IGI features
Effecting Change: The Illustration Conference 2001
Feb, 27, 2001
October 1999 saw the inaugural Illustration Conference take place in Santa Fe, New Mexico. By all accounts it was a tempestuous meeting of minds, as the frustrations of an industry under pressure from changing market forces and manipulative business practices were vented. But then, that was the point. Never before had such a broad cross-section of illustrators, their agents and clients gathered in one place to examine how their industry worked, and why creativity in visual communication was in such danger of being dramatically devalued, especially at a time when information, and its attendant communication, was defining the age.
Knowing this background and having digested online transcripts and first hand accounts of the 1999 attendees, it seemed appropriate that the newly formed Illustrators Guild of Ireland be represented at the 2001 conference. After all, many of the issues on the agenda in Santa Fe seemed to be those that affect illustrators throughout the globe - and that indeed proved to be the case. But that was just the beginning…
Day 1: Sunday June 24th If it’s Sunday, this must be New Mexico...
Waking up in a comfortable hotel in Santa Fe, with three days of illustration related activities ahead, isn’t a bad way to start your day. On the other hand, flight delays, missing your airport shuttle and having to cough up $45 a head to share an 80 minute taxi ride with two other intrepid travellers just to get to your hotel sometime after 1 am, is! This must be why they call it the Santa Fe Trail! I’m just thankful that my roommate didn’t exhibit that particular US taste for the personal firearm, as I lurched into our room in the wee hours, fumbling for a dysfunctional lightswitch. So, come daybreak, I got a second chance to start my first day in Santa Fe.
After a short stroll to the conference venue, The El Dorado Hotel, to register and soak up the general hubbub, my travel difficulties seemed to fade away. During the course of a pre-conference lunch, it became clear that the organisers and attendees were not just the cream of American illustration, but also a friendly and hospitable bunch. Many expressed visible delight to have an attendee from the other side of the Atlantic. (There were also Hungarian, Italian and UK attendees, but seeing as most of the people I met claimed an Irish granny, I reckon got the real deal). The work of the IGI received warm praise, with much comment on the effectiveness of the illustratorsireland.com website
We convened in the hotel ballroom for a brief introduction by Braldt Bralds (who came to the US from Europe many years before my trip). There followed a viewing of a video interview with Seymour Chwast, a veteran of the US illustration & design scene, who spoke frankly of the changes his career has witnessed. Sober and thought provoking, his points reflected many concerns of the current US climate; fewer assignments, lower fees, fewer outlets for traditional styles. Our MC for the conference then took the stand. Jack Unruh, a laconic, flyfishing devotee, who just happens to be a pillar of US illustration, introduced the Keynote Speaker and things began to get really interesting.
Brad Holland practically vaulted the podium, having been delayed en route by the Santa Fe version of a Corpus Christi procession. It was an appropriate prologue, as Brad’s speech was charged with a devout belief in the role of the artist as creator. He spoke eloquently of his early experiences as an illustrator, working in professional studios where craft could be learned, within a secure, if often restrictive, environment. He broadened his topic into the role of the imagemaker in society, presenting the Sistine Chapel, among other examples, to discuss the definition of Art and The Artist. Recalling that much of Michaelangelo’s correspondence with the Vatican involved haggling over fees and payment, he brought us to the role of business practice in securing space for creativity to flourish. Throughout, the speech was illustrated with slides of Brad’s own work, along with that of contemporaries and some high (and low) points from the history of art, ending with some examples of the art that inspires him personally. The audience reacted enthusiastically to an entertaining, educational and inspiring review of one illustrator’s beliefs, and it was easy to see why Brad Holland has become such an inspirational figure to a generation of illustrators, in the US and beyond.
