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Want to know more about the main stage speakers at ICON11? In the third installment of our series #ICONspeak, we’ve chatted with Loveis Wise.

Loveis is a freelance illustrator living in Los Angeles. They describe themself as “an expression of joy and oneness with you,” and their work features bold colors and with a sense of play—all while speaking to themes such social consciousness and resilience. Loveis’ extensive client list includes The New Yorker, Google, The New York Times, BuzzFeed News, and Instagram.

For those that are unfamiliar with your work, how would you describe your style? 

I usually describe my work as joyous & vibrant!

How have you honed your visual language throughout the years?

Over the years, I learned that I wanted to cultivate more playfulness in my work but also speak to themes of social awareness, spirituality, and resilience.

Can you tell us more about how joy plays a role in your work?

I started working with this element mostly because, it can sometimes feel hard to excavate in a world where uncertainty and trauma boils over. Even the act of expressing my own joy didn't always feel as accessible to me growing up. So, in order to reclaim it, I realized that it was so important for me to create a world in my work where folks could feel into that feeling as well or even understand that it's okay for them to access it for themselves!

You haven't been out art school that long and have already amassed an impressive list of clients. What is one of the most memorable projects you've worked on so far, and what about it made it so great?

Yes! Super thankful for everything that has come my way but most recently, I worked on my largest piece and mural to date for Google's Artist in Residency program. This piece was created as an ode to the future generations of creators and to my ancestors for transmuting their pain into a dream of what the future could be!

What’s one topic you’re passionate about in regards to illustration and/or the illustration community at large?

I'm very passionate about sharing the intersections of Black and queer identity and while I was in art school, it sometimes felt as if most Black and Brown illustrators were often left out of the conversation. I then made it my mission to research them heavily and bring them up more in conversation during. Sharing underrepresented narratives is very important to me because, it creates a safer space if others can visualize themselves there and can create more possibilities of what they could be!

Who is/are one (or two!) illustrator(s) that you discovered during your research that you think more people should know about?

What came to mind was Clementine Hunter, Jackie Ormes, and Remedios Varo.

Have you been to ICON before?

Yes! My first year attending was actually back in 2018.

What can we expect when we see you at ICON11?

Definitely a friendly face and hopefully some inspiration! So excited to meet you all!

[theillustrationconference]

We spoke to Angie Wang for our second installment of #ICONspeak, a series highlighting some of the speakers you’ll see at #ICON11.

Angie is an illustrator and cartoonist living in Los Angeles. Her experimental style has captivated a slew of editorial clients that include The New Yorker, Vox, Google, BuzzFeed, and NPR. In addition to illustrating, she is a co-founder of the annual comics festival Comic Arts Los Angeles.

For those that are unfamiliar with your work, how would you describe your style? How have you honed your visual language throughout your career?

I think of myself as a grab bag—I never know what style is going to come out, or if it’s going to look good or work. This might sound bizarre, but it’s the way I function, it’s the way I stay excited and engaged and fresh. That’s the only pattern across all of my work, that very little of it looks exactly alike. Three years into my illustration career, I decided to destroy my existing (colorful, linework-oriented, delicate) style and draw in a completely different way (messy, textured, watercolor) instead, and I did, until I got tired of that too. These days, I don’t settle on anything. My dream is to approach every image in a completely new way, though it doesn't always work out like that due to time pressure.

I will say I tend to be more naturalistic than abstract, more controlled than loose, and more clean than gritty. Those are long-term inclinations that I haven’t been able to shake yet.

You've won a James Beard Award for your work. What was the project that won you that honor?

I won a James Beard Award, and my friends all thought it was for cooking at first! But it was for an article I pitched to Eater called "In Search of Water-Boiled Fish" about my quest to find specific Chinese food in the United States that constituted important parts of my memories in China, water-boiled fish in particular. I loved seeing the response from people all over the world who had important food-memories of dishes they were desperate to eat again but couldn't find anywhere. The award was a very pleasant surprise and a big honor.

How did you get into animation? How much of your work is animated versus static these days, and how do your approaches to the two ways of working vary?

