After running the Interview An Artist Contest to select the top 5 questions asked by you guys (and girls), Tim Doyle from Nakatomi decided that he’d be a good samaritan and answer all 19. Sure there was only 1 print winner, but everybody that asked a question won as well, because your answer is here…or it will be by tomorrow!

1. What advice can you give to artists starting to market their work on the internet? Which artists inspire you to create new drawings and designs?

Step one- do art. Step three- profit.

I wish I could say- do x,y,z and that will bring you fame and fortune. But man, there is no method. If I hadn’t learned every aspect of the business side of things while curating the Alamo’s poster series WHILE ALSO spending way too much time learning how to draw and print, WHILE ALSO building up a ton of contacts along the way, I wouldn’t even be at my meager position. There is no set way to go about it- but one thing I can’t emphasize enough- cover your ass. Learn the business end of things, and just hammer away at it. Don’t settle for what other people give you- you have to carve your own chunk out of the beast. That’s my motto, I guess- don’t settle. Get out there and take.

As far as what artists inspire me- I think my influences are pretty evident. I’ve been a comics junkie for decades now, and that shows pretty heavily in my work. Building the Alamo series exposed me to a bunch of new artists and guys like Tyler Stout were a big influence. Seeing his work was like seeing a new way how to draw- a new problem my brain just had to solve. I’ve definitely spun off in my own direction over the last year or so, but that was a starting point, to be sure.

2. What inspired you to use the Japanese street life as the theme of your latest prints?

Using Japanese (or any other language) instead of English for me is a stylistic choice- you can have signs and text in your work that take up the mental space of language, but without any of the meaning of the text interfering with the viewer’s interaction with the image. When people see my ‘King of Crabs’ print, they’ll focus in on the ‘Disco Donut’ sign in the background, and ask me about that. And I’m always like, ‘What the hell, why not talk about the giant crab?’ For English readers, we’re going to focus in on the English words in a work of art. It’s inevitable- our brains just work that way- we’re going to see the word ‘Dog’ and in our heads, we’ll think of a dog. So, using a non-English alphabet in the art short-circuits that bit of the brain, and can keep the viewer focused on the art, and not the content of the words. And as for street life in general- one thing I’ve learned- when drawing a street scene, no matter how much detail you cram in, you have not crammed in enough. Every square inch of every surface has texture, every door knob, and electrical box, and manhole cover- you could go forever…so it’s a bit of a fun challenge for myself doing that type of work. Also, very time consuming.

3. I enjoy looking at your prints just for their simple and bold visual appeal, you have worked hard creating the look and feel. However is there more to your work than just ‘eye candy’? By that I mean, does your work carry any attributes relevant to yourself?

Well, I used to do a lot…A LOT of gallery shows around Austin years ago, and one thing I could never stand was writing an artist’s statement. If an artist tells you anything more than ‘This is something I wanted to draw’ then they might be blowing smoke up your butt to make them sound more mysterious than they really are. People would ask me what a piece ‘meant’ and I would just die a little inside. Of course, I thought substituting Mr. T for Jesus in an Ultraman last-supper was pretty self explanatory, but I guess I might be wrong. (Check out that painting on Mr Doyle, under “Gallery”) Now, guys like Rob Jones spend hours creating these amazing narratives inside their heads that play out across their art, but none of that is important in admiring the work. I’m not the kind of artist who is going to spend time analyzing my method and thought processes. I think a piece has to stand on it’s own, regardless of context. What I’m trying to get at here is, yes there is a lot of myself in there, but none of that is important- all that matters is that you like it.

4. Tim, much of your work seems to incorporate a recurring theme of 1980’s pop culture. As a child of the 80’s, I am curious if you could explain what this decade means to you & why it is meaningful in your art?

Again, this is a little too close to an artist’s statement, but- I was born in ’77, and grew up surrounded by the action figures, comic books, and cartoons of that time period. I’m sure if I was born in ’67, I’d be doing Sigmund and the Sea Monsters art prints and think that The Grateful Dead were cool. The truly surprising thing to me is how strong those concepts from the 80′s still are- G.I.Joe and Transformers are still on the toy shelves today. I had a completely awesome conversation with a kid the other day about Snake-Eyes and Storm Shadow. None of this stuff is ever going to go away- it’s like a new American Mythology. AND- once you do one 80′s thing, people ask for more 80′s things. The He-Man prints were requested by a Gallery, the follow ups to the ‘Change into a Truck’ prints were commissioned work…I run the risk of being pigeonholed!

