I met Todd a few years ago while I was living in NY. We did this project together with Alife, Arkitip and Etnies. After the project we stayed in touch and hung out every so often. At one point we started these Thursday night jam sessions in his house. I’ve always admired his work whether it was his collaborative efforts with Gary Benzel or his hand done animations for MTV and VH1. Todd is an amazing designer and artist and his work is truly inspirational. Enjoy this segment of AFQ

1. Tell us little about the latest art show you just did? Theme or Process

It’s a collection of things from the last five or six years. Most of it is focused on the relationship between a lot of the drawing I’ve been doing over that time, and sculptural experiments that came out of those drawings. Specifically, intersections and collisions of form and means of representation.

2. How did you get your start in motion graphics? Any new project you can tell us about that you are stoked on?

I’ve mainly thought of myself as an animator when it comes to work for video and film. I guess my start was when I was nine or ten. I took a summer school class that taught stop motion using an 8mm camera. I made a claymation piece with a dream sequence. It then switched to real-life footage and I woke up in a lagoon. Pretty bad. I guess the most recent thing to talk about was a piece called ‘Sea Friends’ . It’s a music video of sorts for Yo Gabba Gabba, which is a kids’ show on Nickelodeon. Mason Jennings sang the song and I directed the animation. People don’t realize it if they see a link online, but literally everything in it was built out of wood, painted, photographed and mostly animated in-camera.

3. Do you think our band twinkler and thrasher would of been a big hit?

Totally. I’m still bummed you moved to California just as we were hitting our stride. We could have been the next Eno-Byrne. Or at least the next Ebn-Ozn.

4. Any new unusual or funny story about the twins? (Stella told us about their secret word “mem”).

They don’t really know about candy yet. Stella’s started this thing where we bribe them, and can get four hours of good behavior with the promise of one jellybean. As soon as they realize other kids eat more than one jellybean at a time, we’re toast.

5. If you could give one piece of advice to artists or designers trying to start their careers what would it be?

Even if you have dumb ideas, if you keep at them long enough and with enough conviction, they’ll start to make sense to people. That’s always worked for me.

I met Andy Jenkins through submitting a drawing to his Diurnal Drawings back in 2001-2002. From that submission we would occasionally email back and forth and we both were posting links on the OG Arkitip IR news feed. If you follow skateboard art and it’s history you surely know who Andy is. You might recognize some of his work from the Wrench Pilot comics, 101 skateboard graphics and of course his work at Girl Skateboards / Art Dump. Besides his commercial work I’ve been a big fan of his personal art. The layers and clean organic lines that are found in his work allow the viewer to get lost in each piece. You should check out some of his older paintings and while you are it you can pick up newer pieces from here. I can ramble on and on but lets jump right in to A Few Questions.

1. You’ve been painting a lot lately I notice, what started this renisance?

I can never tell what it is that kicks my ass into the kitchen (my studio). A lot of the pieces are collage with paint, so, sometimes, if I find a cool piece of paper or note, something that I think would work nice in a piece and I’ll go in there are start moving things around. The work can go fast or slow depending on how inspired I might be. Usually slower since I work in multiple layers and have to give things a chance to dry before I start again. In the last few weeks I’ve been in my studio a lot at night and on weekends… it’s feeling good. Working on paper right now. Hoping to get a solo show sometime next year.

2. Are you still riding mx bikes? How often and where do you ride?

No. It’s funny that you ask because I sold a couple pieces recently and was thinking about buying a bike again. But I quickly realized it wasn’t practical at all. When I was actively racing motocross I’d be out at the track(s) a couple times a month - it was costing me a small fortune. And a small fortune is something I don’t have the luxury of owning. So I sold it all. Bike, truck, etc. And went back into the studio to paint! It’s weird but I’m a real competitive person when it comes to sports and that has to be fed… I need to figure out another outlet. Coaching my son’s baseball team seems to help some.

