Today we’d like to introduce you to Lincoln Matt.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I got my start the same as any other artist, just doodling non-stop wherever I went. I probably started drawing when I was 4 or 5. I used to present a pencil and paper to whoever I thought would draw for me, but after receiving one too many stick-figure drawings, I just decided to draw things myself and do it better than other people. And I sucked! But I kept at it, cultivating the skill by just doodling everywhere I went. You wouldn’t catch me in class without a notebook being scribbled in.
My initial inspirations for my journey came from cartoons and anime, specifically Cartoon Network, Toonami, and Adult Swim. I wanted to be an animator as a kid; I thought being able to make a picture move and tell a story was like magic. But I really gravitated towards the kinetic energy and the attitude of those programs, especially as I remember them in the 2000s. Comics and manga were foundational in my development too. I was always drawing Spider-Man, Batman, or DBZ characters more than anything. I think the inspirations I draw from today have changed somewhat, but I think these serve as my artistic bedrock.
Inspiration nowadays seems to come from all over the place, but I find myself returning to artists like Frank Frazzetta, Ralph Bakshi (Fritz the Cat), Bengus (Capcom), Gendy Tarkovsky(Samurai Jack), George Morikawa (Hajime No Ippo), along with stylistic sensibilities from the late 90’s and early 2000. It’s eclectic but there’s a mix of attitude and fine art qualities in my work that I found blended well together in comps and character design. I can lean one way or the other on the artistic spectrum, but it’s the most satisfying thing to find that balance between them.
Fast forward to today, I work as a freelance illustrator doing comics, logos, and flyer design. I got my break when I was contracted by a friend of a teacher to work on the first issue of a superhero comic. It helped pay most of my rent for the year rent and introduced me to the reality of freelance comic illustration! Then I recently made an animatic with local hip-hop artist Tall Paul for a fuck ICE know-your-rights style music video (Ikogaan Mikwam). But recently I’ve been diving back into fine arts with some more introspective art-as-therapy pieces. I dunno. there’s a lot going on for me but I don’t really have many destinations set for myself on the artistic journey. Because the journey is the destination to me!
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
Pursuing art as a profession has been one of the most difficult paths I’ve had to navigate lmao! It’s easy to draw, but marketing myself is such a pain. I’m a complex person, and my art reflects that, in content and in the variety. There’s nothing wrong with that, but it led to this pattern of comparison with other artists who had found their niche already that I kept falling into. The existential dread that came from an unformed artistic identity feels petty brutal. I didn’t know if I wanted to be a trend artist or go for the tortured soul route. But we all work in our own niche and I found mine; that’s something I had to learn after a few cycles of that. I think there’s a very “all or nothing” approach in defining yourself as an artist in the online space, but some artists I follow tend to hone in on one aspect or aesthetic and make that their brand or identity for a time. Maybe it’s what brings in the most traction, maybe it sells well, maybe it really is their passion. I’m a little envious of the dedication, but I gotta remember to not let myself stew in that though and continue to do my own thing. As stated before, I’m a complex person and my art reflects those complexities in its variety. My artistic journey looks different than everyone else’s and that’s okay.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I’m a Graphic Artist, and my favorite medium is graphite and pencil, but I work in photoshop too doing inks and colors in app. I tend to stay low-key when my art is in the spotlight nowadays. I’m proud of my work, don’t get it twisted. I think I’ve kept my head down for so long that it’s alien to receive high praise or compliments. If I had to say what I’m most proud of, it’s that I’ve kept this passion up for this long on such a consistent basis. It’s lead me to many projects I’ve had fun with and the utmost privilege to be part of, so I’m hoping this passion stays with me from the cradle to the grave.
Can you tell us more about what you were like growing up?
I was diagnosed with my neurodivergency at a young age and I grew up on Section 8 housing for most of my life, but mom would always pick me up a new sketchbook when she noticed the one I was working on was getting filled out. She was an educator and more academically minded, so while she didn’t fully comprehend artistic sensibilities, she still encouraged my interests. Young Link loved, loved, LOVED to draw. And when I wasn’t drawing, I was probably out causing mischief that my mom had to pick up later. She did a lot for me with what little we had.
I wanted to go to art school more than a few times in my life to be an animator, but either tuition costs were steep. I would say about 80% of what I learned was self-taught through observation, self-study, or video demonstrations. As I got older, my tastes and style became more refined. I started drawing OC’s here and there between fan art, made some comics that got passed around in middle school, started painting and making cosplay items. I was becoming more interested in learning and experimenting with new techniques and mediums, but I still was never far away from a pencil and sketchpad. I always kept that thing on me. Showing the sketchbook off used to be how young Link introduced himself. It was a way for me to connect with so many people so I keep his spirit alive by continuing to practice my art.
Pricing:
- $65 baseline commission fee (included in final price)
- standard (logo, character drafting, poster, cover): $120-$500
- long form (comics and zines): $150-$200 per page
Contact Info:
- Instagram: https://www.instagram.com/linkoftruth_/
- LinkedIn: https://www.linkedin.com/in/lincoln-matt-640096185/
- Other: https://www.behance.net/linkmatt
