Doesn’t that title sound pretty morbid, readers? Well, call it what you want but we’re visual people and we tend to amass a lot of junk and images that inspire us. From postcards of fellow illustrators to random scraps of paper, it’s not uncommon for us to take little things and hold them off to the side to inspire us. There are many different ways to showcase all this stuff; some people put together inspiration boards and hang them on their wall. Many illustrators in the past would keep full filing cabinets of the stuff and just refer to them. Me, I’ve had a very disorganized take on the whole thing– papers scattered here and there, magazines held off to the side in bins, and a few folders filled with printouts and clippings. Let me just say that I rarely ever looked at this stuff, which defeats the purpose of holding onto it in the first place! If there was a fire, there would have been a lot of kindling.

So yesterday I decided to do something about it– relatively cheaply and easily. I went off to Staples and bought two 1″ binders, along with a pack of 200 sheet protectors. Originally I hadn’t considered making them look nice, which is why they are different colors. But I had some sample wallpaper pieces I had obtained a year or two ago that fit perfectly for the covers, and after cutting some scrap cardstock down, edging it all pretty and lettering the titles on them, they look better than they did at first!

Side view of the binders; slipped in some fabric samples I got from a kid’s bedding company recently to make them look a little nicer.

Interior of the color file: with one of my favorite quotes about color, from interior designer David Hicks:

“The first thing to be said about color is that clashing colors do not exist. The whole idea of certain colors conflicting violently with others was nonsense dreamed up by a lot of genteel women in the 1930s. Colors do not clash–they vibrate…So do not be afraid to use color freely. Have courage. As with drawing, painting, acting or any creative activity, you must attack with strength.”

I think that having a color file can be a godsend for illustrators– especially if you’re like the majority of my peers from college who were more nervous about color than black and white. Me, I am the total opposite, but I love to be inspired by different color combos and keep them in mind for future screen prints and illustrations. The color file is predominantly filled with pages from Domino magazine, whom I’ve subscribed to for a while now purely for the way they mix colors and styles together. However, I had about 20+ back issues just sitting in my bookcases that I never read because they took up space and I didn’t want to flip through all the pages I wasn’t interested in to find something inspiring. Now, that’s not possible! I also have a few pages from old issues of Lucky, Print,  the now defunct Blueprint– taking stock of great color combinations and patterns I might like to incorporate later. There’s also some fun photos of people that I might refer to later.

The inspiration file is a little more hodgepodge– but no less important! Inside I have images I’ve printed off from illustrators I admire to learn how they make their marks, photos from fashion magazines for various poses/outfits, older reference photos I printed out for old assignments, illustrations I found in magazines I’ve received,  and a lot of pages torn from National Geographic.  (I grew up in a household that always received it in the mail, and currently has most of a huge bookcase filled with them from the last 20-30 years!) Previously these things were sitting in a small hanging file on my floor– but I never looked at them until I remembered I might want something, and then fumbled around to figure out where I might’ve put it. Now, I have a concrete place to put images and refer to them later!

So for the cost of about $30, I put together two great inspirational sources that I plan to refer to often from now on, whenever I’m stuck and think “I can’t think of anything.”

Check out an extended look at my files here: this just scrapes the surface though, as each book has about 150 images in them already!

[As previously mentioned in the last post, this week I'll be posting the answers from illustrators who came out of SVA's Illustration as Visual Essay MFA, to learn just what they thought of their alma mater’s program.]

Next up is Paul Hoppe, a talented illustrator who’s done work for both editorial and children’s markets alike, as well as a healthy dose of comics/sequential work. He graduated in 2005 and has done a lot of work since. Please check out his site at http://www.paulhoppe.com.

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1. How many people were in your program?

PH:  18 in my year, 18 in the second year. So there’s always about 40 people in the studios.

2. Did you live in a dorm or off-campus?

PH: I lived off-campus, with roommates.

