Kevin Jay Stanton
Kevin Jay Stanton is a freelance illustrator with a green thumb who likes to keep busy. He grew up on military bases, but spent his childhood playing in rosebushes with bees and his dog Cookie.
In addition to a healthy dose of videogames, he spent most of his time reading fairytales from across the globe and information books about nature.
After graduating from Pratt Institute with a degree in Communications Design, he began freelancing. An early success was with the Signature Shakespeare series, four plays that were decorated with a mixture of laser-cut and printed illustrations. Romeo and Juliet was featured on a webisode of John Oliver’s “Last Week Tonight”. He has worked on a series of editorial spots with The New York Times, illustrated a part of Ryan North’s Alex Award-winning and New York Times Bestselling “Romeo and/or Juliet”, and most recently done a stint as an in-house illustrator for Facebook. In addition to editorial and book, he also is branching out from just working on covers into also writing and drawing comics with Boom! Studios.
His biggest project to date is the self-started anthology 1001 Knights with Annie Stoll as co-creator, which is the 11th Most Funded Kickstarter in the Comics category. Bringing together a group of over 250 artists, they curated and designed a three hardcover books boxed set that explores feminism, diversity, and people positivity through a variety of media and stories set around knighthood. With Annie as AD, Kevin illustrated all peripheral art for the books, including the endpapers, covers, and logos, as well creating all of the promotional gifs and mockups for the campaign itself.
The New York Times, Facebook, Barnes and Noble, Activision, Twitter, Hazlitt, Penguin Random House, 20th Century Fox, Ogilvy & Mather, Treehouse Brand Stores, Boom! Studios, Pitt Press, Sterling Publishing, Rachael Yamagata, Simon & Schuster, Adweek, Guideposts, Notre Dame
I usually start a piece with words and imagery that spring to mind when I’m brainstorming a new piece, which leads to rough doodles to hammer out the basic concept. When I feel I’ve got the basic layouts worked out, I do a couple tighter sketches in Photoshop.
Depending on the style I do a few things at that point, but they all work off of the same sketches:
– If I’m working in real cut paper, then I move into Illustrator to get the shapes tight and lay in colors so I can show a reasonable example of what the final piece would look like before I start cutting the paper.
– If I’m working in fake paper, then I stay in Photoshop and block in the big shapes and colors before added details and texture.