Trusting your gut

May 5th, 2012

I am a huge fan of design. Those who know me, know that I majored in communication design before I moved completely to illustration. Fortunately, I have been lucky enough to further my design practice along with my illustration and am now able to find balance between the two disciplines. In NY, I sharpened my design skills while working at Bloomsbury Publishing. I mainly handled paperback conversions, but I also had a chance to work on some title treatments for covers and a few picturebooks. When I work on my own books, I think about the design as much as the visual narrative.

I recently delivered cover art and a few black and white interiors for a really fantastic YA novel. When the editor sent me a cover comp, I had a few issues with the design—mainly the type treatment. In the beginning of the project, I pictured the jacket with a hand written title and expressed it to the editor, but when I delivered the art I didn’t have time to explore it. After seeing the cold computer generated font that was chosen, I knew a hand lettered font would have much more impact and personality, so I went ahead and made one.

the original type treatment

Showing is always better than telling.

I drew over the original type treatment and added my own embellishments and adjustments. I then scanned the drawing into photoshop, created paths and imported them into illustrator where I was able to clean and kern until it looked less like casual writing and more like stylized letterforms. Once I was satisfied with the weight and spacing, I pulled it back into photoshop and embossed it. The editor really liked it and is using it on the cover. :-)

type by Shadra ;-)

Many thanks to my editor, Christina, who supported my vision for this project. I can’t wait to share the book with you!

Rollin’ with the homies

May 1st, 2012

Last week was senior portfolio week at MICA. By a strange stroke of luck, four of my SVA homies all ended up at MICA to participate. Though we didn’t get to see each other at once, it was great getting hugs and catching up with everyone in small groups. Taeeun, Lauren (MICA graduate), and Nora reviewed portfolios and “The Bean” spoke to my advanced book illustration class. Here are a few pics…

Lauren and Tae spelling "hi" for the camera

We girls had a great time catching up over desert at Cafe Hon. I will spare you the sordid details of our little slumber party. When picturebook artists get together, there’s no telling what will happen! I’m still scraping paint off my ceiling ;-)

Tae giving advice to Hannah (www.cargocollective.com/htrieb)

After saying farewell to Lauren I ushered Tae over to MICA for a day of portfolio reviews with our seniors. Tae is seen with Hannah Trieb here, you can see more of her work at www.cargocollective.com/htrieb. Hannah has also been my teaching assistant this semester for advanced book illustration. Here is one of her thesis pieces:

from "The Anti-Love Potion", written and illustrated by Hannah Trieb

After a day of portfolio reviews, we picked up Jonathan Bean. On Thursday, Jonathan spoke with my advanced book illustration class about his work as a college student, why he chose graduate school, his evolved style, and how he got published. It was so good to re-live those days at SVA and to see years of hard work pay off so greatly.

Jonathan guiding us down publication lane

we are all wowed

My lucky students had a chance to have their work seen and reviewed by Jonathan after his presentation. In the meantime, I had to sneak away for about twenty minutes to visit with Deerwood Elementary via Skype in my office (I had completely forgotten about the appointment). Thanks to the Auburn Avenue Research Library, and the Ashley Bryan Traveling Exhibition, my work is still traveling throughout schools in Georgia. Since I can’t be in Atlanta to visit with each school alongside the work, Skype is as close to cloning myself as I can get.

the "giant head" visit with Deerwood Elementary

When I ran back downstairs (literally), Jonathan was in the middle of talking with students about their work. My independent study also had a chance to share the book that she has been illustrating all year. Having him and Tae join my class was such a treat. Nora Krug reviewed senior portfolios that day as well. We weren’t able to hang out with her, but we did sneak upstairs to say hi.

"The Bean" sharing his wisdom

Nora!

after a beautiful lunch at the Ambassador

Sadly, our week had to come to a close. It was a whirlwind adventure and I am looking forward to seeing everyone again very soon. Thanks to all of my homies for supporting the students at MICA and thanks to MICA for supporting the homies. For those of you who are interested in sharing your work with the MICA community, feel free to e-mail me at sstrickland at mica dot edu. Congratulations to the graduating class of 2012!!!

Drawing at the Baltimore Detention Center

April 28th, 2012

On Friday, I took my students to the Baltimore City Detention Center to draw and interview some of the inmates in Cell Block E. I am most grateful to Dr. Kevin McCamant for working all semester to help make this a reality for us. Dr. McCamant is a psychologist who works with MICA’s community arts program to use art therapy with the inmates there. Most inmates on Block E are in for light crimes like, theft, vandalism, and trespassing. However, there are a few who are in for more serious crimes. To be clear, the detention center is NOT a prison. The men there are awaiting trial. In my understanding the men there cannot be held over three years. Most of the men I talked to had only been there between 2 months and a year. Longer sentences are carried out in prison.