3. What’s awesome about skateboarding right now and what blows?

The best thing about skateboarding for me right now is watching my 12 year-old son get so into it. He’s bordering obsessive. We go out on spot searching trips and hit skateparks with his buddies all the time. It’s so rad watching him skate and pull off stuff I could never do. Crazy.
I’m also really into the quality and artisanship that goes into skate films these days. Absolutely amazing. The shooting, editing, writing - I’m not even talking about the skating, though that’s always rad. Fully Flared blew me away. Blew my mind. And there’s a crew in Japan called the Far East Skate Network that’s just killing it in terms of putting together some amazing work with incredible skaters. I think a guy named Takahiro Morita is the main head behind it. And there’s a skater in there, Gou Miyagi, who is mind bogglingly cool. He reminds me of Neil Blender in terms of fun and originality… innovation. Really inspiring stuff. When I see this stuff, it makes me optimistic about skating’s future… knowing there are skaters out there with intense passion for the lifestyle, the ART of skateboarding.

4. In your personal work you always tend to use these thick lines that go from straight and then into organic shapes, what do the lines mean to you or is it purely aesthetic?

You know, I go for zero time when I work. I just get lost in it and improvise. Sort of like a jazz soloist might do. I mean, I have all these ideas in my head as to why and how, but once I get down to it I just let it flow out. Tony Larson told me once he thought those lines were just cleaned up and much enlarged versions of my neurotically complicated sketches. Made sense to me after he put it that way.
The basis of the work itself - the mindset behind it - deals a lot with my ideas of post-consumer guilt and the bog that is life. Samsara. The mortal coil. The confusion and the attempt to clarify it. I think that’s a why a lot of the newer pieces almost look like maps. Indecipherable maps. Try as we may, there’s not real finding the way. It’s more like learning to deal with acceptance. Or just learning to accept and flow. Yikes. Didn’t mean to go that deep.

5. What advice would you give to an artist trying to break into the commercial world of skateboard art or dare I say “action sports”?

Work, work, work and work some more. Seriously. A good work ethic is the foundation of any success. Then just study the world and learn from everything. EVERYTHING.
Is that vague enough?

I met Maya Hayuk in 2004. I emailed her about being in a show with me and a few others and when I finally go to meet her I was stoked on her whole vibe. She’s sarcastic with a touch of dark humor thrown in to keep the smiles going for hours. I’ve always been a fan of her work whether it was the huge murals she was doing with the Barnstormers or her highly detailed pen and ink drawings. She’s a true craftsman and her skills and talent touch numerous outlets. I managed to corner her for this edition of AFQ. Enjoy the words and the works.

1) So I hear you are preparing for a new show. What are you working on? Does it involve wizards or hot tub scenarios?

i’m actually in atlanta right now, waiting for my best friend’s baby to be born. i’m using this holding pattern time to work on making this old rocking horse look like a filipino jeepney with stencils and spray paint and also to do some sewn paintings. right before i got here, i sent off all of the work for a solo show in columbus i just finished called doMeASolid. it’s all very bright and colorful and it’s like what wizards paint inside their hot tubs, yes. i also sent work to this show at the Democratic National Convention that Shepard Fairey and Moveon.org are organizing. the painting i made is called “The Future’s So Bright, I’ve Got To Get Gay”(you can see it on the homepage of my site)

2) I love your paintings and drawings that deal with sex/love and it seems to be a constant theme in your current and previous work. Is there an explanation behind the chosen subject matter?

i pretty much quantify love to be the same as god. sex, therefore, is probably one of the purest expressions of love and therefore of god. the interpretation of the bible that all of our public policy is faultily based on is that sex is sinful, but i think this is a really awful, offensive and socially unhealthy way of looking at it (and a terrible misinterpretation of the bible in my opinion). it blows my mind that we are as evolved as we are, yet there’s still major issues about sex, same sex love and basic human rights that involve love. it’s truly, truly sick and sad. with that said, i love to paint people having sex, because it turns me on and i find it exciting to create, kind of like harold and his purple crayon, but with hotter subject matter. the most exciting parts for me, though, started being the hair and the flowing, nuanced parts, so i’ve brought that subject matter to the forefront and am focusing on that right now