5. What is the most surprising reaction someone has had to one of your prints?

‘Change Into a Truck’ got so far away from me that some really strange things started to happen. I got a few emails saying things like “Oh, I totally agree, Obama Sucks!” Along with others saying “I love Obama, too!” Which is funny, as I thought it was completely a non-political statement. I guess it was like a blank canvas that people could project their own thoughts onto. This relates to me not liking explaining art work at all- the reactions from the public are way more interesting than if each piece came with a ‘mission statement’ attached. Which in this case would’ve been- “I love Optimus Prime.” Seeing that one as everyone’s Myspace/ Facebook profile avatar was really cool.

6. Do you think there is a difference between the artists who create with a paint brush and the people who use a mouse – much in the way music and photography has separated itself in to a digital or Analogue state? (handpulled v digi print)

Years ago, I used to have a little label I released comics and zines under, called Lo-Fi Comics. And part of the mission of Lo-Fi was that everything had to be done by hand. Which made sense, as most computer-art at the time was pretty weak. But here I am today, using a Wacom tablet and Photoshop every single day of my life, and I can’t imagine doing it any other way. (Please note, the lineart for my posters is still hand-drawn, but cleanup and colors on done on computer!) What I realize now, is that I should have been searching for authenticity in art, and not the tools. For me, all that matters is the end product. Is the end product good or bad? How it got in front of me is irrelevant. Not to be reductionist, but I don’t care if my pizza was delivered by Pony Express or by Rocket Ship- all that matters is ‘did I like the Pizza?’
With that said, once you really start digging around in photoshop, you’ll realize how many posters out there are just photo filters and color choices. Truly, anyone can do most of the posters out there with a few clicks. So then, what becomes important is the ideas, and the compositions. Anyone can put a dotscreen over a photo of an actor- it’s what you do with it from there that now matters. There’s definitely a divide between the ‘designers’ and the ‘illustrators’ in posters- and I think both are completely valid- all that matters is the image’s ability to move the viewer.

7. Out of all of your work, which piece would you say has the most personal meaning (conveys your personality or feelings the most) to you and why?

I drew a squid fucking up a subway car…I don’t think that’s got much to say about who I am personally, but it’s the one I’m most proud of so far. Upcoming, I’ve got one of cats stealing an El Camino, rescuing a shark from a Damien Hirst exhibition- that one probably will have the most of myself in it. But I have no idea what that means. Again, I don’t self-analyze- I’d rather just throw it out there into the world.

8. Could you describe the “lifecycle” of creating a print? Your process or methodology from start to finish.

Mostly, it’s stuff in my subconscious bubbling up. Change Into a Truck was an image that wouldn’t leave me alone for months, and I finally drew it. The Squid print was me just really, really wanting to draw a train hitting something. I started out wanting to do a train plowing into a Superman like character, and all the crap getting thrown around. And then I thought an elephant would be funnier. But then I thought a blue whale would be more improbable, and hence, funnier. And then, the blue whale made me think of the cover to They Might Be Giants “Apollo 18″ album, which also has a squid on it. And then I realized giant squids are more badass than whales. It’s really something as stupid and silly as that. There- I demystified art. I have killed it. Art is dead- I have decreed it.
And then from there, I sat down to start drawing the print. I draw most of mine at print size. Scanned that baby in, cleaned it up in Photoshop. I tried coloring it, and failed miserably. Kevin Tong stepped in and showed me who wears the big-boy pants and just did a beautiful job on it. When we do the colors on prints, we set up each color on it’s own layer in Photoshop, and output those on big sheets of transparent vellum. From that point, it’s making with the squeegees, inks, aches and pains.

9. Print runs sell out quickly for a lot of artists – has the flipper mentality made artists seemingly more popular than they really are?

I could talk about this for hours, but I’ll try to keep it short. A lot of artists don’t like talking about the business side of things, and I think that’s just freaking dumb. Selling prints is an amazing mix of art and commerce, and any attempt to separate the two in this industry is futile.

This obviously is a touchy subject, and the opinions vary wildly. But here’s the deal from my perspective. I have no ethical or moral problems with flippers. If someone thinks they can buy something from me and resell it later, that’s their business, and I thank them for their purchase. As a collector of various things, it does drive me up the wall to miss out on something to only later find it on eBay for a lot more. BUT- if I wanted to devote my time to haunting the stores or F5′ing all day to get that toy or poster, I could have gotten it too. All of this is out of the artist’s control.

