S.C. Watson.

For the last 150 years, illustration has seen the advent of everything from photography to Photoshop. The first question for Orcas Island illustrator, Shane Watson, is: What does a contemporary illustrator do? As it turns out, the answer is as ranging and broad as Watson’s provocative imagination and work.

“That depends on the project and how the illustrator works,” Watson commented. Watson refers to himself as “a bit of a hybrid” because he has traditional training but now usually works digitally because of the speed it allows; however, he is definite about the role of the process in art. “Digital artwork is just as valid as anything else, because the artist, not the computer or program, is creating the art.”

Watson is passionate when asked about the children’s art displayed on his site (www.oreganoproductions.com). “Depending on your perspective,” he says, speaking with the rapid avidity of an artist firmly at home in his medium, “all of my work can be considered children’s work.”

He points out that many of the best illustrators, such as Maxfield Parrish, Arthur Rackham, or N. C. Wyeth, were children’s illustrators. “People are often dismissive of children’s illustrators, but think of your first memories of going through books. What stands out? It’s almost always the pictures you saw.” He can’t remember the name of his favorite children’s book as a child, but recalls that it was very dark in style and featured a character who turned into a swarm of bees. “For whatever reason, this always stuck with me.”

This theme of darkness is echoed when Shane Watson is asked about his own style. “My style is difficult to describe, because I tend to use it the way some artists use light and shadow,” but he does say it can be called dark. “I don’t go in for shock or for the grotesque, but I do think my work can be uncomfortable.” His studio, Oregano Productions, features a logo exemplifying this. “Mr. Kiwi Hummingbird Gardener” shows a strangely garbed figure with a bird’s head watering a potted plant. Shane says he likes “going for the reality next door” where something familiar is shown with another element that’s “just a little off. It’s like those dreams that stay with you the next day.”

Watson credits a number of influences, particularly Brian Froud on his pencil work, James Gurney and Sean Tan’s “Arrival,” (which Shane calls “a stunning graphic novel”), and of course, Frank Frazetta. (We speak of the first time I ever picked up one of Frazetta’s “Conan” covers after having been raised on the cover art of Heinlein and Bradbury novels from the 1950’s and he laughs: “Yeah, that was a pretty radical and transformative moment for anyone who experienced it.”)

When asked how long he’s been drawing, Watson doesn’t hesitate: “Since I could pick up a pencil.” During his career as an illustrator, Watson has worked on a variety of projects. He has illustrated both cards and rule books for Fantasy Flight Games, a major producer of role-playing and board games. Among his work for them are illustrations for “Call of Cthulhu,” based on the work of H. P. Lovecraft. He has illustrated book covers and created character and species designs used in video games.

Watson is currently working on a Mask Series which he considers his most important and satisfying work at the moment. Three of these can be viewed on his website. Like all of his work, these have a strong narrative quality. “Thinking of my work in terms of telling a story is the very nature of illustration. That’s part of what distinguishes illustration from what many call fine art. If you look at the history of illustration, it evolved from fantasy and conveying stories.”

Along with his website and art blog (www.oreganoproductions.com/blog), examples of Shane Watson’s fine art work can be viewed at the Sunflower Café in Eastsound. He is part of a group show at Enzo’s (also in Eastsound) starting in June.