Illustrator Saturday – Mark Hoffman

Mark Hoffman is currently working as a children’s book author/illustrator, editorial illustrator, and fine artist. He is  also a professor at Montserrat College of Art in the illustration department.

After growing up in Minnesota, he moved to the east coast for college and remained here ever since. Mark currently lives in southern New Hampshire with his lovely wife, funny and goofy son, two crazy kitties and a lazy dog.

Here is his Partial Client List:

A. Knopf (Penguin/Random House), Kids Can Press, Cameron + Company, Groundwood Books, Cottage Life, Apple Magazine, At Buffalo, Orca Publishing, Cooking Light, Royal College of Dental Surgeons of Ontario, Canadian Grocers Market, Square NH Magazine, Nuvo Magazine, Land of Nod, D Magazine, Yankee, Professionally Speaking Magazine, Trust for Public Land, Humber Dialogue, Macalester Today, American Lawyer Magazine, T-Mobile, Avenue Magazine, Odyssey Magazine, Baltimore Magazine, The San Francisco Chronicle, Tu Ciudad Magazine, Texas Monthly, Reebok, and many more.

Awards:

3×3 Illustration 2019 (x3), Joan Betty Stuchner Oy Vey Funniest Children’s Book Award, 3×3 Illustration 2018 (x3), 3×3 Illustration 2017 (x2), 3×3 Illustration 2016 (x2), 3×3 Illustration 2015, Society of Publication Designers 2015, 3×3 Illustration 2014 (x3), Society Of Illustrators West 2012 (x3), Creative Quarterly 27, American Illustration 2008, 3×3 Illustration 2008, 3×3 Illustration 2006

Sketch
I start off digitally sketching in a template I set up for the project. I mark off all the important bleeds and gutter positions. This is a rough stage so things are not perfect, but I work relatively to scale in the document.

Character Study
To get a better feel of the main character and to better help me refine my sketches for the next stage I work on a fully painted character. This sets the basic style for the book.

Cast Study
After the main character is designed (and approved by the art director) I begin to work out the other character designs making sure they are in line with the approved style

Revised Sketch
I return to my initial sketches and redefine all of the artwork to best match the characters and any notes provided from the publisher. I keep it all in a linework format being that my work tends to be playful with paint, texture, and color. If I define those too early I lose interest in the process.

Paint
I transfer the image onto illustration board and paint the work with acrylic and acrylic gouache. This is the most time consuming part of the process. I work on multiple spreads at one time so that I maintain color and texture consistency throughout the book.

Color Adjustment and Digital TouchUp
At this point I scan, assemble, and down scale the pages in photoshop. I adjust the colors and contrast the best I can to match the original artwork. I also transfer them over to my ipad and use procreate to clean up any edges and to add small details.

Paint Words
I next go back and paint all words appearing in the book that are hand lettered. These are kept on a separate layer from the artwork so that they can be replaced for any translations of the book in the future.

Final Image
Finally I bring everything into photoshop and clean up the documents for sending off to the publisher with the specifications they requested.

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INTERVIEW WITH MARK HOFFMAN:

How long have you been illustrating?

I have been illustrating professionally since I left college in 2000, I did odd illustration jobs prior but I wouldn’t put them in the same criteria as a professional career. so it has been roughly 22 years.

What and when was the first piece of art you created for money?

Again I did work prior to graduating for local companies, but the first real illustration gig I got was with Texas Monthly doing editorial work. It was a small spot illustration and didn’t pay that much, but it was a huge first step for me to see it in print.

What made you decide to attend B.F.A. Illustration, Rhode Island School of Design?

I knew I wanted to be an illustrator when I was in highschool, but I had little idea of what that meant, beyond drawing characters. I thought I was going to be a comic book artist when I started, but went through phases of other career paths: editorial, children’s books, graphic design, etc…) I think initially I chose the school based on its reputation. I applied to a few art schools of varying esteem and RISD was my top choice. When I got accepted it was a no-brainer.

What were your favorite classes at RISD?

I really loved a class called Graphic Design for Illustrators with Robert Brinkerhoff and Color Works with Maryjane Begin.

Did you do any freelance art while at RISD?

I did a few odd jobs for the school and for friends but not anything that really paid much.

Did RISD help you find illustration work?

Not as much as they do now. When I graduated the internet was not a big resource and the school relied on lots of networking. I was not the most social butterfly so I probably could have gotten more out of it, but there wasn’t any professional practice class, so a lot of the help was word of mouth through faculty. I know they along with every other college have upped their game on trying to help place students in careers. In illustration it is a bit harder, because there is not a company or studio culture for illustrators. We tend to be loners in our studios and work really depends on getting your portfolio in the right hands.

How long was it before you went to University of Massachusetts Dartmouth to get your M.F.A. Visual Design?

