Hey Sam, I'm trying to find my style in illustration. How did you find yours?

Asked by Anonymous

Today I was waiting to cross the street at a corner in Brooklyn. Now, in New York, animals are pretty cozy being near humans and you really need to aggressively invade their space for them to flee in the same way a non-city-dwelling self-preserving animal would. So when I was standing at this street corner and this tiny bird was unflinching, walking near my feet, and then started awkwardly hopping directly in front of a car making a turn, I panicked and jolted after it to herd it away from being crushed. While this definitely angered the driver, I did succeed in getting the little thing onto the sidewalk — however, I quickly noticed that its wing had clearly been extremely banged up.

I don’t particularly like animals, I’ve never owned a pet, and am not a terribly compassionate person, but I do have the bare-minimum feeling of “I don’t like seeing things die” so for the next 10 minutes I chased and scooped this little fucking bird around trying to keep it on the sidewalk because it kept hobbling back into the middle of the street. At one point my scoop-throw resulted in it getting solid hang time and seemingly soaring off, only for it to quickly arc back towards me in a boomerang fashion and hop back into traffic. I looked like an absolute idiot, I’m sure that I got all kinds of weird bird diseases in the process, but I was so frustrated by this bird’s poor decision making that for those 10 minutes, I kept with it. It hopped to its near death, I scurried after it and scooped it back onto the sidewalk. Hopped again, scurried, scooped, saved, then back again. It was like helping every friend anyone has ever had who makes terrible choices and then continues to make them. Eventually though, my patience wore thin and I wasn’t about to take it home, nurse it back to health with a tiny yet adorable wing bandage, and become emotionally invested in its well-being only for it to one day fly away. So I walked away. Most people did just that from the get go, others stood and watched, some would make awkward little half-steps to try to help too, and after I left, maybe someone far better took on the potential heartbreak and made a micro-wing-splint out of toothpicks and tissue paper, then lovingly named it Pidgeotto … but I was presented with a situation and I handled it in the way that felt natural to me. It was exactly what I would do. There were a million other things to do instead that could’ve been more helpful, more interesting, more evil, more apathetic, and everything in between — but this particular set of actions was mine — the most natural thing I could do.

I tell you this dumb little story as a response to your very explicitly artsy question, because a) deal with it and 2) style just isn’t formed through a plan. It’s not a set of rules and guidelines that you follow and check off as you create a painting. If I need to lay down a brushstroke, I’m not thinking how I should do that, the length, the pressure, the speed, the color, the variation, the texture — I’m just laying a line down in the way that feels most natural to me in that moment. I can gather a thousand images that other people have made and say “I like these colors or this lighting or this line work or this composition or this whatever” and I do, but at the end of the day, I can only like those styles passively because when pen meets paper (so to speak), my personality and affinity for doing things in my own way will always beat out what’s right, wrong, better, worse, trendier, sexier, uglier, or different. We CAN follow guidelines to make our work look like other work or to do what seems like the most obvious choice when confronted with an injured bird with very poor self-preservation skills, but I found my style through dumb little situations like these where I wasn’t following a bible of moral or artistic codes, just by doing exactly what I would do. Not my fantasy version of myself who can paint exactly like Caravaggio and heroically slow-motion dived to save an innocent bird from an Escalade driven by Hitler while Natalie Dormer watched, but the one who paints like I do and bumbles around swearing at a bird to not get itself killed for 10 minutes and then giving up because there was a clear language barrier between us and I wasn’t prepared for a long-term commitment with pidgeotto.

I started college this year and in this second semestre i got really interesting classes and the professores are awesome! and i noticed that something always happens, is that I want to impress them like i always deliver papers on time and since it's film school, i make films for myself but at the same time i hope to impress and do you think this is bad?

Asked by Anonymous

Obviously, it’s probably healthiest to feel fulfilled as a self-sufficient solar-powered island of a human being who doesn’t need anyone, but come on — I don’t know how to do that. At various points in my life I’ve worked hard to impress parents, professors, girlfriends, friends, coworkers, and even you, the grey-faced Internet, and while it’s never been the sole fuel for me, the validation felt from those things — whether it’s flawed, unhealthy, or any other form of psychobabble — has helped me and motivated me to work harder.

Considering the endless list of reasons we can and do come up with to remain stagnant, lazy, and NOT work — if a literal or figurative gold star sticker, red pen smiley face, or digital heart click helps, I say take it.

Is digital illustration taking over the traditional art making world?

Asked by Anonymous


All of your pencils and paints are obsolete. Now go throw them out and buy a good quality computer, photoshop, a wacom tablet, and Digital Artist A, B, or C’s “complete ultra super megaevolution photoshop brush pack - complete with over 80 real media brushes that simulate the actual real life IRL drawing painting things.” 

Traditional art will always have a place in the world. I love to encourage people to explore digital because it’s amazing — but it’s not the be-all end-all solution that will phase out the physical presence and texture of an oil-painting or the simplicity of a pencil and piece of paper. It’s a hugely powerful and revisionary medium that has become standard among the more commercial areas of art where time, efficiency, and rapidly correcting client feedback on the fly are integral. However, even as the technology rapidly improves — traditional art will remain relevant (and in certain areas, dominant) because it has a weight, a smell, a history, and a tangible quality to it that even the most awesomely placed pixels won’t be able to have (until we have 3D smell-o-vision time machine printers — then you can be worried).

Thanks to all who came out for the art opening last night. I know it got a little clown-car-ish as we crammed everyone inside the space, so I’m bummed if we didn’t get a chance to meet and say hey properly — but if you came, thank you and hope you had a good time. I’ll have to do this more often.  (I’m that ginger caught in headlights up front)