Check-in with Tom Fluharty
| Author | Debbie “debbo” Burmeister |
|---|---|
| Subject | Tom Fluharty |
| Genre | Interview |
| Published | EF Issue 2017.4 |
| Pages | 13-14 |
| Website |
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Article Description. Should include author, brief description, issue number and page number(s).
Article Transcript
Minneapolis-based artist Tom Fluharty has been in his current career since 1983 and is this year’s guest of honor and keynote speaker at the annual convention. On the next few pages, he shares his process on a new digital painting. First, here are a few questions. If you want to learn more about him, refer to our previous interview in the Summer 2015 issue of Exaggerated Features.
Q: Hi, Tom! Thanks for checking in with us. Last time we spoke with you, your focus was on your Pop Art Painting. Have you changed directions since then?
A: Yes, I’m still drawing and painting Pop Culture just not focusing on gallery work. I also am working on a dog collection to license. I am thinking and moving everything I do towards licensing.
Q: Whose art are you following on social media these days?
A: On Instagram I follow Pascal Campion, Marvin Lorenz, Jason Seiler, John Nevarez, Josh Leclare, Kim Jung G, George Pratt, Dan Zollinger and Cory Loftis.
Q: Do you do any teaching?
A: Yes, I teach at Schoolism.com and have some local students as well. Teaching has made me chew on the fundamentals over and over. Repetition helps drive home what we know. To explain and clarify what we do is actually not as easy as we think it would be. Once we explain something a thousand times, we get better at communicating it.
Q: What values and attributes should an artist have to improve their craft and/or be successful?
A: Humility and hunger. A hunger to be awesome. That requires humility, a willingness to admit we are only so good and need help. That’s where everything starts. Also an aggressive use of our time, knowing we are all given the same amount of time each day, 24 hours. Use it wisely to get great. Lastly, study with great people. If someone is awesome at what you want to do, ask to study with them. All of these fall under the attribute of humility.
Q: And on the flip side, what do you think holds an artist back or is detrimental to their progress?
A: Artists stop growing when they think they are awesome enough or famous enough and they stop practicing. Believing you are a master just because someone calls you that stunts your growth and is not rooted in what’s true. I believe the word “master” should be used for artists like Anders Zorn or Rembrandt and looking at ourselves in light of these great men is healthy to our growth and progress.
Q: Do you make a distinction between caricature illustration and caricature fine art?
A: Yes. What is it that makes the difference? Caricature illustration for me is rooted in technique and personal style of the illustrator. Fine art caricature is rooted more in classical teachings going back to painters in history like Rembrandt, or William-Adolphe Bouguereau, where principle and fundamentals are taught rather than to admit we are only so good and need help. That’s where everything starts. Also an aggressive use of our time, knowing we are all given the same amount of time each day, 24 hours. Use it wisely to get great. Lastly, study with great people. If someone is awesome at what you want to do, ask to study with them. All of these fall under the attribute of humility.
Q: And on the flip side, what do you think holds an artist back or is detrimental to their progress?
A: Artists stop growing when they think they are awesome enough or famous enough and they stop practicing. Believing you are a master just because someone calls you that stunts your growth and is not rooted in what’s true. I believe the word “master” should be used for artists like Anders Zorn or Rembrandt and looking at ourselves in light of these great men is healthy to our growth and progress.
Q: Do you make a distinction between caricature illustration and caricature fine art?
A: Yes. What is it that makes the difference? Caricature illustration for me is rooted in technique and personal style of the illustrator. Fine art caricature is rooted more in classical teachings going back to painters in history like Rembrandt, or William-Adolphe Bouguereau, where principle and fundamentals are taught rather than subjective personal illustration styles particular to an individual like someone like Bernie Fuch’s style.
Q: Is this your first convention?
A: No, this is not my first con, but it is my first ISCA convention. Last year, I did Eurocon in Vienna. I’ve also done actual comic cons as well.
Q: What are your goals for this one?
A: My goals for this invite is to encourage those who love caricature and help them in anyway possible and give life to their dreams.
Q: Are you looking forward to anything in particular at the annual convention?
A: Seeing some of my good friends, especially David O’Keefe, one of my best friends, and Jon Casey if he makes it in.
Q: What do you hope people take away from your presentation this year?
A: Hope. I hope people believe that they can do whatever they set their minds on and can make their dreams happen through the years and that they can push through the mediocrity that haunts all of us. We’ll see what actually happens. I’m just honored to be a part of it.
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