My cousin Paul Luther as a young Olympic wrestling hopeful in the age of the afro. Caricature drawn entirely in Adobe Photoshop.

Recently my friend and fellow illustrator Tom Richmond posted a very thoughtful article about this question on his blog. Tom specializes in caricature illustration and made a good case for having one unique look or style in your work that art directors can always count on. I have a lot of respect for Tom and he makes some very valid points in his article. However, I have a somewhat different take.

I think that to some extent the answer to this question depends on the industry you are working in. Tom does a lot of editorial work (i.e. magazines, books, etc.) and I think that in those industries having a unique style is indeed a huge benefit. But there are other industries in which having a specific “look” to your work carries less weight. Most of the work I do is in the fields of advertising/marketing, toy design, and animation. In those industries the ability to work in multiple styles is often just as much of an asset, if not more, than having one consistent style. I recently attended the Animation Expo in Burbank and one thing I heard repeatedly from studio recruiters is that they are always looking for artists who can adapt to a wide range of styles. The more flexible you are, the more valuable you are to a studio.

I also do a lot of work with advertising agencies. For many advertising projects by the time I get involved with a project the overall look and style of a campaign has already been established. The artwork I create has to mesh with all the other elements that are already in place to complete the larger picture. Since deadlines in advertising are very tight and there is usually a lot of money invested in a campaign, there is little room for an artist to express his or her “voice”. Art directors will often pay a premium for someone who can jump right in and quickly create something that blends in seamlessly with the rest of the campaign.

Yes, you can build a reputation on having one strong, distinctive look or style. But I think you can also build an equally solid reputation on being fast and flexible. It all depends on the project. For some projects the former is of more value, for others its the latter.

Tom makes a good point when he says that a big downside of working in multiple styles is that does make it harder for you to stand out from the crowd with a unique look or voice. When I send out an email blast or a postcard showcasing my latest work I sometimes think my message gets a little muddled. My portfolio is a bit of a stylistic jumble, something that doesn’t always work in my favor. So instead of emphasizing a particular look or style, my advertising strategy lately has been to emphasize my speed, my quality of work, and to draw attention to some of the bigger names on my client list (Disney, Walmart, Hasbro, Target, Hewlett-Packard, etc.) which communicate to an art director that I am an experienced professional. So far it seems to have worked since I have stayed busy even in the down economy.

Having said all that, there is a big danger in being TOO diverse. Early in my career I had pieces in my portfolio ranging from realistic oil paintings all the way to wacky cartoons and everything in between. I was all over the map and looking back I realize it made me appear unfocused and amateurish. No matter how talented you are, no artist can be excellent at everything and the best art directors understand that. Over the years I’ve narrowed my focus to a “limited range” of styles. I can do a variety of work but I focus on things that are more cartoony, with softer curves and geared towards a young kid-friendly look. I rarely do “realistic” work anymore (other than an occasional storyboard or marker comp). My portfolio has some variety but there is still an overall unity in the work. It might not scream out at you but it’s still there. My spectrum of styles is broader than some but not so broad that it looses all focus and meaning. It really is true that if you try to be everything to everyone you wind up being nothing to nobody.

What do you think? If you are an art director, which is more important to you–a strong style or the ability to adapt? If you are an illustrator, which approach do you prefer? Please leave a comment and let me know your thoughts.

“Peace & Love” Robert Bourges

<a href=”http://kajalkumarcartoons.blogspot.com”>http://kajal.tk</a>:)
<a href=”http://kajalkumar.tk”>http://kajalkumar.tk</a>
<a href=”http://sahibaat.blogspot.com”>http://sahibaat.blogspot.com</a>

Cette liberté est regardée comme une  victoire pour le cinéaste qui souffrirait d’ennuis de santé,  et dont plusieurs demandes de remise en liberté avaient été refusées. Une victoire que des proches ont attribué… à Nicolas Sarkozy.

Alain Delon sur RMC a attribué la libération sous caution (3 millions d’euros tout de même) de Roman Polanski à l’activisme de Nicolas Sarkozy dans ce dossier.

Mathilde Seigner, belle soeur de Roman Polanski, dans les colonnes du Parisien-Aujourd’hui en France, nuance à peine: “Je n’irais pas jusqu’à dire que c’est grâce au président que Roman a été libéré. Mais il a été super. Et il l’a beaucoup soutenu. Le président a été très efficace.”

Frédéric Mitterrand, ministre de la Culture, avait précisé au début de l’affaire (et de la polémique qui avait aussitôt suivi) que Nicolas Sarkozy suivait le dossier “très attentivement”. D’après le JDD, il aurait appelé Barack Obama pour s’entretenir du dossier avec le président américain… sans succès car la procédure relève de la justice californienne.

Un soutien qui a payé?

Côté procédure judiciaire, les avocats du cinéaste ont l’intention de plaider la relaxe lors du procès en appel qui devrait se tenir à Los Angeles en décembre…

A lire sur LePost.fr:

- Polanski bientôt libre?
- Polanski: le courage de Bernard-Henri Levy
- Affaire Roman Polanski: le cinéaste sera-t-il relaxé le 10 décembre?

