Friday, July 31, 2015

STUDIO SPACE: Joe Hoffecker



Joe Hoffecker is a native Cincinnatian who began cartooning at age 11 with a monthly comic strip for his grade school newsletter. A child of considerable dinner table political conversationalist parents, Joe gravitated towards editorial cartooning as a teen, particularly following the works of the works of the Cincinnati Enquirer’s Jim Borgman and the Dayton Daily News’ Mike Peters. After cartooning for the student newspapers at Elder High School and Northern Kentucky University, Joe landed a freelance cartooning gig at The Downtowner, followed by being hired as a design artist and editorial cartoonist at the Cincinnati Business Courier in 1987. In addition to the Business Courier, Joe’s work appears weekly in several Business Courier sister business journals across the U.S., and he also pens a cartoon each week for the international Sports Business Journal. Joe has won numerous awards for his cartoons, including from the Society of Professional Journalists and the Press Club of Cleveland. A fan of the Queen City, Joe resides in the West End with his children and a golden retriever.

Location: Cincinnati
On the Drawing Table: This week’s cartoon in progress.
Coming out soon: A series of caricatures of local celebrities.

How did you get your start as a professional artist?
My first paying job as a cartoonist was for The Downtowner, a defunct weekly newspaper, which covered and was distributed in downtown Cincinnati. By that time, I had drawn over 200 cartoons through my high school and college years, so it was nice to finally get paid! They wouldn’t publish my more opinionated ideas on downtown issues; most of the cartoons were ‘positive PR.’ Still, it was great to be drawing on a regular basis and my collection of work from The Downtowner helped me get hired at the Business Courier.

Describe your work.
I think today my style is more my own than it’s ever been. When putting pencil to paper, I used to think, “How would Jeff Stahler draw this, or what would Borgman do?” In recent years, the pen just sort of flows much more naturally, although I can still spot all kinds of influences. Also, my drawings are much more simplistic than in years past. I once felt that I had to draw a very complex scene but now I really just want to convey the point--or the joke—quickly, rather than have the reader spend time trying to find their way.






Tell about your workspace.

I’ve carved out a small corner in my second-floor living space. My drawing table faces the interior, so I can catch some TV or listen to music while I’m working. Behind me are bay windows facing downtown Cincinnati. I have a few chairs facing the windows, so I’ll use that space to stare outside, sketch and let my brain wander.

What are your favorite materials digital and traditional? 
Both. I mentioned my drawing style has become very simple. That’s another way of saying I’ve become lazy! I first sketch in pencil, then cover that with pen and ink. This is still the part I love the most; there’s something about the ink hitting the paper, varying the line widths, cross-hatching…that I still get a kick out of, particularly when it works! After that, It’s all digital for coloring and correcting. I can’t remember the last time I used white-out…do they still make that stuff?





What’s your typical workday/work session like?
I discuss topics with the editor of the Sports Business Journal on Monday afternoon and the Business Courier’s editor on Tuesday afternoon and draw each cartoon that evening, respectively. The challenge for me is my cartoons are published days later—actually a full week for Sports Business Journal—so I have to provide topics that will still be fresh when our readers see them. This forces me to sort of wait until the last minute to draw, but I’m always paying attention to the news and formulating ideas. I have ‘self-published’ on social media at times when there’s big news that I know can’t wait for the next issue to publish. And, of course, there are occasional cartoons ideas that are so opinionated that they won’t get past my editor’s desk, or not appropriate to our publications, so I’ll put those our on social media as my own work.

What do you do to keep yourself motivated as you work?
Well, there are not many editorial cartoonists being published on a regular basis anymore. I am very fortunate to still be given a 5 x 7 space to fill twice a week and get paid to do it. My motivation is to draw cartoons that are worthy of that space provided to me. I remember Borgman once said that he grades his cartoons in baseball terms: a single, double, triple or home run and, as a fellow baseball fan, I do the same (I’ll also add strike out to that mix!). I’m my worst critic and there are times when I’ve pushed the send button and then wanted to crawl into a cave; but most times, I can’t wait for people to see them. The toughest lesson I’ve learned is to not always go with the first or second idea, no matter how good you think it might be. It’s tough, especially when you’re up against a deadline, but it takes some discipline to not always swing at the first pitch, but to wait and see what else is offered.

What is your dream job? 
I wish I had time to do more art, other than cartoons. I really enjoy the Red Door Project, the roaming monthly gallery exhibit in Over-the-Rhine. The works are auctioned, so there’s a pay off, but for me, I really enjoy the opportunity to work more freely and with different materials. The Red Door provides a theme each month, which gets my brain going in different directions, and they provide a deadline, which ‘m already accustomed to, but still need. If I could do more of that, I would love it!

