Sic Monkie

Alle

Cartoon & Comic

Grafisch

People & Portrait

Pop

Retro & Vintage

Black and white illustration of a monster with text 'Monsters Are Real' by Sic Monkie

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Book cover illustration for Conversations With Friends by Sic Monkie

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Airline staff walking through an airport terminal by Sic Monkie

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Person holding flaming axes in front of red demon figures by Sic Monkie

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David bringt Comic-Ästhetik auf den Punkt.

Ein illustrativer Stil zwischen Comic-Klarheit, Retrotextur und filmischer Bildführung, variabel im Ton, aber immer bildstark und narrativ durchdacht.

David stammt aus New York und zog nach Los Angeles, um Drehbuchautor zu werden. Doch das Zeichnen begleitet ihn seit seiner Kindheit. Erste Jobs fand er als Storyboard-Artist in der Filmbranche, bevor er seinen eigenen Graphic Novel schrieb und illustrierte. Heute arbeitet er hauptberuflich als Illustrator und Comic-Künstler und hat dabei einen modernen Stil entwickelt, der die visuelle Sprache des Golden Age neu interpretiert. Zu seinen Einflüssen zählen internationale Größen wie John Byrne, Adam Hughes, Jamie Hewlett und Jock ebenso wie Norman Rockwell. In der Zusammenarbeit legt er großen Wert auf klare Kommunikation und eine durchdachte Umsetzung der Kundenwünsche. Manchmal beginnt David mit Papier und Bleistift, meist aber direkt digital. Auf dem Cintiq oder iPad blockt er Bildachsen, testet Perspektiven und plant genau, wie der Blick durch die Illustration geführt werden soll. Er arbeitet mit Clip Studio Paint, Adobe Photoshop und Illustrator. Sein Stil kombiniert kräftige Linien und flächige Farben mit Pop-Appeal. Dabei nutzt er oft körnige Texturen, um seinen Bildern einen atmosphärisch-retrohaften Look zu geben. Je nach Inhalt wechselt er zwischen realistischem Strich und cartoonhafter Anmutung – immer abgestimmt auf Tonalität und Zielsetzung des Projekts. Sprachen: Englisch und Spanisch

