Mark Todd is an illustrator, artist, author, and teacher who is based outside of Los Angeles. Todd urges young illustrators to “have a voice of your own,” and the range of his work reflects that attitude. His editorial illustration has appeared extensively in The New York Times, Entertainment Weekly, GQ, and many other publications. He has illustrated children’s books, comics, zines, and with Esther Pearl Watson created the book Whatcha Mean, What’s a Zine? The Art of Making Zines and Mini-Comics. Todd has also created spectacular gallery work, much of it with a twisted (in a good way) psychedelic super hero comic book theme. [Editor’s note: See the piece pictured with this interview.]

Todd has a smart, energetic style that is influenced by equal parts folk art, Jack Kirby-era Marvel Comics, and the comix and graphics of the punk era. It’s all mixed together into a highly original and engaging style, that Todd uses to great effect on assignments ranging from portraits to comics to conceptual illustrations. 

MY LIFE:
I live in the small town of Sierra Madre, California. They filmed the original Invasion of the Body Snatchers here!

Growing up, my mom was a phone operator and my dad worked as a waiter in Las Vegas. I’m not sure where the art thing came from. My parents are from England but they met in Las Vegas. My dad is a real character. So many stories and he likes to talk. He was a waiter at the Dunes Hotel for 30 years, until the end, when Steve Wynn bought it and blew it up. My mom doesn’t talk a lot about her past. She came a large family and moved to the U.S. in the 60s. She told me once that she went to Woodstock. She took a bus all the way there, took one look and left. It wasn’t her thing.

My first real job was delivering newspapers. But before that I made a fair amount of cash selling candy I bought wholesale from a factory that supplied our local ice cream man. I would bring a huge duffle bag of assorted sweets to school. I also had sales happening from my bedroom window. I was like a candy dealer. I was always like that, trying to figure a way to make money selling something. One summer, my brother and I tried building a miniature golf coarse in our backyard out of scrap lumber and hoses, charging kids a few bucks each to play. My mom was really supportive and was always up for things like that. One time, I suggested she open a comic book store. I was 13 and had no idea what I was talking about and mainly just thought having my own comic shop would be amazing. But she actually started looking into it, location scouting and things like that before I kind of freaked out and said, “Mom, don’t open a comic shop! You shouldn’t listen to a selfish kid like me!”

I graduated from Art Center in 1993. Moved to New York soon after. I had done some work while a still a student for the Los Angeles Times and LA Weekly. My first job after moving to New York was for The New Yorker. It was amazing. I dropped off my portfolio, went home and there was a message on my answering machine from Christine Curry, asking if I was able to go see a play that night and get her some sketches the following day. So I took the train back down into the city and feverishly drew while watching the show. A few days later I looked in the magazine and my piece was already in print. It was so fast and thrilling. That first New York job gave me the confidence to approach other publishers. Within a short time, I was working for Rolling Stone, Spin, Elektra Records, Sony Music, and others.

MY WORKSPACE:
Currently I work with my wife and fellow artist Esther Pearl Watson in our small pool house in our backyard. Lately I have been collecting old records. We don’t really have the room for them in this small studio space but I love playing them while I work. There is something nice about the limitations of records. You put the needle down and you listen to it—simple as that. Esther’s grandfather owned a radio station in Texas and we kept a lot of his records after he passed away. My dad also gave me his collection. Between that and me buying records at thrift stores and used record shops I now have this eclectic collection: from Frank Sinatra to Willie Nelson, Culture Club to Led Zeppelin, Beatles to Rod Stewart. Every record has a story, a memory from childhood or the place I found it. Having a view of our pool and the San Gabriel Mountains is also nice.

HOW I MAKE MY ILLUSTRATIONS:
I use Photoshop quite a bit for my illustrations but I would say in a pretty minimal way. It all starts with analog materials. At times I go through phases that I stick to for awhile. My most common materials are usually India ink, a 4B pencil and Cel-Vinyl.

MY FIRST BIG BREAK:
Moving to New York immediately after graduation had a big positive result on my career. I can attribute that decision directly to Matt Mahurin. I was still a student and he was visiting Art Center. I showed him my portfolio. After looking through the dozen or so images he looked up at me and said, “When are you moving to New York?” I was a bit stunned and hadn’t even considered a move like that. He basically said that I had to move there, no question about it. In his opinion my work was better suited for the East Coast. Luckily, it worked out. It really helped shape my work quickly; a sink or swim experience.