I worked for almost seven years on Steven Universe, and folks on the crew—Danny Hynes and Rebecca Sugar in particular—taught me basic animation for fun, one lesson at a time: antics and overshoots, timing, smears, waves and arcs, etc. They were able to see all the tiny details that make a good animation (which is very different from what makes a good illustration): when motion feels dead because the timing was too even, or how redrawing a pose almost exactly the same before it settles makes the movement feel like butter. Suddenly there were all these new rules I had to learn, and every time I applied one of their lessons, I could see the difference. I didn’t have any interest in animation before, but learning from them made it feel accessible—less like a complete skill other people had that I didn’t understand and more like a skill I could internalize in little steps.

That’s how I got interested in it. I wouldn’t call myself anything more than a beginner, a total amateur, and all of my animations are experiments, me applying one lesson after another or trying out another method of rendering motion. These days, most of my professional work is still traditional illustration, but most of my personal work right now is about exploring animation.

The other part is that I fell in love with dance several years ago, and it's created an impulse for movement that wants to be expressed either through bodily action or through creating motion on a screen. It's inadequate to capture an arabesque as a still image at its peak. Dance is about every part--the entry, the arc, the exit, the transition—so a single image doesn't do it justice.

What’s one topic you’re passionate about in regards to illustration and/or the illustration community at large?

Unionizing! I joined the Freelance Solidarity Project last year. They’re still a very young union but cooking up some big projects, so the input and involvement of illustrators would be invaluable to their efforts. Now is absolutely the time to join if you want to have a voice in how the whole union is structured and in terms of setting priorities—it's very exciting.

I'm excited about unionizing because minimum rates for editorial illustration have stagnated across our industry for more than a decade. Especially with new media, a lot of illustrators are now doing the equivalent of full-page print art for $300 for web. There are issues with nonpayment, like with Nautilus. There's exploitation, like with spec work—even a major tech company asked me to do spec work recently. Between all of us here at ICON, we know everyone in the industry, and we'd have the ability to organize and set expectations and negotiate with major companies for better pay and conditions.

Have you been to ICON before?

I have never been to ICON before! This will be my first time.

What can we expect when we see you at ICON11?

I hope I can give a good talk about changing everything up mid-career that will help illustrators find some of that spark again.

[theillustrationconference]

[theillustrationconference]

The Illustration Academy (@illustrationacademy), in partnership with #ICON11, has just announced the winners of the Illustration Academy scholarship. . Congratulations to the five scholarship winners who will be attending the 2020 Illustration Academy leading up to #ICON11 and learning from the industry's best. . The recipients are: 🎉 ✺ All four workshops: Victor Gomez (@bizar_gomez) ✺ Workshop 1: Foundations of Illustration: Chelsea Ragan (@chelsearaganart) ✺ Workshop 2: Comics & Sequential Art: Ana Miminoshvili (@anano__) ✺ Workshop 3: Editorial & Publishing: Dennis Madamba (@denmada) ✺ Workshop 4: Concept & Character Design: Maria Rodriguez (@sparkykneecap) . . . #illustration #illustrationartists #illustrators #illustrationconference #kcmo #kansascity #illustrationacademy #2020illustrationacademy https://www.instagram.com/p/B89uCI9hjkc/?igshid=11d06f815osr4

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As ICON11 draws closer, we’re excited to introduce #ICONspeak, an interview series highlighting some of the speakers that you’ll see on stage in Kansas City.

To kick it all off is Adam J. Kurtz, an artist and author who is perhaps best known for his books including 1 Page at a Time: A Daily Creative Companion and his latest, Things Are What You Make of Them. In addition to his book projects, he designs and creates “fun, weird, sentimental, and often literal” gifts under the brand name ADAMJK.

For those that are unfamiliar with your work, how would you describe what you do?

I'm an artist and author whose illustrative work is rooted in honesty, humor and a little darkness. Originally a graphic designer who made zines and multiples for fun, my hobby has really developed into a business where I get to make books, stationery, products, and art that's sentimental, hopeful, and snarky. On social media I'm known for sharing book excerpts and handwritten "memes" and inspiration.

