JEFF MIRACOLA
ILLUSTRATOR
MILWAUKEE, WISCONSIN
www.jeffmiracola.com
Hi Jeff and thanks for talking to us today.

No problem, it’s a pleasure to meet you.

So Jeff where did you grow up and what kind of art influence were you attracted to as a kid?I grew up in Milwaukee, Wisconsin.My art influences as a kid were from films. I watched an awful lot of television. I began my brain cell depletion very early. Films such as Excalibur, Legend, Labyrinth, Time Bandits, Road Warrior, and Empire Strikes Back were just a few of the many films that introduced me to the world of fantasy art. Searching out the movie poster and concept art for those kinds of films led me to artists like Bob Peak, Brian Froud, Ralph McQuarrie, and so many more. Then of course came my moment of enlightenment when I discovered the work of Frank Frazetta. My life was forever changed when I saw his work. I finally knew what I wanted to do with my life.
<Do you remember the first time you were truly inspired? Did you feel small like the rest of us?I remember with amazing clarity to first time I was inspired artistically. A friend in high school was looking at “The Art of Frank Frazetta” from Ballantine Books in the hallway between classes. I peered over his shoulder at Frazetta’s painting titled “The Barbarian” and I was completely blown away. I couldn’t believe a guy that was still alive could paint like that. I thought that kind of talent died out with the old masters. When I got to my next class, I didn’t do any school work. All I did was draw barbarians on my notebooks. I’m now 35 years-old and I still haven’t stopped drawing in my notebooks! I still feel so small next to someone as great as Frank Frazettta.

Were you formally trained?

Not at an Atelier in Italy like I would have hoped, but I did go to a specialty high school - a high school for the Arts. It was much like any other high school except that you were given more time to develop in your chosen art field, whether that be dance, music, theatre or visual arts. After high school, I went on to the Milwaukee Institute of Art & Design. It was a four-year college, but I left after two years because it was too expensive. I learned a lot of great things at those two schools, but I’d say the bulk of what I am doing today is the result of a lot of “self-teaching.”

What was your biggest challenge after you graduated?

The biggest challenge after leaving school was getting all the “Doubting Thomas’s” out of my head. A few very influential teachers at my art college were discouraging when it came to the subject of freelancing. “You’ll never make it” or “It’ll take you 10 years after school before you can start to freelance” were very common statements made by these teachers. The challenge was digging down deep enough in myself to find the drive to prove them wrong. At the time, those teachers were my window to a world of art and business I didn’t know much about. So at first I believed a lot of what they said. But once I left school and spoke with professional illustrators working in the field, I was assured that I could make it as a freelancer as long as I had the drive and willingness to excel.

What was the process involved when you hooked up with Wizards of the Coast and White Wolf Game Studios?

Fortunately for me, I lived in the same city that had the annual Gen Con gaming convention. It has since moved to Indianapolis, but it was in Milwaukee, Wisconsin for many, many years. It was 1992 and I decided to check out this “Gaming Convention Thing” happening downtown. After all, I played a little D&D in the schoolyard as a young lad. I walked around and gawked at all the cool art and figured doing art like that would be a cool job. So over the next year I worked on developing a portfolio that I would show to different companies. I went back to Gen Con in 1993 and met art directors and editors at a handful of gaming companies, Wizards of the Coast, Inc. and White Wolf Game Studio being the most notable. They liked my portfolio of work and said they would send me some assignments to try me out. A month or so later they sent me work. That was how it all began. It sounds so simple now, but it was stressful and difficult at the time.

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How did you feel after you were hired?

When I got my first assignments from those gaming companies, I was so unbelievably happy. I remember actually jumping up and down, screaming “YES!” all over the house. It freaked my family out. But you have to remember that I left Art College after only completing two years. I was starting to feel like a failure. And for the first time since I discovered what I wanted to do in my life, I was beginning to doubt if I would ever make it happen. A company, any company, thinking my art was good enough to publish was just the morale boost I needed. So I felt wonderful after being hired to create some artwork for those companies.

How important is it for you to keep good contacts with those in your industry and your professional career? Any rules to live by? Any rules to die by?

The gaming industry, and even the general illustration business is a lot smaller than one might think. Keeping good contacts and being professional in your dealings is of the utmost importance. Word can spread fast about an illustrator, whether that be good or bad. So being easy to work with and keeping good, strong relationships is vital to your survival as an illustrator. My rule to live by: The art director is always right. He or she holds the key to your next assignment and therefore your next meal. So keep them happy no matter what. My rule to die by: Never stop learning. Always try new things and always be growing as an artist.

