Q: Originally from New Jersey what are some of your favorite things about living and working in the Garden State?

A: It’s where I grew up, it’s familiar. My family and friends are here. And being so close to NYC (about 20 miles) there’s diversity in the culture and people. 

Q: Do you keep a sketchbook? What is the balance between art you create on paper [or other analog medium] versus in the computer?

A: I go through many sketchbooks, yes. I draw a lot, whether it’s for reportage or conceptual or both. I create almost all of my art on paper and then scan it and color correct the work if necessary.

If I’m working on a tight deadline I sometimes create the art in sections and put the final piece together in the computer so I can make changes to the art without having to recreate the entire illustration.

Q: What is the most important item in your studio?

A: That’s a difficult one. Everything has its value, from the books to the supplies to the music playing…but if I have to choose I suppose it would be my fountain pens and paper. Without those I really can’t get started…or finished.

Q: How do you know when the art is finished?

A: I used to struggle with this, but with experience I’ve come to understand my clients’ needs and to know when they’ve been met.  I work for different types of clients, from editorial to institutional, advertising to packaging, and with the difference in client comes a difference in expectation. I guess it’s when I achieve what I set out to do.

Q: What was your favorite book as a child

A: It was a picture book about Louis Pasteur called The Value of Believing in Yourself.” My parents were not scientists or even necessarily interested in Pasteur, but somehow this book ended up on my shelf…and I read it over and over. Maybe it paid off?… You certainly have to believe in yourself to succeed as an illustrator.

Q: What is the best book you’ve recently read?

A: I was recommended [to  read], American Nations: A History of the Eleven Rival Regional Cultures of North America by Colin Woodard. Woodard explains the historic and cultural divides among the peoples of North America. I enjoyed the fact-based explanations offered as well as a different insight into the political divides within our country.

Q: If you had to choose one medium to work in for an entire year, eliminating all others, what medium would you choose?

A: Ink. It’s versatile.

Q: What elements of daily life exert the most influence on your work practice?

A: Since its founding in 2005 I have been a part of the illustration collective Studio 1482.  The seven illustrator-members of the studio share a philosophy towards art and illustration and their support has been invaluable as I’ve tried to navigate my way through the illustration world. Our studio has a website, multiple marketing initiatives, and a daily blog (onedrawingaday.com) which I help to maintain. I do enjoy the business side of illustration, and while it can sometimes take time away from creating new work, it helps me to keep informed and connected to the business. 

Q: What was the [Thunderbolt] painting or drawing or film or otherwise that most affected your approach to art? 

A: I remember during my first year at Parsons a teacher would show slides of random artists at the end of his class and it was the first time I saw a Turner painting. It was one of his more abstract/atmospheric pieces, but it was probably the first time I really thought a painting was beautiful. It was abstract, but very clear. It was an illustration achieved through color and feeling. 

My mentor, David J. Passalacqua would show films to his students, and I’ll never forget the first time I saw Orson Welles’s Othello. It was also an illustration too, but it was moving. The visual storytelling was graphic and powerful, and Welles achieved that through symbolism and design.

Q: Who was the [Thunderbolt] teacher or mentor or visiting artist who most influenced you early in your training or career?

A: The late David J. Passalacqua, without question. Upon meeting Dave at Parsons in 1998 I thought I knew what illustration was. I quickly learned that I did not, and that has made all the difference. Dave opened my eyes to the world and made sure I knew what it meant to live life as an artist.

Q: What would be your last supper?

A: I may love eating good food more than just about any other activity. To be specific would be impossible, but I will say that vegetables would be involved and most likely fish. And a high ABV craft beer for sure.

Greg Betza is an illustrator from New Jersey. His versatility in style and unique approach has led him to create work for a diverse group of clients including BBDO, Boston Globe, Chicago Tribune, Condé Nast, E&J Gallo, Four Seasons, JWT, Macy*s, Men’s Journal, Merge Records, NBC Sports, Publicis, RAPP, Random House, Scientific American, Wall Street Journal, Wine & Spirits, Y&R and more. Greg has received numerous awards from institutions such as American Illustration, Communication Arts and the Society of Illustrators of LA. Greg was featured by Communication Arts Fresh Online as an emerging illustrator in 2010.
http://www.studio1482.com/artist/greg/
http://www.gregbetza.com
https://www.instagram.com/gbetza/
https://www.facebook.com/gregbetzaillustration/
https://twitter.com/@gbetza
https://vimeo.com/gregbetza
http://gregbetza.tumblr.com
http://www.onedrawingaday.com