I know a lot of people in the illustration community know who you are, but for those who are unaware, tell us a little about yourself.

I’m a 29 year-old illustrator from Southern California, currently living in Brooklyn, New York. I went to Art Center College of Design in Pasadena, where I graduated from in 2005. Since then I’ve done work for a lot of major magazines, including The New Yorker, the New York Times, Esquire, Playboy and Rolling Stone. I’m currently on the cover of the Communication Arts Illustration Annual.

Your career has been steadily on the rise since graduating from the Art Center College in 2005. What are some of the key things you’ve focused on in managing your career?

Earlier on in my career the focus was on branding myself, and regular promotion. By branding I don’t mean having a logo or anything; it was more about making it clear to people what kind of art I was appropriate for. In short, aiming for a specific, small audience that I was right for already rather than try to go after a broad audience with general appeal.

But what’s really helped it take off since then is doing good work. The last couple of years the only reason my career has continued to grow is because I am obsessed with making better and better work. I still promote occasionally, but it’s not nearly as important as the work at this point.

Some illustrators lack in areas of marketing, showing great work is one way to market. What are your thoughts on effectively marketing one’s work?

The thing that I find works the best is also the hardest to do when you’re not getting work; and that is to not try to appeal to everyone. Basically you should focus on the strengths of your personality. At one point I literally made the decision that I wanted to be the “manly man’s illustrator,” meaning that when an art director needed a seriously macho and vaguely self-aware illustrator that he or she would first think of Frank Stockton. The reason it worked is because there were already 5 or 6 superstar illustrators out there who could also draw well and had a design sense that’s similar to mine. If I couldn’t be better than Nathan Fox, for example, perhaps I could be more appropriate than him for certain jobs. As I became more known, it became easier to branch out and sort of round out my artistic personality, which makes me much happier.

What is the difference between fine art and illustration?

I don’t think illustrators are fine artists; to me that’s like asking if illustrators are graphic designers — and the short answer is that they have a lot of commonalities, but aren’t the same thing.

Now for the question of “is an illustrator an artist?” I say, yes without a doubt; one has to be an artist to make a living in a creative field. Of course the next question that goes up for debate is “who is more of an artist?” etcetera. I personally find those kinds of debates to be pointless and distraction from making art. Let’s leave them to people who would prefer to muse rather than create. I realize that because I’m in a commercial field where there really isn’t a need for critics that it’s a luxury for me to say such a thing, because such debates are essential to the commercial success of a fine artist.

We all have the power to define ourselves however we wish as artists; it’s simply a matter of being conscious of how you’re presenting yourself to the world. Make no mistake, a fine artist is a commercial artist, just like an illustrator or a graphic designer– they just work in a different field with a different paradigm.

There are a lot of strong correlations between fine art and illustration. How important is it for both new illustrators and long term practitioners to constantly distinguish between the two?

I think it’s endlessly important to be aware of how you’re viewed by others and set yourself up for the kind of career you want. Outside of that, I don’t think there’s much of a point to thinking about it.

Have you found ways to effectively balance the needs of a fine artist and illustrator? Is it an ongoing struggle?

The simple truth is that my art is my illustration. I’ve learned over the years to make compromises to satisfy the client, which is one of the biggest differences between being an illustrator and a fine artist. Making changes starts to wear on you, though, and I think it’s one of the main reasons that a lot of great illustrators don’t last more than 10 years or so before moving on to gallery or some other kind of work.

In your blog you talk a lot about your process and development. It has really opened up a dialogue between students, professionals, and those interested in illustration. What prompted you to start writing?

The blog started as my way of giving something back to aspiring illustrators who wanted to come up through the ranks. I figured if I wasn’t able to teach in a classroom, perhaps I could still offer something of value on my blog.

Dealing with art directors is as much a part of the process as choosing the correct composition. What are some of the key things to keep in mind when dealing with art directors?

Breathe deeply and consider taking up the practice of meditation. Exercise daily and surround yourself with loved ones. Oh, and eat good food.

If you do all those things, it will be a lot easier for you to accept that sometimes changes must be made. You’re there to serve the client, but don’t be afraid to stand up for yourself if necessary. Changes are good; it means you still have a job and they haven’t killed it yet.

Speaking from your own perspective, what is the biggest challenge of today’s illustrator?

The biggest challenge is time management. Set aside time for yourself and for your loved ones, and don’t bail on Mother’s Day dinner just because Okeechobee Weekly called and wants you to do a half page illustration for $150 over the weekend. Some things are more important than a tear sheet. And if it’s any consolation, they probably won’t send your check for 60-90 days, anyway.