tag:blogger.com,1999:blog-7697858109617252642024-02-18T17:49:59.163-08:00Owen FreemanOWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.comBlogger199125tag:blogger.com,1999:blog-769785810961725264.post-40929527766414246692015-09-22T14:04:00.002-07:002015-09-22T14:07:32.469-07:00New Blog AddressThe blogging continues, now located at the all <a href="http://www.owenfreeman.com/24houremergency/">new www.owenfreeman.com/24houremergency</a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com3tag:blogger.com,1999:blog-769785810961725264.post-8131344185304910712015-05-21T06:31:00.002-07:002015-05-21T06:33:39.783-07:00The Atlantic: Death and Mr. Pickwick<a href="https://www.flickr.com/photos/ofreeman/17931456885"><img src="https://c4.staticflickr.com/8/7675/17931456885_cafa37de0a_z.jpg" /></a><br />
An illustration for The Atlantic <a href="http://www.theatlantic.com/magazine/archive/2015/06/was-dickens-a-thief/392072/" target="_blank">review of Stephen Jarvis’s novel </a><i><a href="http://www.theatlantic.com/magazine/archive/2015/06/was-dickens-a-thief/392072/" target="_blank">Death and Mr. Pickwick</a>. </i>A stark retelling of the circumstances connecting illustrator Robert Seymour and an ambitious 24 year old Charles Dickens, leading to a unprecedented fame for one and suicide for the other. Sketches for variations on the idea below, much thanks to AD Lauren Giordano for her faith in the unconventional under-painting idea.<a href="https://www.flickr.com/photos/ofreeman/17310965733"><img src="https://c2.staticflickr.com/6/5333/17310965733_fc3d51481f_z.jpg" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com3tag:blogger.com,1999:blog-769785810961725264.post-62602827524170312982015-05-11T07:00:00.000-07:002015-05-11T07:00:36.391-07:00Texas Monthly: Spring Breaking Away<a href="https://www.flickr.com/photos/ofreeman/17334149409" title="Texas Monthly: Spring Breaking Away by owenfreeman, on Flickr"><img alt="Texas Monthly: Spring Breaking Away" height="451" src="https://c4.staticflickr.com/8/7676/17334149409_204aeb11a0_z.jpg" width="640" /></a><br />
<span style="background-color: white; color: #292f33; font-family: Arial, sans-serif; font-size: 14px; line-height: 18px; white-space: pre-wrap;">A couple South Padre spring break illustrations for <a href="http://www.texasmonthly.com/story/spring-breaking-away-essay-domingo-martinez" target="_blank">an essay by Domingo Martinez</a> in the latest Texas Monthly. Layout designs by</span><span style="background-color: white; color: #292f33; font-family: Arial, sans-serif; font-size: 14px; line-height: 18px; white-space: pre-wrap;"> AD Emily Kimbro. </span><a class="twitter-timeline-link" data-expanded-url="http://www.texasmonthly.com/story/spring-breaking-away-essay-domingo-martinez" dir="ltr" href="http://t.co/6F7cV4n6Yf" rel="nofollow" style="background: rgb(255, 255, 255); color: #595959; font-family: Arial, sans-serif; font-size: 14px; line-height: 18px; text-decoration: none; white-space: pre-wrap;" target="_blank" title="http://www.texasmonthly.com/story/spring-breaking-away-essay-domingo-martinez"><span class="tco-ellipsis"></span><span class="invisible" style="font-size: 0px; line-height: 0;">http://www</span></a><br />
<a href="https://www.flickr.com/photos/ofreeman/17518275332" title="Texas Monthly: Spring Breaking Away by owenfreeman, on Flickr"><img alt="Texas Monthly: Spring Breaking Away" height="451" src="https://c1.staticflickr.com/9/8813/17518275332_a4500177d7_z.jpg" width="640" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-60586856187389100552015-04-27T23:23:00.001-07:002015-04-28T07:52:15.696-07:00LAZARUS: Number Sixteen<a href="https://www.flickr.com/photos/ofreeman/17109553738" title="Lazarus: Sixteen by owenfreeman, on Flickr"><img alt="Lazarus: Sixteen" height="428" src="https://farm8.staticflickr.com/7670/17109553738_b31afe1e6b_b.jpg" width="650" /></a>
<a href="https://imagecomics.com/comics/releases/lazarus-16" target="_blank">Lazarus #16</a> is on stands now. This issue is a bold vignette in the eye of the narrative hurricane by Rucka & Lark, and expands its format to include a wealth of journalistic design work by <a href="http://www.erictrautmann.us/" target="_blank">Eric Trautmann</a> as well as a few interstitial illustrations by me.<br />
<a href="https://www.flickr.com/photos/ofreeman/17089868897" title="Lazarus: Sixteen by owenfreeman, on Flickr"><img alt="Lazarus: Sixteen" height="795" src="https://farm8.staticflickr.com/7696/17089868897_111942f830_c.jpg" width="650" /></a><br />
<a href="https://www.flickr.com/photos/ofreeman/16677070573" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" title="Lazarus: Sixteen by owenfreeman, on Flickr"><img alt="Lazarus: Sixteen" height="428" src="https://farm9.staticflickr.com/8696/16677070573_f7f4a96752_b.jpg" width="650" /></a>Above are some of the process steps from early thumbnails, sketches and an alternate for the third act piece with a more digital fragmenting effect that was a fun experiment. Massive credit due to Eric for tying all the pages together so well, and thanks again to Greg and Michael and the team for the invitation to be part of the issue.<br />
<a href="https://www.flickr.com/photos/ofreeman/17111111439" title="Lazarus: Sixteen by owenfreeman, on Flickr"><img alt="Lazarus: Sixteen" height="428" src="https://farm9.staticflickr.com/8780/17111111439_eabbf47b16_b.jpg" width="650" /></a>
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In related news, the original inks for this issue's cover (and others) are now available through <a href="http://t.co/pEUGXMGhLM">Splash Page Comic Art</a>. It's incredibly nice to be in such good company there as well.
