Hodges Soileau

Looking Back: The Importance of my Illustration Career

Hodges Soileau · Sep 13, 2021 · Leave a Comment

*Finders Keepers Mystery* by Hodges Soileau OPA
Oil, Book Cover #98 from the *Boxcar Children* series

The times we live in and the problems people are dealing with make me pause. Although I am not a person who regularly reflects on the past, lately I have been thinking about something….my illustration days, and the importance of all those years spent creating images of everything imaginable, from romance book covers, to editorial-magazine assignments, to car and movie advertisements.

I have been a picture maker for fifty years. I started freelancing in 1971, and spent the first 28 years of my career as an illustrator. The past 22 years have been spent doing “fine art” oil paintings that are of interest to me and the galleries that represent me. When looking back on the body of work I created, I find myself acknowledging the importance of the first 28 years on the second stage of my personal journey as an Artist.

*Raiders of the Lost Ark* by Hodges Soileau OPA
Oil on Board, movie image to be used on a product

As illustrators, we were asked to draw and paint anything and everything ….and we were well compensated for it financially. Aside from the obvious money aspect of commercial art, there was, for me, a more important side to all of that work…it was a fabulous training ground for learning one’s craft. The book covers with all of the figures in them were probably the most valuable lessons. Figures are difficult because if you get them wrong it is obvious. I think what helped me the most during those Illustration years was the sheer volume of work I had to produce…hundreds of book covers with the always lurking deadlines! I rarely turned work down. I learned discipline and work ethic from my father when I was young. This was greatly enhanced by the pressure of the commercial art business. I can honestly say that I never missed a deadline in that period of my career.

One late afternoon in my studio while finishing a book cover for Bantam Books, I was cleaning up the edges with white gesso (as I always did) and accidentally tipped over a bucket of white acrylic onto the oil painting! Distraught as I was, I calmed myself and started the painting over immediately, and still delivered it on time. That was certainly a confidence builder, knowing that I could respond that way (under such pressure) and not have the job or the deadline suffer in any way. The art director never knew what I had gone through.

*Gunfight at OK Corral* by Hodges Soileau OPA, an RCA Video Discs cover showcasing my original oil painting

Creating a book cover typically went like this: First, the Art Director would send me a concept sheet describing the characters, the fashion, and the action they wanted to see on the cover. Next, I would produce several rough thumbnail sketches and call my photographer in New York to pick models and book a shoot. On the day of the shoot, I would attend, sketches in hand, and the photographer would pose the models to match my sketches — often to a tee! I would receive beautiful black and white 16×20 prints to take back to my studio as visual aids. The prints had gorgeous values. I would then create several versions of the cover sketch for the Art Director, who would approve one. I would go and finish the assignment. The sketches were pretty well worked out, so there were rarely any changes (thankfully) that had to be made on the finished painting.

*Babysitters Club* Series by Hodges Soileau OPA, 1994 Calendar Cover, Oil on Linen

During those years, I went from being a pen and ink artist (I thought drawing was always my strong suit), to all the other traditional mediums…and eventually ending up doing my first oil painting that I considered successful in 1983, a portrait of my father. That was it… I have been from that time on predominately an oil painter.

*Intimate Moments* by Hodges Soileau OPA
Oil, Book Cover from the *Harlequin Romance* series

In the mid to late 1980s, while in the midst of a busy illustration career, I started showing small fine art paintings in local miniature shows. I had some success…which encouraged me to pursue that further. I continued doing illustration until the business started changing and digital was changing the business as I knew it, or cared for it. I painted my last commercial cover in 1999. At that point, I already had a couple of galleries representing me and I never looked back (except in conversation or in rare times like these that make you reflect on your life.)

*Portrait of my Father* by Hodges Soileau OPA
Oil on Linen

For some reason, there seems to be, amongst some folks, a negative connotation with illustration, which I never understood. I can remember an Art Critic in one of the New York papers Sunday section, calling Andrew Wyeth a “mere illustrator.” I was appalled by a comment like that! All my art heroes were illustrators back then and Andrew Wyeth is an iconic American fine artist.