Before entering the facility we all had to pass security inspection, which meant removing all jackets, sweaters, coats, jewelry, watches, and sometimes shoes (similar to what you would do to pass airport security). Afterwards we had to walk through a metal detector. One student and I did not pass the metal detector due to the metal in our underwire garments and had to wait for a supervisor to scan us with a wand before heading upstairs. Once we walked through a few corridors and many locking gates, we arrived in the dayroom where some of the inmates were having lunch – not unlike what you would see in any high school cafeteria.

The day went very well. The men were happy to see fresh faces from outside and have their likenesses drawn. The students and I enjoyed the stories that they shared about their families, talents, and passions. One of my students joined me in walking down to draw some of the cells. I chose cell 49 and after bringing the drawing back to share, the men teased Clarence, it’s inhabitant, because of the messy state of his dormitory. In contrast, my student drew cell 48, which was very neat and tiny. When he shared the drawing, the inmate it belonged to beamed with pride at his neatness.

The experience was valuable to all. I personally thought about institutionalization and how we are all conditioned at a very young age. There wasn’t much difference between the environments of public school and the detention center. Both are under very strict supervision and rules. We are told when to eat, when to use the restroom, when to go outside (a lot of men hadn’t seen the outdoors in months). I am much more sympathetic now to the “problem children” from my days in elementary, middle, and high school who acted out and struggled with performance in that very rigid climate. It is a highly sterile and unnatural environment. I think of myself, who was a model student. I stayed in line, didn’t question the authority in place and made it through the system sucessfully in order to become a “model citizen”; therefore reinforcing the system and the production of more and more model citizens . . . drones . . . slaves . . . etc.

One of the men, Charles, asked us if we would find it strange to see someone standing in front of a mirror drawing themselves. We laughed and said, we do it all the time, and are often required to at some point in our development as artists. He laughed and said if they (the administration) saw one of the inmates drawing themselves in a mirror and talking to themselves they would probably strap them into a straight jacket. We all laughed and said, yeah, it’s typical of most artists too, but that most artists are also a tad “off”. Charles then shared with us his fantastic talent in impersonation and character voice overs and then asked how he would get into that type of work.

From that, I thought how lucky we are as students and myself, as a professional artist and professor, to be around people who are invested in helping us grow and succeed in our fields. To have a community of thinkers and dreamers who constantly offer advice and share their own stories of triumphs and failures is invaluable in these types of careers. We learn to be problem solvers and to use all of our resources to further ourselves instead of remaining stuck in a position of, “What if?” or “How can I?”. Though it has shaped the way I see the world, I don’t credit my institutionalization for this primarily. My education began at home first. Being raised by a single mother and strong grandmother who believed strongly in self education and good old fashioned common sense is where I first learned how to answer questions and then seek answers through books and people who have learned through their own experiences.

We wrapped up the day by coming together in a circle and sharing our drawings and thoughts about the experience. I hope to do this again in the future. We all share similar beginnings and experiences in this life, and I believe the more we share those commonalities, the better off we all are.

 

Marine Art at the Air and Space Museum

April 20th, 2012

Head over to the Air and Space Museum in Washington, DC, to see an impressive collection of art from the Marine Corps Aviation Collection. I never knew airplanes could be so poetic and inspiring.

I had a great time at the museum and smiled to myself as I thought about Brian Floca’s beautiful art in Moonshot. Thank goodness for great museums!

When I Am the Only One

April 4th, 2012

Today I participated in a luncheon and open discussion with roughly twenty students, two female faculty members, and a visiting artist of color, about being a minority at a predominately white institution. Growing up in the south, I was privileged to attend a predominately black elementary and high school. Acceptance and understanding was never an issue for me. I was also fortunate to be raised by a family that embraced all people and believed in exposing it’s children to everything the world had to offer. That being said, when I chose to attend Syracuse University, I never felt out of place, unwelcome, or unprivileged to the education that I was (and still am) paying for. When I attended SVA I again felt like I belonged, that I worked hard to be where I was and that I had every right to the education that others were there to receive. For a time there was one other African American female student in the program with me. It wasn’t until my second year that I became the only one. By then, my peers and I had already become a sort of family and supported each others’ creative agenda. When I began working in a predominantly white environment in publishing, my ethnicity was never directly challenged, though there were a few times that I was reminded that most people I worked around didn’t think like me or come from similar experiences.

It wasn’t until recently that I began to become aware of myself as a black woman in an authoritative role at an institution where some may have never encountered a person of color similarly. The question then becomes, what to do about it?

My job is to teach illustration, which is what I am doing. My job is to teach people how to become productive professionals and thinking artists, which is what I do. Is it my job also to have conversations about race in the arts and in America? I think somewhat, yes. I just haven’t figured out how to do that in the most useful way yet.

