Make What You Love and You Will Be Found: Sarah Robbins, Catapult Artist for June 2019

“‘Illustrator’ is just the easiest catch-all for many jobs—which again, I’m rather restless so it’s worked out great that I never get bored!”

As part of our Catapult Artist program, Nicole Caputo, Catapult’s art director, sits with June’s #CatapultArtist for a conversation on art, creativity, and the artist’s life.

It’s hard to believe that June is over! Halfway through 2019 and we’ve already worked with so many talented artists—among them is Sarah Robbins! Her work is beautiful, layered, and surprising. Many of our stories this month were ambitious—from essays for Pride Month to a hybrid interview-memoir piece to an entire novella—and Sarah rose to each occasion without fail. Talking to her about her craft was just the cherry on top of another great month with our Catapult Artists!

Nicole Caputo: What lead or inspired you to become an illustrator? How did you get started?

Sarah Robbins: I’m not sure I was so much inspired to become an illustrator as I grew into it. Truly, very early on, a Montessori teacher gave me permission to draw all day and to cut up paper into shapes for as long as I liked. I’m kind of a fidgety restless person. I always need to be making things with my hands. Those teachers channeled that energy into art and that was that.

When I got a bit older, I found a lot of catharsis making politically motivated work. I made illustrations for the school paper and it was an emotional outlet to make my own conceptual pieces—generally responding to the Bush era and growing up in conservative suburban Texas. I felt a strong emotional connection to visually explaining a feeling or idea and it was something I always came back to no matter what medium I was trying on. I really bounced around too. For a minute I considered double majoring in photography. I went on to MICA and being around so many inspiring people really solidified the illustration path for me.

It’s progressed from there into understanding how to manage a professional practice. I’m still figuring out what “being an illustrator” really means in day to day life and professionally. I do so much more than make illustrations—I’m an accountant, marketing manager, product designer, etc. ‘Illustrator’ is just the easiest catch-all for many jobs—which again, I’m rather restless so it’s worked out great that I never get bored!

Please tell us about your desired medium(s) and what you like about this medium.

My illustration work is primarily done digitally (now I draw almost exclusively on my iPad), but my style and way of building an illustration come from so many sources of traditional training; mainly printmaking.

I find the textures and forms of printmaking to be soooo rich. I just want to rub my hands all over every inky print I ever see. The natural pits and salt of a linocut, the raised lines of an etching, the soft subtle tones of a stone lithograph, the grain of a risograph print. How do I describe it? It makes me so excited to create. Looking at prints is very visceral for me.

I was a bit burned out by the end of my time at MICA, so when I graduated I bought an old Chandler & Price printing press for cheap to spend the summer restoring it (scrubbing rust) instead of drawing. I was thinking of things to print on said press and had an “aha” moment to just try out how it would feel to build an illustration like I would build a layered print—less than five layers and every color on it’s own layer, no lines, just shapes.

I was in such a rush to get it out and the process felt so freeing and correct. I had been struggling with a lined illustration style—I was really unhappy with it so I just threw it out and started over from square one of what made me excited about art.

Suddenly, printmaking and illustration all came together and it was magical.

Can you tell us a bit about your process from start to final execution?

Sure, it’s a bit different depending on whether it’s for myself or for a client.

For client work, I start by trying to break down the core themes and ideas that I want to come across. I usually start a list, either on paper at my desk or in notes on my phone (so I can add to it when I inevitably think of something in the middle of the night). Bits of imagery and concepts come out of reading the copy carefully (if it’s for an article, etc) and I write it down.

From there, I start thinking about composition. Sometimes I just mark out thumbnails that are lines/circles/random shapes, just to get a feel for what might make an interesting image. Sometimes I see a great concept just flash into my head and have to get it down really quickly. I find it helps a lot to explain the idea to someone else. It forces me to narrow it down and talk it out. Once I’ve got an idea I start to push and pull a sketch on my iPad. I like to give clients three to choose from—then it’s off to the races building up shapes of color. I edit constantly while I work, adding and taking away texture and pieces.