MY INFLUENCES:
More and more lately, it’s difficult to say who my favorite artists are. So many people have been influential in different ways. I could mention artists that inspired me as a kid to become an artist myself. People from the comics world like John Byrne, Moebius, Eastman and Laird and Bernie Wrightson come to mind. In high school my taste and views expanded to Norman Rockwell, Picasso, Dali and if I am being totally honest, Patrick Nagel. (This was the 80s). In college, the usual suspects, including Basquiat, Jasper Johns, Lichtenstein, and Rauschenberg. I was also into Tamara de Lempicka, Mike Kelley, Chris Burden, Alex Katz, Cindy Sherman, and Georg Baselitz. Ironically, I wasn’t that interested in illustrators even though that was my major. After college I discovered Folk artists like Henry Darger—a big eye opener when I first stumbled upon a show of his work in New York. I revisited comic artists like Jack Kirby and always loved the work of bold painters like Donald Baechler and Philip Guston.

MY MOST ADMIRED CREATIVE PERSON:
I would say that Esther is a big contender, that’s for sure! She works so hard and passionately on everything she does.

MY CREATIVE INSPIRATION:
Nothing in particular. Anything and everything can be inspiring.

THE BIGGEST CHALLENGE OF WORKING ALONE:
Luckily, I get to work alongside my wife Esther in the studio and on many projects. But the biggest challenge for me personally would be finding the time to work on projects that don’t have specific deadlines. I sometimes get caught up in all the small stuff that one has to do: e-mail, laundry, errands, taxes—you know, the stuff that gets in your way and then suddenly the day is done. When I do dive into a project though, it’s all I think about. I like working on something and getting through it. Multi-tasking is not enjoyable for me.

A MEMORABLE ASSIGNMENT FROM THE PAST YEAR:
It would definately be the project that Esther and I are working on now. Actually, it’s a project that we have been working on intensely for the past year or so. It’s been amazing and such an exciting process. We are learning so much. But for now that’s about all I can say about it. Hopefully we will be able to spill the beans later this year.

DREAM ASSIGNMENT:
I think creating an ongoing series of pieces for a particular company, rebranding the entire project. Perhaps working with interior spaces as well, working with fabricators and designers on everything from the lighting, the furniture, along with installation pieces and paintings/murals.

MY FAVORITE ART DIRECTOR:
Anyone at The New York Times is always great to work with. They really let you explore and encourage fresh approaches to solving visual narratives.

SOME OF MY FAVORITE ILLUSTRATORS:
There are so many amazing illustrators creating work right now.

Lately, I really love the work of Steve Weissman (check out his graphic novel on Obama), Ryan Heshka, and Anne Kristen Hagesæther. But I would love to take this opportunity to mention some amazing new illustrators and recent students of mine: Paige Jiyoung Moon, Sally Deng, AJ Dungo, Addison James Eaton, Sean Norvet, Chris Youssef. So much talent on the horizon.

OTHER WORK:
Right now I am creating work for a gallery and a few commissions. Also working on some animation backgrounds, comics and ideas for a children’s book.

HOW I STAY CURRENT:
I just keep putting work out there and hopefully people will react positively. You never know where work will come from. Sometimes things take years to root. Other times I have been more forward and directly approach a client or buyer with a proposal or idea. I think timing is important. When you see an opportunity you have to go after it. Other times it may be okay to wait until the right moment, an introduction, or the perfect fit.

HOW I PROMOTE MYSELF:
Lately I think networking works best for me. But who knows for sure? I think most people would say that a little bit of everything is how it works these days. Just sending out postcards like in the old days isn’t going to work anymore. My career always seems to be in transition. I have been doing this a long time now and every year I find myself in a place that I didn’t necessarily plan on. It’s the rollercoaster ride of being freelance. Although it can be stressful, it’s also really exciting. I love the freedom and you don’t get bored.

ADVICE FOR SOMEONE STARTING OUT:
Be prepared for anything. You may get work right away or it may take years. Have a voice of your own and trust your instincts.

See more Mark Todd illustrations, new work, and updates here:
Mark Todd website
Mark Todd Art
Fun Chicken (Mark Todd and Esther Pearl Watson products)
Twitter @mrmarktodd
Instagram @mark_todd