<a href="https://www.flickr.com/photos/ofreeman/16677239693" title="LAZARUS: Number Sixteen by owenfreeman, on Flickr"><img alt="LAZARUS: Number Sixteen" height="987" src="https://farm9.staticflickr.com/8760/16677239693_491014357a_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-254015816501724282015-04-27T14:41:00.000-07:002015-04-27T21:59:57.600-07:00Maxim: The Last Patrol<a href="https://www.flickr.com/photos/ofreeman/17293535355" title="Maxim: The Last Patrol by owenfreeman, on Flickr"><img alt="Maxim: The Last Patrol" height="481" src="https://farm9.staticflickr.com/8720/17293535355_96a8750450_z.jpg" width="640" /></a>
I've enjoyed a daily drawing practice for many years now. I keep a journal that includes observation studies, practice with different pens, brushes, etc., from both digital and traditional sketchbooks, all <a href="https://instagram.com/24houremergency/" target="_blank">collected on instagram</a> over recent years. It's a valuable regimen for me, and definitely something I feel if it's missing as the close of the day draws near.<br />
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<a href="https://www.flickr.com/photos/ofreeman/17293351321" title="Daily Drawing sketches by owenfreeman, on Flickr"><img alt="Daily Drawing sketches" height="348" src="https://farm8.staticflickr.com/7686/17293351321_4c5a9825ac_b.jpg" width="650" /></a>
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So getting a call to take an observational/sketchbook approach to an editorial assignment was a nice collision of worlds. The assignment came from AD David Zamdmer at Maxim. The feature was about Major James Capers, who has been repeatedly passed over for the Medal of Honor despite exceptional service and many commendations during the Vietnam War.<br />
<a href="https://www.flickr.com/photos/ofreeman/17267583156" title="Maxim: The Last Patrol by owenfreeman, on Flickr"><img alt="Maxim: The Last Patrol" height="733" src="https://farm8.staticflickr.com/7663/17267583156_a75db75d19_b.jpg" width="650" /></a><br />
The composition sketches above went through a number of iterations as the direction shifted from a darker jungle composition to a more open clearing framing the figures. The final piece was executed in the spirit of observational field sketches from a host of reference and documentary research, and drawn using a combination of <a href="https://gumroad.com/kyletwebster" target="_blank">Kyle Webster</a>'s great Photoshop drawing brushes.
<a href="https://www.flickr.com/photos/ofreeman/17105762648" title="Maxim: The Last Patrol by owenfreeman, on Flickr"><img alt="Maxim: The Last Patrol" height="430" src="https://farm8.staticflickr.com/7698/17105762648_5c6eb6e4b4_b.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-81189503528986164982015-01-13T23:02:00.000-08:002015-01-14T06:55:35.088-08:00Lazarus: Fourteen<a href="https://www.flickr.com/photos/ofreeman/15654568914" title="Lazarus Fourteen by owenfreeman, on Flickr"><img alt="Lazarus Fourteen" height="987" src="https://farm9.staticflickr.com/8612/15654568914_53ac6ab824_o.jpg" width="650" /></a><br />
Lazarus issue Fourteen arrives on stands this week and, with it, <a href="http://www.gregrucka.com/wp/" target="_blank">Greg Rucka</a> and <a href="https://www.facebook.com/pages/Michael-Lark/124483512630?ref=tn_tnmn" target="_blank">Michael Lark</a> bring us further into the Conclave arc and the ever tightening situation on Triton One. For a glimpse at the excellent sequential work by Lark, Boss & Arcas, Comicosity has a <a href="http://www.comicosity.com/preview-lazarus-14/" target="_blank">preview of the issue</a>.<br />
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Below are some of the development sketches that went into the cover. The inky night ocean scenes slowly shifted further underwater, hinting at some darker discoveries below the surface for the final cover illustration.<a href="https://www.flickr.com/photos/ofreeman/16090865759" title="Lazarus Fourteen Sketches by owenfreeman, on Flickr"><img alt="Lazarus Fourteen Sketches" height="595" src="https://farm9.staticflickr.com/8674/16090865759_f69c8b0888_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-35371702218235391942014-09-28T23:45:00.000-07:002014-09-29T00:22:29.353-07:00The New Yorker: Gone Girl<a href="https://www.flickr.com/photos/ofreeman/15201944727" title="The New Yorker: Gone Girl by owenfreeman, on Flickr"><img alt="The New Yorker: Gone Girl" height="902" src="https://farm4.staticflickr.com/3842/15201944727_e12fa607de_o.jpg" width="650" /></a>
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I was out of town when I got the call asking about illustrating a piece on David Fincher's upcoming <a href="http://www.newyorker.com/magazine/2014/10/06/theydunnit" target="_blank"><i>Gone Girl</i> for The New Yorker</a>, but by the time I was halfway through the walls-closing-in noire trailer I realized this was one of those assignments I was already sketching out ideas without having even said yes.<br />
<a href="https://www.flickr.com/photos/ofreeman/15201944767" title="The New Yorker: Gone Girl by owenfreeman, on Flickr"><img alt="The New Yorker: Gone Girl" height="286" src="https://farm4.staticflickr.com/3845/15201944767_1097ff160c_o.jpg" width="650" /></a><br />
The great public specter looming over Affleck's character struck me as the stuff of great pulp covers, so the sketches began to take a turn towards the more theatrical devices of Norman Rockwell's "Razor's Edge" and Allesandro Biffignandi's "The Day the Sky Exploded." Ultimately, Rene Peron's graphically brilliant work on "The Passion of Joan of Arc," set the tone for the homage to the great pulp classics and cinema posters.<a href="https://www.flickr.com/photos/ofreeman/15365438196" title="The New Yorker: Gone Girl by owenfreeman, on Flickr"><img alt="The New Yorker: Gone Girl" height="278" src="https://farm4.staticflickr.com/3883/15365438196_444f13ebfa_o.jpg" width="650" /></a><br />