You've made a lot of things, and some of your best-known projects are books that speak to creative folks. What inspired you to head down this path?

I'm honestly as surprised as anyone that this is what I do! I held regular creative jobs in advertising and media up until age 25 when my hobby took over, when my zines and self-published projects led to a book deal which shockingly became a bestseller and led to more books. At no point until it was literally pitched to me by an editor did I think about making a book. Even now, I have a sense of what I'd like to make and do but there's still a lot of trial and error and surprise. It's only a path when I look backwards.

Your illustration has a text-heavy style. How does this affect how you conceive of concepts for your work?

Most of my work is just me kind of talking to myself and then sharing it with others. For example, my guided journaling book 1 Page at a Time is an unsubtle art therapy book that's meant to help encourage, distract, and push you through a year – which can feel like a lifetime when you're going through some shit.

What does your ideation look like?

My process is often just about figuring out how to express frustration or optimism or love in a cheesy-but-not-too-cheesy way. Sometimes I start with the product first ("what would be a cute keychain?") and other times it's just like "how are you feeling today?" and the answer is a literal bottle of feelings.

What’s one topic you’re passionate about in regards to illustration and/or the illustration community at large?

Uhhhhhh I guess money and value? There's so much gray area on rates and usage and Instagram reposts (aka "profit off your work for zero dollars but maybe we will tag you xoxo") and it can feel a little bit overwhelming sometimes.

Have you been to ICON before?

This will be my first ICON! I've seen photos from past events but am looking forward to attending and participating myself. :)

What can we expect when we see you at ICON11?

I'm going to dig in on permission and gatekeepers and identity and ideation… because if you're at ICON then you don't need me of all people to tell you HOW to do what you do, but it might be nice to remember more of the WHY we're all like this. And catch me in the roadshow because I'm cramming as much merch as I can fit in a suitcase and bringing it with me!!!!!!!!!

[theillustrationconference]

Kelsey Wroten, aka @jukeboxcomix, designed our dynamic #ICON11 poster. They’re now out (via the good ole mail) for you to enjoy. Have you received yours yet? 📬 #illustration #illustrationartists #illustrators #illustrationconference #kcmo #kansascity https://www.instagram.com/p/B8kDTquhOWM/?igshid=152f4t3ir9k4j

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ICON is sweet when you go with a friend! We've got 14 tickets (for 7 pairs) now available 💕⁠ ⁠ Best of all, you save $200 when you buy together!⁠ ⁠ Grab your buddy get your tickets here: tinyurl.com/ICON11tix 🎟⁠ ⁠ #illustration #illustrationartists #illustrators #illustrationconference #kcmo #kansascity https://www.instagram.com/p/B8juqDaFksI/?igshid=1ctx4juvjamvl

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We’re celebrating the Chiefs’ Super Bowl victory (the first in 50 years!) by extending our current $610 discount by 15 tickets—in honor of Super Bowl MVP, #15 @patrickmahomes 🎉 Be one of the 15 and get your tickets here: tinyurl.com/ICON11tix 🎟 #illustration #illustrationartists #illustrators #illustrationconference #kcmo #kansascity https://www.instagram.com/p/B8M-VmzB7Az/?igshid=175j6sdhkl2v

[theillustrationconference]

And then there were 4... #ICON11 tickets left at the $610 discount level! Get yours here: tinyurl.com/ICON11tix 🎟 #illustration #illustrationartists #illustrators #illustrationconference #kcmo #kansascity https://www.instagram.com/p/B8KmsfvB7eV/?igshid=bmdeiq3rlqqh

[theillustrationconference]

#myICON: Featuring Artist Robyn Phillips-Pendleton

Robyn Phillips-Pendleton is a Newark, Delaware based artist, illustrator, designer, and lecturer with a BFA from VCU and an MFA from Syracuse, University. She has shown her work in illustration and fine art venues, both nationally and internationally. She is an Associate Professor of Visual Communications at the University of Delaware, is a United States Air Force artist, served on the Norman Rockwell Museum’s Four Freedoms National Advisory Board, and was a juror for its current international traveling exhibition. She lectures nationally and internationally about the historical connection between illustrated imagery and race, and is a chapter contributor to A Companion to Illustration (Wiley Blackwell), forthcoming in April 2019.

