1) What draws you to working with images of people and personalities?

I'm not all that sure, but what I do know is that drawing and painting people never gets old for me.  I enjoy the challenge of capturing a person's "essence".  I'm not as interested in being funny, or exaggerating as much as I can.  I draw what I'm feeling, and sometimes there's no need for exaggeration.  I have the ability to exaggerate a lot, but I feel it's an ability that comes with responsibility!  Just like Spider-Man!  :)  I really enjoy drawing and painting eyes, I feel that you can get a lot out of a person's eyes and it's so important to get that right while drawing and painting.

I'm actually interested more in painting normal or "real" people rather than celebs.  If I choose to draw or paint a celeb on my own it's because I'm either a fan of their work or because I'm interested in they're outward appearance.  Some people have interesting stories, they come from an interesting background . . . this may intrigue me to draw them?  Other than that, for editorial work, I paint anyone that the art director wants me to paint.  I gather as much reference on the person as I can and do as many sketches as I can, depending on the time given . . . then, I do the best I can to portray that person in a way that pleases the art director and editor.

2) What is the most important part of capturing a likeness?

It's important to use the "right" reference.  Don't use images of a person that are distant from the way you see them in your head.  In other words, don't try to caricature Tom Cruise from a weird picture taken of him at some party where he's making odd and strange faces.  I've seen this a lot, just because it's a picture of Tom Cruise, doesn't make it a good representation of who and what this person is.  So it's important before you even start to draw that you have the right reference.  When I start drawing, I of course decide what is special or unique about the person's face, I try to understand the relationship between the eyes, nose, and mouth.  Then, what's they're relationship to the rest of the head?  As I draw the face, I spend a LOT of time on the eyes, the eyes for me are most important in capturing the "essence".  The next area I spend more time on is the mouth.  And then I focus on head shape and posture . . . I don't forget about anything, I take care in little things such as the hair lines and ear shape and form.  I try to keep in mind that what I'm ultimately trying to do is enhance the truth, exaggerate and push what really is.

3) What are the most fun and the most difficult things about doing caricature?

The most fun for me is painting, I enjoy drawing, but painting for me is the best thing, and my favorite thing to do.  I enjoy bringing a bit of humor to this world . . . it's a great feeling to know that people get a kick out of your paintings, that they bring laughter and so forth.  I'n not sure if there's anything really difficult?  There are always times in every piece that I work on where I feel like it's not going to turn out, that the painting isn't looking the way I want.  But I eventually turn it around.  It's also a challenge to be original.  I don't look at any other caricature artists out there . . . in fact, I don't really think of myself as a caricaturist, more of a portrait artist who exaggerates, stylized portraiture.  I'm more inspired by artists like Sean Cheetham, or Jeff Hein.

4) Do you have any pearls of wisdom regarding dealing with art directors and freelance clients? 

Well, one bit of advice I can think of right away is know that as an artist you're not just trying to please the art director, but more importantly the editor.  And they're much harder to please.  The problem is that in most cases it doesn't seem like the art director and editor communicate all that well together?  So when I get an idea from an art director and he or she approves my sketch . . . I always ask them to show it to the editor right away before I start painting.  It's the worst when you've spent
hours painting and the editor sees it and says "Oh, that's nothing like what I wanted".  Usually you still get paid, but it's frustrating to say
the least!  My other bit of advise and this should go without saying . . . never, ever miss a deadline, and always work as if you're working for the biggest client in the world even if it's only for the smallest . . . your name is on that illustration, people talk, give it your all, all the time.

(Read more about one of Jason's particularly interesting editorial art experiences on his blog here >> )

5) Tell us how you like to work (digital, watercolor, pencil etc)

I prefer to paint traditionally over digital.  I love the interaction with real paint and board or canvas.  I love acrylics, oils, and watercolor. Most my work for magazines is done digitally because of the quick turnarounds.  Also, I don't think magazines pay artists nearly enough for me to break my back over a beautifully painted oil or acrylic.  Also, when you paint something traditionally, you have to scan it in, sometimes in pieces, piece it back together, color correct it, or have it photographed, then color corrected . . . that's a lot to do for not so great pay.  With digital work, I can email final art moments after I finish with the painting . . . makes more sense.  I still enjoy painting digitally, but it's not the same enjoyment as painting traditionally.

6) Now that you're publishing, teaching, blogging, illustrating - What's the next big thing you want to accomplish in your career?

I plan to continue doing what I'm doing now.  Last year I did some character design work for Tim Burton's Alice in Wonderland and a few of my ideas made it into the film . . . it's a cool thing to see something living and breathing on screen.  I'd be into doing more of that if the opportunity presents itself.  I'd also love to paint a cover for a film one of these days.  I have a few projects of my own in the mix, still in my style but geared more towards the fine art and gallery world.  I have some new books in the works, but they're much, much different than what anyone would expect.  All traditionally painted and there's a story involved . . . a hint . . . sort of graphic novel-ish!  It's a secret now, I'll share more as I get closer to finishing the projects.

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