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Interview

What led you to become an illustrator? I dabbled in it for years, but it wasn’t until my struggle as a professional screenwriter that I shifted my focus to illustration. It was in developing a story idea that I decided to turn it into a graphic novel series instead. I’d never illustrated sequential art at that scale, nor had the experience to take on such a task, but I somehow convinced myself that I could do it. I managed to complete five issues of the story and found an independent publisher to publish it. It was a watershed moment for me, as I realized others appreciated my art, when for many years I questioned my own ability. Did you study illustration in college? I didn’t major in art or illustration in college, but I did take independent art classes while at the University of Miami. After college, I continued to take illustration courses in figure drawing, concept design, storyboard illustration, marker rendering, and others. Where did you grow up? Long Island, New York. Do you have a childhood memory relating to art that you hold dear? One memory that stands out was a classmate of mine in middle school calling over our teacher to look at a drawing I’d done. The teacher was so encouraging that he introduced me to the high school art teacher. Until then, I’d never felt like I stood out in any special way. Can you remember when you first saw art used in a commercial context? As a very young kid, I remember Coppertone Baby, painted by Joyce Ballantyne. It was the humorous image of the puppy attempting to pull down the child’s bathing suit as a way to sell suntan lotion that remains indelible. Where do you live now and what drew you there? Los Angeles, California. My wife and I moved here years ago for a work opportunity. Describe your studio for us. I have a small studio/office in our home. It has a large bookshelf, a drafting table, and a motorized standing desk for my computer. I mostly work digitally, so I’m usually at my desk creating art using my Wacom Cintiq. I also work on an iPad, which I use when I’m not in my studio. Do you have a studio pet? I have two cats that stand guard at the door to my office. They quite often want my attention. Who or What is your biggest inspiration? Art that evokes a view of the world and the human condition from a uniquely different lens, be that music, film, literature, or illustration. I tend to admire artists who strive for perfection, with an unflinching focus, probably because they produce an exquisite aesthetic beyond my capabilities. For instance, I’ll look at a painting by John Singer Sargent and marvel at what he was able to achieve, and that alone can inspire me to at least try to create something as aspirational. If you could collaborate with another artist or creative of any genre, living or dead, who would it be? The first name that pops into my mind is George Miller, the director of Mad Max: Fury Road. That film is sublime madness. What’s your favourite way to spend a day off? Writing or drawing in the morning, watching a movie or going to a museum in the afternoon, and having a great dinner with family and friends in the evening. What's your most prized possession and why? My comics from childhood–the small collection I still have. It was my introduction to art. One of my most prized is a Marvel giant-sized Jack Kirby comic adaptation of 2001: A Space Odyssey. My dad bought it for me when I was really young. I didn’t think much of it at the time, but now I cherish it. What causes are you passionate about? Cancer research. I have an online merch store called That’s So Sic, where a portion of my sales goes to a cancer research foundation. Do you adopt any environmental practices to be more sustainable? Water conservation is something we strive for in our household. We live in Southern California, which has an arid climate. Do you collect anything? Designer toy figures. I don’t have the space for them, but on occasion, I’ll pick one up. I try to avoid the local Pop Mart for fear that I’ll go on a compulsive purchasing rampage. What do you listen to when you work? It varies: R&B, Funk, Rock, Adult Contemporary, Alternative, and New Wave. Mostly, music from the previous century. Lately, I’ve been listening to film scores from Jerry Goldsmith and James Horner. What's your favourite podcast? The Plot Thickens by Turner Classic Movies What is the first record you bought? Ghost In The Machine by the Police Who is your art hero? Probably Matt Taylor. The mastery of composition and color in his illustrations is outstanding. Who is your design hero? Hello Muller. When I discovered he had an online course on Domestika, I immediately enrolled. I have an affinity for graphic design and enjoy incorporating it in my illustrations. Who is your music hero? It’s between Steely Dan and Pink Floyd.What is your favourite book? To Kill A Mockingbird. What is your favourite quote? “It ain’t over ‘til it’s over” – Yogi Berra What movie can you watch over and over? Alien. What is the last show you binged? Breaking Bad. It’s the only series I’ve ever binged twice. What was the last exhibition you saw and loved? Drew Struzan. It was a small exhibit of his commercial and personal paintings. I greatly admire his work. What was the last concert you went to? La La Land in Concert. If you could visit anywhere in the world, where would you go? English countryside. Something out of Wuthering Heights or Pride and Prejudice. Is there any random thing you consider yourself an expert on/any hidden talents? Feature film trivia. If you could only any eat one type of food for the rest of your life, what would it be? Hmm… that’s a tough one. I’d have to go with Asian, which would cover Japanese, Chinese, Thai, and Indian. What was your favourite assignment ever? I’m working on them right now: two graphic novel projects that are unlike anything I’ve illustrated in the past. One is a world-building, futuristic sci-fi, and the other is a current-day, coming-of-age comedy. You are stranded on a desert island with no power or running water. What 3 art supplies would you take? A sketch pad, graphite and pen; alternatively, the largest sea-worthy canvas I could use for flotation, and even bigger sable brush as an oar, and paint to protect my skin from sunburn for my journey back to civilization. If a client paid you enough money to take a year off and create whatever you want – an open brief - no constraints - what would you create? One amazing art piece. Something that would stand the test of time, touch others in an uplifting way, and be an inspiration for other artists. Is there a type of job you haven't done yet, but would love to do? Magazine cover. Is there a work lesson you’ve had to learn the hard way? Avoiding risk for fear of failure. A few times, I’ve turned down work, believing I would let either the client or myself down, rather than trusting in my ability to rise to the challenge. I’ve gotten way better at silencing self-doubt. How has your work or practice evolved over time? By experimenting with new techniques and approaches to my work, my excitement for illustration is renewed. I’ll observe other illustrators from the past and newly discovered, and ask, “How did they do that?” I then try my version of it, and find something different that becomes all my own. Through it all, I maintain a voice and style that remains consistent. If you were not an illustrator, what would you be? A writer, which is what I am as well. What is the most challenging part of being an illustrator? The internal debate is, “How far do I take an illustration?” There have been occasions when I’ve questioned, could I have taken the illustration even further? Make it more ornate, or add more detail? The struggle becomes when to let go? I’ll revisit an illustration and find myself diving back in––tinkering with it repeatedly. What’s the best advice you’ve ever been given? He’s no longer with us, but I had the great fortune of speaking with one of my all-time favorite illustrators, John Paul Leon. I presented him my portfolio and attempted to excuse the quality of certain pieces by stating it was my early work. He advised me to display my work with pride and not to diminish it or undervalue it to the person reviewing the portfolio. His words have stayed with me till this day. What career advice would you give your younger self? Don’t play it safe, and take more chances. Do you have any advice for other illustrators? If you’re starting out, ultimately, what defines you as an artist is what makes you unique as opposed to what style you can emulate. For a considerable amount of time, I was comparing my art to that of those I greatly admired, hoping to emulate particular techniques. Eventually, I broke away from that and found my own style. It can take years to do so, but once I did, I’ve come to embrace what makes the artist I am. Strive to tap into your personal style instead of copying someone else’s.

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