IGI features
Brian Cronin Interview
Mar, 02, 2003One of Ireland’s most celebrated artistic exports, Brian Cronin spoke to us recently about his life and work in illustration.
The two illustrations featured in this interview were for a commission for GQ magazine (US edition)- “I went into the GQ office and was shown a collection of spring fashions by the latest men’s fashion designers. I, along with a selection of other artists, was to choose my favorite selection of shoes, trousers and sweater and do a self-portrait wearing the collection for a spread they were doing, entitled “The Illustrated Man” with an introduction on each artist by Kara Vander Weg. The other artists were Paul Davis, Michael Roberts, Serge Bloch, Edward Sorel, Christoph Niemann and the Clayton brothers. I am wearing a collection designed by Yohji Yamamoto for Adidas. “
“I depicted myself outside my barn where I have my studio in upstate New York. I like working with my hands so it seemed that the focus of my portrait should be on them. In the second version, the one I chose not to use, I liked how the clothes looked but felt the first version was more interesting. “
How did you first get involved with illustration?
I approached an editor at the Irish Times and suggested that they needed illustration rather than cartoons. He bought the idea and put me on a retainer for two drawings a week. Before this I had been doing regular work for In Dublin magazine. I went in with a collection of drawings and got a regular commission from them also. At this point, I had already been to the States and had worked as an intern at Milton Glaser’s. He was a big inspiration for me and my first introduction to the life of an illustrator/designer.
What was it like to be an illustrator in Ireland before your move to New York?
I moved to New York in 1985. It was my intention to go for six months (now I’m here almost 18 years). I had sent off samples of my work to the Radio Times and the New Scientist in London and had been corresponding with Milton sending him samples of my recent drawings and getting some advice. Was I ready to compete in New York? He said I was as ready as I could be, so even though there was a positive reaction from London, I really wanted to go to the States. It seemed more exotic than London at the time, and the work I was receiving from Dublin before I left made me feel as if I had reached a plateau, and if I didn’t shift myself I would just repeat what I had been doing. Besides, I was just barely getting by and there was little or no future there, unlike today where it really is an exciting, vibrant place.
What do you think of the current state of illustration? Is it a dying art?
When you look at illustration as an industry it appears that there are some problems, but with groups like the IGI, The Illustrators Partnership of America and the Society of Illustrators being more assertive, the more we communicate the more we can grow stronger as an industry. But I think the real strength comes from the individual illustrators who respect their work and don’t sell themselves short either by ripping other illustrators off or accepting low fees, etc. I think it’s important for groups like the Illustrators Guild of Ireland to set the bar as high as possible.
I think illustration at this time (I really can only speak for the States) is very healthy. There are a lot of great people working in innovative ways. The market for illustration in advertising is not great over here as there is still a reliance on photography, but like everything, that’s the trend right now and trends change.
What are your influences? What inspires you to work?
My work is always moving in new directions and anything can cause me to go in a new direction. I’m not influenced by other illustration but more by seeing images in other areas: galleries, books, flea markets, wallpaper, design, movies, music - they all can spark off a new direction, however slight, probably unnoticeable by anyone other than me. Other influences range from Russian constructivism to early Japanese advertising, to Mexican and Indian art. I think because my work of late is quite sparse I get a lot of comments saying, “It looks Japanese”. I take it as a compliment but I really am going for just a sparse look. But now I find my work is taking a turn and becoming more detailed. Inspiration can also come from the environment that surrounds me. I lived in Italy for a year in 2001 and this move made me want to have a studio in the country. I now divide my time between NYC and an early 18th century farmhouse with a barn in upstate New York. I converted part of the barn into my studio. This place inspires me. It’s very peaceful with lots of nature and no one around for miles.
Could you talk a little about your working techniques and methods? (ideas, sketchbooks, initial roughs, media, etc.)
understanding of it. Sometimes I have to read it four or five times, then I either start sketching, looking up words in the dictionary/thesaurus or just let it sit in my brain for a few hours or days, depending on the deadline. If I’m working on another assignment, I like to concentrate on that and sketch ideas for another project as they come. I find the first ideas are not always the best (sometimes they are) so I continue sketching ideas even though I feel I have my solution. Sometimes I get a better one or develop the first idea a bit further. When I have my solution, I send it as a jpeg in black and white (nearly always only one idea; more than one only when I feel it could go either way and I have two strong ideas). When the concept is approved, I either start straight away or leave it for a few days and continue with other finishes or sketches. I like to juggle a few assignments at the same time; the more work or the busier I am, the better the ideas.