I spent 5 years illustrating and working in television animation after RISD. I landed an adjunct teaching job at Montserrat College of Art and liked it so much I immediately went back to get my MFA.

Did you take any book illustrating classes at either school?

I took a picture book class while at RISD and had a good time, but I also think I was not serious enough about the industry and was making books and ideas that were far too strange or unconventional for publishing. I had a weird portfolio that was more about amusing myself, rather than the client.

When did you get the How and when did you get the position of professor in the illustration department at Montserrat College of Art in Massachusetts?

After being an adjunct at Montserrat and teaching at other colleges, I finally landed a full time gig in 2011. I have been teaching there ever since. I put in years of teaching too many classes at too many schools and lucked out getting the school I love.

When did you decide you wanted to illustrate Children’s books?

Since I already had experience in illustration and had classes in the industry I knew that I might like it, but when I landed my first Book deal through my agent at the time it seemed like a really fun job. I also had the opportunity to go to a Society of Children’s Book Writers and Illustrators (SCBWI) conference. And met my soon to be literary agent there.

It looks like you have two agents; Jennifer Laughran at Andrea Brown for your children’s book writing, and i2iart.com What do each do and doo they ever work together with each other while representing you?

Jenn at ABLA handles any work that is kidlit, both illustration and writing. I2iart tackles everything else. they don’t really work together. The contracts that I have with both have a clear separation of representation. If anything pops up at i2iart that is kidlit they pass it along to Jenn and vice versa if it is anything else.

Was You Can Read published in 2017, your first illustrated book?

It was. It was the book I got that made me think it might be a good career focus. It was also the only book I did that was digital up until my current undertaking. I had just gotten my Ipad and wanted to use it.

How did you get that contract?

That contract came through i2iart.

Was Fruit Bowl published in 2018 by Knopf BFYR the first book you wrote and illustrated?

It was. It was also the first book with Jenn at ABLA. I got the contract for it pretty quickly after signing on with her. I was in shock it happened so fast.

Do you think your first two books influenced Kids Can Press to hire you to illustrate a book, Susan Vande Griek’s, Hawks Kettle, Puffins Wheel: And Other Poems of Birds in Flight?

I’m not sure how that book landed in my lap. I know that Kids Can Press found me through my work with i2iart. It is one of the books that focused on a different audience of kids. It is not a silly book like most of my other work.

Did Groundwood Books give you more time to illustrate Since Explosion at the Poem Factory? by Kyle Lukoff, since it’s a 44-page illustrated book?

Not really. The back glossary section of the book was a little less time consuming being that they were all spot illustrations. In general I end up with similar deadlines and it is up to me to use my time appropriately. It gets tricky when there are multiple books or deadlines that overlap, but if I focus I can get them done.

Dirt Cheap was your second book with Knopf Books for Young Readers. Had you signed a two-book deal with them when you signed FRUIT BOWL?

I had. It was a tough book to conceive of. With FRUIT BOWL they knew what they were buying.The follow up took time being that I had no idea what it would be. It had a lot to live up to and they would only agree to the manuscript if it worked for them at the right time.

Did you sign a three-book deal with Cameron Kids when you signed to illustrate Poop in 2020?

Actually that wasn’t the case. They have just been really good clients to work with and we have worked on multiple books with individual contracts over time. I love working with them, as they are a small outfit with a lot of personal attention.

Was there a reason why Cameron Kids scheduled A is for Apple, Unless . . . to come out three months after Poop?

I think the years might be off for the info you are looking at. POOP came out a year prior to A IS FOR APPLE…UNLESS. But interestingly, Poop was actually just a rush job. They had a slot in their line up for a silly book and they decided to make a book about the word POOP. They asked if I could do a rushed deadline on it. I was able to squeeze it in and have had a lot of success with that book.

Which Agent got you the contract with Frances Lincoln Children’s Books for Charles Darwin (Little People, BIG DREAMS Book 53)?

That was through Jenn at ABLA. Every book I got minus YOU CAN READ is through ABLA now.

Were you illustrating Iamasaurus for Cameron Kids while working on A Penny’s Worth?

Yup! Those were some crazy months of working late through the night to meet those deadlines. I was working on them as the start of the semester was happening , which is a crazy time, as well.

I just featured Kimberly Wilson’s A Penny’s Worth on Writing and Illustrating. How long did it take you to do the illustrations?

The painting of the artwork for a book generally takes me around 2-3 months. but there is also the sketching and revisions. In total it is about 6 months from when I sign the contract to when I get the publisher’s final approval.

 

You have another book with Page Street Kids, The Note Who Faced the Music coming, out next Year. Are the illustrations finished?

they are. I worked on that nearly at the same time as I was working on the artwork for the follow up to A PENNY’S WORTH.

Have you ever illustrated something for a children’s Magazine?

I did it for a kids magazine called Odyssey. I generally don’t even think about that work often. I have been so busy with teaching and kidlit work that I haven’t been able to pursue much else.