The issue hits stands this week, and <a href="http://www.newyorker.com/culture/culture-desk/cover-story-2014-10-06" target="_blank">Christoph Niemann's cover</a> is brilliant. Thanks as always to AD Chris Curry.OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-23135178086309926532014-09-09T23:00:00.000-07:002014-09-09T23:00:57.706-07:00Lazarus: Number Eleven<a href="https://www.flickr.com/photos/ofreeman/15192553891" title="Lazarus: Number Eleven by owenfreeman, on Flickr"><img alt="Lazarus: Number Eleven" height="987" src="https://farm6.staticflickr.com/5587/15192553891_04a2e7111a_o.jpg" width="650" /></a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqwr6zugjeQa8-_3kz6v6mSV2xnuZThlQQAPyeUpmkzB3Wol0bHRG0DKhFY4bfTj693eV-hlbPnT6_88J1r8KNqQaOaF86Pjc3xOcdxcfLPwf-lQQFssC_Rq3lA0uFKckGoCoQgFlXu4k/s1600/LAZARUS_11_FinAnimated600px.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqwr6zugjeQa8-_3kz6v6mSV2xnuZThlQQAPyeUpmkzB3Wol0bHRG0DKhFY4bfTj693eV-hlbPnT6_88J1r8KNqQaOaF86Pjc3xOcdxcfLPwf-lQQFssC_Rq3lA0uFKckGoCoQgFlXu4k/s1600/LAZARUS_11_FinAnimated600px.gif" /></a>Lazarus 11 hits stands today <a href="http://imagecomics.com/comics/releases/lazarus-11" target="_blank">from Image Comics</a> and with it the "Conclave" arc begins with the emergence of another Lazarus from the family Bittner and growing shadows of doubt haunting Forever's past, present and future. Written by <a href="http://www.gregrucka.com/wp/" target="_blank">Greg Rucka</a>, art by <a href="https://www.facebook.com/pages/Michael-Lark/124483512630?ref=tn_tnmn" target="_blank">Michael Lark</a> with <a href="http://inkfilledsea.tumblr.com/" target="_blank">Tyler Boss</a>, colors by <a href="http://www.pormimalacabeza.blogspot.com/" target="_blank">Santi Arcas</a>, lettering by Jodi Wynne, Designed by <a href="http://www.erictrautmann.us/" target="_blank">Eric Trautmann</a> and edited by <a href="http://iamdavidbrothers.com/" target="_blank">David Brothers</a>; I couldn't ask for a more dedicated team to work with.<br />
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I've included a small process animation to the left layering steps from brush and ink drawing through Photoshop, as well as cover sketches for different approaches to Bitter and Carlyle's icy introduction below. A preview of Michael's epic opening pages for the issue <a href="http://www.comicosity.com/preview-lazarus-11/" target="_blank">is available here</a>.<br />
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<a href="https://www.flickr.com/photos/ofreeman/15192553871" title="Lazarus: Number Eleven by owenfreeman, on Flickr"><img alt="Lazarus: Number Eleven" height="842" src="https://farm4.staticflickr.com/3855/15192553871_1b37c6eef7_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-43675817953271287392014-09-07T06:49:00.001-07:002014-09-07T06:49:27.366-07:00The New York Times: 10:04<a href="https://www.flickr.com/photos/ofreeman/14977038137" title="NYT_BookReview_1004_Fin650px by owenfreeman, on Flickr"><img alt="NYT_BookReview_1004_Fin650px" height="650" src="https://farm4.staticflickr.com/3924/14977038137_4a33f11223_o.jpg" width="650" /></a><br />
I really enjoyed illustrating this weekend's New York Times Book Review of Ben Lerner's second novel <i><a href="http://www.nytimes.com/2014/09/07/books/review/1004-by-ben-lerner.html?smid=pl-share" target="_blank">10:04</a> </i>with AD Joele Cuyler. Visually reinterpreting another's creative work via the interpretation of a third reviewer is often a telephone game-like experience, but in the case of a story that itself cites coconstruction and shared experiences of art, the layered/perception sketches below came together quickly.<a href="https://www.flickr.com/photos/ofreeman/15160632501" title="NYT_1004_Sketches_650px by owenfreeman, on Flickr"><img alt="NYT_1004_Sketches_650px" height="188" src="https://farm6.staticflickr.com/5556/15160632501_91dc05c12e_o.jpg" width="650" /></a><br />
I've included something that I don't always mention but is integral to most illustrations I work on: inspiration beacons. After I've worked out the content of the illustration in sketches, I reach for the shelves and folders of art books and JPGs and usually unconsciously pull a few that serve as these beacons. I place them next to the reference on a second monitor to play the role of corner-men, long lost teachers, or idea-maps to something I'm fixated on at the time. In this case, they happened to be a collage by <a href="http://www.tumblr.com/tagged/josep-renau" target="_blank">Josep Renau</a>, a book cover illustration by <a href="https://www.flickr.com/photos/leifpeng/sets/72157607176368976/" target="_blank">Mitchell Hooks</a>, and a <a href="https://twitter.com/JohnTheCho/status/497490957030666241/photo/1" target="_blank">photo by John Cho</a>.<br />
<a href="https://www.flickr.com/photos/ofreeman/14977042028" title="NYT_1004_Inspiraion_650px by owenfreeman, on Flickr"><img alt="NYT_1004_Inspiraion_650px" height="278" src="https://farm4.staticflickr.com/3870/14977042028_9aa1f09937_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-68870736525884297082014-09-07T00:04:00.000-07:002014-09-07T00:04:23.634-07:00Medium: Gyres<img alt="Medium_Gyres_650px" height="570" src="https://farm4.staticflickr.com/3839/15160631721_10aeff5348_o.jpg" width="650" />
Illustration for <a href="https://medium.com/matter/the-terrifying-true-story-of-the-garbage-that-could-kill-the-whole-human-race-b17eebd6d54">a chilling piece by Bucky McMahon</a> in Medium on the volume of plastics continuing to fill (and spread) throughout the earth's oceans. Sketches below on various allusions to monsters of the deep, including the homage to Roger Kastel's JAWS illustration taken to finish. AD Erich Nagler.
