini marshmallows and a box of toothpicks and I would spend hours making sculptures, using the marshmallows to connect the toothpicks to each other.

How long have you been working with mixed media?
Mixed media is basically instinctual. When you think about it, most people have mixed their media in way or another. Usually they stop mixing when they’re told the “right” way to do it. I’m lucky. No one every said, “You’re doing it wrong.” So when I didn’t have sheer fabric on hand, I started stitching transparent gel into my quilt. Or when I didn’t like the color of a piece of patterned paper, I painted it. I think necessity is the mother of mixed media. If you don’t have what you need, you reach for what’s there and you make it work! I was definitely doing mixed media before I even knew what it was!

Describe a typical day in your art studio:
A few months ago I wrote a blog post called “Forty-Eight Hours.” For forty-eight hours I kept track of everything I did. And it is a pretty accurate picture of what daily life is like. I’m a workaholic. I wake up and walk into the studio and I spend most of the day in there. I walk out and it’s time for bed. The activities vary wildly from day to day and I’m a little bit sad to say that there’s more computer work (editing videos, editing vectors in Illustrator, photoshopping project photos, answering e-mails, writing articles, etc.) than I’d like. But some days are just about making art and those are the best days on earth!

Your website states that you “believe that mistakes are creative opportunities.” We love this. Could you elaborate a bit on your thought behind this, for the readers out there who may see mistakes as failures?
If you never fail, you never succeed. Every amazing piece of art I’ve ever made has been built on the ashes of a failure. We are truly creative when faced with a mistake, and instead of aborting the project, we embrace the mistake and take the road less traveled. And knowing that you can come back from a mistake — that you can make an even better project after a mistake — well, that’s the most artistically empowering thing that can happen. Because then you no longer have fear. And fear is the most crippling thing that can happen to an artist. So, go ahead! Jump off that metaphorical cliff.

How long have you been using Copic markers? Why did you decide to start using them in your work?
I’ve been using Copics for about a year — maybe a bit more than that. I started using them because I wanted to airbrush. But I live in NYC, and something that requires a lot of space/ventilation just wasn’t an option. Copic’s airbrush system seemed like the perfect fit for apartment living!

How do you use Copics in your mixed media work?
They’re just another awesome tool to have at my fingertips.  I like that they (a) go onto slick surfaces of all kinds (b) are transparent (great for layering) (c) have virtually no drying time! And I particularly like how they mimic the look of spray paint, though in an transparent way, when used with stencils!

Any tips for Copic beginners?
I think Copics can be intimidating because you hear so much about the right way to use them and the wrong way, but I say jump right in! I encourage everyone to try the airbrush system. It’s intuitive and just totally addictive! So go ahead and buy the big box of markers and a compressor, because you’re going to love it!

What are your biggest sources of inspiration?
I love a lot of the usual sources: museums, window shopping, internet surfing…but the number one thing that gets me going is the question, “What if…(fill in the blank)?”  I love a challenge! And my most favorite moments have all come from one crazy thought colliding with a wildly impractical idea!

Who are some of your favorite artists?
Famous artists? Can’t get enough of Matisse. His economy of line, use of color, all just extraordinary. Robert Rauschenberg blows me away every time. The way he combines disparate elements and seemingly messy things into heavenly compositions is mind boggling. I stand in front of Klimt’s work for hours on end just sketching and absorbing
every tiny, shiny, lovely detail. I am lucky enough to live a few blocks from MoMA and I like to go and visit as often as possible because it is just so amazing!

What do you love about living in New York City? Do you feel that the
city influences your work?
New York is the greatest city in the world! And anyone who says otherwise doesn’t live in New York! LOL!  In all seriousness, I love New York. The rhythm of the city, the buildings lit up at night, the way energy pulses through every street, the food is amazing, the entertainment options are endless — there’s so much to love! And I think it influences my work in that I work very small.  Space is my constant enemy and my dreams of working large will have to be put off for now. I think I also over-detail things (I have a more-is-more art philosophy) because I’m so close up to it. And this is one of those chicken-egg things, but I find I’m not very inspired by the ocean or nature the way a lot of other artists are. Give me a building or some grungy graffiti and I’m much more at home. So am I not inspired by nature because I live in New York, or do I live in New York because I’m not inspired by nature?

Favorite holiday tradition?
The annual fight over whether or not to have a Christmas tree. It’s an epic battle every single year.

Learn more about mixed media in Julie’s self-paced online class, “30 Days in Your Journal.”

Also look for Julie’s column “Adventures in Arting” in the January/February 2012 issue of Cloth Paper Scissors magazine!

