[Music] Stan: This video is sponsored by Squarespace.
If you're looking to build your art portfolio website or online store to sell your work,
check out Squarespace. They have marketing tools and analytics so you can build a beautiful
online presence and run your business. [Music] Stan: Which artist's influenced you the most
and what do you like about their work? Philip: I think a lot of my peers are being
influenced by Todd McFarlane and Jim Lee, all the guys from the 90s a lot and I'm no
different. But on top of that, Arthur Adams and a lot of you know, Japanese artists are
big influences of mine too. I think if you only try to make you know, have yourself influenced
by a few or one artist, then you really are limiting your ability to grow creatively.
Even if it's a new artist right now, you're young or whatever, if I think there's something
I can learn from them, I'll go and study and try to figure that - pick up whatever that
X Factor magic element is. Stan: Is there one or two that you've studied
the most? Philip: Oh yes, I'd say Jim Lee and there's
an artist - a Japanese artists called Takehiko Inoue, he's doing a book called a Vagabond,
it's been going on for many many years like you know, a decade almost I think and he was
known for Slam Dunk and all this other manga back in the days yeah. Stan: All right. So what do you like about
their work? Philip: With Jim, it's because there's - there's
energy and every artist you know provides a different kind and level of energy to their
work but you know, Jim Lee it was just something that I personally love and I think obviously
everyone loves it and that he's one of the you know, top artist in history, comic book
artist in history. And with Takehiko Inoue, it's a manga style artwork but it's very realistic
and that was very rare. And back then, you know, I was so captivated by it. I try to
study and try to draw and learn whatever I can from what I see and like about his artwork.
You know, I felt like there's - the other manga artist or the other comic book artists
aren't giving me you know, stuff from - that these two guys are giving me. Stan: Yeah. Who's your cartoon crush? Philip: Wow that's hard. Stan: It's hard? You got too many? Philip: That is hard. As a kid, it was - it
was probably Firestar, you know that old – Stan: Who? Philip: You know, the Spiderman and friends
cartoon back then? In the 80s I think there was Spiderman and his amazing friends and
there was Spiderman and Iceman and an entire star and I was like ohh... You know, I want
a girlfriend just like her. [Chuckles] Stan: Which artist influenced you the most
and what did you like about their work? Sanford: Oh wow! My all-time favorite is Michael
Golden, if familiar with his work. He's Bronze Age comic artists, but he's one of those guys
that once you start going down the rabbit hole, you see his influences. You see Alex
Raymond and then before him you may see a Milton Caniff, maybe a Frank Robbins. I just
kept going back to kind of the essence, the start of the whole genre. A lot of it is because
of their brushwork, very bold and detailed, elaborate even for that time. They were so
ahead of their time. We're talking about Milton Caniff 1940s. You look at his work now, if
you see his work, you think he's an artist out today. Very forward in his work and then
Michael Golden, he's just one of the staples in the comic side of things. So, those two
guys for the most part with everyone else in between, that's influenced by those guys. Stan: Which artist's influenced you the most
and what did you like about their work? Marshall: Most of the Mad Magazine artists;
Bill Elder, a lot of the underground comics artists of the 60s and 70s. Dr. Seuss was
a big influence on me, MC Escher was a big influence, Albrecht Durer but many many others.
I like their work because there was energy in it. There was also skill in it. These artists
seemed like they meant it. It wasn't just academic, it wasn't just an exercise. It was
the kind of thing a kid would want to draw but with grown-up skills. Stan: Okay, I like that. Can I steal that? Marshall: sure. Erik: which artist influenced me the most?
Phil Hale was kind of the first guy that I saw that I was like "that's what I want to
do" I want to do stylized representational paintings of superheroes. That's basically
what I wanted to do with maybe a dark moody sort of horror Ben to them. So when I saw
his work, I was like "that's basically what I want to do". And what I like about his work
is the mood, the shape design, the technical acumen but also the ability to bend that technical
acumen to, his own personal opinion and not being limited by it. So that's the easiest
answer. [Music] Stan: Which artists have influenced your work
the most and what did you like about their work? Sean: The artists that really maybe scratch
my head and think "man, what are they doing that I need to do to get that kind of recognition?"