Regarding my working methods; I use paint (acrylic, gouache watercolor and brushes usually on watercolor paper). When I was living in Italy (I spent a year there in 2001) I used to send the finishes as jpegs even though it could take up to an hour to send just one image. The connections were not always great but it beat sending the original as the Fedex guy could never find us. We were in Tuscany in the countryside and he would call me and say he can’t find the place, so I would jump into my Fiat Tipo and meet him at the flashing light in the local village. It’s a lot better here in the land of Fedex; the guy comes from the heart of Vermont fifty miles away, no problemo, so I prefer to send the originals that way and they can scan them professionally. I still think art directors like to get the original as they can check the color with the proofs.
Your work is full of visual wit and playfulness. How crucial is the concept?
It’s important for me to address the subject in a clear way but without banging the viewer over the head. I really like to make a beautiful image and let the idea seep out, although I always discuss my ideas with the art director and editors. Once they are printed, they are out in the world to be interpreted in as many ways as any artwork hanging on the wall of a gallery.
Your use of colour is particularly striking. Could you talk a little about this?
Color has always been very important to me. I like to seduce the viewer with it and have them concentrate on the beauty of the image first (they’re not all beautiful -but that’s my aim) and be sucked in. Then the idea is revealed. Sometimes the opposite happens: the idea is upfront and the color takes a back seat. Color is very important to me in my work and in the interior of my home. I love architecture and interior design. My wife Siáin is a textile designer and she has made me aware of fabric and texture; be it on a piece of furniture, on drapes or clothes, it is another area where I get ideas for my color schemes.
Having exhibited in the gallery context, where do you stand on the distinction between “fine” art and illustration?
The barrier between the two disciplines is definitely there. I strive to make my illustration work personal - as personal as I can. My reaction to a story is; how do I feel about this? The illustration is my vision: I want the finished piece to speak to me first. But there is a limit to this voice and when it comes to making images that are purely personal, then they’re less concerned with making other viewers understand. They make sense to me and I don’t have to concern myself with communicating an idea.
How do you feel about the increasing role of the computer in contemporary illustration? Is it important to you?
I use a computer to play with color and send sketches but that’s it for me. I really like to see a human touch and I like to get messy; feel like I’m creating something from a blank space. When I have worked on my laptop for a few hours playing around with color - click click - and the color changes from red to blue, then when I stop I always feel that I had been doing nothing. I feel a bit empty. But when it comes to physically mixing the pigment then it’s a whole different world. Mistakes happen, jars of paint spill over, day light changes how the color works on paper. It’s more alive. Anyway, I would rather be surrounded by jars of paint and brushes and pencils than faced with a computer screen. I think the computer is a really invaluable tool but I see it more as a piece of office machinery.
How much creative freedom are you used to getting from commissioning art directors/editors? What would be your ideal working relationship?
I have worked at this - I really rely on my own judgement and I have been illustrating for a long time, so I’m trusted. I think at the get-go of a career, it is important to understand the relationship between you and the art director, they commission you because they see something in your work they like, they want you to solve a problem, they don’t want to have to hold your hand. They want to have confidence that you will come up with the goods. I feel I have a lot of creative freedom now but it has been a struggle at times. In the beginning there would be difficulties if there was a change in my style from what they were used to seeing, but I always explained that my work needs to develop and change, otherwise it will be stale and dead.
What’s your typical working day like?
There really is no typical day for me. I’ve just moved up to the barn for the summer months from the city and this creates a new approach. I can be working in the studio one minute then digging a hole in the ground for a plant the next. I get up early - 6am - have some breakfast, then check my voice and email and do some other household chores. Then I head for the studio and start work. I work every day but for different amounts of time.
Do you work through an agent? How useful do you find it?
I have an agent in Dallas who handles advertising, design and reuse. I handle all editorial assignments myself. I have a great relationship with her and that’s the most important factor. I have had a few agents in the past where I felt like I was working for them. With Renee it’s very laid back and there is a mutual respect. Her name is Renee Rhyner, she’s primarily a photographers agent, for a small group of five photographers and me. I really like the mix. (www.reneerhyner.com)
Do you use contracts? How do you protect your work from misuse and copyright infringement?
Contracts are a way of life since lawyers got on board at magazines etc. I usually work with their contracts, crossing off the crazy parts. I don’t have a contract myself. Their contract usually addresses copyrights, usage, etc.
What advice would you give to budding (and not-so-budding) illustrators?
The only advice I would give is to be true to your own voice and don’t ever compromise your work. I did for a while. It was when I had an agent that I didn’t like and the work I did while she represented me was pure crap. Luckily I noticed and had a serious talk with myself to get off my ass and make some art. You have to find your way and go for it. The work you put in your portfolio/website should be work you’re proud of and really like. Don’t include work that you think someone else will like, because they just might and then this may take you down the wrong road. You have to think long term.
Visit Brian Cronin’s work online at www.briancronin.com