Where did you first learn about ICON?

I attended the first ICON in Santa Fe, NM, over 20 years ago, so it’s been on my radar for quite a while.

Tell us about the best part of your ICON experience.

That's super tough!! There were so many! I really enjoyed speaking at the Education Symposium and I LOVED the two workshops I participated in. The main stage events were very diverse, and the closing party was spectacular.

How has your experience with ICON impacted your creative career?

I met and was reintroduced to so many great people! Some of these experiences impacted the exposure of my work and subsequent speaking engagements.

Any advice for ICON first-timers?

Try to do as much as you can! Definitely go to workshops; they are quite a lot of fun and allow you to experience different methods of visual expression.

[theillustrationconference]

Registration Opening Soon!

🔈🔈🔈 ICON11 registration opens 11/11 11:11 AM EST! Early bird and discount tickets available. Conference poster art by Kelsey Wroten (@jukeboxcomix​). Visit us at theillustrationconference.org.

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#myICON: Featuring Illustrator Saiman Chow

Saiman Chow has always been an outsider and uneasily defied. Starting with a move across the world to a new country at an awkward age, to an unconventional career path, Chow’s restless curiosity has led him to pursue many disciplines, while developing his unique approach over the past two decades. His works range from illustration, design, animation, directing, stop- motion, and live-action. Chow’s ever-evolving style can be described as maximalist, psychedelic and surreal, with a large pinch of absurdist humor.

Where did you first learn about ICON?

I learned about ICON when I was invited to speak around 2011 or 2012 but was not able to attend due to a conflict of schedule.

Tell us about the best part of your ICON experience.

I met an illustrator at the closing party who made this beautifully illustrated book in watercolor of the best pizza he ate around the country. Not only was I delighted to learn the possibilities of rendering a slice of cheese pizza in so many unique and convincing ways, but it was also his passion and obsessiveness towards the subject that reminded me that we should never take anything for granted for the privilege of doing what we love to do every day.

How has your experience with ICON impacted your creative career?

Too often we spend our waking hours thinking about ideas, making work, meeting deadlines, consumed with what’s in front of us, rather than taking stock of our journey that took us to where we are today. Putting together a talk is a positive reminder of all my accomplishments and it gives me a better insight into myself and the creative path moving forward.

Any advice for ICON first-timers?

ICON attendees are some of the kindest, friendliest people I’ve met. They are your people.

Everyone loves you! Just have fun and enjoy the experience.

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#myICON: Featuring Illustrator Armando Veve

Armando Veve (b. 1989) is an illustrator working in Philadelphia. His drawings have been recognized by American Illustration, Communication Arts, Spectrum and awarded two gold medals from the Society of Illustrators. He was named an ADC Young Gun by The One Club for Creativity and selected to the Forbes 2018 30 under 30 list.

Where did you first learn about ICON?

I first learned of ICON as an illustration student at the Rhode Island School of Design. ICON was hosted in Providence while I was studying there. 

Tell us about the best part of your ICON experience.

Working with Len and Julie on the ICON poster is an experience I am grateful for; they were so incredibly generous as collaborators. Also, I got to meet so many people I knew online but hadn’t yet had the chance to meet in person.  I met so many new people through ICON that I continue to stay in touch with, some of whom have become collaborators. ICON is large, but it's also a very intimate experience. 

How has your experience with ICON impacted your creative career? 

I received work as a direct result from conversations I had with art directors and illustrators at ICON. And I'm finally about to wrap up an almost year-long project that started as a conversation at ICON. 

I left ICON with a greater sense of community in our field. 

Any advice for ICON first-timers?

Sleep! So you can enjoy each day to its fullest. There is a lot to do and see. 

[theillustrationconference]

#myICON: Featuring Illustrator John Jay Cabuay

John Jay Cabuay's illustrations have graced the covers of newspapers, magazines, and books worldwide. His recent project a picture book he illustrated "Get Up Stand Up" published by Chronicle Books just got published. He also recently received his MFA in illustration from the Fashion Institute of Technology. He draws in his studio in New York's Lower East Side.

