| Featured Artist: Bud Peen My Background: I didn't know what kind of art I'd be doing, but
I knew I'd be an artist by the time I reached 5 years old. My
art career unfolds as follows:
5-10 years old: Drawing massive dioramas of violent land
and nautical battles from World War II movies. Porkchop Hill a
particular specialty. 11-17 years old: The fine art of doodling in my school
notes taken to dizzying heights. 18-24 years old: Traded surf board for kiln. Produced
ceramic figurines, making a small fortune, but almost burn down
the neighborhood in the process. 25-32 years old: Figurines turned into ceramic abstracts
so large, they had to be fired in pieces. Discovered 4 foot ceramics
difficult to ship while living and working in Paris, so started
welding, loosing the better part of my hearing not already lost
to loud music. 33-present: In the background of all this flurry of fine
art, supported myself doing illustrations, first in huge New York
advertising bullpens, then on my own. One autumn day back in '87,
made the realization that I actually enjoyed creating illustration
far more than welding 7 foot tortured sculptures. It was just
more...me. Have been being me ever since. My Technique: My technique has little to do with tools. It has
to do with solutions to the problems clients pose. That's what
I love about illustration: clients challanging me to solve their
problem. Fortunately my fine art training gave me the opportunity
to work in many materials. A solution can be sculptural, can be
a watercolor, or created in the computer. It can be an editorial
illustration, a street banner, or a chair to sit on. These days,
no matter the material, the computer is always the end product
for my art. It allows me to compensate for the bad scans of the
past and the poor printing and paper of the press. It makes for
easier emailing of a lamp mechanical across the world or photos
of prototypes from factories. It's an amazing technology that,
when it malfunctions, makes me swear in new and vastly creative
ways. My involvement with the Guild: I wouldn't have gotten involved
with the Guild if it wasn't for Lloyd Dangle's incredible drive
to make things better for us all. I just couldn't stand on the
sidelines with my hands in my pockets while he duked it out in
the pits with the BOE. So I joined, hoping that that'd be enough.
It wasn't. Before I knew it he talked me into forming the National
Contract Committee and penning the first draft of the Contract
Monitor. After that it was writing a chapter on contracts with
Kate Godfrey for the PEGs book as well as performing embarrassing
skits in front of hundreds at the Santa Fe Illustrator's conference.
I blame Lloyd for it all. My Favorite Client story: I'd rather describe my ideal client.
They're one that understands you're an artist with creative input,
not just a pair of hired hands. They give you an article and simply
say they're looking forward to seeing the sketches. I'm lucky
that I have a lot of favorite clients. That's the great thing
about being a freelancer: you don't have to work for people you
don't like. Most of my long term clients are people I could see
spending time with. When I used to work in advertising agencies,
I had to work with anyone who walked in the door. Now, as a freelancer,
I don't. It makes work a lot more enjoyable. All artwork © 2002 Bud Peen. Not to be used without permission.
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