Your work; “The Brightest Star”, “At The Stroke of the Shooting Star” and basically all of your paintings have inspired us all. Where do you begin with the creative process and how has it evolved?

Thank you! For traditional paintings, my process is very simple and much the same as many other artists. I work on small thumbnail sketches until I get a composition I am happy with. Most of my traditional fantasy art is very specific with assignment guidelines, having surprisingly little room for interpretation. I often work from style guides developed by these gaming companies. I do sketches, show them to the art director, make changes or get approval and then do the final art. That process hasn’t evolved much over the years.

How has the range of your talents helped you as an illustrator?

My range has helped me put food on the table and feed my growing family. The fantasy gaming industry isn’t big enough to sustain the freelance careers of all those artists looking for work there. Being able to branch out into other industries with additional styles of art has helped during those months that fantasy art assignments are not coming in.
How has the world of card games changed the way you view life and people in general?
Having been all over the world because of card games, I’d say they have definitely changed my view of life and people. I don’t play card games at all. Go ahead, gasp with disbelief. But it’s true. I don’t play because I just don’t have the time. I work so much. And when I am not working, I am spending time with my three kids. But working for card games has allowed me to see the world and meet so many people. Card games have introduced me to so many cultures and different kinds of people that I am sure it has influenced my art, life and beliefs.

How has the digital medium helped you as an artist?

The digital art that I create, like “At the Stroke of the Shooting Star”, allows for me to get more meaning out of my art. I have only just begun, over the past couple of years, to explore digital art. But I knew right away that I didn’t want to try and mimic my traditional art style in a digital environment. I use the digital art to try things I wouldn’t ever do traditionally. Usually it is because it would take too long technically. This gives me the freedom to think of the concept or “story” behind a piece of art. I have been doing a lot more digital art lately and you’ll see a lot more of it in the near future with various projects I am working on now. I know the digital medium is allowing me the opportunity to grow creatively. Thank you Steve Jobs and Adobe!!

Who inspires you today?

Frank Frazetta and Brom are still my top two influences, even to this day. Even when I create my digital art, which is nothing like what those two artists do, I am thinking of their paintings and teachings. Frank Frazetta saying “Don’t be a second rate Frazetta, be a first rate you.” Is something that has always stuck with me.Have your influences, but find your own voice and approach, is what I take from that. It is simple and effective inspiration. The consistent quality and unique vision of Brom’s work always drives me to be better.

Other artists that inspire me today are Todd Schoor, Kristian Olsen, Anita Kuntz, Chris Sickels (Red Nose Studio), James Jean, Tony Diterlizzi, Guy Davis and many more.

What are the best part of being a full time artist?

Sleeping in, staying up late. Basically doing whatever you want, whenever you want. And of course, making a living doing what used to get me kicked out of class, which is drawing barbarians, strange creatures and adventurous places. I am getting paid to do what I love to do and what I always dreamt of doing since I was young. It doesn’t get much better than that. Oh, and I can go see Borat at matinee prices!!

And the worst?

Many others don’t see what I do as a “real” job. So I get interrupted a lot. But also, many people don’t understand the dedication I have. I don’t do the art from 9 to 5 and then turn it off. I am living and breathing art. Even when I don’t have an actual commissioned assignment, I am creating art for myself. So it never ends. Other people just think my art is a hobby, when in fact it is who I am and I actually make a living from it.

Time for the question we’ve all been waiting for; any advice for those aspiring to be a true artist?

True artists are everywhere. But if by “true artist”, you mean professional illustrator, then my advice is to put as much energy and thought into the business of being an illustrator as you do the art. Don’t make the mistake of thinking your art will do all the talking for you. You have to be professional in your art career if you hope to make a decent living from it. Cool art gets you only so far and then you have to know how to promote it, as well as build strong relationships and a solid reputation in an ever growing and competitive field.

Never stop learning, always grow and always seek out inspiration. I am as much a student of art today as I was back in school.

5 years from now, where do you see yourself and your work? Will you ever really retire?

Five years from now, I hope to have some children’s books on store shelves that I have written and illustrated. That is my primary goal right now.

I will never retire, even when I die. Somebody will find DVD’s of mine containing never-before-seen art buried under mounds of rubble in my studio and they will publish them without my consent and make bags of cash from it and people will think I am still alive and working and going strong. They’ll all be like “Wow, Jeff must be 130 years-old, he just keeps crankin’ that stuff out! I bet he has a mansion and a yacht and burns hundred dollar bills for fun,” when in fact I am simply dead and buried and look like one of the many undead creatures I have always loved to paint.

Haha! Thanks again Jeff. All the best with your work!

Thanks for giving me the opportunity to share a little bit about myself.