It’s funny to think that Photoshop was invented the year I graduated college, and so for the first 21 years of my life I created analog artwork. As a child I loved Cray-Pas, and even into high school I used oil pastels as my primary medium. The colors were so bold, yet I would layer them until they were as soft as chalk pastels. My primary inspiration for many years was Degas, especially his ballet sketches. My senior year portfolio was thick with these illustrations, and I went off to college envisioning light-filled studios and tables strewn with charcoal.
In fact, once at art school I was romanced by the sculpture department, bypassing the upstairs drawing and painting rooms for the icy cave of the metal shop, and the free-for-all playroom that was mixed media. Up to my elbows in steel bars, cotton batting, and toy motors, illustration faded into memory as a naïve childhood fantasy.
It took me almost 10 years to return to illustration, and by then, the digital revolution had begun, and adobe meant more than a good housing material. Working as a video editor, I began to work with photo editors. And then the day came when my boss asked me to try to “tweak” a logo design in Illustrator. And in just a couple of hours of messing around, I was hooked.
Most of my illustrations and graphic design are comprised of flat fields of color and thick black lines – basically, the easiest things to accomplish in Illustrator. I like the simplicity, however, and am drawn to sparseness of the effect – like origami or silhouettes. I often begin my drawings right in the software, without sketching on paper in advance. The feeling of drawing is entirely different, but no less compelling than in my youth.
I have added a collection of logos and illustrations to the site, many of which were created for non-profit organizations with small-budget print media campaigns. The thick black lines work well for these emphatic statements, and are as crisp and strong as good licorice.