“People will always need art in their lives.”: Alexandra Bowman, Catapult Artist for August 2019

I was thrilled when Alexandra said yes to being our featured Catapult Artist for August. Her work is bold and bright with clean lines that almost resemble modern-day stained glass. There is this gorgeous texture and translucency and all of these details show up beautifully on small and large screens alike, which is key for a digital magazine. It was an incredible treat to show sneak peeks of her work to our team and listen to the audible recognition and to hear her enthusiasm come through each email as we worked through the month.

Nicole Caputo: When did you know you wanted to become an illustrator and what did that early journey look like?

Alexandra Bowman: I’ve been drawing for as long as I can remember, but I never imagined that illustrating would be my full-time profession. In college, I spent most of my time studying printmaking and graphic design. I knew design would set me up for a secure career path, but it didn’t feel as natural for me as drawing did. Once I graduated and moved back to California, I went straight into a career as a graphic designer, working with typography, photo-editing, and designing layouts for print and web.

No longer a student, I was missing the physical spaces and art studios I once had access to in college. I found that illustrating was the most organic and practical way for me to make art, no matter where I was. I could draw small scale in my tiny apartment without a printing press or studio space. Eventually, I fell in love with the art of illustration and started taking freelance jobs for local creatives. Musicians in my social circle commissioned me for album covers, band t-shirts, and posters. Small businesses around town were recognizing my art and hitting me up for work.

I reached a point where my side hustle of hand-drawn merch and posters turned into a possible business. I was working nine-to-five as a graphic designer, but spending nights and weekends on my budding illustration career. I worked as a designer for four years until I realized that being in an office for eight hours a day was forcing me to put my true dream on hold. I was turning down jobs because I didn’t have the time and pulling all nighters to finish projects. About a year ago, I set a goal to save up six months’ rent and quit my corporate design job to become a full-time artist working for myself, a decision I couldn’t be happier with.

Do you think your upbringing inspired your path towards being an artist?

Definitely! My mother and grandmother were both painters. Although art wasn’t their full-time career, there was always lots of creative energy in my household. I spent much of my childhood collaborating on paintings with my mom, illustrating imaginary magazines, doing arts and crafts with my sister, and taking drawing classes.

Both my mother and father were extremely supportive when it came to my passion for art and drawing. My dad would wake up at the crack of dawn every Saturday and drive me to art class, halfway across the city, and wait around until I got out. My mom would take me to art stores and we would spend hours looking at paint colors, handmade papers, and new materials to experiment with.

When it came time to apply for college, my parents encouraged me to attend art school. I remember being nervous to go into a creative field due to the myth of the “starving artist.” Both of them reminded me that no matter what is going on in the world, people will always need art in their lives.

As an adult looking back, I realize how lucky I was to have this kind of relationship with both of them. I probably wouldn’t be where I am now without them instilling confidence that I can support myself doing something I love.

Do you do other work outside of illustration?

The majority of my livelihood comes from editorial illustration, but I also paint murals and sell prints. I’m constantly thinking of unique streams of income. I’m currently in the process of creating home goods and will be teaching workshops in the future.

What helped you get your work seen in the earliest days and what helps now?

In the very beginning, I was making art for anyone who asked. I would design album art for my friends in exchange for a six-pack of beer. I have come a long way since then, but I truly believe that making a lot of work in the beginning of your career helps you find your artistic voice. I have to shout out womenwhodraw.com; a worldwide online directory of female-identifying illustrators started by Julia Rothman and Wendy MacNaughton. The platform has become a supportive online community for women in the field of illustration. Instagram has also been helpful in regards to getting my name out there. Now I would say that every job I get brings me closer to my next client.

What are the challenges you face? How do you navigate those challenges?

My biggest challenge has been learning how to value my work and my time. Getting people to pay you what you deserve as a woman is a huge issue with most professions in this country and globally. Especially as a woman of color, we statistically make less than our white counterparts. In terms of finance, women are socially conditioned to accept what we are given. It takes confidence, assertiveness, financial knowledge, and unfortunate mistakes to learn how to navigate the world of freelance.

When I’m unsure of the numbers, I reference The Graphic Artists Guild Handbook: Pricing & Ethical Guidelines. It’s an amazing resource for me to make sure that am not undercharging clients and getting paid adequately.

What does your process look like and what is your favorite part of the process?

Most of my work tends to be editorial illustrations for magazines and newspapers, so my process starts off with reading the article that will ultimately pair with my artwork. I read it a few times, highlighting important themes or phrases. I take a lot of notes and spend some time thinking about how I can visually and conceptually communicate the most important ideas within the piece.

I send the art director a couple sketches and, once the favored sketch is approved, I turn that sketch into a digital illustration. I start with an outline of my sketch in Illustrator and finalize the piece in Photoshop. My favorite part of the process is when I finish outlining and start to add color and texture. It’s always satisfying to see my linework come alive.

What is your desired medium and what are your favorite tools?

I love using gouache on paper; Acryla is my favorite brand. A fusion of acrylic and gouache, it’s opaque, easy to layer, and comes in some amazing pigments. If I’m painting large scale murals, I will always buy acrylic paint from Nova Color in Culver City. You can purchase art supplies anywhere, but it’s really important to me to support local art shops. We need to keep them in business! There’s nothing more fulfilling than exploring a physical art store. Creative ideas can be cultivated just from being in that space.

Most of my commissioned work is drawn digitally due to potential revisions and fast turnarounds, but I love experimenting with new materials. I recently learned how to laser cut and create risograph prints. When I travel, I pack my sketchbook, microns, and oil pastels.

Some people find that working back-to-back projects is what keeps them inspired. Others find they need rest between them, with other personal projects interspersed, to do the best work for clients. How do you stay inspired/work best?

I like to have some down time between projects. Working for myself is all about balance. Although illustration is my career and passion, I still need to have a life outside of art-making. Taking the time to rejuvenate before I embark on a new project is important so I don’t burn myself out. I like to travel, go to the library, work in my community garden or learn new skills. Using a different part of my brain or going outside of my comfort zone helps me feel clear-headed and inspired.

My work is only as exciting as my life experiences. If I don’t take care of myself, my work will suffer. I try and fit in personal projects whenever I have time, so I can constantly keep growing and improving as an artist. When I work with clients, it’s important for me to be a collaborator, staying open-minded and flexible, while bringing my own interests and style to the table.

Who have your mentors been and what did they do or say that inspired, moved, or motivated you most?

I’m super lucky to have a core group of girlfriends who are all in creative fields. We ask each other for all kinds of advice, from how to spark creativity to how to organize our tax documents. Even the act of conversation can inspire a new idea. I think it’s motivating in general to surround yourself with people who have a good work ethic, passions, and goals. We hold each other accountable and lift each other up. In that way, we inspire one another.

Lastly, what tips would you give to emerging illustrators?

Save your money! Financial independence equals freedom, especially for someone who wants to work for themselves. Another tip would be to create as much work as you can. If you aren’t getting professional jobs yet, create them for yourself. Design an imaginary book cover or illustrate assets for a hypothetical brand. Exercises like this can broaden the depth of your portfolio and make you more comfortable with your personal process and style.

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