Jorge Mascarenhas Interview with Lisel Ashlock
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What is illustration?
Illustration is storytelling through pictures. The word Illustration comes from the Illumination; “spiritual or intellectual enlightenment” It’s a powerful way that humans have been expressing ideas, dreams, discoveries from the beginning of time. That’s pretty magic.
How did you get started in your professional career?
Just after graduating from CCA in San Francisco with a BA in Illustration, a group 
of us who had gone through the Illustration Program together started a little collective called Crackpot Illustration. We created our own agency essentially, met once a week, gave assignments, did critiques, and gathered a massive mailing list of addresses of Art Directors, mostly for magazines (literally going to bookstores and looking of the mastheads of every magazine on the shelf and hand-writing them down). We would have a monthly illustration assignment, (album or book covers for example). Then we would collectively get postcards printed, hand-address them all together, and send out monthly promos all together in a little branded group, saving on postage. It was so fun. Most of us today are still illustrating and all of our first commissioned projects came from those mailers.
Which illustrators inspired you to pursue this career?
Through high school I worked at a bookstore that sold new and used books. I don’t think a particular illustrator inspired me (though I of course have too many favorites to count), but rather, seeing how illustrators could bring a book, picture book or book cover to life, was so inspiring. I remember thinking ‘how does an artist get their work on a BOOK? Who do I need to talk to?!’
What keeps you inspired?
I love illustration and client work because the stories and projects that get sent my way are so inspiring. I’ve learned so much from the editorial and book projects I’ve worked on. For example, working with Nature Conservancy I’ve learned so much about conservation and what scientists are doing to stay ahead of climate change; I learned everything you need to know about smoking weed while illustrating the book ‘A Girl’s Guide to Cannabis’ and I’ve gotten to immerse myself in the botany in Greek Mythology working on a forthcoming book ‘Mythic Plants’. Being an illustrator is truly being a student in the School of Life.
Do you think art fundamentals are still relevant in the new age of AI?
Absolutely. Creating art is a deeply rooted expression that humans are embedded with. It’s in our DNA to want to explore our own curiosity by creating art, and the fundamentals of art are the building blocks of that curiosity. AI might create a way to bypass that step, but why? Humans that are drawn to visual art get unmatched pleasure in the process! I suppose if you’re not an artist, then they aren’t’ relative, but AI won’t take away the sheer pleasure and impulse for creatives to create.
Do you think AI will obliterate illustration?
When I take a deep breath, and step out of the doom, I like to think that AI can be used as important tool. My work is very realistic and I am often commissioned to do very realistic illustrations for nature and scientific clients that must represent the plant or animal authentically. I spend many hours looking for photo reference, so maybe AI could be a way to cut down time on that for example. I know as artists and creatives, we’re visionary by nature, and I know we’ll find positive ways to use AI as a tool if we, as a society and an industry use it wisely. My hope is also that we will place more value in something created sans-AI. I have darker fears, but, trying to stay positive.
What is more important concept or technique?
Tough one. They’re both so important. One does not work without the other. One illustrator might have incredibly insightful ways of approaching a project, but a more rudimentary way of executing said project. The final piece might be just as sucessful as a very technically strong, but less conceptual approach.
It’s the balance that makes a strong piece shine, and I love there is room for it all on the spectrum.
Which project or event changed the course of your career?
Two times, when opening my inbox and seeing a job proposal, I burst in to tears: when I got my first book cover job (Turn Right at Manchu Picchu) and when Hygge & West contacted me about collaborating on a wallpaper collection. Also when I was asked to go on Fresh Air with Terry Gross to talk about the book I illustrated, Do Unto Animals. Terrifying.
What do you do when encountering a creative block?
Step away, take a walk, drink much tea, open a book of pictures, anything that brings me back to a core essence, and calms my nervous system. Then I try to visualize what I WANT the end result to look like.
If you could go back and do something differently in your career, what would that be?
Not wasted time accepting jobs that took my away from my personal style. There is definitely a time and a place to saying YES to every single job that comes through the door, but when your whole body is saying NO and you still say yes, it’s time to take a beat.
What advice do you give to future illustrators?
My advice goes hand in hand with the above answer about what I wish I had done differently as a young illustrator. Make sure that what you put into the world is something you want to do more of. When first starting out, it’s terrifying to pass on a job, especially when they’re few and far between! I have always urged students to find that thing they love, and put all your energy there. Do not put anything in your portfolio that you didn’t LOVE doing. Whatever you put in front of an AD or CD’s face, is what they’re going to commission from you. You can say “Yes” to every job, but do not, I repeat DO NOT put that work in your portfolio unless you want to do more of it. I went down a long path of doing jobs that weren’t my strong suit, and then, because that’s what I was showing, it’s what I kept getting commissioned to do. I finally stopped, and reassessed what it was I loved doing, scrapped my whole website, and rebuilt a collection of work I loved and was proud of. Seemingly magically, I started being asked to do what I loved, and it felt like the universe granted my wish – but really, I just put into the world, what I wanted to get out of it. Nothing supernatural.
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© no artwork displayed can be used without permission of the artist, Lisel Ashlock.