<a href="https://www.flickr.com/photos/ofreeman/14977037767" title="Medium_Gyres_Sketches by owenfreeman, on Flickr"><img alt="Medium_Gyres_Sketches" height="320" src="https://farm4.staticflickr.com/3837/14977037767_bc6f89ccfe_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-84157100091706970252014-07-30T06:33:00.001-07:002014-09-09T23:52:08.435-07:00Lazarus: Vol. 2<a href="https://www.flickr.com/photos/ofreeman/14780324904" title="LAZARUS Vol. 2 by owenfreeman, on Flickr"><img alt="LAZARUS Vol. 2" height="987" src="https://farm4.staticflickr.com/3887/14780324904_4a35613d16_o.jpg" width="650" /></a><br />
I am excited to share my first illustration as cover artist for <a href="http://www.gregrucka.com/wp/" target="_blank">Greg Rucka</a> and <a href="https://www.facebook.com/pages/Michael-Lark/124483512630?ref=tn_tnmn" target="_blank">Michael Lark</a>'s Image book <a href="https://imagecomics.com/comics/series/lazarus" target="_blank">Lazarus</a>. The second collected volume arrives in comic shops today, and follows Forever, the Lazarus of the Family Carlyle, as destabilizing plots unfold within and around the ruling families in a dystopian near-future.<br />
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The solidity of the world and characters Michael and Greg have developed provided a wealth of visual options, so I was able to run with one I particularly loved which was the "Lift" propaganda poster Michael designed for chapter eight. We narrowed into an idea of Forever surveying the world from a decaying billboard with the deconstructed "Lift" graphic behind her, which I explored in the sketches below.<br />
<a href="https://www.flickr.com/photos/ofreeman/14779535271" title="LAZARUS Vol. 2 by owenfreeman, on Flickr"><img alt="LAZARUS Vol. 2" height="608" src="https://farm3.staticflickr.com/2928/14779535271_ea8c52e0c0_o.jpg" width="650" /></a><br />
While we have only done a few covers so far, this has already been one of the most fun and satisfying collaborations of my career. Thanks to Michael Lark, Greg Rucka and everyone on the team and at Image for inviting me to be a part of this excellent project.<br />
<a href="https://www.blogger.com/%3Ca%20href=%22https://twitter.com/OKComics/status/494169043776315392%22%20rel=%22nofollow%22%3Etwitter.com/OKComics/status/494169043776315392%3C/a%3E" target="_blank"><img alt="Photo of LAZARUS Vol. 2 by Jared of OK Comics" height="365" src="https://farm4.staticflickr.com/3849/14783430775_036b3266f9_c.jpg" title="" width="650" /></a><br />
Photo courtesy of <a href="https://www.blogger.com/%3Ca%20href=%22https://twitter.com/OKComics/status/494169043776315392%22%20rel=%22nofollow%22%3Etwitter.com/OKComics/status/494169043776315392%3C/a%3E" target="_blank">Jared of OK Comics</a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-70572793803455379382014-06-15T23:33:00.000-07:002014-06-16T07:35:33.445-07:00Viking: The Ways of the Dead<a href="https://www.flickr.com/photos/ofreeman/14246845209" title="Viking/Penguin: Ways of the Dead by owenfreeman, on Flickr"><img alt="Viking/Penguin: Ways of the Dead" height="801" src="https://farm6.staticflickr.com/5498/14246845209_640ea85f81_o.jpg" width="650" /></a>
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An interesting challenge came in the form of a book cover project for Viking last fall. The assignment was the cover illustration for <i><a href="http://www.penguin.com/book/the-ways-of-the-dead-by-neely-tucker/9780670016587" target="_blank">The Ways of the Dead</a>,</i> the first in a series of crime novels by <a href="http://www.neelytucker.com/the-ways-of-the-dead/" target="_blank">Neely Tucker</a>. The art direction was to hint at an eerie crime scene on the backstreets Washington D.C., and to do it without any figures – which are usually pivotal in the majority of murders.<br />
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<a href="https://www.flickr.com/photos/ofreeman/14430140941" title="Viking/Penguin: Ways of the Dead by owenfreeman, on Flickr"><img alt="Viking/Penguin: Ways of the Dead" height="318" src="https://farm4.staticflickr.com/3844/14430140941_ef1c63b88b_o.jpg" width="650" /></a>
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Without the human element, I threw myself into researching alleyways and refuse containers (not always easy to access by the way) and noticed a certain sickly green glow from fluorescent lights in entryways and loading zones would often lend a claustrophobic edge to the space. The dumpster in the piece also took on its own character so I played with different compositions and proximity from the viewer within the alley.</div>
<a href="https://www.flickr.com/photos/ofreeman/14410373116" title="Viking: Ways of the Dead by owenfreeman, on Flickr"><img alt="Viking: Ways of the Dead" height="966" src="https://farm6.staticflickr.com/5196/14410373116_c699f978dc_o.jpg" width="650" /></a>
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The final illustration was painted digitally using Photoshop and Corel Painter and underwent a few rounds of punching up the contrast to help make the shadows feel deeper and inkier. Art Direction by <a href="http://www.alisonforner.com/" target="_blank">Alison Forner</a>.</div>
OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-82194090907508794222014-06-02T18:32:00.000-07:002014-06-02T18:32:05.727-07:00The New Yorker: Night Moves <a href="https://www.flickr.com/photos/ofreeman/14330581761" title="The New Yorker: Night Moves by owenfreeman, on Flickr"><img alt="The New Yorker: Night Moves" height="410" src="https://farm4.staticflickr.com/3881/14330581761_1320df0363_b.jpg" width="650" /></a>
Illustration for <a href="http://www.newyorker.com/arts/reviews/film/night_moves_reichardt" target="_blank">The New Yorker review</a> of director Kelly Reichardt’s film “Night Moves.” AD Christine Curry.OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-14869910605221533812014-06-01T18:18:00.001-07:002014-06-01T18:19:47.115-07:00Payday<a href="https://www.flickr.com/photos/ofreeman/14325231555" title="Payday by owenfreeman, on Flickr"><img alt="Payday" height="975" src="https://farm3.staticflickr.com/2935/14325231555_4e12c8268f_o.jpg" width="650" /></a>
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Promo illustration-turned Payday 2 homageOWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-32129955836650910682014-05-13T06:35:00.000-07:002014-05-13T06:35:26.200-07:00Entertainment Weekly: Mr. Mercedes<a href="https://www.flickr.com/photos/ofreeman/13986995088" title="Entertainment Weekly: Mr. Mercedes by owenfreeman, on Flickr"><img alt="Entertainment Weekly: Mr. Mercedes" height="584" src="https://farm6.staticflickr.com/5039/13986995088_a1f42a86eb_o.jpg" width="650" /></a>
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A couple illustrations I did for Entertainment Weekly's feature on the upcoming Stephen King novel <i><a href="http://stephenking.com/promo/mr_mercedes/" target="_blank">Mr. Mercedes</a></i> are in the issue on stands this week. The story follows a retired detective working to stop a killer who murdered 8 people and injured 11 at a job fair with a stolen Mercedes. The excerpt focuses on the dark interior of the antagonist's basement and mind as he reflects on past and future attacks. <br />
<a href="https://www.flickr.com/photos/ofreeman/13986971709" title="Entertainment Weekly: Mr. Mercedes by owenfreeman, on Flickr"><img alt="Entertainment Weekly: Mr. Mercedes" height="547" src="https://farm8.staticflickr.com/7333/13986971709_62bd35f6bd_o.jpg" width="650" /></a><br />
Above are development thumbnails and sketches for the spread and interior, working out different compositions for the foggy morning street and the ominous wired basement. Ultimately, the more overt violence was selected and the circuit diagrams became a connecting visual motif. AD <a href="http://portfolio.dennishuynh.com/" target="_blank">Dennis Huynh</a>.<a href="https://www.flickr.com/photos/ofreeman/13986997697" title="Entertainment Weekly: Mr. Mercedes by owenfreeman, on Flickr"><img alt="Entertainment Weekly: Mr. Mercedes" height="464" src="https://farm6.staticflickr.com/5518/13986997697_62f58da3c7_o.jpg" width="650" /></a>
<a href="https://www.flickr.com/photos/ofreeman/13986990050" title="Entertainment Weekly: Mr. Mercedes by owenfreeman, on Flickr"><img alt="Entertainment Weekly: Mr. Mercedes" height="488" src="https://farm6.staticflickr.com/5272/13986990050_05f7fb40b3_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-88504845239153466192014-05-06T22:03:00.000-07:002014-05-07T07:33:03.514-07:00Mental Floss: Head Case<a href="https://www.flickr.com/photos/ofreeman/14124712652" title="Mental Floss: Head Case by owenfreeman, on Flickr"><img alt="Mental Floss: Head Case" height="884" src="https://farm3.staticflickr.com/2912/14124712652_34dcf2e3fb_o.jpg" width="650" /></a>
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Illustration and idea sketches for a Mental Floss magazine piece on archeologist Ephraim George Squier's 1860's search for evidence of early neurosurgery in the jungles of ancient Peru. Creative Director <a href="http://winslowtaft.com/" target="_blank">Winslow Taft</a>.<a href="https://www.flickr.com/photos/ofreeman/14104524006" title="Mental Floss: Head Case by owenfreeman, on Flickr"><img alt="Mental Floss: Head Case" height="302" src="https://farm6.staticflickr.com/5528/14104524006_697ebb8d66_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-68201131032143312632014-05-06T21:19:00.002-07:002014-05-06T23:29:22.430-07:00The New Yorker: Blue Bloods <a href="https://www.flickr.com/photos/ofreeman/14127568475" title="The New Yorker: Blue Bloods by owenfreeman, on Flickr"><img alt="The New Yorker: Blue Bloods" height="902" src="https://farm6.staticflickr.com/5453/14127568475_fa4b4db37d_o.jpg" width="650" /></a>
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I love horseshoe crabs. It might be their quiet witness to half a billion years on earth, or the fact their hearts pump a singular amebocyte that defends their blood from pathogens, or the fact they can't be raised in captivity yet are preciously harvested by pharmaceutical companies. Horseshoe crabs are fascinating.<br />
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I wish I could claim that my interest in them predated <a href="http://www.newyorker.com/reporting/2014/04/14/140414fa_fact_frazier" target="_blank">the piece</a> by Ian Frazier but it truly started after Christine Curry from the New Yorker sent me the article to illustrate. Once I read the story and began researching and drawing horseshoe crabs it was hard to stop. Below are some of the development sketches, exploring different ways to try to do these orthropods justice. Did I mention they swim upside down?
