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In August 2024, we had the opportunity to interview Michael Deas, an award-winning illustrator and artist known for his work on the Columbia Pictures logo and his extensive career in both commercial and fine arts. Michael shared his journey, from his early inspirations to his thoughts on the evolution of the art industry.
About Michael Deas
Michael Deas is a distinguished illustrator and painter with a career spanning several decades. He is perhaps most recognized for his iconic Columbia Pictures logo painting, which has become a hallmark of modern cinema. Deas’ work extends beyond commercial art to include portraits and fine art, where his meticulous approach and dedication to historical accuracy shine through.
His career has included numerous high-profile projects, such as book cover illustrations and portraits of notable figures. Deas is also deeply involved in teaching and mentoring aspiring artists, passing on his knowledge and passion for both traditional and digital art techniques.
Despite the rise of digital art, Deas remains committed to the traditional methods of illustration, continuously adapting his craft while remaining true to the principles of classical art.
Michael Deas Interview
1. What inspired you to pursue a career in illustration and painting, and how did you develop your unique style?
When I was a kid, I wasn’t very good at sports and stuff like that, but I did have a gift for drawing. So I concentrated on that, mostly to impress other kids.
2. Can you share the story behind how you were selected to paint the Columbia Pictures logo, and what was your creative process for this iconic piece?
The art director contacted my agent, and I guess he underbid it, so I got the job. I honestly didn’t expect it to be used, but obviously I was wrong.
3. What challenges did you face while working on the Columbia Pictures logo, and how did you overcome them?
I had difficulty getting the model’s expression right, and had to do several revisions, repainting it till it looked right. Also had trouble finding big, puffy clouds, so I had to make some of that up.
4. How do you approach historical accuracy in your works, especially when depicting significant historical figures or events?
I like to do research. Plus, the Postal Service provides you with reference material.
5. Can you tell us about your experience working on book covers, particularly for the works of William Faulkner? How did you capture the essence of his literature through your artwork?
I’ve never illustrated anything by William Faulkner.
6. Throughout your career, you’ve worked on a variety of projects, from commercial art to fine art. How do you balance these different aspects of your work, and do you have a preference?
I prefer doing commissioned work because I know what is needed, and I’m guaranteed to be paid. Painting for myself is much more uncertain.
7. In addition to your commercial work, you have also painted many portraits. What do you find most rewarding about portraiture, and how do you connect with your subjects?
Sometimes I connect with historical figures. I try to read about them, and learn something about their personality.
8. How has the field of illustration and painting evolved since you began your career, and what are your thoughts on the impact of digital art on traditional methods?
Digital art has certainly taken its toll on hand-painted illustration. More and more work with vector or Photoshopped imagery, and particularly when it comes to photography, now hand-painted illustrations are somewhat less favored as art directors prefer digital.
9. What advice would you give to aspiring artists who want to make a mark in both commercial and fine arts?
Paint fast! The more work you can turn out, the better you will do financially. Unfortunately, I paint very slowly.
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