We were lucky to catch up with Gary Bernard recently and have shared our conversation below.

Gary, thanks for taking the time to share your stories with us today The first dollar you earn is always exciting – it’s like the start of a new chapter and so we’d love to hear about the first time you sold or generated revenue from your creative work?

Thanks so much for the interest in my story and for asking.

After graduating from Rhode Island School of Design, I received an invite from a friend to come out West to Los Angeles. Seeing the opportunity for success and endless possibilities, I decided to go. Thinking that I would be able to find work immediately, with my degree in hand and overconfidence of a new graduate, I fell upon a stressful month where I had no job and a couple weeks to come up with rent money. I took my portfolio around to anyone who would look at it. After knocking on every door I could think of, seeing the word “publications” on the front of a building on Wilshire Blvd, I rushed in. Being new to L.A., the marquee on the lawn was obstructed and I had no idea at the time what the “Larry Flynt” before the “Publications” meant. Knowing that I had a week or so to make rent, I threw all to the wind and found myself standing in the reception area of Hustler Magazine. When I asked the receptionist if there was anyone available to see my portfolio, she made a quick call to the art director and within 15 minutes I had my first dollar earned as an illustrator. I was shocked that Hustler used illustrations, and I did all I could with this assignment was to make it decent enough to be included in my portfolio. They agreed to pay almost exactly what my security deposit and first month of rent was to be and I walked away with my first assignment; an article written about a sexed up arsonist and two page spread for my first published illustration.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I am currently a UI/UX designer for traders and analysts in the financial sector. This is something I would have never seen myself doing, but after close to 10 years, I like the balance it offers my left brain while I can apply some of my thought process from this work into my right brain projects.

Studying fine art at college, I never expected that I would be doing data driven design, but it was a very natural and seamless transition into the industry. Attempting freelance illustration for years, design made me appreciate a regular paycheck while learning a different discipline. I continued illustrating for anyone who’d have me, Stocks and Commodities Magazine, The National Review, Billboard and then some. I did portraits and pet paintings for anyone who would jump at the opportunity to have one. While freelancing, I took my first 9 to 5 job out of school; Art Director for a nonprofit in Los Angeles. From that point on, I realized I could successfully mix the two; fine art and design; It’s all design thinking, just different media. This allowed me to satisfy my creative needs while getting a steady pay check.

Looking back on my last year of college, I started my first long running project; a children’s book entitled, “The Moth and the Sun.” This picture book idea completely consumed me. I worked on it during my three years in L.A., and it continued after moving to Paris, France. While there, the atmosphere and all its cultural differences pushed the book into a completely different direction. Years later, I tried to find a publisher, and with none in sight, I took the idea of publishing into my own hands by starting a Kickstarter campaign. I raised $10,000 in 30 days and the book went on to win two international book awards. Before publication, and after speaking to over 1000 students in 7 cities in 2 countries, the project turned into something different and more personal. The book project became a catalyst for a current personal project that I have been just rolling with for close to 6 years; over 500 portraits/caricatures of guests who appeared on the Joe Rogan Experience. While listening to and watching my first episode, I started sketching the guest. It became a discipline and an excuse to keep my hand going daily, while allowing myself to explore styles, media, moods, themes while learning something through the guests.

After the “Moth and the Sun” I illustrated two other books; Ollie and Tugg (wrote and illustrated) and Pemba Sherpa (illustrated and design/layout) that won a Junior Library, Guild Award, PERLS and Amelia Bloomer Reading List, written by Olga Cossi) Both were published by Odyssey Books. Another unpublished book project was featured in the award winning documentary, “Amazing Grace, Jeff Buckley” from first time film makers, Nyla Bialek and Laurie Trombley.

Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.

Success is personal and typically takes time. The idea of not quitting has pushed me for years. When I first began the book “The Moth and the Sun,” 20 years before its publication, I knew that, somehow, it just had to be published. I connected with and contacted over 500 agents, both literary and illustration, with no success. I received a kind and encouraging letter from one of the biggest in the industry, still, it ended with, I wish you great luck in finding the right agent.” Hearing “no” for years is hard, but as creatives, we need to push on because it just needs to be done. After all, what’s the alternative? The biggest lesson for me has been to do my best. If my best doesn’t bring me what I am looking for, I need to pivot and find another way, with something never before seen in the original plan. It’s not always when and how I want it to be, it’s become, “do it because I want to do it and enjoy the process.”

What can society do to ensure an environment that’s helpful to artists and creatives?

Support the artists you like by sharing their work on whatever platforms you’re on. Go to exhibitions. I have seen many good galleries disappear due to the lack of interest of people showing up in person. Crowded galleries are always a good thing. Give; buy originals, reproductions, commission new work, support through crowdfunding platforms (Patreon, Kickstarter, indigogo, etc) and give credit if you “borrow.” Comment on the work you like or dislike. Whether it’s negative or complimentary, any noise is good noise.

It’s always supply and demand, and if there is no interest (demand), they will unfortunately suffer.

Don’t question yourself, just keep creating; it’s good for you and as important as breathing.

Thanks so much for the opportunity to share and I hope that one/some of you reading this will be encouraged or inspired to not quit or begin again.

Contact Info:

• Instagram: https://www.instagram.com/garybernardart

Image Credits
The 2 photos of me with reflections by Jason Rice | www.tomcrownkills.com