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Harry Campbell
Jumping Off-again
posted:
 
I have neglected you Drawger. It could be that I just don't want to post unless I feel I have something meaningful to show or talk about. Well, it's a new year with lots of new things happening so here I am.
2012 marks the first year in many where I will not be represented by G&C Rapp for editorial work. We all have our own opinions of reps, like we all have our own opinions on stock, and there certainly are some reps out there that are just no good. G&C Rapp is one of the good groups, my realtionship with them has been nothing but great, a truly productive, symbiotic five plus years. Never was I forced to take work that I didn't feel right for me, they always fought for more money, and they always had my back. I would say that I will miss them but we are certainly still in touch and working on commercial work. Yes, this is sounding like a love letter, eyes are rolling, but true.
Some of you who know me well or have known me for a while anyway (like a real long while) know I have a need to turn things upside down - like every five years. A sort of self imposed state of risk, jump off and you either hit the ground or you fly. Move all your chips to the center of the table so to speak. What I do now in illustration is a high point in my life, truly, I did not "get" my illustration career until I was 40, before that I worked in New York for over ten years jumping from job to job, some great and some not so good. But I have no regrets, fond memories of those days and I miss NY terribly. Those jobs, specifically my stay at Nickelodeon transitioned into my  first illustration career, some may know the work and others I hope you don't. It was a lucrative career but the work really wasn't me, said nothing about me, I had it down and it paid the bills.
So enough of all this. Here are a few recent pieces.
 
Happy New Year everyone!
Recent Newsweek cover. Pleasure working with Lindsay Ballant on this.
Wall Street Journal cover form this past weekend. Article is on cutting the cord, getting rid of cable. Funny that this job came in just as I was cutting the cord and going with a combination of Apple TV etc.
These two are from a recent group of illustrations for Bicycling. Most know I Iove cycling so is this really work?
I ma have posted this already but it's one of my two winning entries into the Society of Illustrators, editorial category.
This piece probably represents my thoughts behind jumping off, starting new things, new ways of working. Also chosen by the jury for the Society of Illustrators-book category. This makes me very happy.
And this is just a tease, a very small snippet from a book jacket I'm working on. Another direction I'm excited about.
Organic
posted:
Branching out, literally. Two recent assignments that allowed me to play around with a different line quality, more organic shapes, and "gasp" human forms. I'm so removed from hand drawn imagery, and way too reliant on just using my Wacom board and stylus to approach my work. I'll do thumbnails to nail down an idea, sometimes. 
So I'm going back to hand drawn elements. I've had real trouble addressing people in my work, a couple pieces were okay but lots of uncomfortable fumbling, and quite simply drawing people with vector tools just doesn't feel right. Houses and circuit boards, great! Still doing my vector line but drawing and scanning other elements then redrawing them. Of course I'm also using the new powerful tools within illustrator to manipulate my line.
This head of veins piece was done for a Chronicle book, the Art of Science, a collaboration between artists and scientists. Julia Rothman was the art director on this. They were very open on how I was allowed to interpret the theory, What is the Structure of water?  I had seen an image of the vascular system and wanted to do that, then fit my concept around it. I figure we are the structure of water, right?
This piece with the burning woman was for the University of Chicago alumni magazine, art directed by Guido Mendez. The story was on microfinancing, a well meaning program intended to lift people out of poverty, specifically in India. Tiny loans would be made with reasonable repayment terms. As things go the program went bad, people couldn't repay and many women set themselves on fire. I don't get many humanistic problems to solve, but I like it. I gave this assignment to my students and explained this is not a story about money, it's about people.
One of my roughs. vector lines over sketch.
Another rough. The lenders had become wolves at the door.
I still want to finish this one. I imagined an intertwining of the fire and the beautiful ornate detail of the sari. The AD stressed showing good and bad-their alum was the creator of microfinancing.
Work,growth,life
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Here's a piece I did last week for the weekend Wall Street Journal. I didn't pick up the paper but I believe it was a large section cover. This kind of stuff is pretty easy for me however I am now more than usual trying to take a close look at what I do and how I do it. Meaning how I come to concepts, what I present to art directors, and whether I feel challenged or not.
I'm pretty sure the teaching is helping me to reflect on all this. I have to believe what I'm telling these kids, and so in effect I try to be honest with myself, constantly reevaluating my solutions. I also do a keynote for them every week and so do a lot of reference searching which opens my eyes to new things, or re-opens them.
I've also been going back over 5 years of work and compiling what I want to re-sell as stock, yah I know we all have different views on stock , not sure where I stand entirely, but I have a kid nearing college and one in a private middle school. Looking back on all these images, 500 and counting, the ones I'm offering as stock are mostly tech and money related. I had to ask myself, is all my work financial and technical? Maybe 40tech, 40 financial, and 20 other more specific subject, op-ed political etc. I like the work but clearly there is room for me to branch out, areas I want to explore.
There are a few images from recent weeks that I want to show because they mark a departure of sorts from what I usually do, at least I think they do. I'll be able to post them soon.
9-11
posted:
Sorry for editing this post folks, just all too personal I suppose. 
This piece was done for the Dallas Morning News, the author talks about finally being able to leave 9/11 behind. leaving it to the dead, and that's okay. I don't get many assignments like this, more personal or visceral, human interest, emotional, but I welcome them.
A few of my roughs. I wanted to go with a quiet approach. This is a subject that requires almost zero concept. Some of these are a tad heavy handed and maybe a bit embarrassing.
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