Jun 25
David Ostow | The New Yorker
David Ostow | The New Yorker
David Ostow.
Bio: I'm a cartoonist and stay-at-home dad, not necessarily in that order. I came late to cartooning, because I thought I wanted to be an architect. In grad school, my professors were always hung up on the fact that I was more interested in drawing pretty pictures than in designing interesting spaces. Anyway, they graduated me, and should really answer for the disservice they did to the design industry.
Find this print here!
I came to cartooning by way of illustrating some books for my sister who's an author. To date, my work has also appeared in and on a combination of print publications and websites, including The New Yorker, Mcsweeney's Internet Tendency, The American Bystander, Buzzfeed, and The Weekly Humorist. My work and I were also featured in a New York Times piece about artists addressing gentrification in their work. I don't know if that counts. Does that count?
I live in New York City with my son and my wife, whose support is the reason I'm not drawing on grocery bags in my parents' basement, and raking their yard for allowance.
Tools of choice: Where to begin? I got an iPad Pro earlier this year, and I've been using it pretty exclusively since. But finding and experimenting with tools has been an odyssey unto itself for me, and I'd be remiss not to give a bit of history.
I started out employing a lot of the tools that I learned about in the architecture world. I went to UVA, and when I was there my sketching professor [fun fact: he was also the mayor!*] encouraged us to draw with Micron pens using a very loose hand. Check out the sketches of Michael Graves, and you'll see what we were emulating. My hand was naturally pretty shaky. Years of drawing have rendered it less so, but at the time, my peers teased me (in good fun) for being a teacher's pet with my wobbly broken lines. That introduction to sketching was definitely formative to the style I would eventually develop for cartooning. Sometimes I find myself trying to force my hand to be as wobbly as it used to be.
Architecture school was also where I first began using Photoshop as a diagramming tool, and I became more facile with it when I moved into the professional world, where it's a common tool for rendering presentation drawings. Since then, Photoshop has been my go-to for applying washes and colors to my drawings, although now that I have an iPad and I'm experimenting with Procreate, the Photoshop era may be coming to a close.
After taking a class on comics creation at The New School in Manhattan, I got up the nerve to add some ink and brushes into my toolkit, and while it was an adjustment, it was also fun to have a brand new way of making varied and expressive lines. At the height of my "pre-digital" period, I was using a combination of ink and technical pens. The accompanying photo shows my spread in more detail. All the tools pictured are easy to find, and easy to use, and I recommend them for anyone looking to take a stab at drawing cartoons or comics.
From there, I waded slowly and awkwardly into the world of digital drawing. I had a hybrid moment when I was roughing my drawings in pencil, scanning them, using a Wacom tablet to ink in a program called Clip Studio, and then adding colors / washes in Photoshop. It was an incredible time suck, but, for what it's worth, the cartoons I produced that way were some of the first I sold to The New Yorker. So there's that.
Since getting my iPad I've been drawing with Procreate, which seems to be the preferred drawing application among my iPad savvy colleagues, and which I enjoy, but I feel like I'm still getting comfortable with it. When it comes to new technology, I have a habit of doing the bare minimum to educate myself, and every time I need clarity on a finer point I'll do a tad more research. It's called the "Dave Ostow Kicking and Screaming Method" and I recommend it to no one.
Tool I wish I could use better: I've never had any formal fine arts training, so I lack the kind of mastery of many traditional tools that some of my peers have attained as a matter of course. One time I tried to use a dip pen, and was so overwhelmed by how hard it was to draw a single line that I put it in my drawer and just kind of forgot about it.
I also used to own a set of Koh-i-noor Rapidograph pens, which make amazing lines, but require saintlike patience to maintain. The nibs are super delicate and If you're not careful, they'll break and leak (or — worse — explode) all over your drawing.
In an ideal world, I would have the patience and time to master some of these more traditional and delicate tools, and I think I'd be a better artist for it. Maybe some day, but right now my schedule doesn't allow for much extracurricular activity.
Tool I wish existed: Kind of a no-brainer: an iPad / digital tablet that felt almost indistinguishable from real pen and paper. Think the Beyond Meat burger of digital drawing tools.
The iPad is great, and of course it's wonderful to have digital editing capabilities, but there's simply no hiding the fact that you're drawing on a screen that lacks the kind of tooth you'd get from dragging a pen across paper. Also, when I zoom in to do detail work, I'm always thrown by the pixelation.
I'm sure the more I use the iPad, the better I'll get at tweaking the settings to my liking. Like I said, when change is involved, I sometimes drag my feet. But that's okay. As a good friend who's also really my therapist said, "Maybe that's just the way you work."
Tricks: Not a trick so much as a suggestion: If you're drawing on an iPad or some other sort of tablet, get a matte protective cover. It will reduce glare, and soften the feel of the screen against your stylus, so you get an experience more like drawing on paper, albeit only slightly so.
Misc: Yes, that is a Dan Smith Will Teach You Guitar flyer on my bulletin board. I found it on the subway and it just seemed like a fun authentic New York artifact that was calling to be preserved. I look at it every now and again, and find it oddly inspiring. That picture of Dan Smith has been circulating around the city for God knows how many decades. What does Dan Smith look like today and would he still teach me guitar?
Website, etc.
Website
New Yorker Link
Conde Nast Store
*Editor’s note: I went to Charlottesville High School with Mayor Cox’s son! I also went to UVA, though not at the same time as David. Small world!
Also, I happily do this blog for free, though there are a lot of hidden expenses that I take care of myself. If you enjoy this blog, and would like to help defray labor and maintenance costs, there is a Patreon! Or if you’d prefer to buy me a cup of coffee, there is a Ko-Fi account as well (which is essentially a PayPal donation)! Your support means a lot, and I'm grateful to everyone who has donated!
You can also find more posts about art supplies on Case’s Instagram and Twitter! Thank you!
David's muse is his surroundings, whether it's jokes about kids, politics, or anything in between.
Art by David Ostow
The Devil and Winnie Flynn by Micol Ostow , David Ostow zip
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The Devil and Winnie Flynn by Micol Ostow , David Ostow zip Told as an ongoing letter to a friend, Winnie’s story is a heartrending mystery and a pop culture critique in the vein of Libba Bray’s Going Bovine and Beauty Queens—with illustrations throughout that recall the quirky, dark, and distinct aesthetics of Ransom Riggs’s Miss Peregrine’s Home for Peculiar Children. Winnie Flynn doesn’t…
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