*Dawn and Whitney, Friends Forever* by Hodges Soileau OPA
Oil, *Babysitters Club* series, Book Cover #77

I know many ex-illustrators do not mention that period in their art careers, but I always embrace and remember it fondly…it was a hard job with many hours spent making deadlines, but the positive rewards far outweighed the work. I am forever thankful for the opportunity and for the success I had which enabled me to have a long career. There is still plenty to be learned on this art journey…and I really don’t know if I could be doing what I do today were it not for the years spent as an illustrator.

Thanks again to Oil Painters of America for the invitation and opportunity to do another Blog piece…it is always an honor.

Hodges Soileau OPA

How Important is it to really Know your subject?

Hodges Soileau · Apr 15, 2013 · 13 Comments

SoileauOPA-Hodges-Old Port Gulls-24x18 oil on linen — “Old Port Gulls” by Hodges Soileau OPA

I am often asked the question, “Is it important to really know the subject you are painting inside and out.” First let me say that it certainly does not hurt to know the subject, but artists can paint subjects that interest them without knowing very much about them, if anything at all….except for the fact that they are interesting visually. One could know everything about a subject, or even be an expert on the subject, and not be able to depict it as well as one seeing it for the first time.
In my opinion, observation skills and a visual interest in how something looks with light on it is what is most important. A personal example might be that I love to paint boats and water, but I know very little about boats except which end is the bow and which is the stern. From observing, I am aware that the shape of a lobster boat is different that that of Shrimp boat, or an Oyster boat, etc. I have a passion for painting boats because I like the shapes and the way they look in water. That is only one example of many subjects that artist choose to paint that do not require expert knowledge to do reasonable representations of them.

SoileauOPA-Hodges-Working Lady 16x20 oil on linen-copy copy — “Working Lady” by Hodges Soileau OPA

Another example might be Equine paintings. I’m sure many who paint horses are in fact experts, and some even specialize in that genre of painting. Being an artist that paints eclectic subject matter, it is one of my favorite subjects… but again I do not believe it is a prerequisite to know horse anatomy by name, if one has observation and drawing skills. My passion, or interest for horses started as a young boy. I always had horses growing up, and loved them then and carried the interest in that subject with me until now. I know a little about them, but I am by no means an expert… and for me, it never was about being an expert on this subject! It is about the way they look… the strength, and beauty of their movement… a noble beast.
By the same token, one can do a very reasonable rendition of the human form without ever taking an anatomy class…..of course anatomy study does not hurt, and I certainly would never discourage any one from studying the human anatomy. Any knowledge gained can be helpful…..particularly in checking one’s self if there is an issue, but it is not an absolute requirement. Artists have done a very good job over the years without studying anatomy, if their observation skills are strong. I believe the artist should be interpreting their observations and not simply copying them. Copying is for cameras. Another problem with relying on knowledge instead of observation is, if one is observing the subject, and something looks vague, fuzzy or not clear as in a shadow area….one should paint that image as they see it, and not use their intellectual knowledge of the subject and make it a clear statement. It will not look appropriate to that particular situation. Example….something dark in shadow value, if made to light and sharp will jump out of the shadow. Another foreseeable problem with using knowledge of subject rather than observation is that one could fall into a formula, and everything starts looking the same. If one is using anatomy knowledge for example. All figures should not be exactly alike.

SoileauOPA-Hodges-Lula-Belle and the Preacher Fisherman-24x18 oil on linen — “Lula Belle and the Preacher Fisherman” by Hodges Soileau OPA

I have even heard this in reference to portrait painting. One artist (A) who meets his subject for the first time can do an excellent portrait, and even possibly stronger interpretation than one artist ( B) who has spent time with and painted that same subject again and again….if artist (A) has stronger observation skills….in my opinion.
One could compile a never ending list of subjects that this might apply to. By no means am I implying that one should not learn all one can about the subject they choose to paint….if that is one’s interest. This is only my opinion on this subject, and does not necessarily reflect any universal opinion or idea on the subject. I do find this an interesting topic, and I do believe strong observation skills trump knowledge of a subject as it relates to painting.
Again thanks for listening to my Cajun ramblings.

