CHRIS BUZELLI
ILLUSTRATOR
NYC
www.chrisbuzelli.com/

Thanks for talking to us today Chris.

Growing up in Chicago, your Grandfather played an integral part of the artist that you have become today. What single contributor has been the biggest influence on you since graduating from the Rhode Island School of Design?

My wife!
She is an art director for few magazines. She has supported me through thick and thin and has kept me going when jobs were sparse. She kicks me in the butt when I need it. She is a huge influence in my illustration career after RISD.

Haha - nice!
Your thoughts about your work, how did they change before and after you went to school?

One of my professors in college said, “Your work will totally change when you graduate.” Thank goodness he was right.

How did life change after you graduated and when did you get your first break?

Everything changed after I graduated. I had to pay rent. I was out on my own in NYC.

My first break big break was doing steady illustration work for Grey Advertising. They used to create many of the Broadway musical and play posters in Times Square. It was a great gig. They would hire about 3 – 5 illustrators to compete for each job. Out of the 5 years that I worked for them, only one of my illustrations made it to the big marquee. However, it was a great experience while it lasted and it helped pay the bills.

When did you finally get that warm fuzzy feeling of finally “making it”…or are you still waiting for it? What is ‘it’?

Every once in a while, I get that warm fuzzy feeling, It fades quickly. I don’t think I am at the point where I can just kick back and wait for the next job. If I am not painting, I am working on my business and planning my promotions.

You have a long list of respected clients, ( Wall Street Journal,  L.A. Times, Playboy (grrr!),  New York Times, McGraw-Hill, Selling Power,  Washington Post,  Boston Globe Magazine,   Worldcom,…the list goes on) what word of advise would you give an up-and-comer about dealing with clients and first impressions and professional relationships?

Be on time. It is the kiss of death to hand in a project late. They may not let you know but you can count on never getting another job with that client.
Always give it your best effort. Even if the job is low paying. If you take on the job, then own it. You never know who will see your work and judge you only on that image.
Never give a client a sketch or idea that you do not want to execute, because they’ll pick that idea.

They say: “the client is always right”…’they’ being the clients. What is the worst thing you can do when dealing with clients and revisions on artwork? Any other advice?

The worst thing is to get emotional with the art director. If the art director asks for revisions, then suck it up and try to make the changes work for you and the art director. I am always surprised by how much the art director is willing to compromise when asked politely and professionally. The problem is with the recent trend of editors stepping over the job of art director and asking for ridiculous changes to your concept. Editors tend to be too literal and like to poison the creativity in an illustration.

So does this change the amount of emotional stock that you put into your work?

Yes, sometimes the changes really do ruin the spark behind the painting. I loathe those jobs and luckily they are few and far between. The best thing an art director can say is “I trust you”. Not only does this ignite the emotional spark but also challenges myself to create a piece better then the last.

You do your work on oil on watercolor paper, do you enjoy the digital realm at all?

I have tried to recreate my paintings on the computer. Sadly, it seems that I can paint much faster then I can push pixels. However, some of my favorite illustrators mix traditional and digital media. I love when an illustration does not scream digital but blurs the lines between the traditional and the digital world.

Your work has a great sense of melancholic story. Recently you won third place from The Association of Alternative Newsweeklies for “Losing Choice”, a brilliant piece that illustrates the woman’s rights movement and where it may be heading. Are there any repercussions that you worry about when creating a piece whether its winning an award or stirring up mixed emotions with the viewer?

It always helps to create an emotional illustration when the story is strong and I can connect with the story. The piece “Losing Choice” was about the recent proposed federal legislations attempt to erode women’s reproductive freedom. I have four wonderful sisters, an amazing mother and a beautiful wife. This is my way to show support for women’s rights.

And what thought process do you take to create an original illustration. Research, client meetings, vacation?

I usually start by doodling when I am talking on the phone to the art director. Amazing that sometimes the best idea comes out of those doodles. The best sketches and ideas usually come easy. I find the most proficient way to sketch is when the story is fresh, I am energetic and in my zone. Now, when I am tired, instead of trudging through a project, I stop and take a rest or take my dog (Sota) out for a walk. After this initial sketch phase, I usually do a little research on the internet and fine tune 3 of the ideas. The rest is icing on the cake.

What sort of projects are you currently working on?

A wine label, Vespa scooter decals, a gallery show in Providence and buying a log shack in the Catskill Mountain area.

We have our favorites ( “The Darkness” for Rolling Stone Magazine and “Battle for Broadband” NetWorker Magazine), what is you favorite piece and who do you look to for inspiration from within your industry?

My favorite pieces are the ones that I have just recently finished. They don’t remain my favorites too long. I hope to update my website with the new work very soon.

The illustration industry is full of inspiration. I think more then ever, the illustration market is full of artists with very personal and unique visions. Some of my favorites are Sam Weber, Jonathan Weiner, Jesse Lefkowitz, Yuko Shimizu, Jordin Isip, Red Nose Studio, James Jean, Tim Hussey and Thomas Woodruff.

Time for the question we’ve all been waiting for; any tips for those aspiring to be illustrators?

Try to find clients that would fit the type of work that you do. Don’t give up. Freelance is a slow and steady process. Get a part time job if money is a problem.

Inspiration comes in many forms. Get out and experience your environment.

In 5 years do you think you will be the first Illustrator in space? Jk, where do you see yourself heading in the next couple of years? How do you plan on getting there?

Great question. In 5 years I hope to be doing the same thing. Working my butt off, painting in my studio, dinner with my wife and a walk around NYC with our dog. The one change that I hope is that my work improves and the types of jobs grow. I already see a transition in my work from editorial to more advertising, products, galleries and pop culture.

All the best. We’ll keep in touch!

Posted: January 2nd, 2008 under Chris Buzelli.
Comments: none