Richard Goyette, de la FTQ-Construction a bien fait rigolé les journalistes cette semaine. Voici l’échange dont Antoine Robitaille du Devoir fut témoin et dont il publie un extrait sur son blog: (la photo provient aussi de son blog)

En point de presse, il redit que les commissions d’enquête publiques, ce n’est qu’un «spectacle». Puis, les journalistes lui répliquent que ce sont deux syndicats, celui des policiers de la SQ et celui des procureurs de la couronne, qui réclament une enquête publique sur la construction. L’échange :
—Est-ce que c’est le syndicat des policiers ou les policiers qui l’ont affirmé?
—Le syndicat des policiers.
— Moi je crois plus en les policiers que leur syndicat croit en eux.
—Ah bon? Comme syndicat, vous ne croyez pas au syndicat?
—Euh. Moi, je crois en mes membres. … Non, ce que je veux dire, c’est…
—Ha ha ha … (Rires)

Et pour terminer, je vous propose une caricature de Ygreck…

Par Ygreck, 25 novembre 2009

Depuis avril dernier, l’ADQ a vu juste. Sylvie Roy fut la toute première, à l’Assemblée nationale, à réclamer une enquête dans le secteur de la construction. Quelques mois plus tard, Pauline Marois, opportuniste qu’elle est, entre dans la danse. Cela est plutôt surprenant d’autant que cette semaine, la ministre Julie Boulet a fait état de manoeuvres douteuses au ministère des Transports à l’époque du précédant gouvernement péquiste. Bref, c’est son maudit problème alors qu’elle se démerde!

Outre le gouvernement libéral de Jean Charest qui semble cacher des choses (et dont certains donateurs au PLQ sont propriétaires d’entreprises faisant l’objet d’allégations), seule la FTQ-Construction s’oppose à une enquête publique. Dans ce cas, on comprend vite pourquoi.

Pour les autres acteurs interpellés dans ce dossier, une enquête s’impose.

Par Serge Chapleau, La Presse, 26 novembre 2009

Industrie de la construction : La CSN réclame à son tour une enquête (LCN)

La CSD réclame une commission d’enquête publique (Communiqué de la CSD)

Par Hervé Philippe, La Tribune, 25 novembre 2009

…le président de la FTQ, Michel Arsenault, n’a pas exclu la possibilité que le gouvernement doive instaurer une commission d’enquête… (Radio-Canada)

Le nouveau président de la CSN Construction veut une enquête publique (Rue Frontenac)

Par Jean Isabelle, Le Nouvelliste, 25 novembre 2009

Corruption en construction : Les procureurs veulent une enquête publique (Agence QMI)

Duchesneau plaide lui aussi pour une enquête publique – L’ex-chef de police de Montréal, Jacques Duchesneau, croit lui aussi qu’une enquête publique est la meilleure façon de freiner la corruption dans le domaine de la construction. Comme le croient l’Association des policiers provinciaux du Québec, la Fraternité des policiers de Montréal, l’Ordre des ingénieurs… (24h Montréal)

Par Jean Isabelle, Le Nouvelliste, 20 novembre 2009

Joy and excitement as The Economist calendar arrived from the States this morning. An illustrated look at the year ahead – written and illustrated by the cartooning legend that is Kevin KAL Kallaugher.

I wrote about it briefly before, but at the time I hadn’t actually seen more than the little previews on KAL’s website. I’ve finally had a chance to look at all 12 months up close, and it’s fantastic!
The main illustration every month refers to about a dozen wildly different current and historical events, all put together in miraculously coherent scene.
In addition there are other little relevant drawings sprinkled around the written part of the calendar.

KAL himself also features on every page of this calendar – in good “Where’s Wally?” style – usually reading a copy of the Economist.

It’s a terrific piece of work, and really I can’t recommend it enough.
A brilliant gift for anyone interested in cartoons!

Dilem.

www.liberte-algerie.com

Copyright (c) 1998-2009 Tous droits réservés LIBERTE

“Premier rendez-vous” Robert Bourges

A couple preparing for their wedding contacted us:

Hi, My fiancé and I were at the Peranakan Museum last week and were enthralled by your caricatures of some of the visitors. For our wedding, to be held in June 2010, we are doing away with the too common pre-wedding shots. In place, we are looking at setting up caricature paintings of ourselves around the wedding hall.

I have 2 caricature requests, as follows:

(1) I would like to append a caricature of ourselves on the wedding invitation. For this, I intend to use the attached photograph

Ours is a Christian wedding ceremony on 19 June 2010 at the Singapore Art Museum.

For the background, please include the following:

- the 2 of us riding a tandem bike; Mario to be in front, heading towards a signboard that says ‘Singapore Art Museum’

-Both of us wearing white top (sleeveless or tank top) and green bermudas each.

-for Vasuki to be holding a bouquet of paintbrushes instead of flowers.

-our names ‘Mario & Vasuki’ to be included at the top left hand corner with the date ‘19.06.2010′ beneath.

(2) I would also like to put up a picture of ourselves at the entrance to the wedding hall. To which end, we would like to us the attached photograph. I am interested in the Bollywood inspired caricature that you have in your blog. Can you do something similar for ours pls?

Please include the wedding date ‘19 June 2010′ in this caricature.

I will opt for the watercolour/colour marker for this and the A3 frame.

She was delighted with the result when she came to collect at our studio. She wrote to us:

Dear Kamal & Ruoshi,

Mario & I are very pleased with the caricatures, nay honoured indeed to have those cartoonish images of ourselves. As rightly said by my mum and another friend, those may be caricatures but the depictions do resemble the Mario and my wacky sides rather well. To know that you could do wonders with very simple, ordinary pictures of ourselves – we are amazed indeed. Thank you very much!

Vas

Thank you Vasuki and Mario for letting us be a part of your fun life together.