CHRIS WAHL

Chris Wahl is an Australian based artist who currently freelances in illustration and commercial art. A self-confessed 'jack-of-all-trades', Chris' well-rounded portfolio encompasses a variety of styles such as caricature, comicbook work, digital painting and 3D illustration. He has worked for a broad range of clients including Lucasfilm, MAD magazine, Pepsi and Greenpeace.

http://chriswahlart.blogspot.com/



When did you first decide to become an illustrator? Was there a pivotal moment?

For me there was more than one pivotal moment on the road to becoming an illustrator. But the first that comes to mind was when I was 9 years old and E.T. was the hottest movie around. I would spend every imaginable moment drawing that ugly little alien for all my classmates. Eventually the teacher photocopied one of my E.T. drawings for everyone in the class to colour in. I think that's the moment where I caught the bug...





Who or what inspires you?

Movies have always been a big source of inspiration. As a kid, Star Wars and The Dark Crystal inspired me to no end.

These days the internet and the whole 'global village' phenomenon is just mind-blowing. Everyday I stumble upon another fantastic artist's blog or website from some far off corner of the globe. And being able to communicate with most of them through forums and exchange ideas and critiques is very inspiring.




Where does your training come from? Self-taught? College/Art School?

I'm self-taught in that I never went to college or took drawing lessons. However, between my extensive library of art books and the 'education' I received while working at Disney animation with such a great variety of artists from all walks of life, I don't think I missed much.




How do you keep "fresh" within your industry?

With the advertising industry, keeping fresh is the only way to stay on top in the business. It can be a very fickle industry at times and it's easy for one's drawing style to become old very quickly. So for me, my personal interest in constantly evolving and pushing many different styles in my art, has been very beneficial for me and my work.




Which of your projects are you the most proud of? And why?

Definitely the Chewbacca piece I recently did for Lucasfilm and Acme Archives. I can still remember the goosebumps from the day I read the email inviting me to contribute. I was on cloud nine all day. But it wasn't an easy job and that's one of the reason I'm so proud of it. Besides the privilege of working on a dream job, I felt I had really stepped up to the challenge, worked hard and pushed my abilities to their limits.

To see what was involved you can read the walkthrough, 'Building a Wookiee' over at my blog.




What are some of your current projects?

Due to the very positive response to my Chewie piece, I've been asked to do more Star Wars related pieces. Besides that and my usual commercial work, I always have a few commissioned pieces going- caricatures, pinups etc. So, luckily I'm being kept busy.




Are there any areas, techniques, mediums, projects in your field that you have yet to try?

I would love to be able to paint in oils. I'm really hopeless with a brush and I think after painting digitally for so long, I would be constantly looking for the 'undo' button while sitting at the easel.

I'd also love to do more cover work. For comic books, novels whatever... that would be a blast.




Any advice to the novice commercial artist/ illustrator?

Build up a varied portfolio. If you limit yourself to what you can do, you eventually limit your workload.

In advertising and commercial art, always meet your deadline. Even if it means working through the night. Reliability is just as important as ability.

Get an agent. They may take a cut of your earnings, but all the footwork they do and negotiating to get you top dollar, allows you to concentrate on what you do best.




What makes an illustration successful?

A clear idea, good reference, self criticism, hard work, and an appreciative audience.




What do you do to keep yourself motivated and avoid burn-out?

Exploring different styles in my art keeps things fresh and interesting for me. If I'm getting jaded or getting burnt out from overdoing a particular style or artform I'll switch to something else.

Also perusing all the fantastic art and illustration on the internet and falling into brief fits of jealous depression inadvertently keeps me motivated as well.




Finish this sentence. "If I weren't an illustrator I would have been..."

A puppeteer. I'm a big Jim Henson fan. One of the best things about being the father to a 3 year old is having an excuse to watch Sesame Street again.




And finally, what is the best thing on prime-time TV right now?

I wouldn't know. I'm more of an internet and movie kinda guy.

