For years, Awesome Art We’ve Found Around The Net has been about two things only – awesome art and the artists that create it. With that in mind, we thought why not take the first week of the month to showcase these awesome artists even more? Welcome to “Awesome Artist We’ve Found Around The Net.” In this column, we are focusing on one artist and the awesome art that they create, whether they be amateur, up and coming, or well established. The goal is to uncover these artists so even more people become familiar with them. We ask these artists a few questions to see their origins, influences, and more. If you are an awesome artist or know someone that should be featured, feel free to contact me at any time at theodorebond@joblo.com.This month we are very pleased to bring you the awesome art of…
Jack C. Gregory
JOBLO: What got you started as an artist?
JACK: I grew up in a really creative household. Being around art just felt completely normal to me from an early age. My dad was a professional medical illustrator and cartoonist, so there was always drawing happening around the house. My mom is also incredibly creative. As I got older, I realized my mom probably had the edge over my dad when it came to concepting. She was way more in tune with trends and pop culture, and always had a quick wit when it came to copy or ideas that might have a mass appeal. My sister also had the drawing bug when she was younger. I still remember watching my sister work on something once for a science class project about plant roots. She figured out this really clever way of slightly shaking her hand while drawing to create the uneven, organic shape of the roots, and I remember thinking that was such a smart solution. Moments like that stuck with me.
Because creativity was just part of everyday life in our house, I never saw making art as something unusual or unattainable. It just felt natural. There was never any pressure from my family to pursue it, but there was always encouragement, and picking up art supplies felt like a seamless extension of the environment I grew up in.
Who were some of your favorite artists growing up?
As a child, my biggest artistic influence was my dad, without question. I loved watching him work. He was an insanely talented draftsman, and honestly, even now as a professional, I still feel like his draftsmanship is way beyond anything I can do. I admired him so much, and through him I got exposed to all the artists he loved growing up. That led me to artists like Frank Frazetta, Jack Davis, Mort Drucker, and Milton Caniff, to name a few.
By the time I got into junior high, I started finding artists that felt more connected to my own sensibilities. I had older friends who were deep into comics, and they introduced me to guys like Todd McFarlane, Jim Lee and Sam Kieth. High school was a little different for me. I wasn’t really attached to specific artists as much as I was obsessed with iconography and the way certain images become permanently tied to cultural moments. I became really fascinated by how visuals could transcend the thing they were originally made for and almost take on a life of their own.
A perfect example is the prism artwork from Dark Side of the Moon. Even if someone has never listened to Pink Floyd, chances are they’ve still seen that image and immediately recognize it. That idea of creating imagery so connected to culture that it exists beyond the original work itself was something I became really drawn towards.
When I started college, I discovered Alex Ross, and that completely blew my mind. I was probably a little too influenced by his work for a while, honestly. Towards the end of college, I started getting really influenced by some of the Golden Age illustrators like Howard Pyle and N. C. Wyeth. A lot of those artists understood how to create imagery that felt instantly iconic, and I think that had a huge impact on the way I think about visual storytelling now. But all of those artists shaped me in different ways and really fueled my love for illustrating and narrative.
Who do you really dig these days, follow on Instagram?
Honestly, this could turn into something the length of War and Peace, so in the interest of keeping it brief, here’s a short list pulled from recent artwork “likes.” Chase Conley, Jonathan Bartlett, Strong Bird, Grant Gruenhaupt, Conrad Javier, Walker TKL, Julian Totino Tedesco, Raul Urias, GianGalang, Jake Kontou , Josh Holland, Joel Jackson, Jeremy Wilson.
What advice would you have for budding artists today?
It’s hard for me to give definitive advice to young artists now because the industry changes so fast. Some of the advice that was given to me over 20 years ago when I started college honestly isn’t that relevant anymore when it comes to networking, making connections, or even how people get discovered. There are artists and creators today finding massive success through paths that didn’t even exist when I was in my teens or twenties, and some of it completely breaks the old rules of what people once considered the “correct” way to build a career.