3. Did you apply to other programs? If so, which ones, and what made you pick SVA?

PH: No, only SVA. I wanted to do an MFA in illustration, and I wanted to get to know New York and work here.

4. Did SVA give grad students a space/studio to work in?

PH: Yep, that’s one of the best assets of the program, working with the others around you.

5. I hear a lot of the times grad school can be very competitive due to students competing for fellowships and financial assistance. Did you find that occurring with your classmates, or was it a more enjoyable sort of environment?

PH: Couldn’t be further from the truth; it was very enjoyable. There’s hardly any scholarships anyway. We competed for quality though, everybody was working hard and we were inspiring each other.

6. Were you working while you were in school, either through SVA, or at a different job, or actually freelancing? If so, was that difficult for you?

PH: I worked occasionally for SVA, helping with exhibitions. Also, I had worked in Germany for years and had good contacts to my old clients, so I received some jobs from them. Although I really wanted no distractions from the program, money was tight and I had to do them. There were many night shifts.

7. SVA gives a suggested syllabus to follow in their grad student book– is this what most people take course-wise? Or is there some flexibility to take different classes?

PH: Usually everybody does the same classes. It is possible to switch stuff around though from what I heard. Most of all, you get 4 audits that you can take in the entire school, e.g. in the undergrad department, where there’s plenty more exciting teachers. I took classes with Ben Katchor, James McMullan and others.

8. Did you ever have classes/interact with people outside your program? Undergrads, or people in a different MFA program?

PH: There is a ‘mixer’ with the MFA Design Program.

9. What sort of professional assistance did SVA provide for you, both while in the program and now as an alum (if any?)?

PH: You hear a lot from teachers about jobs. They bring in art-directors, editors, and professional illustrators that tell you a lot about the business world. Self-promotion is encouraged and part of assignments. But you have to find jobs yourself, of course.

10. Do you feel that this program helped you to grow as an illustrator?

PH:  Yes.

11. What sort of projects did you work on in the program? What was the most challenging one you worked on?

PH: The thesis is the most challenging. You have to come up with the entire thing yourself.

12. What do you think were the most positive aspects of the program?

PH:  Meeting great artists and guest speakers. Working with your fellow students in the same big studio and learning from each other. Getting to know the art scene in New York.

13. What were the downsides?

PH: It is very expensive. And if you are not independent, this is not for you. Nobody takes you by the hand.

14. What is your advice to someone approaching a grad school program like this one, in order to get the most of it?

PH: Work very hard–you have to be self-motivated. That way you get most out of the program, and most out of the teachers.

15. What do you specialize in now? Do you think SVA helped prepare you to tackle that field, be it advertising or children’s books or editorial or something else?

PH: I always had a big range. Now my range is even bigger because I was introduced to new fields like children’s books and editorial illustration. The program helped me mature and grow. It was a great time for experimentation that I still feed off today.

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Thanks so much for your answers, Paul!

More to come.

Well, I’m still effectively one of the slowest bloggers ever. To be quite honest, I don’t foresee Trade Secrets continuing with me at the helm for a long while– honestly, as someone who is still slowly learning about how to be a good illustrator I think I have a lot to figure out myself! (I still have a few more posts in me yet, have no fear though.) But due to that, the idea of attaining a MFA is often something my mind works back to. We’ve touched upon that a few times here, but recently I decided to be a little more proactive and learn beyond what the college websites and guidebooks have shared. So I wrote a couple dozen MFA recipients from the School of Visual Arts and asked more than a dozen questions trying to learn just what they thought of their alma mater’s program. I’ve received several responses, and will be posting them throughout the next week or two. Hopefully they’ll be as useful to you as they have been to me!

First up is from Elisabeth Alba, an illustrator focusing on the children’s market who just graduated this spring. You can check out her portfolio at http://www.elisa-alba.com!

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1. How many people were in your program?