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<a href="https://www.flickr.com/photos/ofreeman/14124249741" style="font-family: arial, sans-serif; font-size: 13px;" title="The New Yorker: Blue Bloods by owenfreeman, on Flickr"><img alt="The New Yorker: Blue Bloods" height="868" src="https://farm3.staticflickr.com/2918/14124249741_bf80c1d4c5_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-19697874680935756532014-04-23T07:01:00.000-07:002014-04-23T20:17:45.720-07:00Canadian Business: The Slaves of Eritrea<a href="https://www.flickr.com/photos/ofreeman/13979195874" title="Canadian Business: Slaves of Eritrea by owenfreeman, on Flickr"><img alt="Canadian Business: Slaves of Eritrea" height="747" src="https://farm8.staticflickr.com/7084/13979195874_d1e9409331_o.jpg" width="650" /></a>
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One of the great aspects of working on editorial assignments is illustrating in concert with different forms of engaging journalism. A few weeks ago I had the chance to work with Art Director John Montgomery on an interesting assignment for Canadian Business magazine. The article investigated reports of Human Rights Watch allegations brought to Canada's Department of Foreign Affairs and International Trade. The report stated that Canadian mining companies were, knowingly or unknowingly, employing local contractors that exploit unpaid conscripted labor in the North African nation of Eritrea.<br />
<a href="https://www.flickr.com/photos/ofreeman/13979196224" title="Canadian Business: Slaves of Eritrea by owenfreeman, on Flickr"><img alt="Canadian Business: Slaves of Eritrea" height="778" src="https://farm6.staticflickr.com/5592/13979196224_94e4d6cd97_o.jpg" width="650" /></a><br />
Above are the rounds of idea sketches, the core of which I felt were to convey the visible and invisible systems that contribute to slavery and exploitation in developing nations – grounding the scenes in realism, while also using symbols and visual metaphors for the more insidious human rights issues at play. We circled back around to the idea of a reflection to convey an alternate, darker truth about the conscripted workers. Final page design and layout by <a href="http://instagram.com/_JohnMontgomery" target="_blank">John Montgomery</a>.<br />
<a href="https://www.flickr.com/photos/ofreeman/13955662936" title="Canadian Business: Slaves of Eritrea by owenfreeman, on Flickr"><img alt="Canadian Business: Slaves of Eritrea" height="444" src="https://farm8.staticflickr.com/7027/13955662936_4e664df4f4_o.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com2tag:blogger.com,1999:blog-769785810961725264.post-22228141350112283122014-04-16T21:36:00.000-07:002014-04-17T07:08:18.661-07:00Houstonia: Notes From Underground<a href="https://www.flickr.com/photos/ofreeman/13907702454" title="Houstonia_InvasionProof_spread by owenfreeman, on Flickr"><img alt="Houstonia_InvasionProof_spread" height="423" src="https://farm8.staticflickr.com/7456/13907702454_6bc38d81c0_o.jpg" width="650" /></a>
Illustration on the booming world of vigilante home security for the latest issue of Houstonia Magazine, layout and design by AD <a href="http://lucky11studios.com/" target="_blank">Chris Skiles</a>. Process roughs below from the development of ideas of, particularly how paranoia and fear obscure the reality that violent crime rates continue to decline each year.<a href="https://www.flickr.com/photos/ofreeman/13884173462" title="Houstonia: Notes From Underground by owenfreeman, on Flickr"><img alt="Houstonia: Notes From Underground" height="555" src="https://farm4.staticflickr.com/3769/13884173462_07dcdbb41b_b.jpg" width="650" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-31796738590312418892014-02-28T12:30:00.000-08:002014-03-04T11:31:17.600-08:00The New Yorker: The Unknown Known <a href="http://www.flickr.com/photos/ofreeman/12841377094/" title="The New Yorker: The Unknown Known by owenfreeman, on Flickr"><img alt="The New Yorker: The Unknown Known" height="585" src="https://c1.staticflickr.com/3/2837/12841377094_4a2a77fd6a_o.jpg" width="650" /></a>
Illustration of Donald Rumsfeld for <a href="http://www.newyorker.com/arts/reviews/2014/03/03/140303goli_GOAT_movies_brody" target="_blank">The New Yorker preview</a> of Errol Morris' new documentary "The Unknown Known." AD Jordan Awan.OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-19008582887890788862014-02-24T07:57:00.000-08:002014-02-24T07:57:39.206-08:00Mother Jones: 780 Days of Solitude <a href="http://www.flickr.com/photos/ofreeman/12730744373/" title="Mother Jones: 780 Days of Solitude by owenfreeman, on Flickr"><img alt="Mother Jones: 780 Days of Solitude" src="http://farm4.staticflickr.com/3753/12730744373_c46e5fa76a_o.jpg" height="317" width="650" /></a>
Illustrators and artists working in black and white have always captivated me, and have been inspirational in keeping me practicing drawing directly with ink <a href="http://instagram.com/24houremergency" target="_blank">in my sketchbooks</a>. Ink forces you to move only forward in a drawing, which I find instructive and exhilarating, and perhaps the closest to a "live record" of the process.<br />
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In most illustration assignments, the ink drawings are just the first step in the process, so it was particularly exciting to get a call to illustrate a series for Mother Jones with ink drawings as finishes. The feature was an excerpt from the upcoming book <a href="http://www.amazon.com/Sliver-Light-Three-Americans-Imprisoned/dp/0547985533/ref=sr_1_1?ie=UTF8&qid=1392406667&sr=8-1&keywords=a+sliver+of+light" target="_blank"><i>A Sliver of Light</i></a> by Shane Bauer, Josh Fattal, and Sarah Shourd about their experiences as prisoners in the Iranian Evin prison for 780 days beginning in 2009, and the visceral detail and intimacy of each of the voices in the story is astounding. As I re-read it I felt a growing weight of responsibility to create as an honest sense of reportage as is possible secondhand.<br />
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<a href="http://www.flickr.com/photos/ofreeman/12731061864/" title="Mother Jones: 780 Days of Solitude by owenfreeman, on Flickr"><img alt="Mother Jones: 780 Days of Solitude" src="http://farm8.staticflickr.com/7458/12731061864_c7a2053929_o.jpg" height="538" width="650" /></a><br />
