Today we’d like to introduce you to Caitlin Rogers.
Hi Caitlin, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
Sure thing!
I’m from the Metro Atlanta area and went to college in the Atlanta Dunwoody area. I’ve always drawn as far back as I can remember; I started with drawing comics. I would make my own mangas during class time or on the backs of my tests. After graduating college, it was rough finding work because my old Alma Mater was very neglectful in helping students and graduates find work. So I had to make work happen.
While I dog walked, I also tabled at convention and art markets. I would eventually (like everyone else) have to change gears during the pandemic. So I turned to editorial and concept work. Also during this time I made more friends along the way and now I steer the creative direction for an indie comic press. I want to dip my toe more into publishing because reading is something I am extremely passionate about. I did work previously for a non profit tutoring company building a video game to aide along side curriculum, but funding ran out and I was first in line for layoffs. What I have been up to now is looking into continuing concept art and or possibly look more into the publishing / editorial world for freelance as I reground myself career wise.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
No roads are smooth for those who start from ground zero.
Some of the struggles I faced during my career is consistent catch 22’s. You need experience to get work, but in order to do that, hiring managers and companies have to start taking risks. In a decade (and then some) of “record breaking profits”, there are less companies and managers willing to allow “new” to grow. It was my greatest wall in the 2010s and it is especially louder for the 2020s.
Ironically enough, the pandemic is what helped level the playing field in my career. During the George Floyd police brutality case, more companies were willing to intentionally seek out black illustrators. Before that, I had to slowly learn that my portfolio has to be three times as good to be seen as a capable illustrator. It is hard being seen as a “risk” to invest in. But the pandemic gave me the opportunity to work with brands and companies that I don’t think would have seen my work nor hired it previously. It was a short burst in an influx of work, but that influx has gone back to ground zero. So it has me as well back to the drawing board.
A final struggle I have faced is not having personal connections prior in the industries that I have worked in. While yes it takes talent and drive to push your career forward, I’m finding more and more again that “right place right time” is what allowed me to have the opportunities that I have had. And every day I am grateful for those who were willing to take a risk on the Atlanta kid who asked many question and had the patience to answer them. (Thank you. Again. Always.) Wrapping only these three hurdles in a bow, not having connection will cause a new hurdle; you have to hope that your work speaks loud enough and you yourself speak loud enough to be heard through the noise.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I am both a traditional and digital illustrator.
I’ve done work in comics, games, editorial, and film. As both the creative and the direction.
I started out as a pen and ink artist. I love pen and ink. It is what gave me my handle [ pensurfing ]. It doesn’t matter the pen, I can surf it across whatever surface and illustrate something new. I went from drawing comics in class (grade school) to storyboards in advertising and film. It was short lived. Then I made illustrations and short comics that I sold at comic cons and comic shops.
Most of my personal following on social media met me that way (tabling). I appreciate those kids so much! Because their interactions remind me every time how I started. What I am most known for now is the art and creative direction for the indie press, WildStar Press. Before, it was one person running everything. Not much branding and not much online publications. That’s where I came in, and there was a huge influx of eyes on not only the press’ work, but mine. Because now the press’ audience, creatives, and writers are learning to understand and trust my creative and art guidance. That’s pressure haha!
WildStar’s guidelines, art direction, and online publication launch is probably the work I am most proud of because it is an environment where there is irrefutable trust and teamwork. In a lot of work environments I have been in, there is a limit to how many question you can ask; there is a limit to curiosity and experimentations. Money equals time and time is not something we are willing to waste; so there is especially no time to learn or explore. The press is a place where I am allowed an infinite amount of questions, curiosity & wonder, and experimentation. And for those who have watched the press become more polished and put together, they can see it. My pride, my championing a curious environment, and my sense of direction. So to my colleague, my sunshine, thank you. Without a doubt this is the thing I have the most pride & trust in.
What sets my work apart from other illustrators and art directors is the atmosphere and vibe I capture in both illustration and in collaboration. My artwork will always have childlike wonder, imagination, silliness, and encouragement of femininity in every sense of the way. I will always draw calming waters and bright blues. The atmosphere I try to champion when collaborating with teams I am assigned or teams I hire is to invite curiosity in; ask all of the questions. As we create together, we will always have clear intentions. And as we codify new worlds, stories, and characters, I’m thrilled to work along side them and the ideas and tastes they bring with them.
Networking and finding a mentor can have such a positive impact on one’s life and career. Any advice?
What has worked well for me is tabling at conventions. By far that has gotten me to meet the most illustrators and creators in one go. Usually conventions allow sellers to enter the floor one hour prior to opening and that has gotten me to meet some of my favorite network mutuals.
I also keep tabs and chat with previous coworkers as well. When I worked in editorial, I worked with this company called DotDash. I worked with brands like Treehugger and The Spruce. The illustrator pals I worked along side with have given me some of the best advice for when I face career adversities. They listen to my theatrics and also point me in directions I couldn’t have thought of on my own. And to them I am grateful and appreciate them more than I could put into words. (Here’s to my next career theatric ha!) Those kids mentored me through my first layoff and they are currently getting me through my second. Love you friends.
Contact Info:
- Website: www.pensurfing.com
- Instagram: www.instagram.com/pensurfing
- Linkedin: www.linkedin.com/in/pensurfing
- Twitter: www.twitter.com/pensurfing