All fired up, we hit the courtyard of the conference venue, the El Dorado Hotel, where the food disappeared quickly, but the alcohol survived, as everybody took the organisers advice to go easy on the booze (apparently strange things can happen if you’re not used to an altitude of 9,000 feet above sea level!) Conversation flowed as old acquaintances caught up and new friendships were forged. Thunder & lightening charged the air, the Big Name rubbed shoulders with the Little Guy, as is the US manner, and a general air of here-we-go buzzed throughout the attendees, until smaller groups broke off to sample the Santa Fe nightlife, and the Irish Guy headed back to the comfort of an air-conditioned room to gratefully hit the sack.
Day 2: Monday June 25th Is everybody sitting comfortably?
Blasted into alertness by killer US shower technology and black coffee, we gathered to witness a triumphant Dugald Stermer take the podium. News had just come down the line of decisive judgement in the Supreme Court case Tasini v. The New York Times. This was a landmark ruling, which would help to protect the rights of freelance journalists (and in turn set precedents for illustrators and photographers) to retain rights to their work if reproduced in electronic database scenarios. This is an issue of ‘secondary rights’ that’s close to the heart of both the Graphic Arts Guild (GAG) and the Illustrators Partnership of America (IPA)
Both of these organisations were well represented throughout the conference and both aim to educate and advocate on areas of copyright, licensing, contracts and the control of secondary rights. Both have helped determine real progress in these areas in the recent past, and while their manifestos may differ, behind the scenes activity at the conference aimed to enable future co-operation in these and other areas.
The IPA, as the newer organisation, then had the opportunity to introduce itself, its aims and structures. With a current membership of approx 250 (at time of writing), the IPA is still at an early stage of representation, and has been open to accusations of elitism due to a membership policy based on past performance in juried awards or annuals ( a new Associate Membership aims to include those whose work might NOT feature regularly in Communication Arts etc.) GAG, on the other hand, has been around longer, and claims to represent approx 1700 illustrators in a membership that also includes designers, art directors etc. Both organisations have their merits and it would be a shame if they were perceived by each other or from without as competitors in appealing to the hearts and minds of illustrators. The truth is, each organisation has strengths and weaknesses. The main thing now is that they further the interests of their members and associates through ongoing co-operation. There are enough difficulties facing the illustration community at present without partisan politics being pursued.
Following a break the panel convened to discuss the Tasini case and related topics under the theme ‘Effecting Change’. Patricia (Patsy) Felch of (Banner Witcoff attorneys) spoke enthusiastically about the Supreme Court decision, re-asserting the fact that it sets a precedent for future cases in which creators rights may be abused. Lloyd Dangle, Vice President of GAG, Brad Holland and Cynthia Turner of IPA were joined by Dick Weisgrau, Executive Director of the American Society of Media Photographers (ASMP) who spoke passionately about the issues that are common to his members and the illustration community. He reflected a growing awareness among photographers that primary and secondary rights need to be actively protected, and that the growth of large Stock Agency organisations have been counter-productive in maintaining a healthy climate for quality creative imagemaking as a whole.
After lunch, the afternoon took the form of breakout sessions, with a choice of workshops on several themes. Peter Kuper and Seth spoke on the theme ‘Graphic Novel and Beyond’. Claudia Karabic Sargent of GAG joined others to speak on ‘Using your Contract’. I attended a panel on ‘Incorporating New Technologies’, where the speakers discussed many ways in which illustrators can involve technology to their benefit. Jerry Courvoisier, Digital Facilities Director at Santa Fe Workshops and Blue Trimarchi of Artworks Fine Art Publishing talked about issues of scanning, digital transmission, fractal imaging, colour consistency and the archiving and high-end reproduction of images either created in or adapted for digital media. Tony Bailey showed how his illustration work comes to life as vector-based Flash animations. Bryan Leister gave a fascinating account of how technology has not just enriched his illustration work, but also streamlined his working practices and opened up entrepreneurial avenues through his online portfolio management business, Foliofactory. Here is a traditional painter of breathtaking ability who evolved a brand new style, more suited to the strengths of digital media. He has also created (and makes available online to others) customised templates for use with existing software packages which allowing a more efficient workflow, from quotes, through delivery and invoicing. Truly an information age Renaissance man.
