Going to art school after military service seems like one of those classic "G.I. Bill" transitions. Tell us more about it: what inspired it and how did it pan out?

Sure, I kinda joined the military for a moronic reason really, because during that time I was getting out of high school and still didn’t know what I wanted to do for a living. So I mentioned this to my best friend that I was thinking of going in the Army and consider my future and maybe pick up a sort of skill or two. My buddy told me that he was also wanting to join just out of curiosity, so joining with a friend made the decision that much easier. Keep in mind this was somewhat relaxed because there weren’t any major conflicts at the time. And when you join in such a casual way, failing to read the big print could be dangerous to your health.

When I was joining, the Russians were the big deal, but that was petering out (this was back in 1988) and when it was time to leave in 1992 the first Gulf War was starting - preventing me from leaving. I came very close to going, but in the end our 4th Infantry Division was never sent, although my best friend was in the 82nd Airborne Division and he did go… and came back with some crazy stories. The service wasn’t always easy, but it was well worth the experience and met a wide range of interesting characters. In fact, I just checked my email a few minutes ago and got an email from one of the tank drivers that I knew back in 1990. Gotta love the Internet! Sure makes a smaller world.

I did have other soldiers buying artwork from me. They were saying if I become famous then they would have an original… blah blah blah. I didn't even think that I was going to make a living with my art, so I just rolled my eyes when I'd hear stuff like that. Then I got out of the service and started to wonder, “Now what?” - 'cause the Army took care of everything: clothes, food and shelter. I was a bit apprehensive, so I got some Tony Robbins books and got all pumped up as far as doing what you like and what is natural. I did research on schools and also on the artists themselves. I redirected my art style to fit what studios and CalArts wanted to see because I was more into drawings that were illustrations rather than fast drawings that had life.

Your life drawing is very strong (no pun intended). How much time do you spend on it each week?

Well, at the time I was in school at CalArts, it seemed like I would draw any time there was a life drawing model in the room (I counted around 20 plus hours per week). I’d be sketching and I really went out of my way to go to the L.A. Zoo. But I haven’t been life drawing as much anymore because of the evolution of being an artist vs. what people actually pay for. I’ve been pretty swamped with clients asking for character work, and when I’m not doing that I’m still sketching on characters trying to find images that are unusual. Life drawing is probably the single most influential force on what I draw like today, and even on style too. For example, some people might see recurring elements - I often use tropical frog patterns and birds as a way of approaching some creature designs, etc. Also, it helps to know the rules before breaking the rules.

What was your first "break" into the animation industry?

Well, the mid-90’s were high times for the animation industry and it really wasn’t too hard to find something somewhere. The recruiters were coming to the school from every angle. I was really itching to get into the arena, so I grabbed a intern slot at Turner Feature (“Cats Don’t Dance” was in development at the time). At the end of the internship, I had one more big decision: to go work for Disney in Florida on “Mulan”, OR to Dreamworks for a year-long training deal and then work on “The Prince of Egypt”. Quick note here: in 1994 Dreamworks was not a household name yet. In fact, I remember clearly telling my family where I was thinking of going and they looked confused. My sister spoke up and said, “DREAMworks??? What’s that?? Do you make sleeping pills or something?” I ended up picking the Dreamworks deal and stayed for the next seven years. In hindsight, it was the best decision because I later ran across some Disney Florida animation artists and got a feel of what would have happened to me there.

You've worked for a number of major studios on some high-profile projects. Which stand out in your mind?

Well, that’s a tough one ‘cause they were all such different beasts. I felt like I might have shaken things up at Universal Studios on “Curious George”, but absolutely nothing that I did was used. I was there for about a half-year or so. I also worked on two animated films with an ocean as the main location. It’s fantastic as a concept artist to break in on something with a marine theme - just the research alone is worth it. Aquatic animals have the best designs, patterns and colors - really keeps you inspired!

What type of work do you enjoy the most, and what aspect of your profession is the least thrilling?

I’ve always sorta liked the idea of development as a blanket of fresh snow, and you are the first person to step on in it with your boots before it gets stomped into a sloppy sludge. The least thrilling part would be dealing with anything that has numbers around or near it.

What motivated your move to Chicago? How do you like it compared to living and working in L.A.?

Oh, that was a nice surprise. During that time I was going through some rough times at a dead-end job. I got this call asking if I’d have an interview at WMS Gaming and consider a move paid for by the company. They made a great first impression with having a limousine picking me up at the airport and putting me in a nice Chicago hotel off of Michigan Avenue. At the time, it was heaven-sent. Getting away was just what I needed, as well as a new line of work. I stayed for the length of our contract, but afterwards started feeling a pull into something that was not art.

Creating and drawing is what makes me happy to get up in the morning. If I’m learning dozens of programs, that means a zillion buttons… knowing where they are and what they do… keeping up with all the upgrades… all that just seems to be eating way at being an artist. I’d prefer to keep a small few programs, know them well and still be able to draw at the end of the day. I did dabble with 3DMax once, but it was like walking into a math class, I was completely turned off from the beginning, whereas Photoshop and similar programs were a bit more welcoming. I think a lot of places are asking and expecting way too much from a single person these days.