Humberto Ramos, right? Crazy with this proportion, amazing storyteller. He was just amazing with
his style and his thought process, the composition. Arthur Adams, the way he drew X-Men, the x-babies
back in the day, it would - it felt like fine arts but yet - but more little characterize
and then Marc Silvestri. Man, back in the day, the old school stuff, it really felt
like fine arts you know, told in a beautiful way on his x-men run and Wolverine runs and
stuff like that. Stan: Cool man, well thank you so much. Sean: Thank you Stan, I appreciate it. Stan: That as awesome. Sean: Yeah, thank you. Stan: Which artists influenced your work the
most and what did you like about him? Chrissie: Artists that influenced me the most,
I mean, I grew up mostly on like a lot of Disney, a lot of anime and a lot of comics
so, I always loved artists like Glen Keane and a lot of those kind of classic Disney
artists and a lot of comic book artists like Adam Hughes, James Jean and I always loved
like the animated movies and just how full of like life and expression and the big eyes
and just how fun and fluid that that kind of art form is. I always loved that kind of
art, just full of expression and full of life and that's what I knew I wanted to draw, something
like that when I grew up. Stan: What superpower would be most useful
to an artist? Chrissie: Probably it would be speed. I wish
I can draw like way faster than I do. I wish I could be like the flash and just get like
all my art done really really quick. T.J: I'm T.J Geisen, work at Riot as an illustrator
right now. There are a lot of people to admire nowadays. So, about a year or two ago, I became
obsessed with Sergey Kolesov – Stan: That sounds like the correct pronunciation. T.J: I first fell in love with his work for
Dishonored 2 and so he did a lot of the concept art and a lot of the illustrations for that.
I fell in love with his work there. His use of just like values and implied gesture and
just like the way he plays with Anatomy, especially like hands. I guess it feels very European,
I became really attracted to that. The core of my art style comes from anime style, all
that influences and then I kind of totally flipped over to like fine art and I think
Sergey's work is kind of like that beautiful in-between of like the graphic trendy kind
of style but with like a fine art sophistication to it. I mean, aside from him of course I
love like the Marvel work, like Ryan Meinerding who you know, him along with his team created
all the Marvel Cinematic Universe designs that we love. I was looking at the sideshow
figurines in there and oh... And of course uh, Riot. That's one of the main things that
attracted me. Going to that company is knowing who I would be and live with. So there's a
whole lot of Riot artists, particularly the splash artists, there's Alvin Lee, Jessica
Oyhenart, Kelly Aleshire, Bo Chen, Chengwei Pan, just like the whole crew there as well
as like Simon Dubuc who does concept art, Jason Chan, legendary - way too much talent.
Anyone with talent, they just - they suck up. And they all have this influence of like
the American comics with anime style think influenced a lot of us growing up. But yeah,
it all culminates into this super cool like fantasy modern fashionable video game, like
style. And that's what I love. So, I'm currently in the process of really absorbing everything
I can about the "Riot house style" and then I want to start enriching it with what I can
do. Stan: What's your name? Cutter: Cutter Hays. Stan: What do you do? Cutter: I'm an illustrator, I have four published
books and - or more on the way and I pretend to paint. Stan: You pretend to paint. Cutter: I pretend to paint. Stan: Where can people find your stuff? How
do they follow? Cutter: Cutterhays.com, quilahlaoshu.com,
I know that's complicated to spell, it's on the front of the book cover, Mouseknight.com,
vass.us, all over the place. Stan: Your biggest art influences, like Cutter: Yeah. It's not that guy. Stan: Not that guy? [Chuckles] Cutter: Not that guy. Definitely my biggest
influ - definitely Moebius. Moebius was a huge influence. I met him and ran into him
really late in life, like meaning 18. Somebody came to me and said "hey look, you know, this
guy draws like you", and I looked at it and I said "no, I draw like this guy but he's
like 50 years ahead of me" you know and then I met him and I would hang out at his booth
during comic-con for hours. I mean, all day I just watched him draw. And then one year,
his agent, Mark Lasfar said "hey sir, this boy has been here for eight years watching
you draw", and so Mobius saw that I had a sketchbook and he goes like this... And I
was like "oh my god, if this guy says one bad thing about my art, I'm done, I'm never
drawing again", but he asked me - he took me behind the booth and I handed him my sketchbook
and at a con, at a Comic Con, he took an hour to go through my sketchbook. Stan: Wow! Cutter: Yeah, right? And he sat down with
me and he took an hour really carefully looking and he didn't say anything, and I was like
nervous. I was so nervous. Stan: He didn't say anything for an hour? Cutter: He didn't say anything for an hour. [Chuckles] Hang on, this is a true story and - and - and
then after - at the end, he closed it, I pointed at the last page, he signs it and he hands
it back and I was like sweating bullets and he goes "the passion, the fire the spirit
of your work is all there. Now you need to work on the refinement of your line on your
dexterity, on the commercial aspect of your line". And I said "master, how do I do that?"