So I can really only speak from my own experience, and even then, the reality is somebody could follow my exact path step-by-step and still end up somewhere completely different. That’s one of the harder truths about being a visual artist professionally. Talent and hard work matter tremendously, but luck and visibility also play a huge role. I’ve seen unbelievably talented illustrators who should be everywhere, but for whatever reason, the right people just haven’t found their work yet. Sometimes happenstance really is part of it.
One thing I do strongly believe, though, is that adaptability is incredibly important if you want to succeed commercially. When I left college, I only wanted to draw comic books. I genuinely thought it was going to be a matter of whether Marvel or DC wanted me more. I had that kind of young hubris and reality humbled me pretty quickly.
In those first few years after college, I realized I still had a lot to learn. Every time I submitted a portfolio, I’d ask whoever reviewed it to give me honest feedback. I’d tell them, “I really do want to work with you one day, so please tell me what I need to improve.” I think people responded to that sincerity because they could tell I genuinely wanted to grow as an artist. And when people gave me notes, I actually applied them.
A lot of young artists struggle with critique because they take it personally, but if you want to work professionally, you have to be open to feedback. In the commercial world, notes are just part of the process. If I turn in a piece of key art and the client wants changes, I can’t just say, “No thanks, red light, I don’t want criticism.” The ability to collaborate and adapt is essential.
That willingness to adapt completely changed my career. I originally wanted to do comics exclusively, but eventually I had to face the reality that bills needed to be paid, and I couldn’t sit around waiting for comic book work to magically appear. I was blessed to get a job with a digital production agency in Venice, California, designing websites. Something I had never imagined doing in my life. At the time, social media marketing was just starting to become a major thing, and I slowly transitioned into working on ad campaigns and digital marketing.
Ironically, that path ended up leading me back toward illustration. There would be projects that needed sketches, concept work, or illustrated elements, and I naturally started filling those roles. That eventually opened doors into film marketing and larger entertainment projects. So while I never became the comic book cover artist I imagined I’d be in college, I ended up getting opportunities that were even bigger than I originally envisioned. I’ve been able to work on projects connected to some of the biggest IPs in the world because I was willing to step outside of my comfort zone and evolve with the industry.
So to younger artists now, I’d say: absolutely follow your passion, but don’t become so locked into one version of success that you miss opportunities you never could have predicted. The creative industry is constantly changing, and the next major platform or medium might not even exist yet. Staying adaptable can sometimes lead you somewhere even better than the original plan.
What should we be looking out for from you in the future?
I’ve got some more work with Bottleneck Gallery coming out in the future, along with a project tied to an NBA legend for which I’m really excited. I should also have some APs making their way to my shop soon. Every now and then, I actually find the time to paint with acrylics, and those pieces usually end up in the shop too. Beyond that, probably more key art, gig posters, album sleeves, editorial illustration work, and the usual mix of projects.
Being a fansite, we have to ask you… What are some of your favorite movies/TV shows of all time?
Another question where we could probably keep readers here all day, but I’ll stick to the absolute remote droppers: Goodfellas, Boogie Nights, Hoop Dreams, John Carpenter’s Halloween, and Valley of the Dolls.
As far as TV goes: The Simpsons seasons 2–8, Mr. Show with Bob and David, and Full House, completely unironically. I had a very long streak where nobody could stump me on Full House trivia. Also, Degrassi: The Next Generation.
Scroll down to check out some of our favorite art pieces from Jack as we continue to follow his journey across his social media hubs: Instagram / Art Station / Store
Apocalypse Now
Batman
Black Panther
Bruce Springsteen
The Crow
Dallas Cowboys
Dawn Of The Dead
DeMar DeRozan
Evil Dead 2: Dead By Dawn
The Great Escape
Halloween
His Three Daughters
John Wick 4
NOFX
Scream VI
Simone Biles
Southpaw
Spider-Man
Star Wars Episode IV: A New Hope
The Strangers
The Studio
Tupac Shakur
Unhinged
Weapon X