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Leo Espinosa
The Office
posted:
Not much to say about this piece, no sketches, no process. Just the kind of illustration I really enjoy working on and a good excuse to catch up with Drawger.

The one thing I can mention is that, being a believer of mid century design, it was interesting reading how the cubicle shrank though the years. From Robert Propst's wonderful concept to the tiny cells of the 90s. That gigantic beige computer screen/fridge you see on the lower left, was pretty much the actual size of the machine compared to the small cubicle this poor fella had to work in.

You can find the printed version in the current issue of The New Yorker.

Ok, coffee break is over. Back to your desks, or hammocks, or whatever…
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TV Revolution
posted:

I'm not a TV person, but I really enjoyed working on this full page for a story about Netflix and its TV revolution, titled Outside The Box, featured in this week's New Yorker. I worked with a rough manuscript without a title so I'm allowing myself to believe the illustration they chose inspired the name of the article. The subject focuses on the many aspects that have made Netflix more relevant than regular TV. Mainly because viewers are now allowed to watch in multiple devices, whatever they want and whenever they want without interruptions. Other interesting facts are the algorithms the company implements on behavior so they can customize programming for their users.
Below are some of my loose sketches and the (not so full page) iPad version of the opener.
That's it for tonight, thanks for watching! I'll see you next week!
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Nautilus (Updated)
posted:

I'm really happy to start my eight year at Drawger posting about a project I loved working on for Nautilus.
Nautilus is a fantastic science magazine, beautifully designed and full of illustrations. It lives in digital and print form; The last one being a handsome quarterly publication.
Each issue has a theme. For the latest, Secret Codes, I was asked to illustrate a story by B.J. Novak titled Kellogg's -The last Wholesome fantasy of the middle school boy.
I don't want to spoil the story, in case you want to read it, so I won't be able to explain too much about the sketches or the final piece. The only thing I can tell you is that it obviously involved some direct brand references and that was a challenge when creating the art. I needed to represent a famous animated character without coming too close to its real features.
Big thanks to AD, Len Small and his design team. It's a pleasure working with people that understand, respect and use illustration the way they do.
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A few of the sketches.
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Final opener illustration
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Cover of Nautilus Winter 2014 quarterly issue by Victo Ngai / Detail of one of the spots I illustrated for the story.
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UPDATE: I just got an e-mail from Nautilus letting me know that the story has been published online today (HERE), and that B.J. Novak loves the art. Nice way to start the day!

I'm including a portrait of the author that was requested to run along with a short interview. Portraits are not my forte (I'm usually very intimidated by them) but I'm glad I was challenged to try something new. Thanks again to Len Small for trusting me with that!
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The Things We Eat
posted:
A couple of different editorial projects I did this past month happened to be about food. However the first one for The New Yorker was a unique aspect of the topic: It was a story about eating animals that the majority of us consider unethical to eat and the restaurants that serve such dishes. The list included whales, live lobsters, horses and even lions in some parts of the world. The kind of thing that makes you nauseous and leaves you wondering, what makes it alright to eat cows instead?
Picture above, a section of the final piece.
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A big part of the story described an operation to expose a restaurant in Los Angeles that used to serve illegal whale and horse meat to satisfy certain palates. This is the actual restaurant. It was located next to an old airport that I imagine was the door to the contraband. Not eery at all.
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Another idea was a little more literal. I kind of wanted to draw a big pool of blood and maybe some flesh to shock the audience even more.
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One thing I thought was the most twisted about these extreme foodies, was the pleasure of seeing the animal dying as part of their feast. Maybe not whales but lobsters and crabs. So here's this rich couple paying a hefty amount for their super fresh meal. Pass the lettuce, please.
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And this is the idea that moved to final. It included a hint of some of the animals mentioned in the story. The whale didn't fit in the bowl, but this happy customer kind of makes up for it.
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Here's the iPad version of the opener. It ran full page in the magazine this week.
It's a well written piece and even though it got me a tad queezy, I do recommend it. READ HERE
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The second project was some sort of an interview for the Italian illustration magazine Nurant. The theme for this issue was food fobias. One of them was intolerance to specific noises like the slurping some people make when drinking hot beverages.
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Rejecting a member of a community for changing food choices is another fobia. Who knew?
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And for the third spread I decided to interprete a more common fobia: Foreign eating habits.

Nurant is a really lovely publication. Its digital version can be seen HERE
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