BuscandoLa Gráfica: Jessica Fortner and a very graphic world

((THIS IS THE ORIGINAL TRANSCRIPT OF THE JESSICA FORTNER'S INTERVIEW. IF YOU'D LIKE TO READ THE TRANSLATED VERSION CLICK HERE))

Jessica Fortner is an illustrator from Toronto, Canada, focusing on editorial, advertising and children’s illustration. She works in both traditional and digital media. Jessica’s illustrations have appeared in publications such as Juxtapoz, Ammo Magazine, Digital Arts, and Pork & Mead, as well, she has been considered one of HOW’s Top 10 Sites for Designers and recently featured on Communication Arts: Fresh online.

She is co-founder, editor and designer of the online arts magazine Squidface & The Meddler, and founder of the arts site Tangled Fingers. A design enthusiast, she’s particularly fond of sustainable design, interface design and typography. She is a contributor on FormFiftyFive, A design blog showcasing the best work from artists and designers.

Here on Buscando LA Gráfica we bring you an interview that Jessice kindly accepted to. Don't you forget to visit her website and her behance. Again, if you'd like to see the spanish version click here.

Animælström

Is illustration what you always wanted to do since you were younger, or you had other plans in sight?
I always wanted to do something creative but never really knew what that thing would be. For some time, when I was a child, I wanted to be a writer.

Is there other graphic area that you would like to explore in the future?

I love comics and animation, and I’d love to try my hands at both. I have dabbled a little bit in making short 4-panel comics and short looping animations, but would love to do something more in-depth.

Was there a time in your career where you like, wanted to give up?

No, not give up. I used to make sculptural illustrations and found that it was too limiting in regards to the type of work that I wanted to create. I decided to switch media. Though it was scary at the time to completely change what I was doing, I am much happier for it now.

You think you've got a signature style? or, how would you define your work in a few words.
I’m not sure about a signature style, as I feel that it’s always changing. I guess you could say I do have a certain approach to my work that tends to be towards abstraction. Personally, I like very graphic work and that definitely shows in my illustrations.

The Tiger’s Tale

Do you take breaks from work, or are you always sketching, coming up with ideas, etc?

Yes, I definitely take breaks. It’s important for me to take time to recharge and think about different things, otherwise I burn out pretty quickly.

I read that in your work for "365 Days of Type" you made a reference to The Shining. Do other arts like cinema, literature and music influence your work?
Yes, absolutely! For example, I love the way Stanley Kubrick composes his shots dead-on, so visually stark and symmetrical. I’ve tried similar composition in a lot of my illustrations.

Do you have a sort of routine or ritual for when you start an illustration and during the making of it? Like, do you listen to music or a playlist you've made, work in a special place, take little breaks...? And how long does it usually take to finish an illustration?
I’ve never really thought of it as a routine, but when I’m coming up with concepts I need quiet, no music, no distractions. Once I start working on the final drawing, then I like to listen to music. Inking and colouring requires something a bit more and I tend to listen to podcasts (like radiolab) while I work. Depending on the project it can take anywhere from a week to two weeks and sometimes less than that.

Snowball Animation for Christmas

Were you nervous when you got your first big job or you were rather excited about it?

Probably a healthy mix of both. My first big job was with an art director who I’d really wanted to work with for some time. I hoped to do a good job, but at the same time I was afraid of messing up. I didn’t want to let my client down. I still get those feelings now and again. I always want to create the best image I can.

Tell me a bit about the online arts magazine Squidface & The Meddler.
I founded Squidface & The Meddler (an online magazine) with my boyfriend a few years ago. Our goal was mainly to create a place to showcase the work of emerging Canadian artists. We wanted each article on our site to really give the artist due attention and the graphic treatment you would expect from a feature article in a print magazine. This means long, in-depth articles and interviews, each with their own custom design/layout consistent with the style of the artist being featured. We’re both addicted to the experience of opening a magazine with long, beautifully designed articles, and want people to get that feeling when they come to Squidface & The Meddler. So far it’s been incredibly rewarding to get to know artists we admire and have the privilege to feature their work on our site.

I know that when you're working for a client they have their rules, but within those limitations and rules do you feel you have the enough freedom to develop the graphic the way you want to?
Yes. I think clients tend to come to me for my approach to image making. I always find it rewarding working within a brief. It can be challenging, especially depending on the content, but most art directors that I’ve had the pleasure to work with trust me with creating an image that suits the content.

Snake Charmer

I notice that your work tends to have a contrast of vivid colors, shadows and detailed textures, which makes the graphic striking. Do you previously have in mind a palette of colors before you start?

Colour is one of the few things that I never really have “set-in-stone” when starting an illustration. Sometimes I have a specific set of colours in mind for an image, but most times I don’t have any idea of what the colours will be at all — it’s the only place I allow for “accidents” to happen within my work.

How important do you think is female visibility and representation in the graphic and art area?
There are lots of very talented female designers/illustrators, etc. It would be a shame not to know them. I feel fortunate that there are people who dedicate their time to sharing them. The illustration and design industry is still very male-dominated, so any visibility for women creatives helps to tip that balance a bit.

With a deep gratitude to Jessica, I invite you all again to see more of her illustrations in her website, and to appreciate the graphic work.