So, this is what Tony Rodriguez sent me when I asked for a self-portait.
Illustration of Prince courtesy of Tony Rodriguez
If that doesn’t succinctly tell you who he is, I just don’t know what will. Sometimes someone new comes and they seem pretty cool, maybe even a little over-energetic, but it’s only when you stop to take a closer look that you learn that what’s below the surface is way more interesting than originally considered! This is definitely the case with Tony Rodriguez, one of our newest illustration professors at SCAD in Atlanta, who unfortunately, I may never have (*sad face). I met Tony this past fall when he, along with another amazing professor, Shelley Laband, became our new illustration department professors. Tony was super energetic, always getting students to try doing new side work with fun companies he is linked to. It wasn’t til about mid-Fall Quarter that I was feeling out my article for Stranger Things, that I was stopped in my tracks by some amazing works by Tony at Open Studio Night. I had been looking for some illustrations, kind of passively, for weeks, since I first knew I had to write about the show, and here they were in a complete package. After asking him abou them and inquiring whether he would like them to be a part of my article, he heartily agreed and sent them to me right away. From then on, he’s been my new fabvorite Prince lookalike. Also, I knew he’d be a super interesting subject for an article, after a brief interrogation, I learned where he gets some of this energy, how he makes his art and what he has learned from so mentors in and about the industry. So, whether you are a visual artist or simply a creative looking to stimulate your career, you will benefit from what he has to say. You’re welcome. Hope you enjoy this as much as I have.
The Real Tony Rodrguez, by TR
Christine Burney (HCSCADATL): Where are you from and what made you want to get into Illustration/the creative industry?
Tony Rodriguez: I’m from Pembroke Pines Florida; the suburb-iest of suburbs. My drive to enter the illustration industry stems heavily from my father and my high school art teacher. I’d say they were the main sources of inspiration that truly propelled and inspired me to pursue a career within the illustration industry.
CB: You are a SCAD Savannah alum, what was your experience there? At SCAD in general?
TR: SCAD Savannah was like a dream. The town felt like it belonged to the college. As a result, I was constantly surrounded by creative people; people from the U.S. and folks from overseas. I can’t remember a time where I mixed with so many different cultures for 4 straight years. As college can be quite the culture shock and one’s early 20’s extremely transformative, It was difficult to focus on my work to say the least.
CB: You have come into some serious success in your career, having been featured in The New Yorker, Rolling Stone Magazine, The Washington Post, The Boston Globe, and more well-known publications. What are some things you did while in school to prep for success later?
TR: While in grad school, I took a course with Lisa Cyr. It was meant to be a kind of self promotion course. However, it took the shape of something different. The first time I spoke with Lisa over the phone, she asked “What would you like to do as a profession?“ I mentioned illustration and education. She then tailored the class to these desires. The course was unconventional in that it was tailored to the desires of each student. Lisa taught me how to create a vitae, online portfolio, and how to maintain an overall habitual web presence as an artist. I’d say that aside from media experimentation, it was this class that really prepared for the business aspects of the illustration industry.
Related Article: A Strange Way Forward: How Stranger Things Teaches Us How to Move Forward
CB: Do you have a specific process you use to get into your creative mode? Like, listen to certain music, sketch a bunch, etc. What is your favorite music to listen to while working?
TR: I don’t really have a specific process to get the creative juices flowing. I start thinking and drawing in a “figure 8” fashion. Regardless of whether the work is for a client or myself, it all starts with a few thoughts that gradually become scribbles and scribbles that gradually become thoughts. I do listen to music while I work, always. I listen to Air’s Moon Safari on repeat quite a bit while working. It’s usually the first album I toss on as I pursue the ideation phases. It’s soothing and non-intrusive to my thought process.
CB: Your work is fun and unique; how did you come to this style and what is your basic process?