EA: There are around 20 people per class, give or take a few. Since there are two years in the program, that totals around 40 students all around.

2. Did you live in a dorm or off-campus?

EA: I lived off campus. A few people in my class lived in dorms for a bit, but eventually moved out. I don’t hear great things about the dorms. They’re mostly for undergrads too so you’ll feel a little out of place.

3. Did you apply to other programs?

EA: There aren’t many graduate schools for illustration in the US, sadly. I applied to SCAD and the Academy of Art University in San Francisco. SCAD offered me money, and I went to tour the school, but I didn’t get a good vibe. First of all, I’m from FL but before that PA, so I was absolutely sick of the south and wanted to move North. The tour was very impersonal, I was with a bunch of undergrads and didn’t meet any other grad students or faculty. You also don’t get a studio space. They offered me money but…. no. I didn’t even visit AAU because I went to tour SVA 2nd and liked it so much I didn’t even bother. I also got the feeling that AAU was similar to SCAD in that it was very impersonal and I heard icky things about them just wanting money, also similar to SCAD. I loved how close-knit SVA seemed. I got that impression from the start. And I met Marshall Arisman and he was just amazing and everyone was super nice. And it’s New York. It wasn’t a hard decision once I visited.

4. Did SVA give grad students a space/studio to work in?

EA: Yes you do, but being New York City, it’s not the largest space. It’s adequate though. It also depends on what kind of artwork you do. I was fine because I work small anyway. Some people did a lot of big things too though. Also, I saw some of the new spaces and they’re a little bigger.

5. I hear a lot of the times grad school can be very competitive due to students competing for fellowships and financial assistance. Did you find that occurring with your classmates, or was it a more enjoyable sort of environment?

EA: Actually… there wasn’t much competition at all. I think it all depends on your class though. Some classes are more competitive, and some aren’t. My class was very easy going and friendly and we all got along great. We just encouraged each other, even when we were applying to the same competitions.

6. Were you working while you were in school, either through SVA, or at a different job, or actually freelancing? If so, was that difficult for you?

EA: I didn’t really work much. Had a few part time jobs here and there, but I kept the majority of my week free for artwork. Did some freelance too, but not much. A few people in my class had part time jobs that required many hours. A few did fine with it, some had to quit.

7. SVA gives a suggested syllabus to follow in their grad student book–is this what most people take course-wise? Or is there some flexibility to take different classes?

EA: Most people take the same classes. It’s a small program so there isn’t much to choose from, unless you take extra audit classes. You pretty much follow the syllabus because… there’s nothing else You get to choose whether you take painting or drawing first year or second year though.

8. Did you ever have classes/interact with people outside your program? Undergrads, or people in a different MFA program?

EA:Not really. Some of us thought we should have hung out more with other students, but others didn’t. I didn’t really care. I didn’t have time to interact with otherpeople! Like I said, it’s a very close-knit group and you get to know everyone like family. There’s not much room to meet other people, unless you audit undergrad or continuing ed courses.

9. What sort of professional assistance did SVA provide for you, both while in the program and now as an alum (if any?)?

EA: Well there’s the SVA job board. I’ve never really needed to use it, but I’ve looked through it and it seemed like there were some good opportunities on there. In classes we met a lot of potential employers who we are able to contact outside of class to show our portfolios to. A lot of people get illustration jobs just from the people we meet in our classes. I got a few jobs from those connections. Getting illustration work IS all about connections so just…meet people, take notes, and don’t be afraid to contact anyone that comes in or is suggested to you. Also, sometimes Kim, the assistant chair, emails alum with job opportunities. I got my current bill-paying job from her, and it’s a nice one too!

10. Do you feel that this program helped you to grow as an illustrator?

EA: Yes, definitely! I came straight from undergrad at the University of Florida, where I pretty much learned nothing about illustration, so I really needed to just learn the business and understand everything about the career choice and what clients want.