The artist is only in control of 2 things- quantity and price. If an artist can’t stand flipping, he can do one of two things- raise the price, or raise the qty printed. But, he can’t be a popular artist with low prices and low (lower than demand, I mean) print runs. If he does that- the prints will be flipped. It’s the free market. So I’D THINK that a popular artist should do his fans AND his wallet a solid, and print larger runs. Or, if they REALLY don’t want to print more, then they’ll have to raise prices. Expecting any other outcome is silly. The artists, by not satisfying demand have created this fake ‘hype machine’ that I believe is not sustainable, and drives casual fans out of the hobby. Only the really rabid stay in, and the person who might want something by that ‘Obama guy’ is scared off by having to fight for a product.

(I do realize that some gigposters or other set ups prevent the qty/price adjustments. If I could have printed more of my Hurley’s curse and sold ‘em at $50 I would have. My agreement with ABC prevented that.)

This is something I did for a long time when I was curating the Alamo’s series. We’d list a poster for sale, sell as many as we could for a week or so, and then print what quantity sold, plus what I thought I could sell on top of that. That way, everyone who wanted a print could get one. People could buy multiples. It was profitable, and allowed us to take more risks on smaller posters. And if something fell on it’s face, we didn’t get stuck w/ a bunch of unsold posters. That’s just smart business, and doesn’t rely on false hype.

Now, the OTHER side of the table is this- some flippers act ‘entitled’ to dictate what an artist does. I printed a 2nd edition of ‘Change Into a Truck’ because I KEPT getting emails for it. I wasn’t doing my own printing when the 1st edition came out, and had vastly underestimated demand. It was my piece with no entanglements from a band agreement, so there was no reason for me not to reprint. But while I managed to make a bunch of customers happy with the 2nd edition at a cheap price, there was a very vocal minority of people who thought I had ‘cheated’ them. In essence, what they were saying was this- “you wanting to make money on your art gets in my way to make money on your art.” To which I say- fuck you. When the flippers start feeling entitled to dictate what an artist does, they are out of their tree. For every nut complaining on line, I got even more “Thank you for allowing me to get this print at a reasonable cost” type of email.

I didn’t get a single complaint email which was surprising. Now, which customer do I want? The vicious backbiters, or the nice reasonable people? Honestly, as a business, I want them both- but I am only concerned about pleasing the latter group. And, the really telling thing is that the ‘value’ of Change into a Truck hasn’t taken a hit at all. People are still trading it on eBay for more than before. So what the free market has taught me is this- second editions are good, and make people happy. They help artists pay bills and raise the profile of the original release. It’s a win-win. The complainers are wrong, straight up.

I saw a thread somewhere out there where they were calling an artist ‘over’ because he wasn’t selling out his work in one day anymore. But this is my argument- a one-day sell out only creates the flipping, and means you didn’t make enough! Sure, it drives hype, but that isn’t sustainable. Perhaps what that artist was doing was MEETING DEMAND and keeping customers happy, not failing as an artist.

The really funny thing is in ANY other industry, the producers would just make more. Selling more widgets this season? Make more. Instead, people want to trade on the ‘illusion of scarcity’ and keep a small minority of people happy, as opposed to expanding this hobby and bringing more people into the world of prints. I saw this happen to Baseball Cards and Comics in the 90′s. Appealing to a niche collector base concerned with perceived value will ALWAYS bite you in the ass. What you want is a slow burn of fans who love the hobby outside of any fake value. You want an investment? Buy stocks. Actually, last year would have been a really good time to buy. You missed out.

And to close this out, how about this? When you see someone like Fairey do an open edition- people call him a ‘sell out’ and say that the print is worthless. Worthless only to those who are trying to make a buck- not worthless to the people who just want good art. The same people who bitch about open editions are many times the same people complaining about not getting a limited edition print. All of this has taught me one thing-the internet is full of whiny assholes who just like the sound of their keyboards clacking, and don’t reflect what is actually going on in the business.

Man, I hope that answered your question. I’m sure this’ll stir up a shit-storm, but any one who rips on what I said must have their motivations called into question.

Be sure to check out part 2 of this interview tomorrow. 10 more questions, 10 more answers!

Related posts:

1. Interview With Tim Doyle : Part 2
2. You Interview Tim Doyle – Time To Vote!
3. Interview An Artist + Print Giveaway: Tim Doyle

Tags: Interview An Artist, Mr Doyle, Nakatomi, Tim Doyle