Kind of Blue

Here is a piece from yesterday's Los Angeles Times book review of Miles Corwin's latest novel "Kind of Blue."  The book centers around the reinstatement of the main character, an unusually keen and obsessive officer, to the LAPD to solve a high profile murder.  The thumbnails and sketches below were a inspired by the character's lone-wolf mentality against the backdrop of LA.  Much thanks to Judy Pryor for the call.

Collateral

Excerpts from side projects over the past couple weeks.

By Nightfall

Editorial assignments are generally fast-moving targets, and having one good shot seems like the best you can usually hope for.  So the chance to take two swings at the same subject for two different assignments was unexpectedly nice.  The assignments were book review illustrations for Michael Cunningham's new novel "By Nightfall," in which the main character, a successful Manhattan art dealer, begins to question the life and career he's built after the his wife's younger brother enters their lives.

The first call was from Nick Vogelson at OUT, and the focus was on a specific chapter in the book to accompany an interview piece with the author.  Below are the sketches, a few color phases and the finished piece.



Shortly thereafter, I got a call from Paul Gonzales at the LA Times to do a piece for their book review with a broader focus on the overall story.  It's rare opportunity to do a second finish on the same concepts and characters so in the LA Times piece, I tried more of a designed poster format.  Below are the sketches and the finished piece, where the main character is being pulled between two worlds with his wife on his arm and a young and bright figure drawing his attention behind him.  Overall a lot of fun to do both, much thanks to Nick and Paul for being great ADs as always.

Mary Poppins

Today I have an illustration on the Picture Book Report, an ongoing narrative/collective blog I've been enjoying for months and home to illustrators like Meg Hunt, Sam Bosma, and Kali Ciesemier among many others. The above piece is based on a scene from the first Mary Poppins book by P.L. Travers, where Mary Poppins takes Jane and Michael Banks to St. Pauls Cathedral in London to see the Bird Woman. Below is a bit of the process from idea thumbnails, through to the rough pencils and then the finished ink drawing.

Engineering Terror

This is an illustration I just finished for an article in last Sunday's New York Times Magazine about the disproportionately high number of engineering degrees found among members of radical/terrorist organizations. The initial three sketches were based on the discussion of detachment and calculation, which are characteristics of members of both groups in the article.

After going over these sketches with Leo Jung at the Times, I went back and expanded further on the second one and the miniature city idea from a little more claustrophobic angle. In the process, I noticed the rough colors on the wall had a strange smudged look, almost a burn-mark feeling that worked unexpectedly well with the rest of the piece.

Carraroe

Here is an illustration I did earlier this year for a Zombie compilation project. The parameters were pretty open, and for some reason the idea of zombies handling the ocean and uneven terrain seemed really unsettling to me at the time.

Kings of the Earth

Here is an illustration I did for the LA Times book review. The book is Jon Clinch's latest book Kings of the Earth: A Novel about the lives and deaths of a family on a rural upstate New York farm. After going through the first half dozen sketches based on the short synopsis available before the book's release, I realized the ideas were really just guesses at plot points and character descriptions. For the final sketches (the last three which I submitted), I tried to keep the themes broader and more symbolic rather than narrative.

Ultimately the obscured, voyeuristic family photo idea was selected, and the finished piece ended up running in black and white (below right). But as luck would have it on newsprint the black and white version gives off an eerie documentary feel that hopefully helps drive home the concept of the story's unsettling, incomplete history. Much thanks again to Judy Pryor for the assignment.

Watercolor sketchbook

I've been trying to keep entirely to watercolors in the sketchbook recently and it's been one of the toughest/best teachers in terms of letting go and reacting to the subject and paints. Here are a few pages from past couple months.

Rolling Stone: Eminem

Earlier this month, I was contacted by Steven Charny at Rolling Stone to do an illustration for the magazine's review of Eminem's new album, "Recovery." Interestingly it also turns out to be the same issue as the late-breaking McChrystal interview thats out this week.

Aside from heading away from drug references, the brief was nicely open, so the sketch ideas below were inspired mainly by the longevity of Eminem's career and his role as a veteran of fame. The scaffolding idea, which we went with, was based on the his role a cultural icon with a lot of baggage facing an uncommon amount of scrutiny at the release of his seventh album. (Also after roughing out the sketches I discovered the video from the first single off the album used a lot of the same elements of risk and vertigo, which seemed like a good sign.)

Overall it was a lot of fun to have such a flexible brief and the opportunity to work with Steven at Rolling Stone on such an interesting subject.

William Burroughs

The William Burroughs paperbacks that I illustrated earlier this year along with Naked Lunch just arrived from the printers. Because the art director liked the style of the Silky Shark print in my portfolio for the initial Naked Lunch assignment, I continued the process using a silk screen-style approach and a limited palette throughout the sketches and finals. The Soft Machine, The Ticket That Exploded, and The Place of Dead Roads all followed the same process as Naked Lunch, including two or three layers of drawn tones, which I attempted to keep in tune with the style of each book and as a set. The final layouts and text were done by Jo Walker at Harper Collins and I think they did a nice job of pulling the artwork together. (Below is a bit of a process breakdown of the finished covers.)

Initial sketches for The Soft Machine, The Ticket that Exploded, and The Place of Dead Roads (columns L to R respectively.)

The selected sketches with some adjustments in the saturation and color to help balance out the group as a set.

Ink and brush on Bristol Board drawing for the Soft Machine shadows layer.

Ink drawing for the Soft Machine mid-tones layer.

Finished colors on the background layer with some separations for black.

Finished cover illustrations and designs: