Gary Taxali is an award-winning illustrator whose work has appeared in every major magazine and newspaper. Gary has exhibited in many galleries and museums throughout North America and Europe including Jonathan LeVine Gallery in New York City and The Museum of Contemporary Art in Rome. In 2005, he launched his first vinyl toy, The Toy Monkey, which included a special edition along with a silkscreen print commissioned by The Whitney Museum of American Art in New York City. This led Gary to create his own toy company, Chump Toys, which recently saw the release of his OH NO and OH OH vinyl figures. Aside from his gallery shows and illustration work, Gary also devotes a portion of his time teaching and lecturing at various arts organizations and schools such as OCAD University (Toronto, Canada), The Art Director’s Club of Houston (Houston, USA), Dankmarks Designskole (Copenhagen, Denmark) and Istituto Europeo Di Design (Rome, Italy) . He is a Founding Member of IPA (The Illustrators’ Partnership of America) and sits on the Advisory Board of 3×3: The Magazine of Contemporary Illustration. Gary has also juried many student and professional competitions including The Society of Illustrators, The National Magazine Awards, The Dallas Society of Visual Communications and 3×3: The Magazine of Contemporary Illustration. Currently, Gary is writing and illustrating his first children’s book entitled This Is Silly which is being published by Scholastic and slated for a Summer 2010 release. Gary recently created the cover art and inside illustrations for Aimee Mann’s new album @#%&*! Smilers, which won a 2009 Grammy Award Nomination for Best Package Design. He lives and works in Toronto, Canada.

Why are you an Illustrator?
I love connecting pictures to text.  I have my whole life.  In fact, when I was four years old my teacher wrote in my report card that “my favorite activity is when I read a story aloud to the class.  Afterward, he loves to show me pictures he’s drawn based on the story just heard”.  So, I guess you could say I’ve been illustrating since I was four.

Did you attend school for fine art or design?
I studied illustration at Ontario College of Art.  Today, the school is called OCAD University, and I’m proud to say, not just because I’m a professor there, it is one of the highest ranking art schools on the planet.

You are a founding member of the IPA (Illustrators’ Partnership of America). What was your vision in creating the IPA?
I didn’t create IPA, I was just one of early members who helped form the organization.  I think the Illustrators’ Partnership of America is a wonderful organization.  Not only is it non-for-profit, but also deals with advancement of the industry on a global scale.  Illustrator Brad Holland, one of its’ creators, has been an active supporter of artists’ rights.  He has written countless articles on the dangers of stock houses, protecting copyright, as well as reprographic rights.  Last year, he went to Washington to lobby Congress about the Orphan Works Act, which is a dire threat to every working illustrator.

You have a distinct style of illustration. How long did it take you to develop your style?
I don’t even know if it is developed.  It’s not something I’m conscious of.  A style is just a certain way that one creates a piece of work.  Done with honesty, the result tends to have a unique and signature look.  I think it was David Hockney who said that, “style is a result of good intentions”.

Were there any particular role models for you when you grew up?
Other than my father, who helped me learn how to draw at an early age, I was inspired by a lot of children’s book creators such as Dr. Seuss and Maurice Sendak.  I later discovered the work of the Fleisher Brothers,  E. C. Segar, Rube Goldberg, and George Herriman.

Who was the most influential personality on your career in Illustrations?
I would say the greatest influential personality was my art school teacher, Jerzy Kolacz.  Jerzy was a tough teacher and didn’t take any prisoners.  He taught me what conceptual illustration is, and if it weren’t for him, I wouldn’t be an illustrator today.  The classes I teach are much along the lines of the way he structured his classes, and I’d like to think I’m carrying the torch on his behalf.

When did you start freelancing?
I was still a student when I started freelancing.  I started hitting the pavement with my portfolio after my third year in school.  By the time I came back in the fall after summer break, I was immediately getting work.  It was a little hard juggling school and work, but I learned a lot.

Was there any time when you wanted to quit Illustrations?
Never.  I have taken some time away from working with clients to do personal work for shows, etc., but my heart is truly in illustration, and can’t imagine doing anything else.

