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Interview with Matt Hughes
Featured Artist for December 2004
Interviewed by Patrick Keith
Tell us about yourself, where you're from, your background? Do you feel that working in Georgia has influenced your perception of art?
I am originally from Michigan. I spent the majority of my childhood in South Carolina. I attended Atlanta College of Art but graduated from Winthrop University in Rock Hill S.C. with a BFA. Living in Georgia was more of a financial decision then anything else. We moved here in the beginning of the big internet boom. Fortunately, I was able to move out of that before it declined.
The fact that Atlanta is a large city as certainly exposed me to many different forms of art. This exposure has only improved my work.
What was art school like for you? Describe the road from graduating to
supporting yourself on your art.
College for me was an exciting but frustrating journey. It was very exciting because I was able to experiment with many different mediums and techniques but it was very frustrating because I was not at a level were my work conveyed what was in my head. I graduated thinking that companies would be beating down my door. It took me years to figure out that I'm the one that has to beat down their door! It's a sobering thought when you realize that these companies have a list of artists that they are comfortable with using. They know these artists can produce good work on time. Basically, you are trying to fill a position that is already filled! You are not only trying to convince them that you can produce quality work on time, but that there is a definite need for them to use you. That's certainly not an easy task.
In my career I have worked for everything from a children's toy company to a T-shirt company to a web development company to a health care company. I have been an Art Director, Creative Director, and Multimedia Director. I call these my "paying my dues" days because during this time I have also worked 110% on developing and refining my work. I have focused not only on the quality of work but also the creation of a need for my work. Without these other experiences within the corporate world I would never have had the opportunity to take a step back and define..redefine..and redefine again what exactly it is that I'm trying to accomplish. That not something that can happen over night!
So what is your day like now? Do you have a set working schedule?
My work schedule is usually 24 / 7. If I'm not physically working on an illustration I am usually thinking about it. Many times I'll wake up in the morning with a new idea or approach that I immediately try. Fortunately, I don't see it as work. I just see it as what I am intending to do.
Most of the work that you've posted are colored pencil, some with oil
for the backgrounds. What do like about working in pencil as opposed to
other mediums?
I've tried just about every medium available but I keep returning to Colored Pencils. It just clicks with me. I think it's the control that it gives me. I've worked with Oil Paints since I was 7. I can remember in College being forced by my painting instructor to use huge brushes because she felt my little #2 or #3 brush was a little too small to use for a still life on a 30" x 40" canvas!
I didn't start using Colored Pencils until the mid 90's. I was working for a T-Shirt company that specialized in custom fine art designs with a turn around of about 4 days. I tried using Oil Paints and Watercolor for the designs but they took far too long to create and dry. Eventually, I decide to try using Colored Pencil for a rush "oil paint" design that came in. The only paper we had on hand was a pad of Vellum. Ever since then I have been experimenting and testing every possible medium or technique I can find for Vellum and Colored Pencil. I originally experimented with Acrylic and Airbrush on Vellum. It was only this past year that I started using Oil Paint with Colored Pencil.
Can you describe your creative process - how you come up with ideas for
a new piece and how you take those ideas and create a finished piece of
art? Describe your working method and technique for creating your
pieces.
All of my illustrations begin with a concept, story, or myth. I see myself as more of an interpreter of ideas then a creator of art. I go 90% on instinct. If an idea excites me I go with it. Once I find an idea or concept that excites me I let it sit for awhile in my head. The idea usually starts to form as shapes with one section in focus (usually the face). I describe it similar to viewing an image underwater. The image is almost like a scene from a move that loops in my head. For example - if it's an angel with long flowing hair the hair will be waving in the wind and the wings will be moving. Once the idea begins to focus I can rotate and move the scene around in my head until I find the best angle or composition. It's at this stage that I try to sketch out the idea. Once I get the sketch to a level that I like I will enlarge the original 2.5" high sketch to around 6" and refine it. I have found that by keeping the original sketch throughout the design you keep the excitement and simplicity of the idea in tact. When you work this small you tend to be limited to just shapes rather than the eyes of the figure or the design on their sword. It helps to keep you from becoming lost in the little details. Any good illustration is based off of a very sound composition.