TR: I came to this style of art after realizing I hadn’t really given digital media a solid chance. I spent so much time with oils, acrylics, water colors, colored pencil, etc. But digital media was something I hadn’t really seen all the way through. I purchased an old Wacom tablet and started drawing around the same time I took Lisa Cyr’s course. With that said, I was in the mindset of experimenting with a tablet, but also thinking about creating an entirely different portfolio from scratch I.E. different look, style, color application, mark making etc. The idea of changing everything and starting from scratch really appealed to me at the time as I’d never done anything like that before. I began by emulating the look of Patrick Morgan and Joe Ciardiello by utilizing thin line and basic color for optical mixing. I sort of ran with it from there.
CB: We have so many students getting ready to graduate this year or next, any suggestions on what kinds of things have worked the best for you when it comes to professional self-promotion?
TR: I’ll leave you with an old professor’s advice to me below:
1. Learn the importance of packaging your work and create pdf’s to show to various corporate clients.
2. Approach your clients after doing research on their creative needs.
3. Ditch your traditional portfolio and package various smaller digital ones showcasing your work within the context of what your corporate clients need to see.
4. Learn the value of personal contacts through on-line networking (linked-in, FB).
5. Approach each client with a specific scenario and show them what they want to see. Avoid blanket portfolio and mass mailing.
6. Think global, don’t limit yourself to the US markets.
7. A small and limited contact database of repeat clients is much better than the ones you buy en mass from companies.
8. Pick up the phone and leave a message or talk directly to the creative directors. You’ll be surprised how many will talk to you and listen to your pitch.
9. Make lots of friends and contacts from Advertising and GD while in college.
10. Update your online presence regularly.
11. Submit to as many competitions as you can afford.
12. Choose your rep wisely and make sure you show your work among illustrators you value and respect.
13. Create a newsletter and send monthly to your clients.
14. Never give a quote on the phone. Think, research and be ready to say no.
15. Always ask for a deposit before you even begin thinking about the visual solution.
16. Send personal messages through Linked-in.
17. Submit your portfolio for review and possible feature to as many websites as you can. There are hundreds of illustration and design websites looking for new artists on the block to feature.
18. Build a FB page, Instagram, Linked-in, Pinterest, Behance, etc.
19. Contact new clients daily.
20. Look for award winning AD’s in directories ADC and Print regional design and CA annuals, etc. these guys know illustration and give cool jobs. And don’t under estimate special interest periodicals.
21. The Gulf and East Asia are huge emerging markets, stay ahead of the curve and research them.
22. Participate in as many gallery shows as possible.
23. Sell prints.
24. Keep your website gallery updated and separate from your blog.
25. Learn to make gifs of your illustrations. Simple moving images.
Illustrated GIF courtesy of Tony Rodriguez
26. Vary your subject matters, don’t get fixated over the same topics. Balance between the narrative and conceptual.
27. Be organized. Make folders for clients: Arts Directors/Corporate clients/incoming jobs/outgoing promos/invoices/contracts/etc.
28. Always follow-up after the job is done. Repeat business is much better than spreading yourself thin.
29. Don’t ignore the power of Canada!
30. Never ever start your email with a “Hey.”
CB: I know your Stranger Things works are bomb and your Bill Murray will always be one of my favorites of him; got any new projects in the works that we can be on the lookout for?
TR: I know I’m probably a bit late on the Reggie Watts craze. I just have to say, Reggie Watts is really inspiring me these days. I’ve been sketching him, listening to his music, and falling in love with his performance process. I might do something for him in the near future. As for new releases, my wife and I are finally bringing a year and a half project to fruition by releasing our Warrior Milkcap sets via my online shop. The date of the release is tentative. However, all milkcaps will be available at some point in early 2017. Still a few kinks to work out. Very pumped to finally push these out the door.
CB: Where is a good place to follow you on social media? Website?
TR: I post quite often to Instagram @tonyrodriguezillustration.
Wow. If you haven’t met Tony, drop by the illustration department some time or maybe even consider taking one of his advanced digital illustration/animation classes in the near future. Whatever you do, consider following his succinct advice and def follow him on social media!