Do you keep a sketchbook?
Yes, I always have a sketchbook with me, but rarely use it for my weekly cartooning. In fact, ideas are exchanged via email with Sports Business Journal and for the Courier, I literally draw a very, very crude sketch on a piece of scrap paper. It’s barely a step up from doodling an idea on a bar napkin! My sketchbooks are used more for letting my mind wander, sketch something I see that I want to record, or to practice drawing something that’s really challenging. And caricatures are very tough for me to draw. I really have to sketch them over and over again so sketchbooks are good for those exercises.




What do you listen to while you work? 
Some vinyl or an old mix cassette tape for music on occasion. During nice weather, I’ll have the windows open and taking in the sounds of the neighborhood. Actually, something that I don’t often get to enjoy is complete silence, so I’ll sometimes take advantage of nothing!

Who are your artistic influences?
In my opinion, no other cartoonist will ever come close to Pat Oliphant. He will be the only contemporary artist that can truly be called a political cartoonist. His art and his ideas seem to break new ground with each panel. Others that I’ve studied and admired are Jeff Stahler, Jeff MacNelly, Jerry Dowling, Mort Drucker and Mike Peters. Illustrators such as Ronald Searle, Geoffrey Moss, Ralph Steadman, Gerald Scarfe, Chris Payne, Edward Sorel have all been influences. My favorite American painter is Edward Hopper. On a personal level, Jim Borgman had a huge impact on my career. He is not only someone whose work I admire, but he’s a very gracious friend and I benefitted greatly from his advice and encouragement. If not for him, I would not be drawing today, and I can’t thank him enough.

What do you do that is not art related that inspires you? 
I’m the lucky father of three wonderful and creative kids and I feed off of their thoughts and ideas. I also enjoy riding my bike.

What was the best advice you got in your career so far? 
Draw. Draw a lot. It’s how you get better.

How can we get best follow your art online/on social media? 

Like Hoffecker Cartoons on Facebook and follow me on Twitter @JoeHoffecker.

Friday, July 24, 2015

I'm moving to teach at South Dakota State University and would like to sell my way cool drafting table. Check out the attached photo. I'm thinking $150 for the table, lamp and chair. You must pick it up in Northside. I also have a second table and a cutting board if interested.

Monday, July 20, 2015

STUDIO SPACE: Lynne Wirthlin




Lynne Wirthlin is a home based, freelance illustrator and writer, living in the countryside east of Cincinnati. She earned her college degree in design while raising two sons and their ‘pets’ brought in from the woods. Over the course of her career, Lynne has partnered with art directors, editors, and clients of all sorts. The years she spent designing in a corporate setting aided in her professional development. The best of these aids she learned through a few hard knocks. Her illustrations have been published in several children’s magazines as well.

Location:
Cincinnati area
Website: lynnewirthlin.com
On the Drawing Table:
preparing for SCBWI Midsouth Fall Conference, meeting with art director Laura Roodes of Simon & Schuster
Coming out soon: a
children’s book I’ve written and presently illustrating for hopeful publication

How did you get your start as a professional artist?
I started out as a humble go-fer in a graphics department. Not to be discouraged, I snuck in a few nonprofit gigs and added these to my portfolio. As my portfolio grew so did my corporate positions: senior designer, art educator four years at Antonelli College, product development, to name a few. As I gained confidence and experience, I found more opportunity in the art industry then I ever thought possible. My long-term goal was always to freelance from home. Stepping towards this dream and with the hope of making extra money, I sent in a few samples to different children’s publishers. Soon after, a letter came from Herald Press containing my first paid illustration contract. And what a great day that was.

Describe your work.
In a word: color. Whether its vibrant, bright, happy colors or smoky, somber, mindful colors, doesn’t matter, I’m passionate about using color in my work. I get all choked up when I see the colors of an approaching thunderstorm swirling together in the sky. I image that sky being my canvas and those deep blues and grays blending on it. Don’t even get me started with the yellows and browns of autumn. What excites me most in the creative process is the moment I get to finally add color. Color to me is like a magical love potion, keeping me forever bound. The application of it hopefully creates a similar effect on my audience, bonding us together forever. 








