Dublin-born illustrator Jon McCormack's work is full of atmosphere - and, while motionless on the page - evokes a sense of narrative that sets the imagination going. With inspiration derived from many and varied interests that include cinema, queer culture, graphic novels, mythology and absurd humour – he has built up a solid client base that obviously appreciates his knack for bold, smart and evocative work. Here Jon discusses his creative journey, staying disciplined and keeping imposter syndrome at bay.
Could you define the approach or philosophy of your work Jon?
Before I pursued illustration, I had always been in love with storytelling in any form. I initially wanted to have a career in filmmaking and studied it at university in Ireland. Ultimately, I preferred having more agency over the stories and worlds I wanted to create. I started working as a storyboard artist before undertaking a masters in illustration at Camberwell College of Arts. The point I want to make is that I had always wanted to be a storyteller but took a little while before deciding to do that as an illustrator. The style and aesthetics of my artwork has changed over time, and may continue to do so, but I always endeavour to convey a sense of narrative.
Which piece of work or project have you learned the most from?
I've worked on many short and long-term projects, but one job stands out as a case of learning how to be kinder to myself in my work. A couple of years ago, I got to illustrate a book review of 'Fairy Tale' by Stephen King for the New York Times. I'd never worked with them before and I was excited to have my illustration featured in such a recognised publication, as well as the opportunity to work with Matt Dorfman, an art director I had admired for some time. On top of that, I had been a huge fan of King's writings when I was younger. For these reasons, I was also incredibly nervous that I was going to mess it all up. I consider myself to be professional when working with any client, but this one had me spiralling from pressure I had needlessly piled on myself and I began to have a major bout of imposter syndrome. I had to really take time to coach myself and speak, almost like a mantra, that they've seen your work and hired you for a reason so do what you do as if it were any other project. In the end, I believe that the illustration came out nicely and they were pleased with the result. Most importantly, it reinforced the need to take care of myself when I'm working for clients, big or small, otherwise the work, and my mental health, will suffer for it.
'The style and aesthetics of my artwork has changed over time, and may continue to do so, but I always endeavour to convey a sense of narrative.'
How important is research to your work and why does it matter?
Research is certainly important, but I can't say that I have a strict process with how I undertake it. I'll read or listen to any material that the client will provide for me and if something jumps out at me then I often go straight to sketches and work from there. If I'm stuck then I'll do some searching online for interesting facts about the subject or maybe see the ways in which it has been translated visually before. Honestly, I would say the most important research I conduct happens everyday; book, film, music, museums, etc. It's important for me to collect ideas and references from anything that piques my interest so I can develop a robust mental library from which to draw from. All that we learn and interpret is fundamental to developing an artistic voice, so any research you do in any which way that feels natural is important in my eyes.
Which illustrator(s) alive or dead do you most admire and why?
One of my favourite artists and illustrators is Jean Giraud, aka Moebius. He was primarily known for his work in sci-fi and fantasy comics and graphic novels, as well as storyboarding and concept design for movies such as The Abyss and The Fifth Element. The imagery he created had such a distinct flavour to it; the composition and sense of space, interesting character designs, the often abstract ways he approached visual storytelling. Of the many artists and illustrators I admire, I would certainly say that his work has influenced me the most.
What is the most challenging aspect for you of being a ‘jobbing illustrator?
The instability can be challenging and I often feel like my head is barely above water. There have been many times when I was fatigued by the mercurial nature of working as an artist and that something more stable could give a better quality of life. However, I know that I could never truly abandon it altogether. It can be difficult to make a living as an illustrator but I'm not yet convinced that it is impossible. If you can manage to develop and sustain strong relationships with a few great clients, or find a consistent stream of income by selling the work you make within a niche market, then that could make all the difference.
'If you can manage to develop and sustain strong relationships with a few great clients, or find a consistent stream of income by selling the work you make within a niche market, then that could make all the difference.'
Who would be your ideal client to work for and why?
I would absolutely love to create illustrated movie posters. As a teenager, I worked in a video store that my father owned and I would spend a lot of time drawing the covers and making up new ones. If the marketing wing of A24 wanted to hire me to illustrate for rereleases or upcoming movies, or Criterion wanted artwork for a new addition to the collection, then I would be in heaven.
What do you think defines ‘good illustration’?
I suppose if an illustrator is able to effectively communicate ideas and perspectives through their creative voice then that would qualify as all-around good illustration. However, any illustration that affects you or speaks to your soul will be a success in its own right. In my opinion, there are multitudes of answers to that question, some of which contradict one another. Art is a kinetic and ever-changing experience, and all the better for it.
What is one part of your working process that you do well, something you could improve and something you wish you never had to do again?
I think I have a good mind for developing ideas that generate images, which particularly works well for editorial clients. Something I could seriously improve upon is creating personal work more often. I love coming up with ideas and sketching but often I lack the discipline to follow through with completed work, unless I coerce myself with things like competition deadlines or collaborations with other artists. Unfortunately, I do not enjoy storyboarding as much as I used to. Years ago, I worked full-time as a storyboard artist, mainly for advertising, and it nearly destroyed my love for drawing. It can be demanding and laborious, and you often operate solely as the hand that draws for another creative mind. That being said, I still do the odd job for a director or producer from back in the day when they need me, and it could be fun to create work for like a high concept music video or something. I would also be interested in storyboarding for animation as I've never done that before and perhaps I wouldn't bemoan it as much.
What actor/actress would play you in a film about your life and what would the name of that film be?
Oof, I don't know. Someone Irish, or who can do a convincing Irish accent at the very least. Cillian Murphy? Or Cate Blanchett, by way of her Dublin accent in Veronica Guerin. Someone who has fabulous bone structure, because I certainly do not. As for the title, let's say 'Head Above Water'. I said it earlier in the interview and I feel that it's appropriate for the challenge of living as an artist, and also the challenge of water because I can't swim.
What film do you recommend to others most often and why?
There are so many, and each one can be inflicted on some poor individual depending on the time and place. Lately, I've been bringing up It Follows quite a bit because the lead Maika Monroe stars in the upcoming, buzzy horror film Longlegs. There are very few modern horror movies that have impressed me as much as this one. I love the cinematography, the score, the restrained amount of effective scares. In my opinion, it deserves a place as a modern classic of filmmaking from a genre that is rarely critically applauded. I'm also a sucker for animated movies and, more recently, I was blown away by Nimona. The animation is gorgeous and inventive and the storytelling has deep layers to it while still being accessible for younger viewers. It also has a wonderful depiction of two main characters in LGBTQ+ romantic relationship. As a queer kid growing up, I would have been delighted to have this movie on my shelf.
Jon has illustrated the article 'Sweet Misery: Heartache, Happiness and Hedonism in Sean Baker's Imagined America' for the Fun and Games Issue, out in October.