Our next session ‘Art Director / Designer Confidential’ saw a panel of designers, art directors and buyers tell us how and why they value, source and assign illustration work. It was a frank and open exchange between the audience and an admittedly illustrator-friendly panel. It would have been fun to see one of those stock-hungry directors, whose inspiration is mailed out readymade in monthly catalogues, up there defending their position, but then - who would admit to that? Stefan Kiefer of Der Spiegel magazine was a revelation in his appreciation of the strengths that illustration can bring to a publication and the trust he affords his illustrators! By the way - don’t send your promotional samples out on CD - apparently they never make it further than the bin! All the panel agreed that regular postal mailers were the strongest tool for reminding your clients about you and your work - but keep it simple. An online presence, either a personal website or tidy, easily accessed group site was also a major plus, allowing for ease of assignment on tight schedules.
After that it was the turn of the illustrators. A panel comprising of Roberta Parada, Sally Wern Comport, Dave Plunkert, Cathleen Toelke, Marc Rosenthal and Jack Unruh spoke openly about their working practices, experiences with clients and the range of fees they expect for different types of assignments. All agreed that fees haven’t risen in line with inflation over the years, and most had experienced a tighter marketplace in recent years. Bearing in mind that these are some of the leading names in US illustration, it would be unfair to say they’re approaching the poverty line, but some interesting points emerged;
Firstly, established illustrators in the US earn more than in Ireland - a LOT more! The economics of scale prevail; a bigger marketplace affords bigger creative budgets. Of course the print runs for ads, magazines etc. are proportionately bigger, so the illustrators work is (and should be) highly valued by clients. But the real bonus for US illustrators isn’t solely financial, in that their marketplace allows them the ability to specialise - to spend a career refining technique and style into a highly skilled, personal creative expression.
Next, while new technology now allows illustrators to work from almost any geographic location, moving to one of the major illustration markets (especially New York) for a number of years is still deemed essential in order to land the assignments that can make an illustrators reputation. Only after this time spent working, self-promoting and networking can one retire to a DSL enhanced log cabin in the mountains (and even then don’t go too far or be too quiet - especially these days!)
Interestingly, it seems secondary rights can often end up being more lucrative than the fees agreed for the primary assignment. An example was given of a number of illustrations that were created for a company’s marketing strategy, which were so well received that the company expanded their use (requiring further rights and fees which eventually outstripped the initial fee by a factor of 20!), So always work to the best of your abilities, folks! You never know when your work will be the key to your client’s success, and when it is - make sure you know your rights!
Finally, there seems to be a growing acceptance that the traditional ‘Art Directors phones up with budget and assignment’ methodology of illustration assignment is on the wane. The questions being asked are; ‘What’s coming down the pipe instead?’ ‘Is classic American magazine illustration dying?’ ‘Where are the new illustration graduates going to work?’ There was much talk about self-publishing; illustrators collaborating to create commercial products aimed directly at the consumer. Also print-on-demand; online resources similar to the pay-per-view TV concept. Obviously, the digital domain holds many new market opportunities, but a surprising amount of US illustrators seem a little in awe of new technologies and perhaps even a little wary. Many illustrators still work with traditional media ‘on the board’ and the ‘dot.gone’ factor, which is high in the US psyche at present, can dampen their enthusiasm to adopt techniques more appropriate to newer digital media. In spite of all this, illustration in the US is still deeply rooted, highly creative and extremely varied. To these Irish eyes, reports of its demise are greatly exaggerated!
Day 3: Tuesday June 26. The Inspiration Business.
