I'll spend the better part of July and a small chunk of August in a studio shooting apparel and accessories for the Corvette, Hummer and SSR catalogs for GM's licensing agency. Between the three catalogs there are about 500 shots of clothing and hard goods, with each having to be styled, lit, propped, photographed and color-corrected. It's a large project to say the least, and with any large project there are a few things that make it go smoothly.

Organize
I'm lucky enough to work with a project coordinator on this that has years of outstanding experience with these kinds of productions. Each piece of merch for the shoot is labeled with a tag that gives the product name, the catalog item number, notes on shot details and a host of other things. It's a ton of leg-work before the shoot, but it is worth it. The merch is organized by category as well, so we can shoot all the reflective hard goods on the same set with minimal lighting changes. All the apparel that will be on a form will be shot the same way.

For the first catalog, Corvette, I've penciled in each spread in the layout with detailed drawings of the styling, angle and positioning for everything. I've cross referenced each drawing with the information on the hang tag and made special shot notes where possible (need a close-up detail shot here, shoot this garment on a form, etc). Everyone has a copy of these layouts for reference.

Collaborate
When I was working in the photography end of the business, there were basically two kinds of Art Directors. The dictators had the "It's my way or the highway" attitude. There would be no real input from the photographer or stylist. Just shoot it the way I direct. Not much fun, to be honest, especially when that AD has hired truly talented, creative people to shoot.

Then there were the artists. The artist believes in the magic of collaboration. These ADs sit down with pencil layouts and say "Here's my idea, what do you think? Anything we can do to make it better?"

Both shooters on the project are old pros. They've shot a ton of work like this. The stylist has been around for a bit, too. All of them are great creative resources. We've already tweaked and changed those detailed pencil layouts on a couple of shots, because my drawings didn't translate as well into reality. So each shot is styled with flair. She has my layouts to start from, but she's "empowered" to say "This would look really cool if we did it this way".

The same goes for my shooters. I want their input. Not because I'm insecure in my layouts or design, but because I've learned that two creative minds are better than one.

Grease
The first few days of a big shoot are always stressful. Merch is missing or being changed. The props that were ordered are wrong. Getting the settings on the digital camera correct. I've found that one of the most important things I can do during that time is to keep a smile on everyone's face. Things are always out of kilter no matter how much one plans and organizes, and it all works out after a couple of days. So, I joke about the challenges. I keep a lighthearted attitude, and it's contagious. It's relaxes the client. There's plenty of time to be grumpy in three weeks, when everyone is sick of shooting this stuff. The more fun we have in the beginning, the longer it takes for the doldrums to set in.

Here's the cliche "I've been very busy that's why I haven't been posting" post.

Click here for a Photoshop tutorial on creating faux-woodcut illustrations. It's rather long with a lot of images, so dial-up users, be forewarned.

<rant>

Please be sure that if you are going to do a photoshoot with someone who is going to be boxing or any other martial arts, please be sure that the model ACTUALLY KNOWS how to punch/kick, etc.

My client's concept and I thank you.

</rant>

I remember the first Richard Borge illustration I ever saw. It was in a design annual (CA, I think), magazine ads for a website called Fatbrain.com. I recently had the chance to chat with this incredibly creative illustrator.



KW: What is your background? What path led you to be an illustrator?

RB: I was always into art. Then went to a liberal art school, then grad school... then teaching and working, then working. Here's my bio

KW: Did you start as a 2d artist then evolve into your current 3d style?

RB: Yeah, exactly. I was always trying to make things look 3d... then eventually discovered the 4x5 camera and just started building and shooting stuff.

KW: Do you still teach at all?

RB: Occasionally, when the opportunity presents itself. I don't seek it out so much.... prefer doing those intensive 1 week workshops in Paris (ha).

I am always open to students when they call and will make time for them, so in that sense I am still teaching. Students need to be more aggressive with regard to contacting artists (professional).

KW: That's great that you take the time to mentor. Did you have someone who helped you in that way?

RB: Mostly teachers in school. I'm a big believer in learning from others.... I like to help and put back into the world. I'm not so into giving a bunch of tech advice... more about how to get started and such... also very interested in the "problem solving" aspect of illustration, so thats what I focus on when I teach, not the techy stuff

KW: What is your creative process? Walk us through how you work on an assignment from the aspect of problem solving.

RB: I read the article, write down key words from it... start to draw simple pictures and stuff, then try to find connections... it's all about boiling down the article and finding the core content and making it look interesting. Often times symbolism is needed to convey an abstract concept. Once sketches are approved, I go to making final art.... usually pretty smooth.

I prefer general direction, not specific

KW: You mention key words. Do you play with word association when you're brainstorming?

RB: Yeah, looking for similarities, be it shape, size relationships, meaning etc. It gets easier the more you do it

KW: Do you prefer to brainstorm with the art director at the beginning, or do you work better on your own?

RB: Sometimes, depends on the AD. Certain people are realy good at that stuff. I prefer general direction. Some art directors have great ideas, and it's good to collaborate, rather than get too much direction. A big part of the job is problem solving, otherwise I'm a technician. I prefer that they like me for my brain, not my good looks. It feels so good to come up with an image for a job such as Italian stock market woes.

I like the visual problem solving. That's the reason to call an illustrator instead of a photographer. There are things you can only show through abstract symbolism, you can't photograph it. Things that are more ideas. Concepting is my bread & butter, and the most enjoyable part of my work.

KW: How long do you spend in concepting?

RB: On a typical job, I'll be hammering on sketches a couple of hours. Sometimes it only takes 10 minutes.

There is defnitely a method to the madness. I take the words and look them up in the dictionary, which will lead me to another meaning of something else. Sometime I use the thesuarus. It helps you tell a better story with the image if you have a better understanding of it's meaning.

KW: What materials do you work with?

RB- I use many things. I find objects on the street. I make a lot things out of Sculpey and wire, wood. When I work with found objects, somehow I have to make that object mine.

Sometimes I shoot 4x5, but usually digitally. Then I work heavily in Photoshop. It's fun to experiment with new things.

KW: What environment do you feel the most creative in?

RB-I've been working in my apartment for a while. I'd like to make a move into situation where there are more people around. I like to visit studios downtown. I function well in a competive environment. I just took a class in AfterEffects and was hoping there would be more competition.

I'm excited moving into animation and making things move. AfterEffects is Photoshop on steroids. It was needed, a new shot of adrenaline. I want to combine the illustrations with doing kids movies, ads for Janus Mutual Funds, music videos.

KW: How long have you been working with animation?

RB: The class started the end of January, so I really started February 1.

KW: Do you have any creative superstitions? For instance, I used to only concept with a set of pencils that were black all the way through to the core.

RB-I can't really think of any. I never work on Fridays (laughs), that's a joke. I work from my instinct. If someone calls me and my instinct tell me no, I listen and don't take the job.

KW: How do you work through creative block?

RB- Do something to get the movement going. Drawing. I just sit there and keep working until it comes to me. I like to travel.

KW: Do you listen to music while you work?

RB: Yes, all kinds of different stuff...iTunes.

KW: What other artists (from any medium) do you admire?

RB: Ah, too many to mention... Don't want to play favorites.

KW: Where do you look for inspiration?

RB: Everywhere. Just being aware of my surroundings ... I love to see other peoples creative work, be it visual or something else. I have great respect for the creative process.

KW: What was your favorite assignment?

RB: I’ve had many favorite jobs... Annual Report for WPP Group, Fatbrain ads, music packaging...

I really like the Playboy projects, because they are generally heavily political/social and it offers me a chance to add image to an important topic.