Recently, our very own Julie Ann Brown reached out to fashion illustrator artist Velicia Gourdin for an interview. She asked ten great questions. We hope you enjoy Velicia’s answers and her AMAZING illustrations below. She is such a talented artist and illustrator!

What does it mean to be a fashion illustrator today? How has it changed over the course of your career?

● Fashion illustration seems to embody more freedom today. Fashion art doesn’t have to embrace fabric, texture and patterning, although nice to see. Now it’s about mood, flow and an established “style.” I think our job as fashion illustrators is to share the mood of the designer; that has always been the case. How you choose to do it depends on what the job calls for and how you integrate it with your individual skill. I tend to be more detailed. I love to render fabrics and learned to do so in college. You couldn’t get around it. Also we tend to focus on fashion illustration that’s used for editorial purposes. There’s an entire market that’s geared to buyers where detail is key and the poses have less movement, like the illustrations featured on the front of pattern envelopes. Learn to do both and you’ll always find work.

You have said that you started illustrating at the moment when it was falling out of fashion in favor of photography. What motivated you not to give up?

● I graduated from college when fashion photography was taking over. I think digital photography really ran circles around traditional fashion illustration. The era of fashion illustration as the main source of editorial features was mostly on the decline by that time. I did indeed give up...for awhile :) I really had no idea how to attract the interest of prospective art directors. I fell back on my graphic design degree and entered into the corporate world some years later. I learned how to write training and used my self-taught computer skills to create it. I learned how to transfer my creativity across industries. Instead of creating visual experiences where clothing was the focus I created learning experiences where product, services and interpersonal skills were the focus. I learned something important during my time in the corporate world...

“Although you may be great at something, if your heart isn’t in it it’ll only be a job. You’ll be a stellar practitioner but there will always be something missing.”

In 2009 I decided to try again. After finishing my 9-5 day job I came home and worked from 6 to 10p or even sometimes later. I figured that I’d never really given my illustration chance because I hadn’t known how. With the onset of social media I could reach anyone! I had developed really good computer skills, I enlisted the help of a creative coach and spent my most valuable commodity, time, to help others believe that my work was something special.

Can you give our audience some insight into your creative process?

● I’ve tended to be pretty experiential in my creative interests. I’ve tried sculpture using polymer clay to create masks, I made masks for theatre productions and currently masks for safety and health. When I wanted to learn how to create jewelry I used needlepoint thread and covered wire for Lowe’s to make bracelets. Eventually I would buy a kiln and took classes from an experienced lamp worker who taught me how to create glass beads. I bought myself a sewing machine and created bags and learned how to crochet and made dog sweaters, hats and voluminous scarves with 2 - 3 strands of yarns with varying textures. I took classes with a world class body painter and painted children’s faces and people for photo shoots. I took classes from experts in their respective fields often funding those learning experiences in part from my day job. I used those experiences and small successes to bolster my confidence and took what I learned as far as color theory, variations, excellence in craftsmanship, attention to detail into my fashion illustration. Other than that, I draw everyday. If I can’t, which is rare, I review old drawings, gather source material for the next drawing session, look at the collections, and look at other artists’ work that inspires me.

What are your favorite sketching tools/apps?

● When I was in school I loved a fat black marker. It was permanent and forced me to understand anatomy and develop a style that was bold. I used vellum and paint thinner to make it bleed like watercolor. I used Pantone film (Yes I AM that old). I loved newsprint and an ebony pencil. Now I work solely in the digital arena. Funny though, my line quality is the same. Although now I can take a hand drawn sketch, scan it in and make adjustments. It’s a huge time saver. I also love working digitally because it allows me to be mobile and travel “light.”

How long does it take for you to make an illustration?

● I can’t answer that because it varies but I can give you an idea. If I am working under a deadline the piece can only take as long as the timeline dictates. If I have to get a rough sketch back to the art director by day’s end then I have to work fast. Unfortunately I’m usually against a tight deadline and often don’t get word of the job before a week to two weeks before it’s actually published. That’s why I draw everyday. It helps me to have some familiarity with something that I feel will fit the requirements of the job. If I’m drawing for myself? I try to crank out 2-3 figures, faces etc each day. I usually draw for 2-3 hours at a time.

Your Instagram feed showcases a variety of skin tones. How important is diversity in your fashion illustrations?

● Extremely important! Representation is everything! It’s critical to be able to see yourself in a positive way. Featuring models of all ethnicities allows me to show that beauty spans across all types of people. Traditional fashion used to single out one “type” of woman and I was taught to draw that one type. I eventually branched out and my audiences grew because of it. When you can’t “see” yourself, you may have trouble being yourself. The possibilities are endless but only if you believe in your ability to envision them.

Social media channels like Instagram and YouTube have given artists a way to reach a wider audience. Have you found that these are essential now?

● Can you imagine slogging around with a portfolio? Social media is a virtual portfolio. One that reaches all over the world. There’s a science to it. Timing, hashtags, audience reach...

Do you have any “How to Get Started" tips for our aspiring illustrators?

● Draw everyday - This prepares you to address any opportunities that come your way without delay.

● Draw varied subjects - This practice expands your repertoire making you a more well-rounded artist and expands your opportunities.

● Study the Masters - Understanding light, perspective and color is harder if you know nothing about the “Masters”. Traditional artists such as Singer Sargeant, Rembrandt, Klimt, Schiele. Also the great fashion illustrators, Antonio, Rene Gruau, Stephen Stipleman, Tony Viramontes, David Downton, Mats Gustafson, Kenneth Paul Bloch, Steven Meisel

If you decide to pursue fashion illustration as a career: (Actually this advice is good for any artist!)

● Develop your portfolio by identifying what works well for you...Do you draw accessories well? Do you adore drawing beauty products? Jewelry? Identify what you have difficulty capturing in your drawings. Is it because you don’t have enough skill with that topic?

● Create an online persona - Share your work along with your thoughts, ideas, and process tips. Look at your profile as a body of work and not just individual posts. Don’t forget that your audience is looking for continuity even though they may not be aware of it. You want to share your artistic journey and not rely upon posting “just pretty pictures”.

● Ask yourself the tough questions with regularity”

Am I drawing enough?

Am I drawing things that challenge and grow my skills?

Do your illustrations tell a story?

What one thing do you like about your work?

What things would you change about your work?

What other life experience can you use to add to your art experiences?

Velicia Gourdin is from Boston, MA. She attended Pratt Institute in New York and New England School of Art & Design at Suffolk University in Boston. The granddaughter of the first African American district court judge in Massachusetts (Edward O. Gourdin) and the daughter of an accomplished classical pianist and teacher (Jacqueline Gourdin) VG was encouraged to perceive her creative journey as one ultimately focused on accomplishment rather than attempting. The goal is always attainable.

http://www.vgourdin.com

IG: @ochunsita8246

EM: inquiry@vgourdin.com