Back to business this morning, the topics being ‘The Power of Copyright & Registration’ and ‘Licensing: Choices and Challenges’. Michael Shapiro, an attorney with the World Intellectual Property Institute led the discussion with definitions of copyright in a US legal context and an overview of the broader picture of its implementation in a global context. Jonathon Combs; GAG President and Cynthia Turner of IPA also contributed. Much of this topic was specific to the US in explaining the methodology available to an illustrator in registering his or her copyright there. Attendees were issued with sample forms and directed towards the appropriate government agency websites where more forms and information are available in downloadable formats. However, the general thrust of the panel’s points are just as relevant in Ireland. Basically, when it comes to protecting your copyright, you are in a much stronger position if you register your work on an ongoing basis. While copyright is created as soon as you create any original work, enforcing your rights in the case of infringement is much easier if you have taken steps to register it with the state. Here in Ireland the regime is a little more favourable to the illustrator. Registration is not necessary to establish your copyright, but the use of copyright banks etc. still ensures legal basis through establishing ‘date of creation’. It should be on every illustrator’s agenda to study this issue and have an established method of recording work created.
On the next panel, the speakers on ‘Licensing: Choices and Challenges’
presented the audience with a number of models for the marketing and sale of stock image rights. Bryan Leister presented us with his Folioplanet model, which empowers individual illustrators to build searchable libraries of their stock images into their own websites. Individuals can then join online communities, allowing art buyers ‘picture portals’ grouped by theme, location, style etc. I found this to be a very pro-active concept, developed by an illustrator for illustrators. Dick Weisgrau (ASMP) presented the case for illustrators to come onboard his organisations planned portal. ASMP Photographers, in building their own search facility, aim to wrest control of the sale of their stock images back from the big players in the field and would like to see illustrators get involved in their plans. Dave Lesh spoke of the IPA’s planned facility, to be developed in a co-op format for maximum benefit to individuals. The IPA aims to offer sales based on exclusive rights, non-exclusive rights and blanket rights (to compete with royalty-free products). They will offer a standard contract to all illustrators, regardless of reputation, with personal condition clauses allowing illustrators to control image usage on ethical grounds. There will be no rollover of contracts, effectively protecting illustrators from hostile take-overs, All of these models aim to put control of the sale of secondary rights back into the hands of the original creators of the images available.
Gerald Rapp of Theispot and Lexy Leish of Workbookstock.com also put forward their models. Both are established artists agents and have, in the past, earned a reputation for being sensitive to the rights of artists. Both came across as very much aware that their careers could well be on the line. With illustrators mobilising to represent themselves, the traditional role of agencies is very much in question and both Gerald and Lexy threw in everything including the kitchen sink in appealing to the audience to retain their services. The advantage that their business models can offer illustrators appeared to dwindle in the face of the increasingly well-organised IPA and innovative approaches like Bryan Leisters. However, it must be remembered that organisations such as the ispot have established brand equity in the marketplace, and a proven history in sales. At this point, it is far from certain that illustrators can effectively compete with established professionals in the ongoing successful negotiations required to make long-term sales of secondary rights viable.
After a morning of intense debate and discussion, it was good get out into the warm New Mexico sunshine and get some fresh air and a good sandwich before the afternoon sessions kicked in.
After lunch, breakout sessions again allowed attendees to check out several areas catering to their own particular interests. While other sessions dealt with ‘Handling a copyright infringement’ and ‘Education’ (there were quite few educators in attendance, charged with looking out for their students). I felt the need for something a little more inspirational and checked out ‘Reinventing your Career’. It was a good choice, as the panel included two of the conference highlights in the form of presentations by Noah Woods and Mark English.
Noah Woods is a graduate of UCLA and Art Center College of Design and this year received the Gold Medal from the Society of Illustrators of New York. He spoke enthusiastically, with insight and humour, of a time in his life when he found himself in a quandary. He felt trapped with a style of work, which was popular with clients but stifling to himself. He described what he was thinking at that time, what he was reading, how he was feeling. Oh, he was also called Steve Turk at this stage! He described how a random series of events coalesced into an epiphany, served up during a lunch with David Hockney. After that lunch, he went to work with a new approach, which resulted in a new style, which he launched under his new name! There followed a slide presentation of Steve/Noah’s work, which showed an artist at the peak of his creativity.
