Eshwin Dhir [eshwin]
What is your specialty in illustration?
Sequential Art, Storyboards, Comics, Conceptual Art, and working in the film medium as an Art Director. Basically, anything where I can tell a story or help tell a story with visual means.
What are your regular clients like? What do they expect from you?
Although I currently work on more long term projects in independant films and am producing my own comic, the bulk of my work has been in storyboards. My clients are filmmakers and commercial directors who need a fast turnaround, as tight sometimes as 24 hours or less from the time a call is made to me. Normally a lot hinges on deadlines with high profile corporate clients such as Budwesier or Wal-Mart, so it can get a little hot in the kitchen. Ultimately, though, the trade itself taught me a great deal in terms of visual narrative, which is what I am now carrying over into my sequential work, as I leave storyboarding behind me.
Is there a web address where we can see some of your work?
Some of my past work can be viewed at my webpage, which as of now is not under rehaul, at http://www.eshwin.com
However, more up-to-date, current work can be seen at http://www.eshwin.blogspot.com
Have you completed formal art studies, or are you self-taught?
I have a B.F.A. from the University of Toronto which is a more exploratory, interdisciplinary, critically minded focus on fine art, and a B.A.A. in Illustration from Sheridan College, which was more applied, I suppose.
To be honest though, 'formal studies' really amounts to teachers telling you how to use a medium, and tricks to help break down tone or shape, usually of the human figure after they've placed it in front of you. On some level, every artist is self-taught, nobody holds your hand. School itself is overrated. Practice matters the most.
How did you get your first full assignment? What did it involve?
I worked my way up from small independent projects for friends until I had a portfolio that attracted paid work. Many of my early jobs were obtained simply through word of mouth.
What past or present day illustrators do you admire most?
While I've studied many fine artists, I will always be truly in love with comic books. Paul Pope, Mike Mignola, Neil Adams, Brian Bolland, Andy Kubert, Phil Jimenez, Tony Daniels, Hiroaki Samura, Frank Miller and Jim Lee are all huge art heroes to me. There are many more, but its a very long list. I am also quite fond of James Jean and Frank Stockton.
How similar are your current drawings to those you did as a child?
When I was 6 I wanted to draw an awesome Batman. I am 28 and I want to draw an awesome Batman.
I have yet to receive an assignment involving Batman, but I have my private sketchbook and I can dream, can't I?
What was your favorite comic book as a child?
The Killing Joke, Written by Alan Moore and Illustrated by Brian Bolland.
Do you have a particular style, or does it vary a lot?
I am always looking to improve, and sometimes this can mean I change my style, causing it to vary within a single project, such as it has for the concept work I'm doing currently for a horror film.
Basically, I just try to create the kind of drawings I like to see, and whatever style emerges out of that is, I suppose, my style. I don't think about it much more than that.
What is hardest to draw?
Highly detailed architecture and man made things. Living, organic things, even if I can't draw them, I can pick up with some practice. But cityscapes, cars, even jars or cups, are more of a challenge.
What type of music do you listen to while you work?
Anything, from Bob Dylan to Joy Division to Guns 'N' Roses, even a lot of electronic such as Nightmares on Wax. I also enjoy soundtracks by Hans Zimmer.
Do you have a favorite work of art?
Answering that is like answering what my favorite song is. Different art for different aspects of myself. I have too many favorites.
What do you do when a client simply says "I don't like it"?
I ask them to clarify, and discuss how the work can be improved or tailored to suit the needs of the client. Then I change it.
Sometimes the client is making a big mistake, and other times, they are being unreasonable. In those situations I speak my mind, and usually, things work out.
The best thing to do is be firm and clear before you ever agree to a project about what you'll tolerate and how you work and what kind of work you do.
What new techniques have you been experimenting with lately?
Drawing and inking by hand, and coloring with the computer, using Photoshop. I supposing I am playing around more with how I draw, the level of detail and the angles I've been working in, as well as the compositions themselves.
What part of your work do you do on paper and what part digitally?
I draw and ink by hand -- nothing like it! I do the 'painting' and some texture using the computer, along with a few filters at times.
What research do you do for your illustrations?
I do a lot of sketching of a given subject from many different photographs or I'll find a museum, zoo or other environment that may have that subject. After I think I know the subject well enough that I can draw an original image using my imagination as the only reference, I move forward.
Do you have colleagues with whom you share techniques, tricks, ideas, etc.?
Yes, many of my friends from art school are also my closest friends now, and even though we work in very different ways and in different industries, we do share how we work with each other.
Do you have any specific goals as an illustrator?
I would like to tell compelling stories, and create work that I can look at, and be proud of myself for doing.
What illustration web sites do you frequent?
I mainly look at artists I like, their individual websites. I rarely visit web sites about illustration, generally.
What are you working on now?
I am currently producing narrative work for a show in June , as well as working on a comic book and art directing a feature length horror film.
What advice do you have for someone who likes to draw and would like to make a living from it?
Draw all the time, draw when you don't want to draw, draw things you find hard or impossible. No matter your style, if you can draw, you will never be out of work.
|| ||Carlie Russelle|| |
|| ||Calvin Innes|| |