3) When you use to bartend did you ever see a bar room brawl go down and were you ever involved in one?

thankfully no, but i did see all kinds of other hilarious stuff go down involving breasts and powders and wasted-wasted-wasted people. it’s extremely fun being sober behind a bar - it’s very much like watching a national geographic special about sexy monkey

4) If you had to choose one thing you couldn’t live with out what would it be and why?

love. is that a gay thing to say? shit would suck without love. also, i would hate a world that didn’t have the word ‘gay’.

5) What sort of advice would you give to an artist trying to live the dream (painting for a living)?

1. set your priorities. if you want stability and need to own fancy things and drive a fancy car, etc…if those things matter - find the kind of career in art where you get a paycheck on a stable basis. if you actually enjoy the taste of ramen noodles and hate alarm clocks and thrive on really not knowing what’s going to happen next, then dedicate yourself to your studio and treat it like a full time job.

2. make art with the hopes that one person will like it - like, make stuff with a specific person in mind. don’t expect that everyone will like it, either. share your work with other artists and learn to collaborate.

3. remember that neither life nor art are a competition. if you find other people with like minded spirit who you can work with, you are so much better off than living alone in a high tower.

4. when it comes to prefoessional relationships, don’t ever let anyone not pay you for a project in trade of “‘exposure”. trades are cool, but don’t get taken advantage of - it’s actually really amazing how many people hope that artists will make them free designs that they themselves profit off it - it’s kind of pathetic. and, inversely, don’t ever pay to have your art shown. do not enter contests or put your work into publications, websites, etc that charge an entry fee.

5. ride a bicycle.

In this episode of AFQ I fire a few questions to artist and designer Geoff Mcfetridge. Geoff is one busy dude, especially this year. He’s been involved in various solo and group shows as well as lending his signature drawing style to various companies for use on t-shirts and other products. This year Geoff also co-launched a skateboard line called Solitary Arts as well as a wall paper line called Pottok Prints. Damn he’s busy.

On a side note did you notice Geoff put up a site? It’s a first for him and it only went up today. Here’s what he said: “…for the first time I have a site that catalogs some of my studio champion graphics’ work and also my artwork”

Enjoy.

1) I noticed you were racing cyclocross and placing really well. How long have you been racing cyclocross and what drew you to it?

I only started racing cyclocross this year. I have been cycling pretty seriously for years. I bought a cyclocross frame at a bike swap meet last year. When I built it up for cyclocross the mechanic asked if I planned to race it. I said “no” but within a couple of weeks I was racing every other weekend. It is super fun, and I was doing well. I started winning races by the end of the season. I moved up to cat 3 after that and stopped winning but got 2nd and 4th in my last 2 races. It is surprising how slow some really fast guys are, and how fast the slowest looking guys are! it is one of the great things about cyclocross. Wow, I never thought I would turn into such a jock!

2) This year you seem to be really busy. You have a wallpaper project, Solitary Arts, Patagonia Ts and various art shows. What triggered this prolific burst of creativity?

This was a big year. I am not sure why. I was pretty mellow in the past few years, although a lot of what was going on this year has been brewing for awhile. I also got an assistant and a new much larger studio.

Mainly this was the year of “yes”. I took a lot on and was ready to make some things happen. I had not done a show in a long time, a serious show. So that was a big thing. So I did the Red Cat show, and then the really large installation at the Seattle Art Museum and then a small show of prints and drawings at Mollusk. A zine, a book, Pottok, Solitary Arts, Animation projects, it was really piling on for awhile there…

All of this came out years of developing different types of work, work i really enjoy doing. So the arsenal of fun sort of builds and builds over the years. And so these ways of working create their own type of momentum for me in the studio. This was a high production year, but the work was coming to me easier and easier

3) Have you ever experienced a moment where your life flashed before your eyes? Kind of like a near death experience…care to elaborate?