For personal work my process is a bit different—I usually have an idea of what I want to do already and it’s just a matter of getting it out onto paper. I kind of know where I’m going, so the process is more streamlined. I like to play with the presses in my studio, or with a fiber craft I’m working on while I think. There’s a natural rhythm that gives me time to create more loosely and experiment.

What are some recent projects that you are excited about or something that you are working on now?

I just finished my first book! It’s a self-published little zine of a thing and I’m very proud of it. It’s called “Tony” and it’s about a praying mantis I rescued and grew to love and relate to. It’s about self-discovery and personal identity. It’s mostly about my love for bugs and nature but there’s lots of symbolism wrapped in. I’m inspired by a lot of ’70s children’s books, so I pushed my style in that direction for it. It’s a three-color risograph printed and sewn bound by Risolve Studios in Philadelphia. They are rad and were amazing to work with, go support them.

Unfortunately, you can’t buy Tony until August when I reopen my store because right at this moment I am interning in Cleveland at the American Greetings studios. I’m learning the ins and outs of production/engineering paper structures/technical ways to add fun finishings like glitter and gold stamping. It’s exciting to see a team of artists who create so many designs on store shelves and to be part of it.

One of my favorite questions to ask has to do with refueling the creative tank. What kind of practices, rituals, outings, sights, etc. do you engage with as a source of inspiration?

This is so important! I’m constantly finding ways to refill that tank because if you don’t, eventually you run on empty and bad art happens when you run on empty. I had a drawing teacher who ordered us to go out. He made it clear that experiences are just as important as technical practice. He was extremely correct and I’m thankful to have been taught that early.

I have a million hobbies (of course) but regularly knitting and weaving have been practices I lean back on. I enjoy the process immensely. It’s very satisfying to wear a garment you made for yourself—it’s ultimate self-love. I like to draw out the process as much as possible. I dye the yarn myself, then I spend hours looking at patterns, then I swatch to get the right fit and color combination. Finally, it can take up to a year to finish a sweater, as I put in the meticulous time to knit each stitch. It’s very meditative but keeps my hands busy. It’s like art therapy, I can’t recommend fiber craft enough to any artist struggling to balance their creative life.

I also take myself on dates to museums pretty often. I plug into music or a podcast and just drift about, taking my time and soaking it up. I always leave feeling full and ready to pour that out onto a piece.

How long did it take you to land your first commissioned job? What was the job?

It took me quite a bit after graduating, about half a year. I really struggled those first few years because (as I explained above) my style wasn’t working for me anymore. My first gig was with a company which animated illustrations for educational videos. They were and are a lovely company—but it was not enough to live on and was lots of detail work. Even so, it gave me some confidence that I could make money with illustrations and that kept me going.

What tips would you give to emerging illustrators in regards to securing commissioned opportunities?

I would tell them to figure out what they really love to draw and how they really love to draw. When you’ve got that figured out, focus on making work where that shines through, because people can tell when it does. After that, spread it far and wide, don’t be shy about it because other people aren’t. Find a community of illustrators where you live (or online) and politely ask them about who they work for, and where to find art director contact information. I’m part of a group of illustrators on Facebook which shares this info, and I also regularly look on Twitter and Instagram for art director information to add to my list.

When I started, I went to a Barnes & Noble and looked at magazine mastheads. I wrote down the names of all the ADs who made beautiful magazines and hired illustrators. Four times a year I send out a mini portfolio and keep up with those who respond—it’s something that’s part of the job so start building that practice.

I find going to conventions—comic and small press, has opened up so many worlds to me too, and so many new friendships. Just go and talk to people! Most artists are just as stoked to talk about their work and help you too.

Be stubborn, and be determined, because it can take a while to build momentum. If you are making work you love, sharing it around, participating with others who share their work, people will find you in time!