Tell about your workspace.
At the front, there are two Southern facing windows. I love the natural light these allow in all day. My drawing table and easel both take advantage of this. When we designed the house, I got an added bonus of cleanup corner w/deep sink. It’s great now that I’m no longer making trips to the kitchen for my water source. I use tables from around the house for my computer area. A butcher-block island serves as my cutting board. Then hubby hung shelving overhead to hold my library. It goes all the way around the room and frees up floor space. Pretty much everything I love is in there. 






What are your favorite materials digital and traditional?
Big fan of traditional, however I incorporate both digital and traditional into my work. Still, no matter how computerized and electric we become, I will always use the hand-crank-kind-of-pencil-sharpener for the sharpest point on the planet. Traditional media I use: watercolors, colored pencils, makers, ink, and acrylics.

What’s your typical workday/work session like?
In the early morning I sit with my two German Shepherd dogs while sipping a cup of coffee. We talk about our plans for the day. They’re hoping a Frisbee is included somewhere. Routine chores are a must, and then off to the studio I go… shutting the door behind me. I start each project with a fairly clean workspace. A fresh beginning, so to speak. But once I’m into it and focused, I hardly leave my chair. My studio turns into a disaster area. I put yellow tape on the entranceway. No one is admitted without a hardhat.

What do you do to keep yourself motivated as you work?
When working on a project I surround myself with visuals. I hang, tape, prop basically anything I love to look at or have recently collected, along with visuals that relate to task at hand. When I go to Lynnie Land, there’s really no coming back, and as long as I have something to look at, I could literally stay there for hours without blinking. Below is a pic I’ve carried around since the 90’s. Great reminder to always have fun and stay free.

What is your dream job?
I’m living it. Only wish there was a delete button for the non-essentials. Keep dreaming, Lynnie.

Do you keep a sketchbook?
Don’t usually carry one around with me, but I’ve always kept a journal to write and sketch in (it’s kind of private). Here’s a snippet, ‘though an ocean of love is poured over someone, they must be able to receive it. A bucket turned upside down, even in a cloudburst, will not be filled.’




What do you listen to while you work?
Back in the day when playlists first came out, I created one called ‘Art’. This is filled with every song – old and new - I ever loved in my whole life, and that I continue to add to. My favorites include music from the Woodstock generation. It’s like reliving good memories and keeps me in a positive frame of mind.

Who are your artistic influences?
Top three:
1.    The late Eloise Wilken, a famous children’s illustrator during the 50’s and 60’s. Because of her book illustrations, I learned to love art at a young age. I fell in love with one particular image of a happy little girl in a meadow with a lamb sitting beside her. It has inspired me more than any other picture in my whole life. I can truly say her artwork is one of the reasons I am an artist. This book sits on my drawing table.
2.    Old Disney animation films (pre-computer). I love studying their color theory. However, I have all of both old and new in my video library. And watch them often.
3.    Norman Rockwell. He perfected the science of making an emotional connection with his audience. I marvel at his range of talent. It was/is off the charts.

What do you do that is not art related that inspires you?
Organic vegetable gardening, creating beauty from the earth. I put a seed in the ground, and voila, it grows into a life sustaining, food giving plant. Amazing. It’s peaceful there and gives me pause for reflection. 

What was the best advice you got in your career so far?
Not so much in the way of advice, but the support given by my family and friends, even when I do stupid stuff, has been priceless.

How can we get best follow your art online/on social media?
You can find me on Facebook, of course my website lynnewirthlin.com, and at these other online portfolios:

Sunday, July 19, 2015

Books By the Banks Author Awards

Don't forget to vote for the Books By the Banks Author awards! Vote early and often!

http://booksbythebanks.org/author-awards/

Orphan Works Legislation is on the Docket Again



This is a nice primer on the copyright law and the attempts of protecting our work.The Orphan works bill is like a zombie; it keeps coming back no matter how many times it is shot in the head.

Once again, a bill is being drafted.

More info is here: http://ipaorphanworks.blogspot.com/

Friday, July 17, 2015

Seeking a female artist for MUSE concert artwork

Hi, all. I'm posting this on behalf of my wife, Julie Brock, who is with MUSE, Cincinnati's Women's Choir.

MUSE is seeking artwork for our upcoming concert created by female artists. Will you help us spread the word? http://www.musechoir.org/content/2015/call-artist-muse-seeking-artwork-33rd-fall-concert#attachments

Sunday, July 12, 2015

STUDIO SPACE: Joe Slucher



 



Joe Slucher is an illustrator working in the publishing and game industry. He came to Cincinnati from Kentucky to attend Art Academy of Cincinnati and has remained her ever since.  He’s worked as a concept artist, sequential artist, illustrator, and art director at various times. He has created artwork for popular games such Hex TCG, Outcast Odyssey, The Strange and Numenara. He lives with his amazing wife and son who put all other wives and children to shame.  His dog is pretty awesome too.