11. What sort of projects did you work on in the program? What was the most challenging one you worked on?

EA: In the first semester you do a lot of smaller projects just to loosen yourself up and experience with various media. 2nd semester everyone works on a book project. Also, there’s a creative writing class and you learn to write better and be more creative with that. There’s also a computer class, so you do a few small projects for that to learn how to use various programs and make websites. 2nd year you work both semesters on your thesis project. The most challenging? They are all challenging at times. The little projects are because you just want to work on your big projects, so you get frustrated that you have to finish those too. The big projects just because.. they’re so huge and you wanna do your best and you have to work on all aspects -layout, artwork, design, print, whatever final stage you pick. You learn a lot.

12. What do you think were the most positive aspects of the program?

EA: The people. They become your best friends, and it was just a fabulous experience and I love everyone I came out of that program with! Also the teachers are amazing, and they look out for you. It’s just so… nice. I’m really bummed now that I’m done ): And since it’s new york you DO meet a lot of important people and fellow illustrators who are doing well, so you make a lot of sweet connections.

13. What were the downsides?

EA: MONEY. That’s pretty much it really. It’s extremely expensive to go through the program, and extremely expensive to live with. Unless you’re in it with savings or the backing of rich parents… you’re going to have a big loan. I have one! Ugh. There isn’t much money for scholarships either. You can get one based on how well you’re doing… but… it’s not nearly enough. There’s also a competitive one through the school, but again, not nearly enough. It definitely helps though.

14. What is your advice to someone approaching a grad school program like this one, in order to get the most of it?

EA: Be hardworking, listen to the professors and the professionals they bring in because they know what’s best since theyre in it and it’s new york, and MAKE CONNECTIONS. Don’t be afraid to talk to people, don’t tell yourself you’ll do it later or after you graduate. Start early, first semester, and don’t give up. The way to get the most of a program like this is to take care of things yourself. Don’t wait for others to make it happen.

15. What do you specialize in now? Do you think SVA helped prepare you to tackle that field, be it advertising or children’s books or editorial or something else?

EA: Right now I’m slowly creeping into children’s books and a little bit of other kinds of books. SVA definitely helped me. I had no idea what I was doing or how to get work before I came. Now I’ve made tons of connections and I’ve met with people who have started to find me work or who are sincerely interested in what I do. Your final year you pick a thesis advisor to help you with your thesis. If you do children’s books, find someone who is published who will help you! I managed to get an amazing published illustrator as my advisor and he’s given me tons of tips, connections, and he’s even hired me to do some work to help him finish a book. Again, it’s all about connections, I can’t stress that enough!

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Thanks again Elisabeth for all your answers!

More results to come!

It’s been kind of quiet here at HQ– no big freelance jobs knocking on my door, but so I’ve been trying to keep busy and get work accomplished– slowly putting together a website and taking care of numerous little things on my to-do list, and as such I’ve looked at the most recent bio I’ve written for myself. First and foremost, what’s the first statement about me? I confess that I’m a jack-of-all-trades. I don’t think I can really help it– I have a lot of interests, and I doubt I could say I’ve mastered or will master any of them! Illustrations, comics, 3D needlefelting, sewing (more of a recent pursuit though), and screen printing, and that’s just off the top of my head, not counting all the things I’ve tried and failed, or the things I do casually (web-site building, for one). And of course several of those things (like screen printing or comics) have multiple internal processes of their own! Despite all that, I’m always wanting to learn more, do more, take more on my plate. But of course– too much on one’s plate and you’re left daunted about how to accomplish it.