Where did you first learn about ICON?

I first heard of ICON through my illustrator friends and the first conference I attended was the one held in New York City. I remember getting a spot at the "Roadshow," and that was eye-opening for me. I met so many illustrators and art directors from all over the world and got to talk to them about their careers. I was delighted to meet art directors that said to me "Oh! I know your work! Glad to finally meet you!" From then on, ICON was on my radar.

Tell us about the best part of your ICON experience.

ICON is an amazing conference that allows you to connect, bond, and share ideas with other illustrators and potential clients. It also opens doors to discover illustrators that you may not have heard of (but suddenly, you are a fan!). I’ve met wonderful people at ICON that I now call friends (you know who you are....).

One of the highlights of my experience was when I got invited to be a guest speaker at ICON6 in Pasadena, California. I was a nervous wreck (it may have been the largest audience I have spoken to), but I got through it.

How has your experience with ICON impacted your creative career?

I find new inspirations by feeding off the positive energy and seeing fresh new work that grabs me at these events. Doors opened for me by showcasing my work at ICON conferences and I’ve gotten opportunities to work with new clients who visited the events. And by passing my business cards to art directors, I was spreading the word of my existence and connecting with potential clients.

After being a guest speaker at ICON, I remember feeling a change in the air. I felt that the work I was creating and getting after I got back that fall season started to blossom in a good way.

Any advice for ICON first-timers?

For aspiring illustrators: be friendly, be kind, and be curious. The worst thing you can do is not be sociable. You just never know who you are going to meet at ICON events. Have a business card or promo card handy. If you feel insecure about being there for the first time, alway remember that YOU are NOT ALONE.

Have a blast and create some memorable moments!

[theillustrationconference]

Make a Living Drawing Pictures: An Interview with David Pjecha, #ICON11′s Local Liaison.

I began a lifelong preoccupation with art and visual communication at a very early age. As a child, my favorite color was green and I wanted to be an astronaut. Math was not my friend and I was better with colors than with numbers, so I moved towards art and away from science. (I still like science.) I studied Illustration at the Columbus College of Art and Design in Columbus, Ohio. I made many lifelong friends there and began to understand what it meant to be creative. Most of my professional life as an illustrator has been with Hallmark Cards in Kansas City. I've been at Hallmark for many years and in that time I've watched the world of illustration go through many changes and I learned to adapt and change with the flow. Always curious. Always leaning forward and looking for something else. This is how I approach the creative process.

I'm married and have three adult children and a black rescue cat named Mike.I dream of painting and telling stories.

What's your favorite memory from past ICON conferences?

It's most satisfying to be in a setting with so many other creative people and make new friends or re-connect with old ones. There's a type of energy that is generated in this setting that becomes a source of inspiration and encouragement. ICON is an event that delivers a sense of creative possibilities. I like that.

Tell me about your practice!

I work as Illustrator for a corporation, which is an unusual mix of creative problem solving against a specific brand profile and consumer. I like the intersection of working with a developed strategy while relying on intuitive creative impulse to develop product solutions. I think this is a common challenge for illustrators, regardless of the setting or nature of the job. It allows me to bring my unique viewpoint and skills to create compelling visual content and make a living drawing pictures.

What is your studio/office space like?

My studio is on the third floor of my home and has a group of 5 north-facing windows that overlook the entrance. I live in mid-town Kansas City, Missouri. It is currently a mess as I'm remodeling and resetting the space to suit my changing painting methods and preferences. It's a hundred-year-old building with good bones. I can't wait to get back in that space.

What's your hometown and where do you currently live?

I was born and raised in Erie Pa. and I'm currently a resident of Kansas City, Missouri.