Hmm not really. I have knocked myself out before skateboarding. Funny question.

4) What has been a great inspiration for you lately or what’s been getting you stoked in terms of design and art?

My influences are generally pretty random. My wife started buying old childrens books for our daughter. She is 5 now, so she has quite a few at this point. She would buy them without knowing the artists or authors. The work was interesting, but what was stunning was how much great art is just cast away over the years. The art of working American artists over the years that are just tucked into these books or anthologies. Work that is of a quality that would be hard to match today. So the work itself was not really inspiring directly, but the perspective it gave me changed something in me. I also read a book on Maxfield Parrish where he described his process, of painting layers of transparent paint on glass, and how he would build wooden models to paint from. Something about the intensity of his process, and his persuit of an image really clicked something in me, something about the methodical approach and focus on craft and materials. His seeking control of what is possible to control you can have in the creative process. Even though my work is nothing like what he does.

5) If there was one bit of advice you would give to a budding designer or artist what would that be?

Do not underestimate opportunity, try to know it when you see it, which is a difficult thing to do.

In this edition of AFQ I reached out to Creative/Art Director Stella Bugbee. I met Stella through a friend in NY (who’s now her husband). When I was living in NY, she would have to endure “Thursday Night Jams” that her husband and I would do. We’d even make her listen to the nights end product. We’d be high fiving each other cause we thought we were geniuses and she would just sit there shaking her head as if we were nuts (which might be true. We did name the project Twinkler and Thrasher).

Stella Bugbee is an accomplished designer. She was recognized by How Magazine as “Woman to Watch” and has been honored by some of the top design associations. Her works have been featured in books and magazines. She got a lot of press for her “Lace Tape” which is pictured above. Now she is the Design Director for Domino Magazine and Topic Magazine (two completely different mags). Stella is one of the nicest people I’ve met and a true inspiration. Enjoy.

1) You are providing creative direction for Topic and Domino. Why 2 magazine
projects? What are some of the ups and downs with juggling 2 different mags?

I love magazines because they are collaborative and they take a ton of
effort but when they’re over you have this little thing you can hold and
read and people can enjoy. Plus, they are a great record of what’s going on
at a given time.
Domino and Topic are both magazines but they couldn’t be more different from
one another. Domino is a super-mass consumer magazine that reaches like a
million people each month. Topic is a totally non-commercial project that a
small amount of people ever get to see. Topic is where I get to put every
idea I want to see in a magazine. Domino is where I get to learn what other
people want to see in a magazine. I like the back and forth.

2) What are you seeing out there that’s exciting in design-land or any-land
for that matter?

I’m into the idea that young people are leaving the city to start farms.
That’s so exciting! And OBAMA!

3) Do you think your children (twins) communicate via ESP? What’s the
strangest thing they’ve done as a team?

When they were first learning to talk they had a word that they used that
only they knew what it meant. It was, “MEM.” Whenever one of them would say
it the other would crack up. They were like 18 months old and they already
had a private joke.

4) What are some of the things you think help maintain a family and a career
in design?

No matter what your job is, it’s hard on a family when both parents have to
work full time. I won’t get into the cultural/political situation that
should change to make it easier for families, but on a positive note, I
think that design is a great career for some one with a family. It teaches
you to be adaptable, think of lots of solutions and stay engaged in culture.
All those things help when dealing with family stuff.

5) What advice would you give to a design student trying to start their
career or get their foot in the door?

Don’t expect to know everything right away. You don’t have to make a big
splash or your best work before you’re 25, just make sure you do something
you’re proud of, even if it’s only one thing a year. It might take longer to
achieve the things you thought you should achieve but that’s fine. The goal
is to make work for a long time and stay interested.

