Al McAllister ARTIST is creating Art Projects: Drawings and Paintings
0
patrons
$0
per month

Welcome to my Patreon page!


Al McAllister
. As I presented myself in the intro video; after many years doing storyboard and comp illustration* for advertising agencies throughout the US and Brazil, getting paid to execute other people's ideas and projects as an illustrator (I am very grateful for the experience, the friends I made in the business, and the earnings, of course), I've decided to dedicate myself to things I do like to explore art wise. My own vision and projects.

When you invest on producing your own art it is speculative at best. One cannot reliably predict any outcome, no matter how optimistic you are. So this is where Patreon comes in providing patrons for funding new and ongoing projects.
* If you do not know what that is you will learn through the sample work I make available for download as perks.

Projects and Possibilities

I am doing mostly digital renderings (current work) so as to build content and interest, going forward into specific projects, paintings and drawings.



I have two ongoing interests in producing artwork:

  • Sports related, specially football ("soccer"). Currently exploring MLS in the USA, and The Champions League in Europe.
  • Spirituality; inspired art for Ho'oponopono* and other self-help disciplines.

        

*Hoʻoponopono is a Hawaiian practice of reconciliation and forgiveness. 

How does Patreon work?

Basically: You've decided to help me achieve my project goals so you click on the "Become a Patron" button (or choose a payment "Tier"),  give Patreon your credit card number (or PayPal) and you’re charged $1 (or more, if you choose) at the end every month to support my art-making undertakings. Your support also helps me to pay my general costs-of-doing-business-online with my art.

Watch the video below to see how it works:
 
My story (if you want more background information)

Born and raised in Porto Alegre, Brazil. A graduate from Pratt Institute in New York in 1976. For 6 months I lived with cousins in Mt. Vernon, NY, while actively looking for work in Manhattan as an illustrator. It was a rude awakening as I found out quickly that what I had dreamed of doing (book covers and magazine illustration) was very scarce, and not paying at all what I had expected, in fact there were few worthwhile jobs around. The business had changed drastically, photography had taken over.

Surely, for a while I was blinded by the elation of being out there, going into those beautiful, huge corporate buildings in Manhattan, showing my carefully prepared portfolio at the offices of famous book and magazine publishers . It was an exhilarating time, meeting and talking to creative people, they all complimented the work I was showing, but there was little response work wise.

It was already the new year, 1977, with little money coming in and wanting to establish myself as an illustrator somehow, I decided to go to advertising agencies to see what was available there.

While at Pratt I had the opportunity of visiting the studios of notable illustrators Bernie Fuchs and Mark English in Connecticut, they were friends of one of my teachers. They, along with Bob Peak, Robert Heindel, and Wilson McLean were my favorite and admired artists. But only years later did I remember what they both said regarding the illustration market. Both of them were concentrating on doing paintings for galleries (and for limited edition prints), they had essentially moved on from editorial and advertising jobs since these had become scarce, and not really worthwhile financially. So that was it, the illustration market had changed, and nobody had told us at school...

I called and got an appointment N.W. Ayer, a big player among the ad agencies of the time, I was taken to their art department, and a illustrator there looked at the portfolio and told me straight out that because of my drawing ability I had to do "storyboards". I must have looked really puzzled to him because I had no inkling of what "storyboards" were! So he showed me some samples of storyboard and comp (comprehensive layout) illustration work - and I saw a light that would be the end of my predicament of little or no work. He recommended that I had to look up studios in NY that hired "comp artists". It was the first thing I did, I bought a newspaper, looked in the classifieds, and there it was; "Looking for artist for storyboard work, call Doug at Diamond Art Studios", I did.

The next day I went to Diamond Art on Madison Avenue and 53rd Street and Doug Diamond upon seeing my drawings offered me a desk at their "bull pen" in the studio and representation as a freelancer to their client advertising agencies. And I would have two of the best illustrators in the business as mentors; Ken Bald and Tony Leonardi. They would become a huge influence in my career.

 Ken Bald

Ken I knew of since childhood in Brazil as the illustrator for the newspaper strip "Dr. Kildare", Tony was an old timer with vast experience in the editorial and advertising field, friend of Frank Frazetta and Stan Lee. It was a pleasure learning from them daily, I am very grateful for that and their friendship.

A side note; at the time all the rendering was done with AD markers and Prismacolor pencils, and we had to wear organic vapor masks to protect our health!
 
Paintings done for various exhibits and clients:


Thank you for visiting and considering being a patron.





Tiers
Goal!
$1 or more per month
Discovery
Fan
$5 or more per month
Participation
Fan 2
$10 or more per month

"Colaboration": You have access to a monthly Ho'oponopono Cleansing Art online session.

Patron
$100 or more per month

"Patron": All previous tier benefits and a Master Mind Session scheduled for May and December 2019. Your name in all video descriptions and materials published.

Welcome to my Patreon page!


Al McAllister
. As I presented myself in the intro video; after many years doing storyboard and comp illustration* for advertising agencies throughout the US and Brazil, getting paid to execute other people's ideas and projects as an illustrator (I am very grateful for the experience, the friends I made in the business, and the earnings, of course), I've decided to dedicate myself to things I do like to explore art wise. My own vision and projects.

When you invest on producing your own art it is speculative at best. One cannot reliably predict any outcome, no matter how optimistic you are. So this is where Patreon comes in providing patrons for funding new and ongoing projects.
* If you do not know what that is you will learn through the sample work I make available for download as perks.

Projects and Possibilities

I am doing mostly digital renderings (current work) so as to build content and interest, going forward into specific projects, paintings and drawings.



I have two ongoing interests in producing artwork:

  • Sports related, specially football ("soccer"). Currently exploring MLS in the USA, and The Champions League in Europe.
  • Spirituality; inspired art for Ho'oponopono* and other self-help disciplines.

        

*Hoʻoponopono is a Hawaiian practice of reconciliation and forgiveness. 

How does Patreon work?

Basically: You've decided to help me achieve my project goals so you click on the "Become a Patron" button (or choose a payment "Tier"),  give Patreon your credit card number (or PayPal) and you’re charged $1 (or more, if you choose) at the end every month to support my art-making undertakings. Your support also helps me to pay my general costs-of-doing-business-online with my art.

Watch the video below to see how it works:
 
My story (if you want more background information)

Born and raised in Porto Alegre, Brazil. A graduate from Pratt Institute in New York in 1976. For 6 months I lived with cousins in Mt. Vernon, NY, while actively looking for work in Manhattan as an illustrator. It was a rude awakening as I found out quickly that what I had dreamed of doing (book covers and magazine illustration) was very scarce, and not paying at all what I had expected, in fact there were few worthwhile jobs around. The business had changed drastically, photography had taken over.

Surely, for a while I was blinded by the elation of being out there, going into those beautiful, huge corporate buildings in Manhattan, showing my carefully prepared portfolio at the offices of famous book and magazine publishers . It was an exhilarating time, meeting and talking to creative people, they all complimented the work I was showing, but there was little response work wise.

It was already the new year, 1977, with little money coming in and wanting to establish myself as an illustrator somehow, I decided to go to advertising agencies to see what was available there.

While at Pratt I had the opportunity of visiting the studios of notable illustrators Bernie Fuchs and Mark English in Connecticut, they were friends of one of my teachers. They, along with Bob Peak, Robert Heindel, and Wilson McLean were my favorite and admired artists. But only years later did I remember what they both said regarding the illustration market. Both of them were concentrating on doing paintings for galleries (and for limited edition prints), they had essentially moved on from editorial and advertising jobs since these had become scarce, and not really worthwhile financially. So that was it, the illustration market had changed, and nobody had told us at school...

I called and got an appointment N.W. Ayer, a big player among the ad agencies of the time, I was taken to their art department, and a illustrator there looked at the portfolio and told me straight out that because of my drawing ability I had to do "storyboards". I must have looked really puzzled to him because I had no inkling of what "storyboards" were! So he showed me some samples of storyboard and comp (comprehensive layout) illustration work - and I saw a light that would be the end of my predicament of little or no work. He recommended that I had to look up studios in NY that hired "comp artists". It was the first thing I did, I bought a newspaper, looked in the classifieds, and there it was; "Looking for artist for storyboard work, call Doug at Diamond Art Studios", I did.

The next day I went to Diamond Art on Madison Avenue and 53rd Street and Doug Diamond upon seeing my drawings offered me a desk at their "bull pen" in the studio and representation as a freelancer to their client advertising agencies. And I would have two of the best illustrators in the business as mentors; Ken Bald and Tony Leonardi. They would become a huge influence in my career.

 Ken Bald

Ken I knew of since childhood in Brazil as the illustrator for the newspaper strip "Dr. Kildare", Tony was an old timer with vast experience in the editorial and advertising field, friend of Frank Frazetta and Stan Lee. It was a pleasure learning from them daily, I am very grateful for that and their friendship.

A side note; at the time all the rendering was done with AD markers and Prismacolor pencils, and we had to wear organic vapor masks to protect our health!
 
Paintings done for various exhibits and clients:


Thank you for visiting and considering being a patron.





Recent posts by Al McAllister ARTIST

Tiers
Goal!
$1 or more per month
Discovery
Fan
$5 or more per month
Participation
Fan 2
$10 or more per month

"Colaboration": You have access to a monthly Ho'oponopono Cleansing Art online session.

Patron
$100 or more per month

"Patron": All previous tier benefits and a Master Mind Session scheduled for May and December 2019. Your name in all video descriptions and materials published.