and he said "live - live with a brush behind your ear and a bottle of ink in your pocket
for four years, never use a pen, never use a pencil, anything else, even for school work,
even for notes and then come back and see me" and I did what he said. I literally ruined
shirts and destroyed brushes left and right and - and I did it. And I I probably put 40
hours a week of inking in for four years. And when I came back, I couldn't believe it
but the guy remembered me. After all the guys that guy have seen you know, I mean hold his
hand out for my sketchbook and I put it into his hands and this time he went through it
in four minutes. He was just flip flip flip and he goes "good, you are ready. Now go get
a job quickly before you are too old". Stan: You are ready. Cutter: So, I went across the aisle to Dennis
Kitchen of Kitchen press and I handed him my sketchbook and I said "Moebius told me
to get a job". He looks over at Moebius, Moebius goes [Nods head] and that was my first job. [Chuckles] Stan: What the hell? Cutter: For real, true story. Stan: Wow! Cutter: So, Moebius, I would say Frank Frazetta,
I'd say all my teachers were really strong influences, Jeff Watts, Ron Lemen, they were
fabulously fantastic teachers. I couldn't have - couldn't have gotten better teachers.
I got lucky. Steve Rude is a good friend of mine and I visit him twice/three times a year
and he's always working on projects, he's always helping me with my stuff. He's been
a huge - a huge help and a big influence. Yeah those guys. [Music] Stan: Which artists influenced your work the
most and what do you like about their work? Eliza: I have a lot of influences I guess
throughout the years. If you're thinking like classical or old school, I would go - Klimt
is huge, I love Klimt, I love Schiele. Recently it's been Sergio Toppi, I love his work. I
don't know if you're familiar with his works but his graphic novels are just mind-boggling.
I could just - his work is that beautiful mix of storytelling with fine art, beautifully
design. So, definitely recommend checking his work if you're not familiar with him.