In this AFQ (”A Few Questions”) I link up with director/filmer Kirk Dianda. Kirk is well known for his filming contributions to skateboarding and was one of the main people behind the cult favorite On Video skateboard magazine that dove deeper into skateboarding as a culture and it’s young history. I have had the pleasure of working with Kirk on a few commercials and projects (which are featured in this segment). We really hit it off creatively and I truly admire his skill and vision. If you are into skateboarding you know of Kirk and if you are not, consider yourself in the know.

FRONTSIDE THREE - ELEMENT COMMERCIAL from KIRK on Vimeo.

1) What would be the dream filming project for you?

I’ve always loved film-making because of who you get to work with. Someone else’s dreams are your responsibility to bring to life. For me, it’s the experience, surrounding yourself with talent. So to me, the dream project consists of the people involved, and what comes of it.

I love art, architecture, design, and fashion. Being able to work with someone, documenting something from start to finish would be incredible. Not sure what the outlet would be, but that’s what would dictate the content. I think researching peoples thoughts and inspirations would be amazing to watch unfold. Like seeing a building or any type of design come to fruition, especially from preconception. I like the idea of telling a story as it happens, not looking back at it in a historical take. Very few times can we do that.

OR, I dream of working on those Corona commercials. The ones where they film their feet with a tropical horizon in the background. I’d get to set a camera on my belly, sip beer, throw my phone in the ocean, and get paid for it.

2) Do you think On Video was ahead of it’s time or is it the lack of
interest in skateboard history that halted project? Hell, what stopped On
Video?

I like to think both. It died a confusing death because of it’s lack of sell-ability, which was due to timing and interest… The in-depth content was better suited for TV, but that wasn’t an option at the time, so we put it out on DVD. Generally speaking though, people don’t buy DVDs in stores if they haven’t seen that movie, TV show, or series already. So to only offer ON Video on DVD, limited its viewer-ship.

ON was also a bi-product of a sinking ship; 411. In the end, we weren’t cutting it, and this had a negative effect behind closed doors. The moral dropped, people had been let go, and I dealt with it poorly. I’m sensitive to negativity, and jumped ship. The LOVE Park story was our final nail in the coffin, and still to this day holds a very special place in my heart.

People still tell me they love ON Video, and I’m thankful for that. I miss working with everyone, as we had an amazing team. Not to mention, it was almost impossible to do better than Danny Way’s life as the premiere story.

LOVE STORY - ON VIDEO, WINTER 2004 from KIRK on Vimeo.

3) Where do you see skateboard filming going in terms of company videos and
direction? Lakai set the bar with that gnarly hollywood intro of explosions.
Is it headed towards a more hollywood-esque production or is it biz as
usual.

I think of that intro as the epitome of skateboarding and its brilliant minds. They took common shit, and made it extra-ordinary. There have been a million explosions in movies, but Ty, Spike, and the team were able to make something so dumb, look so beautiful. It’s sarcastic awe-inspiring beauty.

It’s hard to compare that kind of thinking with what you think we’ll do in the future… Anyone could’ve thought to do that, but no one did. And so that’s how it goes. As long as there are talented creative people, which there are, then the bar will keep getting raised. But with Lakai, it’s like a proverbial skate-spot just got shut down.

Who knows what’s next. That’s what’s exciting to think about, and keeps people moving forward.

START TO FINISH - ELEMENT COMMERCIAL from KIRK on Vimeo.

4) Do you only wear black and white? How many items of clothing do you own
that are black and white? Also, how many black and white accessories do you
own?

I can’t believe I’m answering this.

I don’t own an exorbitant amount of clothes or accessories. It’s actually opposite.