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The initial sketches were inspired by various personal accounts throughout the piece, and once the ideas had been edited down, I was actually able to discuss additional visual reference and specific details with author Shane Bauer. Much thanks to AD <a href="http://www.ivylise.com/" target="_blank">Ivylise Simones</a> for the collaboration and opportunity to look at things in black and white.<br />
<a href="http://www.flickr.com/photos/ofreeman/12731061804/" title="Mother Jones: 780 Days of Solitude by owenfreeman, on Flickr"><img alt="Mother Jones: 780 Days of Solitude" src="http://farm8.staticflickr.com/7298/12731061804_bd0f33ddca_o.jpg" height="513" width="650" /></a> </div>
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<a href="http://www.flickr.com/photos/ofreeman/12730585105/" title="Mother Jones: 780 Days of Solitude by owenfreeman, on Flickr"><img alt="Mother Jones: 780 Days of Solitude" src="http://farm6.staticflickr.com/5542/12730585105_9e9e786285_o.jpg" height="513" width="650" /></a> </div>
OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com1tag:blogger.com,1999:blog-769785810961725264.post-44750393633821266092014-02-11T08:15:00.000-08:002014-02-11T08:15:36.090-08:00The New Yorker: Phillip Seymour Hoffman <a href="http://www.flickr.com/photos/ofreeman/12460412255/" title="The New Yorker: Phillip Seymour Hoffman by owenfreeman, on Flickr"><img alt="The New Yorker: Phillip Seymour Hoffman" src="http://farm6.staticflickr.com/5479/12460412255_89a8ccd52a_o.jpg" height="409" width="650" /></a>
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An unpublished illustration of the late Phillip Seymour Hoffman for The New Yorker.OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-67340285527110907402014-01-20T23:44:00.002-08:002014-01-21T07:27:49.243-08:00The New York Times: For the Love of Money<a href="http://www.flickr.com/photos/ofreeman/12064665474/" title="The New York Times: For the Love of Money by owenfreeman, on Flickr"><img alt="The New York Times: For the Love of Money" src="http://farm4.staticflickr.com/3755/12064665474_7dd59a9d71_o.jpg" height="654" width="650" /></a><br />
This past week a compelling op-ed assignment for <a href="http://www.nytimes.com/2014/01/19/opinion/sunday/for-the-love-of-money.html?_r=0" target="_blank">The New York Times Sunday Review</a> came across my desk, and despite being in the midst of several projects, I didn't want to pass up the opportunity to work on the illustration.<br />
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The piece was an autobiographical account of author Sam Polk's struggle with unchecked wealth as an investment banker on Wall Street. I put together sketches inspired by descriptions of the author's manic climb to wealth and attempts to use trading to assuage his feelings of powerlessness.<br />
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Getting to pitch in ideas on layouts for artwork is also a rare treat. Much thanks to AD Aviva Michaelov for the challenge.<br />
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<a href="http://www.flickr.com/photos/ofreeman/12064574843/" title="The New York Times: For the Love of Money by owenfreeman, on Flickr"><img alt="The New York Times: For the Love of Money" src="http://farm6.staticflickr.com/5492/12064574843_7a3ff7b358_o.jpg" height="420" width="650" /></a> <a href="http://www.flickr.com/photos/ofreeman/12064668694/" title="The New York Times: For the Love of Money by owenfreeman, on Flickr"><img alt="The New York Times: For the Love of Money" src="http://farm6.staticflickr.com/5548/12064668694_7b37cd7a2b_o.jpg" height="647" width="650" /></a> <a href="http://www.flickr.com/photos/ofreeman/12064669624/" title="The New York Times: For the Love of Money by owenfreeman, on Flickr"><img alt="The New York Times: For the Love of Money" src="http://farm4.staticflickr.com/3692/12064669624_c91e3691d4_o.jpg" height="1052" width="650" /></a></div>
OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0tag:blogger.com,1999:blog-769785810961725264.post-34920464258692313842014-01-07T07:41:00.002-08:002014-01-07T07:41:56.004-08:00Surface Pro 2<a href="http://www.flickr.com/photos/ofreeman/11810231553/" title="Surface Pro 2 travel setup by owenfreeman, on Flickr"><img alt="Surface Pro 2 travel setup" src="http://farm3.staticflickr.com/2822/11810231553_9be0a950a4_o.jpg" height="366" width="650" /></a><br />
A few months ago I ordered a Microsoft Surface Pro 2. My needs were modest but specific -- to be able to produce sketches and revise illustrations outside the studio without adding much weight to my travel set-up. I’ve enjoyed the portability and simplicity of the iPad but it is dwarfed by the performance of my Cintiq. So when in the market for a laptop+tablet "travel" combination, I knew I needed a machine with a very particular set of skills.<br />
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After reading some write-ups on the Surface Pro and its Wacom screen performance, especially from <a href="http://www.youtube.com/watch?v=an9Rzgrzwtk" target="_blank">digital</a> <a href="http://www.penny-arcade.com/2013/02/22/the-ms-surface-pro" target="_blank">artists</a>, I ordered a 256GB Pro 2 in November and have been using it for <a href="http://www.flickr.com/photos/ofreeman/11820248596/" target="_blank">roughs</a>, <a href="http://www.flickr.com/photos/ofreeman/10516848165/" target="_blank">sketches</a>, <a href="http://www.flickr.com/photos/ofreeman/10932722843/" target="_blank">studies</a>, etc. I had yet to use it for a full illustration but since I spent the most part of last month travelling, I had the opportunity to put the device to the test and now return the review-favor. Here are a few photos and notes on my experience with the Surface Pro 2 as an illustration tool for the New Yorker piece “Labor Day.”<br />