That's about it, I can't think of anybody right now like on the spot. Stan: Which artists influenced your work the
most and why did you like their work? Colin: For comics, I would say Jeff Smith
is probably my biggest influence. I love the Bone series, the way that it's essentially
a Sunday strip smashed together with an epic fantasy is amazing. When I was a little bit
younger, it was definitely a Watterson Bill, Watterson with Calvin and Hobbes and I didn't
realize it until recently I was going through like old drawing piles and I mean old, like
- that's probably like five or six, just like big scribbles. I was like "oh wow, Calvin
and Hobbes" proof I was a fan. Brian: When I was a kid, it was John Byrne
who was doing uncanny x-men and he - he actually was fast enough to draw two to three stellar
books a month which is ama - I mean, no one does that anymore, right? And then when I
was 16 I came down here for the first time, Artist Alley was John Byrne, George Perez,
Chris Claremont was sitting next to John Byrne with a typewriter, working on an uncanny x-men
script, Terry Austin, John was the other side and then the new kid on
the block was on the corner, and the new kid on the block was Bill Sienkiewicz and he was
doing his first Marvel previews work. They were singing, they were laughing, they were
having a great time. It was like "I want to do that for a living". But Bill is the total
inspiration because Bill - and it's another piece of advice for young artists, it's like
sometimes people are afraid of like being clones of somebody else but nobody stays that
way, because Bill back then, he was a Neal Adams clone and he evolved, he took that stuff,
he grabbed Bob Peek you know, he took all this illustration techniques, rolled it all
together and made it his own. So, I think the stigma of starting off looking just like
a Jeff Campbell or whoever, you're not going to stay that way. If you're in the right mindset
and you want to keep getting better, you're not going to stay that way. Karl: I'm Karl Kopinski here at San Diego
comic-con 2019. You can find my work all over Instagram mainly, that's probably the best
place and through my website, I've got various books and Karlkopinski.com. Oh, who am I talking
to now, Christian? No, I can tell that. Stan: No, you just twist yourself towards
me but don't move. Karl: OK, twist. [Chuckles] Stan: Who are the artists that influenced
you the most and what did you like about their work? Karl: There is a very very long list but if
I was to talk about the ones that influenced me the most, probably people like Sargent
and Velazquez and Ernest Meissonier and Ilya Repin is of huge influence and that was just
from going to museums and poring through books and then a few of the guys I've come across
in my career and had the sort of look to work with and actually have conversations with
so, Jung Gi has been great because I've spent a lot of time actually communicating with
him in our own special way. Some of the guys I work with the Games Workshop with Paul Dainton
and Adrian Smith, Phil Hale I'm a big fan of. It's nice to see somebody take the comic
book route initially and then go down the fine art route and Kent Williams as well - again,
he's done a similar path. So, those kind of guys are quite inspiring for me. Stan: The guys you mentioned in the beginning,
what did you like about their work? Karl: Uhhh... It's so hard to put your finger
on. I mean, it's kind of depressing because people are always telling me about an artist
I didn't know who lived 200 years ago would it kick my ass. You know, they're so good.
The level was so high and they were taught in such a rigorous and an effective manner
you know and the the kind of way that I wish I'd been taught. Repin, because he's got that
Eastern European thing going on, it's all a bit more hard edged and rough and it's not
quite as romanticized and flamboyant as the Italian and the French artists of that
period. Sargeat, just for his obvious like - the guy is just like - it's just showboating.
Every painting looks like he's showboating and I love the fact that you can go and see
them in the museum and you can see a moment of activity captured from 150 years ago. You
can see that flick of the wrist, the brushstroke put down and - and it's a - it's a moment
in time that's captured forever. So, I love that as well about it. It really sort of fires
me up that kind of thing. [Music] Stan: Which artists influenced your work the
most and what do you like about him? Sean Andrew: There's an artist named Ian Miller
who was an illustrator for Warhammer 40k and he also Illustrated a Tolkien Bestiary - Bestiary,
just an all-around amazing artist. He did backgrounds for Cool World, another animated
series as well. It was those - the drawings that he did for Warhammer when I was in high
school and I was playing a lot of Warhammer 40k because there was a Games Workshop right
across the street from my high school. I would just pour over those books and his illustrations
were always the ones that caught my attention the most. One of the reasons was because there
was so much lush detail in them but it wasn't just the detail that drew me in, it was the
fact that he'd have so much lush detail but still had an image that was crafted in such
a way where it wasn't busy, it didn't feel like it was - it was busy just to be busy,