As for how it compares to L.A.? Ah well, I was born in L.A. and grew up all around Southern California, so I was kinda getting tired of it without really knowing it. When I moved to Chicago, I liked the homes - more bang for your buck, and getting around on the subways is easy. Having a car here is not necessary (it’s almost a pain to have one here). That’s if you live in the city. And in L.A., a car is a must-have. I also like the seasons in Chicago. The city seems to have a mood. People, animals and plants seem to go along with the seasons and moods of the city. I think I’ll end back up in L.A. again though. I’m just enjoying where the wind is taking me at the moment, also taking advantage of being able to live anywhere and work everywhere. (Thanks, Internet! I love you!!! xoxo)

Having done both, what observations do you have about life as a studio artist vs. life as a freelancer?

They are both good, polar opposites in many ways. At the studios you are expected to be there in your office or cube at a certain time - even if you are not running on all cylinders mentally – whereas with freelancing you’re always working clearly ‘cause you can take little naps when needed. I feel like when I do work I’m bright and fresh mentally, even if it’s 3am (in fact, I’m writing this now at 3:45am). I like these hours for many reasons: I can control the lighting better, no one is calling or knocking, and when I do make a grub run there is no traffic at all. All these things add up to some serious time saved.

Studios have the advantage of other artists, and getting instant feedback and readings on your work. Even if just showing someone some work casually, their face says a ton whereas freelancing is very cold that way. Being alone and working alone is somewhat comfortable for me. At the studios you are expected to go with the flow, whereas with freelancing you ARE the flow. I’m talking about style of art and things like that. When people call me to work on something, they pretty much want exactly what I’m doing already.

Tell us more about your work with toy and puppet designs, and the children's books you've done.

Puppets, toys and books are probably the newest field that I’ve been getting into. But I hadn’t followed up on what had been going on with these things, or the client had not sent the final result. I’m often running with another project. At this year’s Comic Con, I stumbled on booths of things that I’ve worked on, and that was sometimes the first I’ve seen of the project all finalized. Sometimes I get much-appreciated emails of images or final product. I love seeing models based on what I sent. Yeah, like I said, this is somewhat new for me. I did get an interesting call and somewhat encouraging blip on the radar from Jim Henson’s company, so maybe something more interesting could come in the future with this end of things. But at the moment, nothing major to report.

And about the toys, so far what I’ve been doing hasn’t been for the big companies like Mattel or Hasbro. The places that I’ve been working for are like the underdogs of the toy world. I don’t mind who or how big the company is, just as long as I’m creating something that I feel good about and gives me a slightly longer creative leash to play around with ideas.

Who inspires you?

It would be a long list (I hate to take the cheap route by not naming everyone) but most inspiring people I know are from either France and/or Spain. People who draw like they do, and not how a corporation molds them to draw. Kids’ drawings are inspiring for the “out-of-the-box” way of thinking. In that same line of thought, I’m going to throw Teddy Newton’s name out there. Animals, odd shapes and movies are also inspiring.

Is there anything you'd like to do in your career that you have not yet had the opportunity to pursue?

I would like to one day have a deep influence on a project, kinda the way Craig Kellman did on “Madagascar”, Chris Sanders on “Lilo & Stitch”, Tim Burton on “Nightmare Before Christmas”, etc… something that is a “Jasen Strong-ish” looking film or product. People keep saying I have a personal style, so instead of being embarrassed or fighting it, I’ll just roll with it.

Tell us something that not many people know about you.

I was adopted at age 9. I did a happy dance at the top of Pike’s Peak in Colorado. I ride a Harley-Davidson. If you freeze-frame a section of the movie “Bowfinger” you can see Heather Graham walk by me. I made a Chinese throwing star in metal shop, threw it, and it accidentally stuck in my best friend’s hand. I once took off my shirt, lay down on a huge fire ant mound for one minute, and made 20 bucks. I met John Wayne when I was a child. I put my pinky finger on four states at the same time. I was a SAW gunner in a Black Hawk Helicopter. I flunked a test on getting into the L.A.P.D. I grew up near the Mann’s Chinese Theater in Hollywood. I’ve done parasailing, rappelled and bungee jumped, and I lit a fart on fire. On my first job, I got canned from Del Taco for accidentally throwing out a plastic tray. As a kid, my mom was a Beatles fan so I had a Beatles-style haircut for my first 8 years. I’m a vitamin junkie, and finally… I have a mole on my left toe named Peppy.

Why are dogs used so frequently as your online avatars?

LOL! I never thought of that until you just now mentioned it. In truth, I’m a cat nut but I had Triumph the Insult Comic Dog as a avatar for a long time because I’m just a Conan O'Brien fan and love those wacky characters. Triumph is hysterical! The best Triumph attacks have been on Bon Jovi, David Hasselhoff, and a group of Star Wars fans.

Ever thought of an avatar combining dogs and Hasselhoff?

(Sorry, couldn’t resist... carry on, Jasen!)

So, my current avatar is a walleye pug dog. I picked that one ‘cause there is a board that requires 60x60 and hardly anything shows up at that size other than a close-up of something. All that, and I like pugs… or really any animal that is catalogued but doesn’t look like the classic version of what they are. I have two “normal looking” cats, but my neighbor has a Persian that comes in my home for free treats and that thing looks like a furry alien – similar to the way that pugs do.

Chocolate or vanilla?

Chocolate (with caramel pus inside).

Salty or sweet?

Sweet. (99.9 percent of my intake is sugar based. Can you spell DieohbeeTees? Neither can I.)

Who would you like to see us interview in the near future, and why?

My mole Peppy, ‘cause I just want to watch him type on the computer.

And if Peppy is busy, who else would you like to see us interview?

John Kricfalusi.

Your mole may be an easier “get”. Thanks, Jasen!

For more on Jasen Strong and his work, visit http://jasenstrong.artstooge.com/