<a href="http://www.flickr.com/photos/ofreeman/11809977205/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" title="Surface Pro 2 travel setup by owenfreeman, on Flickr"><img alt="Surface Pro 2 travel setup" src="http://farm6.staticflickr.com/5500/11809977205_e9eda3b926_o.jpg" height="365" width="650" /></a>The Surface is a compact tablet – the 10.6" screen is only a few inches bigger than the sketchbooks I use regularly. The portability is great for working up roughs and thumbnails for assignments and pushing around digital paints, however, it is a bit more challenging to think big-picture or get precise line-drawings since the length/flow of drawing tends to bump up against the boundaries of the screen.<br />
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Pictured above is the basic work/travel setup I've taken on short trips up and down the west coast and overseas to London this past month. The form factor is still relatively small, even with these additions, and travels well. Pictured above is the Surface Pro, the stock Surface Pro Pen and white Modbook Pro Digitizer Pen, a 5.25" x 8.5" <a href="http://www.stillmanandbirn.com/epsilon.html" target="_blank">Stillman & Birn (Epsillon series) sketchbook</a>, and just inside the bag a pen case, the keyboard and stand. The Surface Pro weighs in at 2 lbs., which isn't bad for carrying around airports and train stations, but I wouldn't want to hold it for long periods while drawing and found myself wanting to apply a little more drawing pressure than the kickstand angle allows. I picked up <a href="http://surfaceproartist.com/blog/" target="_blank">Surface Pro Artist</a>'s recommended <a href="http://surfaceproartist.com/blog/2013/10/9/desktop-stand-improves-surface-pro-pen-navigation" target="_blank">iKlip Studio Music Stand</a>, which I now use all the time. The stand has a nice industrial build (I think it's primarily for musician's digital tablets) and it has multiple angles and grabby rubber feet that give it a sturdy base on any table.<br />
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<a href="http://www.flickr.com/photos/ofreeman/11810231483/" title="Surface Pro 2 travel setup by owenfreeman, on Flickr"><img alt="Surface Pro 2 travel setup" src="http://farm6.staticflickr.com/5487/11810231483_0180a351c3_o.jpg" height="366" width="650" /></a>
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Because I've become accustomed to the two side buttons and eraser on the Cintiq pen, I found the stock Surface pen underwhelming, and was glad to discover the <a href="http://store.modbook.com/modbook-accessories/mbi-acc-mbp-pen.html" target="_blank">Modbook Pro Digitizer Pen</a>, which comes with a range of Wacom nibs and includes two programmable buttons and an eraser. I have noticed slight shifts in the precision on each digitizer pen I've tried. I don't know if it is the calibration drivers or the sensors in the pens, but as I got into detailing more precise work, I felt the Microsoft pen registered slightly tighter than the Modbook.<br />
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I initially contemplated getting the Type Cover 2 keyboard to also act as a cover, but ultimately went with the Microsoft Wedge bluetooth keyboard as I keep the keyboard off to the left of the screen for shortcuts while working.<br />
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<a href="http://www.flickr.com/photos/ofreeman/11809981905/" title="The New Yorker: Labor Day by owenfreeman, on Flickr"><img alt="The New Yorker: Labor Day" src="http://farm8.staticflickr.com/7423/11809981905_15d0de7092_o.jpg" height="581" width="650" /></a>
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I got a call from The New Yorker about a quick-turnaround illustration when I was away from the studio over the holidays with only the Surface and my sketchbook, but having worked up elements of previous illustrations on the Surface, this felt like a reasonable test. The sketches were done in Photoshop, and then I went straight into the final drawing in Manga Studio. This turned out to be the trickiest part since the screen can feel a bit cramped when doing more gestural line work, so I tried to work around this by drawing slightly faster and adding a little more snap-correction to the pen in Manga Studio. The painted elements and colors were done in Corel Painter and fine tuned in Photoshop before being turned in the next morning. (The film is Jason Reitman's "Labor Day," review/illo in <a href="http://www.newyorker.com/arts/critics/cinema/2014/01/13/140113crci_cinema_lane" target="_blank">this week's New Yorker</a>.)<br />
<a href="http://www.flickr.com/photos/ofreeman/11809981745/" title="The New Yorker: Labor Day by owenfreeman, on Flickr"><img alt="The New Yorker: Labor Day" src="http://farm4.staticflickr.com/3709/11809981745_982705a29a_o.jpg" height="410" width="650" /></a>
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Overall I have to say the Surface Pro 2 has delivered nicely. I'm not sure why Microsoft isn't marketing its Wacom digitizer screen more prominently, but the 1,024 levels of pressure sensitivity are on par with their Intuos tablets, the processor has been keeping up with everything I've thrown at it, and simply being able to run full desktop Photoshop, Manga Studio etc. at the size of a sketchbook adds up to a really handy digital illustration tool.<!-----><!----->OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com6tag:blogger.com,1999:blog-769785810961725264.post-66857613445665985192014-01-03T11:07:00.000-08:002014-01-03T11:07:52.066-08:00Global Business Traveller: Risk<a href="http://www.flickr.com/photos/ofreeman/11736098244/" title="Global Business Traveller: Risk Illustration by owenfreeman, on Flickr"><img alt="Global Business Traveller: Risk Illustration" height="647" src="http://farm6.staticflickr.com/5535/11736098244_58cbbb3e2b_c.jpg" width="500" /></a><br />
Illustration for <a href="http://www.gbta.org/SiteCollectionDocuments/Magazine/Global_Business_Travel_Magazine_SepOct2013/view.html#/24">Global Business Traveller Magazine</a> about security risks facing international travelers both online and off. AD Bob Gray.<br />
<a href="http://www.flickr.com/photos/ofreeman/11735959083/" title="Global Business Traveller: Risk sketches by owenfreeman, on Flickr"><img alt="Global Business Traveller: Risk sketches" height="216" src="http://farm6.staticflickr.com/5483/11735959083_816648bd58.jpg" width="500" /></a>OWEN FREEMANhttp://www.blogger.com/profile/04578597856475682356noreply@blogger.com0