Location: Covington, KY
Website: joeslucher.com
On the Drawing Table: I’m currently working on a YA book cover that I’m pretty excited about as well as a couple gaming illustrations for Monte Cook Games. Between all of that I’m working on a piece for my Patreon.
Coming out soon: Monte Cook Games will soon be releasing their Cypher System rulebook which I have some work in. Alderac Entertainment Group will be releasing a card or two I made for Legend of the Five Rings.

How did you get your start as a professional artist? 
I started off by taking on some commissions posted on a forum.

Describe your work. 
 I primarily work for roleplaying games and video games using digital tools. I would say my style targets young adults so it doesn’t stray into photorealism much. People most often comment on the light in my artwork so I suppose a defining feature of my artwork revolves around capturing light effects more so than designing characters. 










 




Tell about your workspace. 
My studio is probably larger than it has any right to be. Luckily I have the best wife ever who allows me to hog the entire downstairs room in our house. Somehow my work stuff still fills the room. Any glare on my computer screen will give me headaches so I have curtains and sheets blocking out the windows. My digital work station consists of a cintiq, printer, scanner, training DVDs, and art books. On the traditional art side of the room I have a monstrously huge drafting table given to me by Clem Robins. Under it and scattered around the room are lots of reference material such as swords, tunics, skulls, robes, boots, toys, etc. I also have a cooler there which keeps several pounds of clay moist. My lights, tripod, lightbox, prints, and shipping materials are on this side of the room as well.

 



What are your favorite materials digital and traditional?
The only traditional materials I use anymore are mechanical pencils and Laguna WED clay. I mostly use Photoshop with Lazy Nezumi to create my artwork but I have started experimenting with Paintstorm. On some occasions I will use Zbrush to create reference.

What’s your typical workday/work session like?
My work day starts in earnest at about 8:30 after I have dropped my son off at daycare. I start off by taking care of e-mails that I wasn’t able to get through before my son woke up. If I’m excited about what I’m working on then I’ll only take a 30 minute lunch. If I’m finding the work draining then I’ll take an hour lunch. I’ll often work another hour from 10:30-11:30 pm.

What do you do to keep yourself motivated as you work?
If I enjoy the content or am particularly happy about how a piece is progressing then I don’t need motivation. Sometimes there’s work that I have to drag beaten and bloody across the finish line though. In those cases, I find having Netflix, podcasts or audiobooks play on the laptop next to me helps. It gives me a reason to stay in my seat despite wanting to do things other than my work.

What is your dream job?
My dream job is still freelancing but I wish I was working alongside other artists. I think artists can improve so much faster when they’re working side-by-side with others.

Do you keep a sketchbook?
My sketchbook is for life drawing sessions and thumbnails. I never sit down to draw without a purpose so there’s never any doodling in them.


What do you listen to while you work?
I constantly have something playing in the background. I listen to an insane mix of music on Pandora that spans music I like and do not like. Unfamiliar music seems to keep me the sharpest while I work.  As far as podcasts there’s Hardcore History, Ninja Mountain Podcast and a movie review site called Double Toasted. Lately I’ve been listening to a lot of audiobooks through the local library app and I like to keep that as a mix of topics. The most recent audiobooks were Ender’s Game, Bossypants, Food, and Rogues.

What are you reading/listening to on Audible?
The last thing I listened to on Audible was Everlost by Neal Shusterman.

Who are your artistic influences?
The artists I loved in early high school are probably the ones that really determined what my work is like today so I would say Ron Spencer, Michael Whelan, and Wayne Barlowe.

What do you do that is not art related that inspires you?
Playing video games, reading books, listening to music and watching movies can always work as inspiration. New knowledge can also be inspiring. Sometimes I’ll learn about some strange bit of biology and it inspires and influences my thoughts on a creature design. In college I was pretty interested in anthropology so that was really influencing my art at the time.

What was the best advice you got in your career so far?
I don’t know if it counts as career advice but I once had a well-known and accomplished artist tell me that I was pretty terrible but it was nothing that working 12 hours a day couldn’t fix. He didn’t mean it as an insult and I didn’t take it as one. I respected his opinion and spent so much more time improving OUTSIDE of class than I probably would have otherwise. I’m very grateful for being told I wasn’t any good.

What is your favorite color? 
Blue.

How can we best follow your art online/on social media?