Interview with Stephan Martiniere Part:2
I had the pleasure of interview Mr. Stephan Martiniere who is a world famous digital and book cover artist. In this interview we discussed some of Stephan’s own personal experiences in the animation industry as well as some of his techniques. Stephan’s art work can be viewed on his website.
A: So you have a very unique style, but in the past did you have any issues with style, or do you have any issues now?
B: It was a blessing and a curse at the same time depending on which part of the industry I was getting involved. When I started animation for TV, I was already very comfortable with drawing cartoons as well as drawing very realistically. I was really interested in story-boarding which eventually lead me to become a director. That part of the industry was a blessing because I had a choice to work on many different projects based on my versatility in style. It became a curse in that all these years in animation I was primarily drawing, mainly in pencil or marker; I was rarely painting and when I did my color works were done mainly in colored ink, consequently, it took me a lot longer to establish a painting style that was my own. TV Animation is an industry in which you have to adapt as an artist to a product, and if you’re a good artist, you can shift your style to whatever needs to be done. It took me a long time to learn how to express myself as an artist. When Photoshop happened, it gave me an opportunity to create something that was truly mine.
A: .conceptualizing; it’s all something that we do but many artists have a hard time getting their ideas on paper. can you talk to us a bit about your process, and how you go about working on a project and how you get from beginning to end.
B: Well the process is different based on what you’re working on. When I’m working on a movie, I read the script and then I work closely with the production designer or the director. It’s a collaborative process where you bring your talent and vision to help realize their visions. At the beginning there is a lot of blue sky process where you flesh out the big ideas, the mood, feel and look of the environments, then, the process becomes more granular and you can end up working on a variety of things such as characters, costumes, props or vehicles. Every needed piece of the film is important. When I do book covers, it’s a very different approach. A book cover is first about selling a book with one image. The cover becomes a tool to grab the consumer’s attention and convince them to buy that book. Artistically, it’s a very personal process because book covers don’t require you to be at the service of a big story, so it’s more about who you are as an artists and the style that you have. Book covers in some ways are very rewarding artistically because you have much more freedom to explore your own creativity, take risks and explore new approaches and techniques; you don’t have that much freedom when working in film.
A: Advice, People that
B: DON’T DO IT!!! I want No competition!!
B: I am joking of course, but seriously, if it’s what you want to do, you first need to acquire the basics and foundations. You have to practice all the time as it takes years to develop artistic skills. It’s also about how you think about ideas and bring them to life. Research is also very important and knowing what’s out there can make a big difference. It’s also important to know the players and the competition. 10 or 15 years ago, when I started, there was no internet and it was extremely difficult to get into contact with anyone. You may have known who Walt Disney was but how did you go about getting in contact with anyone that worked for him? I encourage young people to take full advantage of the technology and learn as much about who’s working in the industry as well as how to work.