PR: Where do you live and how does that place contribute to your creative work? 

DB: I live in Washington Heights, in Upper Manhattan—a  neighborhood that has a strong connection to my Dominican roots. It’s a place with a real sense of community full of people and events that inspire me. I live close to the Hispanic Society, which has a deep connection to the art and history of the Dominican Republic and Latin America. Visiting places like that reminds me of the richness of my culture and inspires me to bring those influences into my illustrations.

PR: Which came first, the pen or the brush?

DB: For me, the pencil came first. I started drawing long before I got into painting. Growing up, I felt much more comfortable with graphite and charcoal because I felt more in control of the medium and I wasn’t sure how to handle paint. But over time I started gaining more confidence with paint, and eventually, I fell in love with oils. Now I love experimenting with a lot of different materials.  

PR: I noticed that you use a lot of analog mediums to get your illustrations going—before you turn to digital platforms for the final stages. Could you describe to the readers what kind of a process you follow in general?

DB: My process is built on layers, with most of my work starting with traditional analog tools. It begins with research and ideation, where I gather ideas and start shaping the direction of the project. From there, I move into sketching, refining the concepts visually. Once I have the composition set, I start working with dry media (usually charcoal or chalk pastel) on paper or illustration board. 

As I continue to work, I add layers of collage or paint [see demo here]. I enjoy combining different textures, so I work with a variety of materials to achieve that contrast. Once everything is coming together, I scan the layers into the computer, where I add a light touch of digital painting to make small refinements. I know the piece is finished when it starts to "sing,” which is what I say when everything comes together and feels right. 

PR: How do you go about broadening your process as you bring various analog processes into the mix?

DB: Experimentation is a huge part of my creative practice, and it’s what keeps me excited and inspired. I think creativity thrives when we let go of control and embrace the unexpected. That’s where the magic happens. One way I like to experiment is through Gelli plate monotype printing. Monotype has become a fun way for me to explore new textures and ways of mark-making.

I like to use different materials like ink, paint, even found objects to build interesting patterns and marks. Sometimes I incorporate the prints directly into my illustrations, and other times I use them as references for new textures or ideas. The process allows me to step outside of my comfort zone and discover new ways to work

PR: Please share your recent experience teaching an illustration workshop using Gelli plate printing.

DB: I was recently invited to Syracuse University to lead a workshop for Illustrator London Ladd’s class, where I introduced the students to Gelli plate mono-printing. I wanted the workshop to feel like a Mad Scientist’s laboratory where students could take risks and experiment without worrying about making mistakes. I started with a demo, showing them different ways to approach mono-printing—by painting directly onto the plate (additive) and by pulling out lines or values (subtractive). We also experimented with using palette paper as a surface for mono print transfers.

Once the prints were done, I encouraged the students to use dry media like charcoal or pastel on top to create illustrations inspired by the unique textures and patterns from their prints. The goal was to get them to explore and embrace the unexpected elements that come up during the creative process, and they really rose to the challenge! Some students incorporated the textures by using them as focal points in their illustrations, while others used the prints as a background to layer more detailed drawings on top. It was wonderful to see what they came up with. They really thought outside the box!

PR: What do you enjoy most about teaching?

DB: I love teaching because it gives me the opportunity to communicate and connect with others through the creative process. It’s not just about sharing knowledge or techniques—it’s about helping others make their own discoveries by building on my experiences as both a student and an artist. Teaching allows me to reflect on what worked for me when I was learning and find ways to explain things that resonate with different people. Ultimately, teaching is about communication—it’s about finding that moment when a student connects with a concept or gets excited about a new approach.

PR: If you could use just one medium for a year in your personal work, what would that medium be—what would be your goal and how would you get started?

DB: If I could only use one medium for a year, it would definitely be oil paint. I’ve been using oils more regularly lately, and there’s really nothing quite like it. The reason I also love chalk pastel is because it gives me a similar feel to oil paint in a dry medium, which is easier to control [see demo here]. But oil paint challenges me in a way that nothing else does. With oils, I go through cycles of frustrations, breakthroughs, and discoveries, and that’s something I really value. If I had a whole year with just oils, my goal would be to really dig deep into the medium, refine my skills, and embrace that cycle of growth again and again.

PR: What would be your dream job—the one thing you have always hoped for in an assignment?

DB: Right now, my dream job would be illustrating a United States Postal Stamp. It’s something I’ve always hoped for, and it feels like all the projects I’ve worked on have been building up to that opportunity. Stamps are like small works of art that travel all over the world. I love the idea of creating a commemorative portrait stamp. The best thing about stamps is that they blend history, design, and functionality and it would be an honor to add my name to the list of illustrators who have worked on them. Just thinking about it makes me happy, knowing how timeless and far-reaching that kind of work can be. 

PR: I noticed that you’re currently doing clay figure modeling at the League—please share your thoughts on this.

DB: I’ve really been enjoying learning new ways to express myself as an artist. Recently, I’ve been taking a sculpture class at The Art Students League, where we work from a live model. Every Saturday morning for three hours, we sculpt with terracotta clay. Our instructor, sculptor John Belardo, breaks the process down into three key phases: massing, volume, and texture. The sculptures we create are more like sketches—quick, exploratory pieces. In just a few months, I’ve been amazed at how much I’ve learned and how much I’ve grown.

Dominic Bodden is an award-winning illustrator based in New York City, known for his distinctive approach that blends traditional and digital techniques, including pastel and paper collage.

Dominic's illustrations have been recognized by American Illustration, The Society of Illustrators, The Royal Society of Portrait Painters, and Communication Arts. 

His clients include The New York Times, Vanity Fair, ProPublica, The RAND Corporation, Bloomsbury Publishing, Smithsonian Magazine, and the New York Metropolitan Transportation Authority.

Website: www.dominicbodden.com

Instagram: @dominic_bodden