Are many advertising agencies getting illustrations made these days? Do you work more with agencies or publishers?
It depends. In answer to your first question, there has been a definite decline in work from agencies in the last year.  It’s a combination of companies who don’t want to panic shareholders by over-spending, a decrease of a product’s sales, (depending on what product it is), and good old-fashioned fear of what’s happening in the global economy.  Things change all the time.

How did you decide to make your illustrations/characters into Toys?
Alright, a few years ago Frank Kozik suggested that I be part of a group show at Sheppard Fairey’s studio in LA, Subliminal Projects.  A group of artists were given a blank QEE doll; a figure designed by Raymond Choi of Hong Kong’s Toy2R, to customize with a painting.  The show traveled for about a year, supported with a catalogue of everyone’s designs.  It was huge hit.  After that, I started getting approached by a lot of people who wanted me to do my own toys.  I decided to create a toy out of my Toy Monkey character, (subsequently named “Toy Monkey”).  This was a smash hit and was very well received.  The Whitney Mus.eum even decided to sell a limited edition, exclusively sold at their New York store.  The next logical step was to officially create my own toy company : Chump Toys.  Last year I released two new vinyl toys through my company.  In addition, I created a mass produced QEE figure, and have a Dunny coming out with Kid Robot this fall.

Any other Indian Illustrators who you admire?
To be honest, I don’t know any Indian illustrators other than myself.  I have connections, all over world, but India hasn’t reached out to me.  I find this strange, because Indian culture is such big part of who I am and my work.  In fact, one of my goals is to have a show there, do a lecture, or even both.

Do you have any favorite fellow illustrators or resources relating to your fields?
Absolutely.  I’m lucky enough to call my favorite illustrators my friends.  I love the works of people like Yuko Shimizu, the Clayton Brothers, Gary Baseman, James Jean, and Mark Todd and Esther Pearl Watson.

You have such a wide experience as a top working professional and as a teacher/lecturer. What advice do you have for aspiring creative professionals? Would you advise them to take on Illustration as a career option?
The most important thing I would advise aspiring creative professionals is to only do the work you love.  I cannot stress how important this is.  Everyone thinks that to take the money and run is a practical means to an end, but that line of thinking is a practical means to hating your job.  If you only put work out there that you truly love and are passionate about it will only be then that you will create a foundation for a successful career.  Personal work is essential too.  It is the only time you truly can experiment and try daring things that no client can judge you for.  This dosage should be taken once a week for a healthy and prosperous career as a graphic artist.  A lot of illustrators like to complain about the industry and fear competition, but being an illustrator is a fabulous job.  It is a wonderful means to launch your creative exploits and have other channels open up to you.  With illustration, I’ve taken on projects creating children’s books, animation, wine labels, toys, fine art shows, greeting cards, record covers, shopping bags, etc.  The list goes on and on.

Mac or PC?
What does PC stand for?  PRETTY CRAP? Mac all the way, baby!

Who would you like to take out for dinner?
Film maker Jim Jarmusch.  He’s my favorite living director.  I used to live in New York in the early 90’s.  One day, in a bar and saw Jarmusch ordering some drinks.  So I walked over, introduced myself and said, “Hi Jim!  ‘Down by Law’ is my favorite movie”.  He looked at me and asked what my name was, then said, “Well Gary, either you have good taste, or should be commited”.  I laughed and said, “Perhaps a little of both”.  We talked for the next few hours about film, art, New York City, and common people that we both knew.  All the while, various women came up to us and said things like, “Hi Jim, I’m from New Zealand and am in a rock band, here’s my CD, can I buy you a drink?” and, “Hi Jim, I’m from New York Film School, Can I buy you a drink?”  Jim had amassed a lot of drinks, and I said, “It must be nice to walk into a bar and have hot girls buy you drinks”.  He smiled and bought me a drink.  After a while, we parted ways, and other than seeing him a few times after that, I haven’t seen him since.  His films have had a big impact on me as an artist.  What is most striking about his work is his utter reverence for his subject.  Most filmmakers are unable to pull this off with as much honesty, integrity and brilliance as Jim Jarmusch has.

What’s on your iPod?
Everything from American Blues-Based Garage Rock, Punk, and Hindustani Classical.

The Toy Monkey

Good Husband

get Gary’s contacs and see a higher res file of ‘Hindi nicknames’  here