Dealing with the Distasteful aspects of Self Promotion

Hodges Soileau · Jan 21, 2013 · 10 Comments

"In The Sunlight" by Hodges Soileau OPA, 17x13 — “In The Sunlight” by Hodges Soileau OPA, 17×13

The issue of successfully promoting one’s efforts is one that has always given me great pause. I know the importance of not being out of sight for to long….out of sight out of mind. Unfortunately, things move so quickly now that any effort made is fleeing at best. That being said, one still must make the effort. It is not only the self conscious part of it, but the time required to put email ads and newsletters together, face book, etc., that I have the most difficulty with. All of that is time consuming and not much fun. That is time that I personally would prefer spending with brush in hand.

"A Little Rest" by Hodges Soileau OPA, 12 x 16 — “A Little Rest” by Hodges Soileau OPA, 12 x 16

I have always had difficulty with this, as I’m sure many artists do. There is something about tooting one’s own horn that is somehow distasteful to me. In my early years as an illustrator, it never was much of an issue for me, because I never had to deal with it. I always had a rep/agent that took care of this type of stuff for me….of course, this came with a price. Reps/agents take a commission, and deservedly so. It was always worth it to not have to deal with this type of minutia, with the work loads and deadlines we had at the time.

"Info for Repairs (The Issac Hayes)" by Hodges Soileau OPA, 12x16 — “Info for Repairs (The Issac Hayes)” by Hodges Soileau OPA, 12×16

I have been giving this much thought lately as I seem to be spending more time on the computer than I really want to. The more I try to do, or involve myself with, the less time I have to do the important one….which is painting. I try to help the Galleries that represent me as much as possible by sending out announcements, newsletters to my mailing lists, and postings on Face Book and my blog. Even though it is a drop in the bucket, compared to the audience that can be reached by spending a lot of money on expensive ads in major art magazines, I feel like I am contributing somewhat to our partnership. There is after all only so much time in one day or week….using it efficiently is extremely important. These are the areas in my business that I find myself wanting to take shortcuts, or become more efficient at……leaving more quality time for painting.

"Early Morning" by Hodges Soileau OPA, 9x15 — “Early Morning” by Hodges Soileau OPA, 9×15

"The Curious Bay Mare" by Hodges Soileau OPA, 6x6 — “The Curious Bay Mare” by Hodges Soileau OPA, 6×6

I can only speak for myself when it comes to this discussion. Some folks may like this part of the business, so this is not necessarily a universal opinion held by everyone. The one thing I am sure of is the absolute need to not neglect this part of the art business. As far as answers to solving the problem, or the best solution….I do not have a solution, except to try and find what seems to work for me personally. Again, as in most things, one size does not fit all. What works for me might not be a suitable solution for someone else. Unfortunately the learning process as it relates to this requires making mistakes, and wasting time and sometimes money, with things that really do not advance your career or cause.
Again, thanks for listening to my Cajun Ramblings.

Personalities and Temperaments in Art

Hodges Soileau · Jun 10, 2012 · 5 Comments

Street Fiddler (16"x24") by Hodges Soileau OPA

Do Artists’ Personalities and Temperaments dictate the Styles and Subjects they choose to express themselves?