Next, I have photos taken of a model with the proper lighting and costume. One of the most valuable components for my work is a good model. A model helps to make your idea become real. 9 times out of 10 the model will refine the pose to a level I would never have thought of on my own. It's this interaction with the model, lighting and camera angel that raises the level of my work. Once the photos are complete I revisit the sketch with the new photo references. I enlarge the final sketch and transfer it to my "canvas". From this point on it is a mixture of Colored Pencil, Oil Paint, and sometimes Airbrush that result in the finished illustration. It is certainly not a technique that I have defined or mastered in any way. 50% of my time is spent correcting happy "mistakes" that occur from experimenting. If I'm lucky, I produce a final piece that is close to the idea that originally formed in my head.
How is it working with models? Do you shoot your own reference photos or prefer to work from live sittings?
Working with models is a must! When an artist is working with a good model it shows in the final piece. I have been very fortunate to work with some wonderful models in the past. They have been invaluable to my work!
Because of the nature of my work and my ever changing technique I work strictly with photo references. I prefer to be present at the shoot in order to supervise. In the past 8 months I have taken more of the role of the photographer.
Do you favor a particular board or surface that is more suitable to your working method?
I use Architectural Vellum with a low wax finish. Unfortunately, there is not a set scale for the majority of Vellum on the market so you really have to experiment with different brands to find the right one for you.
Tell us about some of the places your art has been published. How did the Metamorphosis: The Art of Matt Hughes book come about?
My first big published work was the cover illustration for Lady Death: River of Fear for Chaos! Comics. Metamorphosis came about in San Diego. Through a friend I was introduced to MG Publishing, a German based publisher, who where set up at the Comic Con International. We basically decided over a few drinks that my work would do well with their European market. They had published Boris, Julie, Royo and Olivia in the past with great luck and felt they needed to expand. It took about 7 months for us to get everything together and printed but it was certainly worth it! Because of that publication I have had several projects come out of Europe. About 6 months later SQP Publishing produced a US version of the book which also did very well. Since then my work has appeared in Realms of Fantasy, Heavy Metal Magazine, Magical Blend Magazine, Tree-Free Greeting Cards, cell phone screens, a Spanish Heavy Metal band CD cover, several limited edition prints, and the Lord of the Rings After Oscar party card set.
I have been reading about the history of Boudicca for a few years now.
How has this figure influenced your art? Also tell us how the Lord of the Rings card set came about.
Much of my work has focused on powerful female figures. The Queen Boudicca illustration just made sense. I originally looked into her legend about a year ago and was intrigued not only by the story but by the fact that the Roman government tried to remove her from history! I produced one illustration and waited a year before doing the next. The Lord of the Rings project came about from a discussion with The Prints and the Pauper Publishing. They were sponsoring the After Oscar party in LA and wanted to produce a set of greetings cards to go in the gift baskets for the cast and crew. Of course, Queen Boudicca jumped in my head immediately. Once completed, we decided to produce limited edition lithographs of the illustration. So far we have had a very positive response from them! I still have one more illustration to produce of Boudicca. Hopefully I'll get the chance in the near future!
What advice would you give to new artists who are just beginning to develop their talents?
Experiment. Try any new technique or style that pops in your head. If you go looking for your style you will never find it. Your style is something that will develop over time and with much work. Once you develop it you will never be able to escape it.
What do you think the most important thing is for an artist to learn, technically speaking?
Modeling and composition. Everything else is just decoration. Once an artist becomes proficient in these areas he is more confident and open-minded to try new things. All artwork, whether it is abstract, photo-realistic, traditional, or fantasy is derived from these elements.
Tell us about some of your favorite artists and influences.
The majority of my influences are Pre-Raphaelite artists such as J.W. Waterhouse, Sir Lawrence Alma-Tadema, William Holman Hunt, and Frederic Lord Leighton. Other influences are artists such as Alphonse Mucha, Frank Frazetta, Drew Struzan, Olivia, and Boris Vallejo.
Are there any other Epilogue artists whose work you admire?
Epilogue is a virtual warehouse of extremely talented artists. I regularly visit the newly listed art section for inspiration.
What do you do when you're not working on art? Got any interesting
hobbies?
I like to play guitar. It has always been a passion of mine. I also like to collect Silver Age Marvel Comics as well as Anime art.
If you could work with absolutely anyone (artists, companies, writers--anyone at all) on a project, who would it be?
I would love to work with either Steve Vai, Joe Satriani or Ozzy Osbourne on an album cover. That would certainly be a highlight for me!
And, it wouldn't be an Epilogue interview if we didn't ask, what cartoons did you watch as a kid?
Spiderman and His Amazing Friends, Silverhawks, Thundercats, G-Force, SuperFriends. Today I watch Cowboy Bebop, Inuyasha, Wolf's Rain, Ghost in the Shell, and Outlaw Star.
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