My work ranges from drawings of wild women to freehand typography, graphic design, book design, website design, branding and logos, retouching and editing, and radical books for kids. I like to contribute as many skills as I have to any project I take on.
WHAT STEPS DID YOU TAKE TO GET TO WHERE YOU ARE NOW?
Since childhood, I put in serious, disciplined time to gain practical and technical skills—from extracurricular art classes in elementary school to figure drawing and Adobe classes at community college classes in high school, to earning an art degree (one of two majors) in college, studying at the library alone, getting internships with established artists, studying under multiple teachers in different art school-at-night classes, and always, always, always putting in the practice hours. I still take classes, I still watch how-to videos, I still read art books and study both the old masters and contemporary art and design idols.
FOR OTHER PEOPLE IN YOUR FIELD, WHAT DO THEY USUALLY LACK?
There’s a lot of pressure to fit into current art and design trends which makes for a lot of unoriginality. My early work was too influenced by my heroes—I think that’s okay when you’re young and finding your style. But at some point you have to refine what is completely unique to you alone and build your body of work upon that.
WHAT ARE YOU WORKING ON RIGHT NOW?
A hand-drawn and lettered wedding invitation package for a celebrity client, a collection of hand-drawn inspirational phrases for a lifestyle coach’s new T-shirt line, my regular illustration contribution to VegNews Magazine, a newsletter design for a talent agency, a website for an all-female rock band, and an e-commerce store for a new body of my own personal artwork.
WHAT'S YOUR STYLE/PERSPECTIVE/TASTE? DO YOU HAVE A PROJECT THAT REPRESENTS THIS?
My aesthetic is grace and grit—I like simple, but bold or a little edgy and raw, whether I’m working on a drawing, a logo, or a book. One of the most imperative objectives for me in art and design is to never be cliché. An example of a recent project, though representing the kid’s branch of my portfolio, was my “Help Yourself Cookbook for Kids” which I art directed, designed, and illustrated. Each spread is bright, simple, and clean, but the illustration is hand-drawn and the typography is raw and organic, there are no baselines, the text works its way around the art in a new way on each page. The mixture gives the book a really fun, childlike energy, while maintaining design rules, composition, and a cohesive color palette throughout.
WE ARE ALL SLASHIES WITH MULTIPLE SKILLS, WHICH ONE DO YOU WISH YOU COULD DO MORE OFTEN?
My personal artwork, always—creating new originals, new series, collections, and prints.
WHAT IS FRUSTRATING YOU RIGHT NOW?
Social media loves a cohesive look. It seems like the less variation you present, the better, but I find it stifling for both the artist and the viewer. It restricts the artist’s work and narrows the minds of followers who are groomed to dislike seeing anything but what they’re used to on a feed they follow. I think restriction often makes for creativity, but not in this case. Social media is changing the way we create and what we pay attention to.
IF YOU COULD HIRE SOMEONE FOR $20/HR, WHAT WOULD YOU HAVE THEM DO TO MAKE YOUR DAY EASIER?
If someone would post, post, post for me, that would be fantastic. Keeping up with great social media content is an art project of its own on top of the art projects we’re all trying to do!
LET'S BRING OUT THE TIME MACHINE. WHAT DO YOU WISH YOU COULD HAVE TOLD YOURSELF, WHEN, AND WHY?
Whatever the dream project is, just do it. Get it done to the absolute best of your current ability and then move on to the next one. It doesn’t have to be your life’s masterpiece before you launch it.
IF YOU COULD TALK TO AN EXPERT TO GAIN MORE INSIGHT ON SOMETHING, WHAT WOULD IT BE ABOUT?
How to best market work that covers a wide range of projects that have different demographics.
WHAT KIND OF OPPORTUNITIES/PROJECTS ARE YOU LOOKING FOR?
Projects that could use the perspective and creative thinking of a true blue artist.
DESCRIBE YOUR IDEAL JOB/CLIENT/COLLABORATION.
My favorite is working with clients who are attracted to my portfolio of work—its feel, meaning, breadth, the underlying intel—and who come to me trusting my take for their project, given the briefing. I can be a wrist and adjust my personal aesthetic to meet the particular design and demographic needs of any project, but the most fun and successful projects are those where there’s a natural synchronicity to begin with.
WHAT IS YOUR HOURLY RATE, RETAINER, OR SALARY RANGE?
I work with projects and budgets of all scales and sizes as long as the exchange feels right. I quote both hourly and by project, depending on what makes the most sense for all parties. The rates vary depending on the scope of the project, timeline, revisions, licensing, etc. Don’t hesitate to get in touch. I am not cheap, but you’ll be getting top quality work, professionalism, and utter reliability.
HOW SHOULD SOMEONE APPROACH YOU ABOUT WORKING TOGETHER?
Email me about your vision—the more info in the first round, the better! What’s the project, the budget, timeline? Do you have reference/inspiration collected already?
HOW DO YOU STAY CREATIVE?
I stay curious.
This member profile was originally published in June 2017.