     I usually do not think about things like this question on a daily basis, unless it comes up in a discussion. I am not a big fan of over analyzing and over thinking reasons for painting certain things. I usually prefer to react to the subject and be as honest as I possibly can and let it be what it will be. When I was asked to contribute to this blog, I tossed around a few thoughts and came up with a question that has come up before, and some of this I have skirted around on my own blog.
I have had this conversation with artist friends and particularly students in classes and workshops many times in the past, as well as very recently.   I truly believe that painters, like me, who paint an array of subject matter, and work in a particular manner, do so because of a personality, or temperament need to do so. I also find it interesting that some artists are drawn to a varied , and very eclectic subject matter, while others are perfectly content to explore only one subject…..different temperaments and personalities…..I believe.
I personally choose to paint as directly as I possibly can, because I believe my temperament/personality dictates it. I am by my definition, somewhat impatient….. I guess. I feel as though I want to see things happen very quickly in the beginning of a painting. Then, there seems to be a time to slow it up a bit….. unless I plan to complete the painting in one session…..but always being deliberate and doing my best to avoid time consuming errors, which seem to inevitably occur. Some artists work on a painting over a long period of time. They glaze and layer paint. They do not mind a slower process….. and some even relish this method of working. This is a choice based on temperament or personality. There is no one best way to paint a painting. Beautiful paintings result from a multitude of styles and approaches.   Over the years, I have tried many, and possibly all methods of applying paint to surfaces, and I still remain open to the possibilities in this never ending learning process called painting. I know artists who have painted in a particular way that was easy, or seemed natural for them, and were apparently never happy painting in that manner. They are now making changes, and pursuing a different path with their work. This is in my opinion, a temperament/personality decision. Many artists from my generation, including myself, made their living in the early years as illustrators painting things and solving other’s problems that might not have necessarily been their personal choice of things to paint. Sometimes one does what they have to do at that point in time. Sometimes pressures, be they economics, providing for family, etc., forces one to make concessions and one is forced off of their desired path in art.
This style or manner of working discussion is also important in regards to what is taught in workshops, painting classes, etc. Many workshops and classes on painting teach, or try to teach a style, technique, or manner rather than stressing good principals. I think this might be, in my opinion, a disservice to the student. One size does not fit all in painting. Everyone wants to be an individual, and should.   I believe one’s own style evolves out of practicing good solid principals of painting. Again, addressing the topic issue, one chooses a method that suits one’s own temperament, not that of an instructor. The instructor’s responsibility is to open up the possibilities with choices…..in my opinion.
The eclectic subjects some artists, like myself, choose as opposed to those who paint only one subject and are known for that subject alone is a choice based on ones temperament/personality. I love painting certain subjects possibly more so than others….for instance, I probably would choose the figure over a still life, but I would not want to be limited to just figurative paintings. That is in my opinion, a personality/temperament choice. Eclectic subject can possibly have a consequence. Not sticking with one subject, that an audience can identify an artist with, can make it more difficult to become known broadly for painting that one subject. I personally would find it maddening to have to get up every day and paint the same thing or subject. I can only speak for myself when it comes to this or any matter that has to do with painting. Many artists probably do not feel that way….and that is wonderful. It certainly would be less interesting if everyone had the same attitude towards everything. This again speaks to the topic issue, temperament/personality.
The aspects of an artist’s life that are effected by this issue are far reaching….. another example is how some artists have tidy, neat, everything in it’s place organized studio spaces, while others like me, are borderline slobs, and seem to be able to function, and are reasonably comfortable in messy studios spaces that might not be acceptable to some. I had an artist friend back in the illustration days who would not come past the doorway of my studio. The mess of reference books and files spread across the studio floor that I functioned in was disturbing to his sensibility toward neatness and organization. This is a personality trait of this particular artist. I was perfectly content being on the messy side of it.
I think many artists paint what they are comfortable painting. Most do not go out of their comfort zone regularly. This is also a personality/temperament issue. I like to think that I take some risk, and wish I were even more adventurous, when it comes to trying new things.   One of my favorite contemporary painters, Quang Ho OPAM, is a great example. He is a great painter, and also a fearless experimenter. He not only paints a varied subject, but he takes it further by continuing to experiment with his work, as it relates to paint application and things of that nature. He successfully does this while remaining a traditional, representational painter. I hope that I never lose that desire to shake it up every now and then….. even if it is just a little bit. That is my main reason for not painting only one subject. I think by being interested in a variety of subjects, it possibly keeps one fresh and keeps one from relying to much on tried and proven solutions. To some degree, one must do what they know will get the job done, but one does not want it to become familiar to the point of it being a formula.
Unfortunately, in many cases, the fine art market chooses what subjects some artists paint, and in some cases how they paint. To a great degree, it is subject driven. There will always be those who want to categorize artists by subjects they paint. I still believe and hope that good painting is appreciated by those who recognize it, no matter what the subject or style.
I am honored to have had the opportunity to participate in this Oil Painters of America Blog. This post is my own personal observation of an aspect of painting that I find interesting, and does not reflect that of the OPA, or any universal opinion or idea about this subject. Thanks for reading this blog post and feel free to comment or express your views.
Best regards to all, and paint what you want, not what someone else wants!

Hodges Soileau

Footer