Mark English is a veteran of American illustration, with a career spanning four decades. In his soft Texan drawl, he talked of how his art was inseparable from the personal change and growth he experienced in his life. He spoke of his early career, illustrating for Readers Digest and various other periodicals, and how budgets had decreased in proportion to inflation.
He used slides to illustrate various changes as his style developed with time and a career of breathtaking talent and innovation was laid out before us. Rich seams of creativity were mined, as new techniques and materials were experimented with and incorporated to produces images of immense craftsmanship in a variety of media. These days, English has moved into the gallery marketplace, with work which verges on abstraction, but is firmly rooted in the landscape of the mind and always rendered with the clear vision of an artist who never ceases to innovate. He received a spontaneous standing ovation, as the audience warmed to an understated master of his art.
After another short break (gotta keep hydrated), we reconvened to hear from a panel on ‘New Markets / New Media’
Curt Doty of Digital Domain Solutions spoke of how he progressed from illustration to creating brand identities and graphic sequences for pretty much every major US TV channel and many more across the globe. He told how his illustration work had informed the creativity expressed in a vast output of TV entertainment branding.
Then came Barry Jackson, a phenomenally talented artist, who explained how his airbrush-based style allowed him to become an early adopter of digital media. His distinctive images soon saw him in demand as a concept artist in Hollywood, where his illustrations defined the look of a wide variety of major movies. This, in turn, led him to deeper involvement in the film-making process, so that he now works as a production designer and director, predominantly in the area of Computer Generated productions. We saw samples of his work from Titan AE, Prince of Egypt, The Grinch, Shrek and Mighty Mouse, and later that evening a full viewing of his recent short movie ‘Los Gringos’. This was an extremely funny take on the buddy/western genre with plenty of knowing references to a few modern classics along the way. All in all, an exhilarating example of a talented illustrator maximising his creative potential through collaboration with other skilled individuals.
Then it was the turn of J. Otto Seibold. One of the genuinely independent voices in US illustration today (a voice heard quite a few times through the conference adding unsolicited comments from somewhere in the audience) Seibold has attitude and talent in equal measure. He redefined US illustration with innovative, funky, smart imagery that sings off the printed page with a sweet voice all of its own. There have been many pale imitators, but this is the kind of work that marks an era, and gleams with originality. In 1990 he directed an award winning music video, he has created public art installations and has illustrated numerous children’s books written by his partner Vivian Walsh. One of his characters, Olive, the Other Reindeer, features in her own animated movie. Nowadays he doesn’t even really consider himself a commercial illustrator. He’s shunned assignments in favour of his own personal projects, based around his book characters and the jotto.com website. As he took us through his ‘Bubblesoap’ concept (think three-piece animal pop band & accompanying environmental quirks) on the conference screen, the pure creativity unleashed was headier than the high altitude. Let’s face it folks, drawing should always be this much fun - if it ain’t, something’s been lost along the way!
The Big Picture
It’s impossible to convey here the full content of the Illustration Conference 2001. In catching the flavour of a few magical days in Santa Fe, I’ve tried to concentrate on the main structure of some of the panel presentations. But these are really only the formal backbone to an exceptional event. The real story is the people; my excellent roommate Doug Wolske of Graphis, all the GAG Crew, those determined IPA people, the venerable Stefano Vitale, who teases magic from driftwood, Cathie Bleck, whose work resonates with her love of music (that explains the bar-top dancing then, Cathie?) the mighty Hungarian Istvan Banyai, Jim Mravec, Stephen Sweeney, Greg and Rob from Wood Ronsaville Harlin, MW Moran, Tim O’Brien (painter with punch) all the Canadian Posse, Jeff West and all the others, too numerous to mention. Thanks guys, it was a great experience - I hope to meet at least some of you again, whether here, there or wherever!
To all those who weren’t there, go next time! Illustrators need to keep talking to each other, wherever and whenever possible. The date for the next Illustration Conference hasn’t been set yet, but when it is, make this interesting, informative and, most of all, inspiring event part of your plans.