Do you think you will write and illustrate another book?

I am working on some drafts right now. I have an idea for a graphic novel for kids and a few picture books. The hard part is finding the time to devote to writing, which is a much more difficult process for me.

Do you try to spend a certain amount of time working on your craft?

Essentially every Thursday on instagram I do a live painting session. I have also started doing what I call Gab ‘n’ Doodles with special guests (other artists I love). We talk about careers, making, life and doodle or paint at the same time. No matter if I am solo or with another artist, i take an idea from a viewer or guest and bring it through the sketch stage to the finished painting. It is challenging and forces me to tackle images I might not naturally gravitate towards. And hopefully the chat is insightful for the viewers.

Have you ever worked with a self-published author to illustrate their book? Is that something you would consider?

I have not. Generally those are really risky financially. There is so much money that has to be put in up front and the sales are dependent on self-marketing. The return on investment is not always where I would want it to be. Most offers I get to do that turn out to not be financially feasible for me to consider.

What do you think is your biggest success?

I think teaching , whether it be at my college or online, is actually my biggest success. I have so much love for sharing info and lessons with up and coming artists that I find that often more rewarding for my heart. If we are talking about my illustration career, I would think I found DIRT CHEAP to be the most rewarding book I worked on , but actually Charles Darwin (Little People, BIG DREAMS Book 53), Poop and YOU CAN READ have brought me the most success.

Where do you spend most of your time creating your illustrations?

I have a studio in my house that allows me to work late into the night and sleepily walk right up to bed after. It’s in a finished basement so it is cooler in the summer and somehow warmer in the winter. so it is quite a nice place to create.

What type of Graphic Drawing Tablet do you use when illustrating?

I primarily work with acrylic gouache paint for the majority of the artwork, but do touch ups and sketching on my ipad with the program Procreate.

Do you try to spend a specific amount of time working on your craft?

I wish my schedule were consistent enough to make that a reality. Life just gets in the way. The Thursday live paint sessions are the only one consistent timeframe where I get in the studio regularly, but even then the time of day can vary.

Do you take pictures or research a project before you start?

I don’t really take pictures, but depending on the subject I will do a lot of research. Even if it is going to be cartoony in the end it still is worth the time to research the subject matter so I know when and where I can play with reality.

Do you think the Internet has opened doors for you?

I would think so. When I started my professional career most illustrators were not promoting themselves online. We just sent postcards of our work out regularly. Now that instagram has come along I know a lot of art directors use it to find new talent. I think it has opened the door for so many new voices that wouldn’t normally be seen. For me I know that without the internet I wouldn’t have gotten my work in front of many of my clients. It’s a double edged sword though. professionally there are so many more artists that art directors have access to, so you have to be even more on top of your game making and promoting work that is marketable.

Do you have any career dreams that you want to fulfill?

I have lots of hopes and dreams for my career. I think right now it is less about the individual projects but more about longevity in my career and legacy. I hope to hear someday from someone that was influenced by my books when they were young, the way I was by others.
Superficially I would love to have a book that takes off to a point where the publisher makes stuffed animals and toys related to it. essentially having a book that stretches beyond the pages. But I don’t let that be the deciding factor or threshold for success.

What are you working on now?

I am currently working on a book called SOREN’S SEVENTH SONG by Dave Eggers for Cameron Kids. I was shocked when i got the offer and saw his name. It is a very funny book that is longer than your typical picture book and is aimed at a slightly older kid. It is due out in late 2023.

Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how-to tip, etc.

I will actually say that materials are less important than the ability to control what you have to tell a good story. There are books out there that use crayons, or even just a pencil to get the idea across. So I would focus more on how to use the materials you have effectively in service of the story. I would state that no matter your materials, make sure you put the time and practice in to know how far you can stretch the materials. I have been using liquitex products for nearly 30 years and know what I can get out of them and it allows me to focus on other issues, beyond how to use them.

Any words of wisdom for new illustrators?

That’s a tough question, because it is so dependent on the individual. However, my big bit of advice is that style is not the answer. Obviously your work needs to look like yours and not your influences, but it is more about what you are saying rather than how it looks. In the kidlit world, story is everything. The style only matters if it is helping or hurting the narrative. The best thing you can do is look at who your favorite artists like to look at. Who are their heroes? Why? Dive deeper into the history of art making and how others view the influence of style and story.

Mark, thank you for taking the time to answer the interview questions and showing us your process. Please let me know about your future books and successes so I can share them with everyone.

You can visit Mark using the following links:

WEBSITE: https://www.studiohoffmann.com/

BEHANCE: https://studiohoffmann.tumblr.com/

TWITTER: https://twitter.com/studiohoffmann

INSTASGRAM: https://www.instagram.com/studiohoffmann/

FACEBOOK: https://www.facebook.com/profile.php?id=100063150852693

Talk tomorrow,

Kathy