These are a few recent things, a couple of jobs and a couple of sketchbook pages. I've been trying to figure out how to draw interiors, just rooms, and then arrange figures in them and add color without packing the whole thing with too much detail- allow a little air to circulate. It's an ongoing effort to hold back and resist a tendency to overcompensate.
For the Good Dog column for Garden&Gun AD Marshall McKinney. Here I've tried, with mixed results, to incorporate some of the disciplines mentioned above.
A literal, straight-from-the-copy scene seems to require (at least) a heightened sense of the absurd, and maybe that works against the "less is more" aesthetic? Fuck, what do I know.
A sketch for SooJin Buzelli, the most intimidating 85lb AD in the tri- state area. The article is about being unprepared for retirement.
The final probably didn't need the boar in the entrance. I was trying to exaggerate the sense of danger and the guilelessness of the character, but maybe the piece works better with
just that forbidding, dark entry. Hindsight and regret are my loyal companions on this post.
This, for the Culture column at American Prospect. Here my misgivings kicked in before I even started drawing, and I expressed doubts to AD Mary Parsons that maybe I'm not the right guy to illustrate an essay of such somber discourse, (also, pretty woman and bad reference are no picnic.) She assured me that this assignment was more about picturing the principals and to not concern myself too much with tone or editorial content. Speaking of tone, were I an accomplished enough "painter" I would have cloaked the background in that blue-greenish nighttime-goggle tint that illuminated the actual raid on the compound. Hey, what am I, Winslow fucking Homer?