Jorge Mascarenhas Interview with Daniel Hertzberg
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What is illustration?
I would define it primarily as narrative-based art that helps define and question the human experience. There’s plenty of storytelling in art, of course. But I believe story is at the root of all illustration. In a way, to define illustration is almost impossible. At the college level- it has become an incredibly broad and flexible major. I have been a professor now for many years, and when my students graduate, they go into so many different fields- all of whom require illustrative techniques in all they do.
How did you get started in your professional career?
I graduated from the Rhode Island School of Design in 2003, majoring in illustration. Growing up, I subscribed to many different magazines and looked at the illustrations before reading any articles. I was very fortunate to have a job with The New Yorker magazine, the day after I graduated. While working there full-time, I did illustrations for many alt-weekly publications to build up my portfolio. Years later, I was a graphic designer for a non-profit, while continuing to moon-light it as an illustrator. I was getting a lot of illustration work when I realized it was time to leave my day-job, to pursue illustration full-time. It took me eight years before I had the confidence to be full-time freelance.
Which illustrators inspired you to pursue this career?
Growing up, I was obsessed with pencil drawing- it was my entire high-school portfolio. Chris Van Allsburg (author/illustrator of Jumanji, The Polar Express, etc.) was a massive inspiration. Anytime I pick up one of his books, his compositions and point-of-view still amaze me. While looking through magazines and viewing editorial illustration for the first time, it was illustrators like Brian Cronin, Roberto Parada, Dan Adel, Robert Risko who I adored. I literally subscribed to Entertainment Weekly just to see the latest David Cowles portraits.
What keeps you inspired?
As an illustrator, I live for deadlines. I have an incessant need fill my schedule, to have sketches or finals due on any given day. It excites me to work with new clients and to prove myself- much like the first few jobs I ever got. But as a professor, it’s my students that often inspire me even more than deadlines. They have their fingers on the pulse of digital illustration and come up with some of most clever and unique solutions I’ve ever seen. They are the real teachers, I’m just a student.
Do you think art fundamentals are still relevant in the new age of AI?
Perhaps more than ever and especially nuance. For example, AI still uses visual clichés of what a woman or man looks like- women with long hair and wearing skirts while men are in suits or tough-looking. It’s incredibly sexist and offensive. A human illustrator understands these nuances and will use their fundamental skills to avoid these visual clichés. Many companies have been outed and embarrassed for not hiring a human for these very reasons.
Do you think AI will obliterate illustration?
As far as business, I have experienced a huge drop. It’s impossible to say if it is because of AI but I’m certain it has affected many other artists, illustrators and illustrator representatives and their bottom lines. I’m extremely hopeful this won’t stick, because there’s a great deal of litigation on going. AI-generated art cannot be copyrighted, which makes exclusive usage of it’s art impossible. Likewise, I believe there will be outright boycotts for companies, advertisers or products that use AI extensively. Artists and illustrators are resourceful and will find new ways of getting value for their work, even if AI affects their businesses.
What advice do you wish you had gotten as a young illustrator?
Take more trips, see more of the world and get inspired while you’re still young. Your deadline-driven career and children will make travelling much harder, later in life.
What is more important concept or technique?
For me, it’s concept. I love a genius idea more than seeing technical mastery but I have incredible respect for artists that can do both.
Which project or event changed the course of your career?
While working full-time as a graphic designer, I got a call from Steve Charny at Rolling Stone magazine, to illustrate the record review section. It was a dream job and I could not believe my dreams were coming true. I had a few other jobs going on, while working full-time and I was moving in with my girlfriend that week, but there was no way I could say “no.” After the illustration was published, I got a call from an agent at Gerald & Cullen Rapp (now Rapp/Art), and met with them about representation a week later. I’ve been working with Rapp/Art ever since. I don’t think I would have gotten their attention had I not taken the Rolling Stone job. Rapp/Art helped me make the switch to full-time freelance, almost immediately.
What do you do when encountering a creative block?
Work on promotion or throw together New Yorker cover ideas that I know will be rejected. I have a list of projects I need to start when things get slow.
If you could go back and do something differently in your career, what would that be?
Get an MFA. I have taught at many colleges now but to be in a tenure-track position, an MFA is usually required. And spend much more time on self-initiated work.
What advice do you give to future illustrators?
Say “yes” to as many jobs as you can, especially early on. Don’t be picky. Someday you’ll be able to afford to be more selective. The pay may not be great at times but you’ll learn more about yourself and your process through the work you take on.
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www.danielhertzberg.com
https://www.instagram.com/danielhertzberg/
https://twitter.com/danielhertzberg
https://www.facebook.com/danielhertzbergillustration
https://rappart.com/artists/daniel-hertzberg/
https://rappart.com/artists/daniel-hertzberg-portraits/
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© no artwork displayed can be used without permission of the artist, Daniel Hertzberg.