GLEN MULLALY

Glen Mullaly illustrates his way into the hearts of no-goodnicks everywhere from the penthouse studio of his palatial home, "Sturdley Manor", located in sunny Victoria B.C., Canada. His magazine, advertising and publishing clients all occasionally wonder:

1. Who is this man, this mystery, this force of nature?
2. What's with all the peanut butter and jelly stains on his roughs?
3. Why does he refuse to seriously answer interview questions?
4. Who's stronger, Superman or The Hulk?

http://www.glenmullaly.com/
http://www.flickr.com/photos/glenmullaly
http://www.glenmullaly.blogspot.com/



When did you first decide to become an illustrator? Was there a pivotal moment?

Hmmm...I've drawn since I could hold a crayon, but it wasn't until I ruled out the exciting career opportunities of fireman, scientist and astronaut at the ripe old age of six or seven that I knew doodlin' was for me. From then until the age of seventeen I thought that drawing for my first love of comic books was going to be my path to glory. The fact that I preferred single panel stuff and not the sequential panel method that comics require should have been a clue that this 'twas not in the cards.





Who or what inspires you?

Boy oh boy... I grab my inspiration from all over. My strongest influences come from kid's book, magazine and advertising illustrators working from the late 1940's to the 1960's. Like a lot of kids in the 1970's I grew up on ( or was permanently twisted by... ) Mad Magazine - both the 70's newstand issues and the reprints of the potrzebie 50's and 60's material. Richie Rich comics and reprints of 1950's Dennis the Menace in digest form also held my boyhood interest, so Dennis's Al Wiseman and Mad's Bob Clarke would rank number one and two for me. Children's book illustrator Elizabeth Brozowska would bat third in this personal All-Star Illustrator line-up.






Where does your training come from? Self-taught? College/Art School?

Well, you could say that the wonderful work of the fine folks mentioned above helped show me the ropes, but otherwise I'm pretty much self-taught. I started at a local art college directly after graduating high school, but I soon realized that this particular school's curriculum was not for me. I was anxious for practical instruction on the ins and outs of the commercial art industry, not art theory and museum field trips. So I left before the end of the first semester. I've paid for that with my lack of some basic art fundamentals though.... so do what Pliny the Elder said ( or was that Woodsy the Owl? ) and stay in school kids!






How do you keep "fresh" within your industry?

I add BHT to my packaging.






What are some of your current projects?

Besides being currently interviewed by some wacky online interview site I'm keeping busy with a pile of magazine and advertising work. I've got some kid's book work on the warming plate as well. My money, fame, wisdom and impressive finger muscles don't come from sitting around on my duff all day, Clyde!





Which of your projects are you the most proud of? And why?

My favourite projects are often my most recent. The new illos I did for my recent website revamp are probably my current favourite. Negotiating the final fee with myself was an exhausting ordeal, but I think I'm worth every penny.





Are there any areas, techniques, mediums, projects in your field that you have yet to try?

Absolutely. You name it! Although it's been almost 25 years since my first paid freelancing job ( a B&W illo for a local newspaper ad at the age of 14 ) I feel like I'm really just started exploring all the possibilities. On the top of my list for new media is finally figuring out gouache. Many of my favourite kid's book and magazine illustrators often produced some of their best work in gouache, so getting a handle on that would be satisfying. Plus learning to spell "gouache" would be great too!





Any advice to the novice designer/ illustrator?

Yes - it turns out that erasers are NOT edible! Trust me, I found this out the hard way. Even though some even have the word "gum" in their name, don't put them in your mouth..... I'm telling you.... really.





What makes a designed piece or illustration successful?

If both I AND the client are happy with a job then I consider it successful. Often it's only one or the other.




What do you do to keep yourself motivated and avoid burn-out?

Get out of the studio...that's it. Smell the flowers, squint while basking under the radiant warmth of that strange, shiny object suspended in the sky, talk to real people without using a keyboard. Anything.




Finish this sentence. "If I weren't a designer/illustrator I would have been a..."

Sure... I could come up with boring answers like "used bookstore owner" or "audio engineer", but since we're blueskying here I'll spill my guts and reveal that it's.... "commercial citrus fruit dyer". Seriously! Somebody's got to whip those pallid pummelos, colourless kumquats and ugly uglis into shape!




And finally, what is the best thing on prime-time TV right now?

I'm hip on that swell Hootenanny show! Last Saturday's big telecast had those crazy New Christy Minstrel kids on it. I just can't get enough of that newfangled "folk music" the youngsters are listening to these days!