[theillustrationconference]

Gratitude and Organized Mess: An Interview with ICON11′s Local Liaison Maura Cluthe

Blurring the lines between art, illustration, and design, Maura Cluthe has spent much of her career as a collaborator, combining and working in all three disciplines. As a young student in illustration, she interned at Hallmark and continued to work there for twenty years as an illustrator, designer, and art director. While at Hallmark, she helped launch the “Fresh Ink” alternative card line and assisted in the redesign of Kaleidoscope (a creative, fun place for kids), creating an 11-foot wooden robot that doubles as a storage unit for visitors. Maura continues to freelance and show her mixed media work which, shown nationally, integrates text, drawing, photography, painting, and other “stuff” she has collected into her art.

She is currently an Associate Professor and the Associate Chair of the Illustration Department at the Kansas City Art Institute.

Find out more at mauralovestodraw.com and frag-ment-ed.com

What's your favorite memory from past ICON conferences?

Having attended several ICONs, I can say that I have lots of favorite memories. Some are specific to the location and the year, while others are broader. Overall, I really enjoy meeting fellow illustrators and art directors that I've only met online and not had the opportunity to meet face-to-face. It is really wonderful to have the time to do that and to reconnect with folks.

Tell me about your practice!

During my last several years at Hallmark, I was invited to teach within the Illustration department at the Kansas City Art Institute (KCAI), so I slowly stepped into teaching. I was teaching full-time while working as an illustrator at Hallmark part-time, while also doing gallery work and trying to spend time with my husband and maintain my life (!). It was nuts! I eventually left Hallmark to focus on my teaching, and I love it. Most of my focus these days is on my students, with freelance and gallery work mixed in. I am so grateful.

What is your studio/office space like?

My studio space is often messy and very dense (!), but it's an organized mess. HA! I love arranging things and have always loved having stuff around me, especially my books and my robots both of which are a huge inspiration for me. I also collect lots of stuff that I end up putting into the things I make and I like re-using things, so there are lots of jars and drawers filled with of all kinds of things (wooden blocks, bottle caps, photos, postcards, printed ephemera, etc, etc).

What's your hometown and where do you currently live?

I was born in New Jersey, but we moved around a lot when I was a kid so I'm not sure what I'd consider my hometown. I moved to Kansas City from Houston in 1989 and I've been here ever since. It's the longest I've lived anywhere so maybe I could consider KC my hometown. :)

Who are some of your favorite emerging creatives?

My students and our alums (!), and a whole lot of folks. There are too many to list!

[theillustrationconference]

A Big and Vibrant Community: An Interview with Adam Osgood, ICON11′s Motion Advisor

Adam Osgood illustrates GIFs and portraits for fashion and pop-culture with colorful shapes and lines. His clients include Lionsgate, Yahoo, and Hyundai. Adam’s animated shorts have screened nationally and internationally at the Siggraph Computer Animation Festival (2015) and the London International Animation Festival. He’s an Associate Professor and Program Director of the Illustration Program at the University of the Arts in Philadelphia. Adam enjoys sunshine, Gocco printing, She-Ra, classic cinema, and shoes. He recently launched motillu.com, a hub for motion-illustration.

What's your favorite memory from past ICON conferences?

Getting to see my illustrator friends who live across the country every two years is always wonderful. Because most of us work alone in our studios, it’s easy to forget how big and vibrant our community is. Catching up with old friends who can relate to what it means to be an illustrator is therapeutic and inspiring.

Tell me about your practice!

I specialize in motion-based illustration and am just wrapping up my fourth animated music video. I’ve done several GIFs and portraits as well. My full-time day job is teaching college students at UArts, and it’s a thrill to share skills with the next generation of talent.

What is your studio/office space like?

Very minimal! I work out of my one-bedroom apartment, so my studio space is just a desk with an iMac. To keep my life separated, I try not to sit there unless I’m working on an illustration project.

What's your hometown and where do you currently live?

I’m from the Chicago area, but I’ve been in Philadelphia since 2017.

Who are some of your favorite emerging creatives?

I am enamored with Yukai Du’s motion work. She animates graphic shapes, pattern, and color in a wholly unique way.

I also love watching Loveis Wise’s career exploding. I had the pleasure of working with her while she was studying at UArts and am so happy for her success. I love seeing her work everywhere and can’t wait to see what she does next.