The most surprising side effect of teaching for me has been the feeling that I have something to prove to my students. Part of it has been stigma related to being a new teacher, but also being aware that I am black and that America has a long complicated history with that idea. As much as I like to put it aside, I am reminded periodically. I often question the need for discussions like the one had today, but once I am in a room with women who look like me and who have similar experiences of being of color in a euro-centric environment, it is very evident that yes, we need to see each other, connect, support and share in order to become stronger and more confident in navigating this world.

I am still forming and answering questions for myself about my usefulness on campus for all of my students, first artistically, but also when it directly relates to race. I have never been comfortable asserting any black agenda when it comes to myself as an artist. That isn’t my goal, and for what do as an illustrator, isn’t of the most use to me. I am a storyteller who is a woman who is black. The sum of my experiences, which is extremely diverse, is what I put into the art. I think the same goes for my teaching.

I look forward to continuing this discussion throughout my career as a teaching illustrator. Many thanks to the Office of Diversity for organizing today’s discussion.

Lastly, I could do without being told how articulate I am in student evaluations, thank you very much.

Transmodern Festival Poster

March 23rd, 2012

One of my dreams has been to use my location drawing/visual journalism work as final artwork. I lived that dream through Bird, and have taken it to another level by  illustrating this year’s Baltimore Transmodern Festival poster. A lot of my most interesting projects find me serendipitously, including BIRD. This job was no exception.

When I moved to Baltimore back in June of 2011, I took a trip to the Baltimore Museum of Art to familiarize myself with the art scene in my new hood. While there, I came upon the video work of Stephanie M. Barber. She was working on “jhana and the rats of james olds or 31 days/31 videos”. Of course, I partcipated, and upon leaving, ran into Stephanie in the hallway (she was taking a lunch break). She noticed that I looked a lot longer at the work than most visitors, to which I responded, “I’m an artist. We speak the same language.” From there we talked about MICA (where she also teaches!). One thing led to another and we became facebook freinds. After seeing my Visual Journalism work week after week, Stephanie invited me to create a poster for the Baltimore Transmodern Festival. The pay was modest, but my poster will be all over the city (flattering of the ego always works for me). So, me and one of my awesome Visual Journalism students, Jordan Jones, went down to the Current Gallery, sat in the back alley (where the festival will be held), and drew. From there, I did a little photoshop magic and came up with this:

I did the drawing in one sitting in my giant Archie Grand sketchbook. From there, I took tracing paper and drew a bunch of tiny colorful balls (to represent summer festivusness). I then did lettering on a separate layer of tracing paper and multiplied ever’thang in photoshop. Total job took about ten hours. Yay.

We need this

March 14th, 2012

Award winning artist, R. Gregory Christie has launched a kickstarter campaign to open a working store and studio in North Dekalb Mall in Atlanta, GA! Why should you support this?

1. There are no other stores like this in Georgia…especially North Dekalb Mall.

2. It’s Greg Christie

3. I wanna go and hang out there.

4. It would boost literacy, creativity and entrepreneurship in the neighborhood.

From the site:
Surprisingly for a mall, the space is very raw, there is even graffiti on the walls. It will take several gallons of primer, several gallons of paint , a new floor, proper lighting, signs, video monitor, shelving, display racks, a graphic designer, publicity, advertising to local schools, churches and libraries. and cash register.  As of now this is all being funded by the owner. Georgia has licencing by each county (rather by the state) along with an intricate, belaboring  and expensive process for opening a small business. There are leasing fees and insurance required by the mall and these specific things are being paid for by the owner.This kick starter request is to make this store stunning rather than to have the county, mall and federal paperwork completed; only to see books displayed on a gym table with chairs.

New gallery

March 1st, 2012

It’s official, I am hanging a shingle to do more drawing based work at my agency, Painted-words. You can see the new Visual Journalism gallery here. Just think of the possibilities! Now, to figure out how to clone myself to get everything done. . . dilema.

Baltimore City Circuit Court

February 26th, 2012

On Friday, Visual Journalism observed and drew a possessions trial (by jury) in Circuit Court. Here are my drawings. You can see some of my students’ work here. We didn’t stay long enough to hear the verdict. Mr. Regis, the defendant, is a young African American male facing a possessions charge. Detective Reiser stopped him and his friend for no reason (other then them being black in the hood). They were walking down the street in a high crime area (a.k.a. “the hood”). When the unmarked police car came towards them, Detective Reiser allegedly saw Mr. Regis toss a pill bottle to the side of tree nearby. The bottle contained about 4 packets of marijuana and Mr. Regis had $101 in his pocket. His friend was let go, but Mr. Regis was detained and arrested on a possessions charge.

Baltimore City Fire Station

February 20th, 2012

On Friday my Visual Journalism class took a trip to the Third Batallion, Baltimore City Fire Station. Here are my drawings. Stay tuned for a link to my students’ work. It was a great day of drawing.

Engine Company 30, Truck Company 8, Medic 12
3220 Frederick Ave. 21229