I’ve got OCD issues, and would get into odd mental battles with myself when getting dressed. It doesn’t make sense when you say it out loud, but I wanted to simplify my life. I took inspiration from Ryan McGinness and Albert Einstein. I heard that Einstein only had one outfit, but multiple copies of it. He proclaimed that he would spend less brain energy getting dressed, and more doing what he wanted to. Hilarious concept, but totally made sense, at least to me. Nevertheless, I was also enamored by Ryan McGinness’s white button up uniform. This was something I could relate to, as I’m a huge fan of white button-ups (unlike green sweaters and khakis). My idea was to make a wardrobe, where I could grab any one piece and it would bound to work with the other.

All I own now are black or white everything; pants, shirts, shoes, and accessories, which can be interchanged infinitely.

5) What kind of advice would you give a student or a budding skate filmer
with regard to filming and breaking into the skateboard industry or should I
say “action sports”?

It’s all about attitude, and then talent and technical ability. It’s who you are and how you interact with your world. If you suck at life, it’s going to be tough to make much of it. But the ability to learn new ways of thinking and meet people will take you further than you can imagine. That’s what opens doors.

I’m not great at most things, but I have a love for life. This has given me the opportunity to be surrounded by greatness. Skateboarding never stops progressing, and has bred an amazing personality of forward thinkers who look at the world differently.

I was first introduced to Michael through SAS at Arkitip. We went to visit his studio which use to be in Atwater, Los Angeles (same block as Geoff McFetridge’s studio). He was there with his wife Laura. This studio was were they ran Stacks and also doubled as a painting studio for both of them. I stayed in touch with Michael via email for some time. Michael also pointed me in the right direction when I began Instant Winner. He really gave me great support on that project. Michael Leon is a great designer and artist with obvious influence on the new crop of designers coming through the ranks. He’s currently working with Nike SB as the art director after working on the innovative TechPack and recently showed new prints at the Arkitip Highmath Exhibition. Michael took a little time to answer “A Few Questions”. Enjoy.

1. Since leaving LA for Oregon what do you miss most about LA and what do you miss least?

I miss the ocean the most. Something about being close to the ocean helps my sense of direction because it’s such an obvious reference point, and the layout of LA with the hills in the east has a very intuitive layout. In Portland, even though it’s smaller, if I’m outside the city center it’s really easy for me to get lost. I miss driving the least. In Portland it’s easier for me to ride my bike to work or take the train.

2. How has it been adjusting to working for a bigger company coming from a small niche company? Likes, dislikes

I like having the resources to do whatever it takes to stay inspired and excited about design…no limits on materials and innovation, proper marketing, travel,etc. The downside at first is navigating the layers of a larger organization but you sorta learn how to operate. It’s more about working as a team so if you are someone who is not willing to collaborate and trust your team, it won’t work out.

3. Have you ever had to battle an animal or fish in order to save your life or a life of a loved one? Explain

Not yet, I once surfed with a dolphin. Seeing a giant fin come out of the water right next to me made my heart stop completely. I couldn’t breath for a minute.

4. If you could pick one project you loved doing the most what would that project be?

Rasa Libre. Definately the most fun I’ve ever had designing. After that I focused more on Art and Creative direction.

5. What advice would you give to an artist or designer trying to get their foot in the door for the first time?

Look at what everyone else is doing and don’t do that.

Welcome to the first edition of AFQ (A few questions). These posts will be 5 questions posed to artists, designers and friends of mine. The questions will typically be about their design and their art and probably be random as well. For the first round I invited friend and artist Don Pendleton. Don and I have been friends for a few years and that relationship started via email and eventually turned into art shows and collaborative projects. Now Don and I work together (at times) at Element Skateboards. Don has a slew of projects going on including a documentary about his work that is due out later this year. Enjoy the clips, art and the words.

1) Now that you are strictly freelance how do you go about “courting” new
clients?

I’m still fortunate enough to have them come to me so far. Which is what I prefer, because I never want to have to convince somebody to use my artwork for their company. If it’s a fit, I think enough people know that I’m available in select circumstances. I’m still really picky about who I’ll work with and that’s important to me. When I feel like I have to take jobs to make ends meet, then I’ll know I’m probably not loving what I do much anymore.