right? And then you got lost in it sort of visually and didn't know where to look. He
guides you through his images very purposefully but there's just so much going on. There's
so much depth to his work and actually Ian Miller and I have kind of become friends since
I got to meet him at Illest Con years ago and we've traded artwork and - and I even commissioned
him to do a piece for me and he's a real sweetheart but he was a huge huge influence on me creatively
in those early days when I was in high school. Stan: Which artist influenced your work the
most and what did you like about their work? Pascal: Wow, which artists influenced me the
most? That's a really hard question to answer because there's - I've so many influences;
I love comic books growing up and that's what I wanted to do. I went to actually be a graphic
novel artist in France and then for Marvel Comics as well. So anything from like John
Byrne to John Romita Jr to all the French comic artist and Belgian comic artists. Hugo
Pratt was Italian I think, Breccia who's from South America, mangas later. Anything about
animation. Actually did not care for animation at all growing up, that just came right after
and then - all the classic banners, all the Impressionists, NC Wyeth, Andrew Wyeth, Remington,
Norman Rockwell, Carl Larsson. I mean, too many to mention but yeah. Stan: What did you like about some of those
favorites? Pascal: The mood. I remember as a kid, we
had those like history books and they have all those paintings of Bruegel which is this
like painter from the Middle Ages and he did all those scenes and they had this particular
mood, like it was always overcast or was like a fall day and I remember being drawn to them
as a kid and there was tons of characters and these are some of the - my favorite things
to paint. So, that's definitely something that attracted me to them, yeah. Stan: What artists influenced your work the
most and what did you like about their work? William: The artists that influenced me the
most were Frank Frazetta, Moebius and Robert Crumb. I've got hundreds of other influencers
but those three guys, I sort of loosely patterned my career after Frank Frazetta's career. He
did movie posters, so I did movie posters, he did album cover, so I did album covers,
he worked on Little Annie Fanny, I worked on Little Annie Fanny and then Moebius, we
became really good friends and we collaborated together on a number of projects and he gave
me some very powerful advice which was "Bill, you achieved - you have achieved excellence
as an artist, now it is time for you to move on and to move up and use your work for the
good of society" and I started turning down any jobs that did not make the world a better
place and that had a profound effect on me personally and it also made me very proud
of the work that I was doing. With Robert Crumb, when I saw his story Joe Blow and one
of the zaps, I was stunned. I thought at that moment "wow, we can do anything in comics.
There are no limits now. This is a spectacular medium", and I began to do lots of underground
comics. Harvey Pekar also, he showed that in his comic book "American Splendor" that
you could make compelling stories in comics about something as seemingly mundane as being
a file clerk in a hospital. Just really opened my eyes to the possibilities of comics. [Music] Stan: Which artist's influenced you the most
and what did you like about their work? Lucio: Okay, right now I'm very inspired by
the old masters, Caravaggio and William Bouguereau and Gérôme, all the French artists and Italian
masters like Antonio Chisily . So, everything is in the museum right now. So I go often
to Paris to the Louvre and Museo del Sur or in Florence Rome they are amazing art. So,
I'm very very a lot inspired from this artist and from Frazetta, Boris Vallejo, Norman Rockwell.
I think there is a kind of line from the French school in the 1800 to Norman Rockwell. So,
if you check the history, Norman Rockwell was studying from the artists of that time.
So, it's like a line - Stan: Yeah, the family tree type of thing. Lucio: Exactly exactly, [Chuckles] yeah. Bobby: Which artists have influenced me the
most... So, yeah, I'm 41 now. I started off when I was a teenager, so there's been many
many people that have kind of left their mark along my path. For some reason I'm thinking
about Proko butt video really explained a lot of stuff to me, so that really helped.
Definitely check that out. Stan: The butt video? Bobby: Yeah, that was great. Stan: That was the - the artist that influenced
me the most was my butt video? [Chuckles] Bobby: I don't know if that's the most but
that's the first thing that comes to mind. Stan: Wow! Bobby: Also Carcamo, Gonzalo Carcamo, he's
a watercolor painter. He's fantastic. I don't know, I can only get - I only have this butt
video on my head now. [Laughter] So I guess I'm gonna just stop there. Stan: That's great. So, who are your art heroes? While doing research
for this video and looking up artists, we noticed a bunch of them don't actually have
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that participated in the interviews. So, let us know, what artists have influenced you
the most? Let me know in the comments so I can check them out. If you like videos like
this, show us some love by hitting the "Like" button and ringing the bell. It makes us and
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