An Interview With Johnny Dombrowski
Interviewer: Tae Querney
TQ: Tell us a little bit what you do.
JD: Beyond the basic tag of being an artist, I’d consider myself an illustrator in particular. While I do have moments where my work may blend over into fine art, I think it’s safe to say that the majority of my work is illustration. Of course, illustration can be considered fine art as well but you know what I mean. We could be here all night if we start up that argument. In my work I always try to add a bold or graphic sense or… I don’t want to say style but that’s what it is. As much as I hate that word. And as for medium, I tend to work with pen and ink and, until recently, color digitally. I’ve been trying to move away from digital color and add a bit more traditional medium into my art. It’s not that I hate digital coloring now- it’s just that I’d like to get to a point where I’m not as dependent on it as I use to be.
TQ: What was the worst critique/review/feedback you were ever given and how did it make you feel?
JD: Now that I think about it, my worst critiques were the ones that didn’t really say anything. Only awkward silence with the occasional I like it or it’s nice. It’s incredibly frustrating. As corny as it is, I tend to be my harshest critic so I’m always up to hearing about what people think about my work. A few comments here and there have stung a bit, though. Things like I was behind the curve or that I was wasting my time. I’ve also been told more than once that my work was trying too hard to be perfect- which seemed ridiculous at the time but I understand what they mean now. I just need to relax and stop being so precious with my work. Start having fun with it again.
TQ: How did that experience change or not change the way you feel/felt about your art?
JD: Actually, I’m the most excited to get back to work after a critique. As long as it’s constructive, that is. I can tell if I have those simple realizations. Those “My god, why didn’t I think of that” moments. It really gets me in the mood to put them to the test as soon as I can.
TQ: What did you do about it?
JD: They’re little things that change my work bit by bit. Hopefully for the better. My style has loosened up and the process is becoming just as fun as having that finished product again. I’m trying to be more daring, trying new things. All of that came from critiques. Either from myself or from others.
TQ: Where do you get inspirations for your illustrations?
JD: That’s a good question. Everywhere, to be blunt. I love subject matter either from nature or from other cultures so I tend to look there. After that I just search through the internet day and night and hang on to anything that catches my eye.
TQ: Who are your influences?
JD: I get a lot of influence from artists like Tomer Hanuka, Sergio Toppi, and Moebius. Along with that, I’ve been looking at artists like Egon Schiele, Gustav Klimt, Alphonse Mucha, and J.C. Leyendecker to name a few. I try to look everywhere just like I would for inspiration.
TQ: You recently graduated, what are your plans now that you’re out of college?
JD: Now that I’m out of school, I’m trying to get my name out there and continue to work as a freelance illustrator. I’ve done a few small jobs so hopefully that will be just the start of many more to come. For the time being I’m just trying to make ends meet. I’m working as a studio assistant and I’m interning at the Society of Illustrators right now, which is amazing. To be surround by illustration both old and new like that is a dream come true.
TQ: Do you feel like you got the best education as an illustrator?
JD: Enrolling at the School of Visual Arts was probably the best choice I’ve made in my entire life. Not only are you in constant reach of artists in the business right now but also you’re in the heart of the city which doesn’t hurt. I had the choice to go to a few other art schools but New York City made the final decision a lot easier. The illustration program at SVA is incredibly up to date while not forgetting about where it came from. I would strongly recommend it to anyone interested.
TQ: What would you like to say to the other underdogs out there?
JD: When you’re putting together your portfolio, try not to make it too general. You shouldn’t be drawing what the art directors are interested in but instead, what you would want for future jobs. They’re going to hire you based on what work you have so it has to be stuff you enjoy drawing. That, and keep it fun! Don’t get stuck in anything too repetitive. It never hurts to experiment once in a while. Even if it’s only in your sketchbook.
To see more of Johnny’s work, go to:
http://johnnydombrowski.com/
http://www.johnnydombrowski.blogspot.com/
http://twitter.com/jdombrowski