2) I can’t believe you still live in Ohio and manage to be a part of
skateboarding and it’s culture (cause it’s rooted so heavily in Cali). What
do you like about living in Ohio? What do you dislike about it?

I just like this whole area. The people are strange but in a fascinating way. As much as I hate the winter, I think it’s necessary to my life…all the seasons and having that literal change that happens regularly every year. I like the slow pace, I like being able to hide away easily. I like the fact that there are so few diversions and I can stay focused. No traffic, that kind of thing. Ironically, down deep inside I hate the cold weather. I hate that the economy is bad and that people can be so narrow minded. For the most part, I need this kind of environment to be who I am. I think if I ever moved too far away, my environment would change who I am to a degree and I don’t want that to happen. Plus, I’m close to my family and friends here. The importance of that can’t be understated.

3) Do you still think the gothic look is coming back? Shit, did it ever die?
Explain what it’s like to live goth.

Oh, I think it’s still alive and well. Especially in the mid-Ohio Valley. I think winter has a lot to do with it. People are still into that movie, ‘The Crow’ and still go to goth nights at bars to creep and lurk around. It’s so funny. I can relate to it all in a way…growing up feeling like an outsider, kind of demonized for being a skateboarder in a small town. That will always be a huge part of my personality. No matter where I get in life I still feel this weight of not being accepted weighing down on me for doing my own thing, being an artist, even though skateboarding is more celebrated now than chastised.

4) If you could do anything but art and design what would you do and why?

Honestly, I have no idea. It’s been my life since I was a kid and all that I really focused on other than skateboarding. I’m not the kind of person who could be happy just going with the flow. It would have to be something difficult, something kind of against the grain. I wanted to be a stunt man when I was a kid but I may have tried to be a doctor or surgeon. I had a teacher in high school who really tried to push me into that after he saw me dissect a lot of animals in his class. I’ve always been a hypochondriac and always studied diseases and illness so I think it would somehow fit me well. My mom always thought I’d make a good doctor. Love the idea of helping others, hate the rigidity of that kind of profession.

5) If I was a kid straight out of design school looking to break into art
and design what kind of advice would you give me?

Wow. I’ve actually had people ask me for that kind of advice before. I really miss the good old days when artists were like skateboarders. There was a time when I would tell somebody that I was an artist and I’d get these really sympathetic looks. Looks that said, ‘I’m so sorry for you. I hope you’ll be OK. It’s a shame you’ll have to live by eating Ramen Noodles’…that kind of thing. And you’d almost be embarassed to admit you did art for a living. Now, it’s become some kind of cool thing to do. And even people who aren’t really artists try to convince people that they’re artists for some reason. There was an understanding that you had to commit to it…that theere would be hard times, suffering, potential starvation..and I really liked that about it. And now it’s become some kind of pseudo rock star job in the wrong areas. So it brings a lot of people into art that wouldn’t normally go for it and be willing to suffer for taking that route.
As a result, there is a lot of borrowing of styles, a lot of pop culture references in art, these horrible trends in art and design that just kind of spread like viruses. And that’s the bad part of art. The good part is being able to express yourself, rid yourself of the demons in your head; demons that nobody else has. Pushing yourself to the next level even though there’s no financial payoff. Artists are crazy! It’s been proven for years that they’re nuts for the most part. Who would want to become one?
I’d tell them that life is easier if you choose a more stable career. I’d tell them to sketch every single day. To develop their own style whether it fit into today’s ‘marketable’ art category or not. I’d tell them to take any job they can get to build their portfolio. Not to take themselves too seriously. Fall in love with the idea of rejection. Learn to live with yourself when you fall flat on your face. If you can do all of that and still love it, then go for it. If not, maybe you could try to start a band or something. Wow. That was the longest answer I’ve ever given to any single question.