Find Julie on the web:
http://www.balzerdesigns.typepad.com/
http://twitter.com/BalzerDesigns

Largely self-taught illustrator Drew Blom talked with us about having work curated into the Art for Hope exhibit, his art making experience, and using SketchBook Pro Copic Edition.

Congratulations! How did it feel to be approached by Autodesk for this art show?

I was contacted by Chris Cheung at Autodesk to see if I was interested in contributing a piece for their Art For Hope benefit book in partnership with Viz Media. It was right around the time the Copic Edition of SketchBook Pro (SBP) was released. I planned everything digitally, printed out and did a traditional graphite rendering, scanned back in and used the new Copic settings to create the colors for my piece.

I was pretty humbled to asked to be part of the Art For Hope book. It’s a great cause, I was excited to work on the piece  – and excited to hear it was selected. It was quite an honor.

Unless you’re a big name who’s having their work reviewed all the time it is easy to work in a vacuum. I’m not a big name so it’s kind of fun to see that the piece is making an impression on others.

Anything you’d like viewers to keep in mind while viewing your piece?

The piece was created as a cover for my story Calvin Hedge and the Iron Golem. It’s a story about hope, so it was a natural fit for the anthology. The story is intended to be the first of a trilogy of YA fantasy novels. I am writing and illustrating a children’s book as a precursor to the world and characters early next year. The characters in the image were not just put in to fill the composition. They all have a part in the story. Knowing who the characters are really helps me as I work on the actual piece.

Calvin Hedge and the Iron Golem, Graphite, Strathmore 500, Digital, 11″ x 17″

How do you normally go about art making?

I use digital drawing tools like SketchBook Pro for planning because it’s easiest to change, but for the actual work (rendering and line art) I prefer traditional media.

Every artist has a preference for tools and it usually winds up being the ones they have the most control over. Graphite and colored pencil are my go-to most of the time. Markers and pen-and-ink techniques are also a part of my process. I like the digital tools available because of the speed and ease of making changes. But I am still a sucker for the texture and depth of traditional media. The computer does “perfect” really well. But the hand of the artist is more readily visible with traditional media.

I did a talk recently explaining the process a little bit here. My part starts about 20 minutes in:

I use traditional Copic markers as well and am planning on using them as a monochromatic underpainting layer for a children’s book I’m writing and illustrating. After that I go in with digital color, similar to the SketchBook piece. I just need to start building up my grayscale collection of Copics.

Underpainting is a technique that has been around for a long time. In traditional oils it is used to define value and texture before a full-color realization is done over the top.

Calvin Hedge and the Iron Golem, underpainting

With the piece above, I used graphite pencils for the values, lighting and materials. It’s my version of underpainting and brings in the texture of the traditional media I’m working with.

With my upcoming children’s book I’m exploring a new process where the initial planning of the composition is done with SBP. The piece is then printed off and traditional Copics are used to lay in value, lighting and texture to the scene. Once the values are defined and the edges are contained with colored pencil the piece is scanned back in and a full color treatment is done digitally. This allows the texture of the paper and the markers to build up as they naturally would in a 100% traditional piece but also allows for the speed of doing final colors digitally.

What makes Copic your marker of choice for that?

The Copics blend very well, and with a set of grays you can lay in value incrementally. I like to feel in control as I’m creating the piece and the Copics are very natural and easy to reign in.

Have you been using SketchBook Pro (SBP) very long?

In one way or another, I’ve been using SketchBook Pro since version 1.1. I started out using it for storyboards but now use it for a lot of other things like planning out my compositions and coloring my final pieces.

How about SketchBook Copic Edition?

I picked it up the day it was released. I did a pretty quick update when the announcement was posted.  I already was using the markers so it was a natural transition.

It’s is a very natural sketching tool. Because I work on a tablet computer, I appreciate the gesture-based navigation. For coloring it is a bit different than I’m used to for my comic work, which is based on laying down flat color for selection and then building up volume. Its closer to traditional media which makes it very easy to get started with. You can tell the software was developed from an artist’s perspective.

The Copic presets are helpful as well. The palettes make sense and are great for narrowing in on a limited palette. The brush presets make the transition from traditional to digital media pretty smooth.

Any advice to people wanting to give SBP Copic Edition a try?

If you’re used to traditional Copics you’ll be familiar with the color palette. And the actual use of the digital preset brushes is pretty close too. Just like with traditional markers you can’t lay in light color over darks. It was a bit odd at first because I was used to standard digital tools, but over time it became an advantage because it kept me in the same mindset from traditional to digital.

Anything else you’d like to add?

Thanks for taking the time to talk to me.

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Connect with Drew online: http://about.me/drewblom