We’re a society of multitaskers now; and this is pretty awesome and frustrating too. Instead of doing one thing (and doing it excellently, arguably) we’re spread out all over the place, dipping our hands into different pools and making wonderful ripples. Or if you’re in my case, making the starts of ripples but never finishing them. My love of exploration has left me wondering where my focus is, and left me wondering how to manage it all. Take a step into my studio and you’ll see pages of started projects, half-finished printmaking endeavors, and pages of plans and plots. I think this is one reason if nothing else why my previous thoughts of grad school were in my head– hoping that somehow an institution will force me to buckle down and complete something. (Not to mention that while I appreciate everyone’s positive thoughts about my abilities, I can’t help but shake the idea that my growth over the last year or so has been a lateral move.This might just be me though.) It’s the hardest thing in the world for me to focus on just one thing, and do it well.

And the other curse of having a vivid imagination coupled with a hard time knowing when to finish something? Well, my imagination likes to go on a trip and think of all the other possibilities of things I could be doing, things I’ve always wanted to do. Practicing lettering! Making repeating patterns! Drawing just about anything! My brain goes on overdrive and working on project A becomes a true test of wills.

I like to think that everyone’s like this– but I’m really not sure. At the same time I try not to berate myself for being all over the place, because I have a lot of interests, and it’s who I am. In a weird way this kind of spread-out view is my way of balancing– because with too much focus, I wouldn’t see myself growing, and with too little, I wouldn’t get too far either. It doesn’t mean that things are easy of course– I get pretty exhausted just from the mental workout that creativity provides. And I constantly find myself wanting an extra self/pair of hands/ten hours a day just to improve things But I guess the lesson is that’s okay, even if it means I’m like this unto old age.

What about you, are you a multitasker at heart? Or do you work on one thing predominantly until it’s done and then move on? How do you balance all the things you want to do when time gets in the way? I’d love to hear your thoughts.

Ever since I graduated college, I’ve had this little old woman hanging on my back whispering ideas into my head. Her name is grad school, and she’s impossible to shake! My professors in college always said, ‘You should go to grad school! Why wait?’ I was never sure though. I still am not really; I’ve always been on the fence, and that unsurity has led to me not applying. On one hand, the appeal of going back to school is obvious– be around creative types, network, force myself back into the hectic createcreatecreate schedule school gives me by default, experiment, blaze new trails. On the other, there’s the negative: it can be so pricey, what if they don’t want to give me scholarships, it’s a big move, do I have to abandon certain things I have here, do I really need it?  I’m still not very convinced yet.

The other downside to grad school (at least for us illustration types) is that there’s so few programs for us. A couple of limited residency ones, and then it seems like SCAD, SVA, and MCAD. And the Academy of Art (I think?) in San Francisco. Of course SVA seems like the best route for some reasons, though to be perfectly honest now I don’t know how much I want to live in NYC. (AKA, why can’t there be a great illustration program in Portland?) I think regardless of all this I need to do some applying; if nothing else than to see how I’d fare in that grand lottery of art school admissions. I’ve been feeling rather down on myself lately– my artwork is all right, but i think I could be worlds better with time and effort applied. I certainly never feel confident enough to apply to any of those illustration contests like American Illustration or the Young Guns or whatnot. What I do know though is that I don’t feel like I’m working to the best of my potential– perhaps grad school could help with that? Anyway, we’ll see. I’m hoping that working hard til fall will leave me feeling a little more sure of myself and then putting together a portfolio will leave me in a positive frame of mind to see how it goes. I’ll keep you posted. And of course, any advice you might have about the whole thing is always appreciated.

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In ‘always the last to jump on the bandwagon’ news, I finally got my hands on a copy of the book Art & Fear, and man! That book is so spot on and pinpointed all the creative neuroses I have. Which made me realize I’m not so all alone out there. There’s a whole world of fear-filled neurotic artists! It reminded me ways in which to combat all those worries I have about not being good enough or having envy over my fellow illustrators. If you haven’t read it, I definitely advise you to do so!  (Also a goodie: How to Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy. Though I feel I’ve mentioned that one before. Very apt even for non designers!)

It’s June, which means that 2008 is nearly half-over! (Or is that really half-to-come?) Stay busy, pals.