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Interview with James Yang

Biography:

Since graduating from Virginia Commonwealth University in l983, James Yang has won over 200 awards for excellence in illustration. His work has appeared in some of the most prestigious trade publications in the United States including Communication Arts Design Annual, Communications Arts Illustration Annual, Print Magazine, Graphis, and the Society of Publication Designers Annual. One of his many posters were featured at the Hiroshima Museum of Art. He has also designed a sculpture titled “Clockman: which is part of a permanent exhibit at the Smithsonian’s National Museum of American History. Yang has also lectured at the Maryland Art Institute, Corcoran School of Design, and The School of Visual Arts and Design. In 2004, his first authored/ illustrated children’s book, “Joey and Jet” was released to critical acclaim. His second book, “Joey and Jet in Space” was released in June 2006. He and his wife currently live and work in New York City.

Website:

Website: http://www.jamesyang.com Blog: http://yangblogworld.blogspot.com

How did you get started in the illustration field?

I got my start in the Washington DC area back in 1983. It was the classic case of taking your portfolio around, waiting in offices for art directors to look at your work and going to the next studio. I also did part time production work at small studios to make some money while trying to get my illustration career off the ground. This was pre-computer, so I had to do paste-up for which I had NO TALENT. Illustration was my major in college and for some reason, I was convinced I could make it work. It was a combination of hard work, determination, luck, and naiveté.

How did you find your style? Has it changed since you started?

At the risk of sounding overly simple, I tried to create images I like viewing. In other words, I wanted my work to fit if placed in an imaginary collection with the work of artists I admire. Early influences were Saul Steinberg, Ralph Steadman, and Joan Miro. My work is very different now than when I started, but you will see a thread. These days, I really like Tim Biskup and a lot of the retro stuff from the 50’s and early 60’s.

What is your process when working with clients? Can you run us through a typical job?

It’s a very simple process. They usually email with an assignment and reading material, and my rep will negotiate the terms. I will provide simple sketches in a couple of different directions and once approved, the work is created by computer and I will electronically send the final art. I feel my main job is to get to the essence of the article, or message they wish to communicate. Sometimes depending on the project, I am a cog in the machine and I am comfortable with this. Other times, I need to be the main guy and I am also comfortable in this role. I really like to be clear on the direction the editor or AD needs for the project before I start sketches. This saves a lot of time.

What is your creation process (start with pencil sketches, etc…)?

I read the synopsis, then do tiny rough pencil sketches with simple shapes. I try to figure out if an idea works compositionally first. Then I will work up simple ideas on tracing paper and pick the two or three best ideas to scan and email a client. Ideas (knock on wood) usually come pretty quickly. My final work is totally done in photoshop. I will use the sketch as a template in photoshop. I love photoshop because most of the final creative process for me is experimenting with color which is insanely easy on a computer. You can try out may ideas. I also have a library of scanned textures I use for my work. Doing the final feels like working an a really advanced Etch-a-Sketch for me.

How do you market/promote your work?

David Goldman, my agent, takes care of most of this with regular email blasts to clients and potential clients who have given us permission to send them updates. We also advertise in a couple of books like the Blackbook and Directory of Illustration. My work is on Folioplanet.com and we have either links or small portfolios on various illustration sites. Last year I started a blog, Yangblog World. I’m a big believer in having a presence on the web. When I started pre-internet, having your portfolio at few places every week was considered successful. I know I have a few hundred hits on my site each day. We also like to make mugs and t-shirts for our best clients once every year.

Do you have a rep? Why/why not?

I have been with David Goldman since the mid eighties. We have a great relationship and have similar ideas about how to approach business. I don’t think it is crucial for an illustrator to have an agent, but if you can find one where you both click, it can be a great help. With the growth of the internet, contracts and terms for larger projects have become complex. David is an excellent negotiator and I doubt that most illustrators are able to effectively negotiate some of the more complex projects. It is nice having someone who handles the business and promotion. However, he can only do so much. I have to provide him with samples and follow up with some of the more boring business stuff for him to be effective.

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