Every now and then an assignment comes along that is just perfect with where your head is. A freelancer should be ready to work with assignments and ideas that may not be right in one’s wheelhouse, thus is the reason it’s called a collaboration. Good illustrators can maintain their look and identity while working with another’s idea. This is the real job of an illustrator.
Recently, when Len Small of Nautilus contacted me about an illusion assignment, I was immediately inspired.
The assignment was to attempt a realistic version of the Duck/Rabbit illusion. Investigating these illusions, I saw that the more simple the artwork the harder it was to see either animal as the definitive choice as the eye goes back and forth trying to determine which is which.
I made several attempts with the illusion in digital comps and then let myself play a bit. I had several solutions and I liked the floating rabbit a lot, but the more direct illusion in the grass fit the article better. Nautilus kindly ran both.
Click to see the article at Nautilus...
What an amazing publication Nautilus is. There are certain places out there in the editorial market that are warm and sunny and have all that we dream of when a client calls. PlanSponsor, Scientific American, Playboy and Smithsonian are just a few examples. We all appreciate when illustration is loved and is used to enhance the writing. In Nautilus, the work is always beautiful and effective so I do hope other publications notice.
'Rabbit on the Pond' 15" X 10" Oil on Board
'Rabbit/Duck at Sunset' close-up.
To make the illusion work I had to find a way to reduce the rabbit's head so that the silhouette still looked like a rabbit while also looking like the back of a duck's head. The ears also had to reduce and hint at yellow. This is why I went with a golden sunset.
'Rabbit on the Pond' close-up
Thinking of this solution, I am reminded of my admiration of paintings by Michael Sowa. Sowa's Ark is a book I would highly recommend.
As a moderately busy illustrator with a series of deadlines linked together with more deadlines, I can sometimes produce work that is more mirror than memoir. I keep a sketchbook to help my mind reach and sometimes images float to the top and need to be painted. Following what had been a stressful time, images in the sketchbook were rich and released some of that tension. In the spring, a random call from a gallery asking for work for an exhibition was quite unexpected. In our discussions and looking over my work, they wondered if I might use fire and still life in the same pieces? It took months to figure it out, but once I did, the pieces came quickly.
When I do a personal piece it’s almost always driven purely by aesthetics; I want to paint water, or an elephant or a door. I trust those impulses and it’s only a bit later that I arrive at why. With this series, it was initially random things of a certain vintage in flame and it wasn’t until the 4th painting, a hammer, where I figured out what this series meant.
It’s a series about being stuck, with no one to talk to, no one who can see you, the loss of time and finally not being able to work. This series could only come out in a place of deep happiness and contentment, as the distance makes it possible.
The exhibition is filled with brilliant artists, some who are friends, and I encourage anyone who can, to come and see the paintings and perhaps acquire my pieces.
A Group Exhibition of New Works
October 16th- October 31st, 2014
Secrets of American History, Smithsonian Magazine, October 2014
Not long ago I was asked by Smithsonian Magazine to paint George Washington for the September 2014 cover. This image would be for the Secrets of American History issue and like my Norman Rockwell homage, would be a recognizable figure with a twist.
I love working with them because they know what I can do and can think of projects I would be good for. That’s what you hope for.
Unlike the Rockwell cover, I was not sure which famous source painting of George I would base my portrait on, but of course I would likely choose either Gilbert Stewart or Rembrandt Peale as the source.
Master copies, as I’ve written before, are a common use of my skills as a painter and each time I learn something new in the process. But in recent years I try to use the source drawing but paint it my way as much as I can. In this case it would be my intricate brushwork over the structure created by Gilbert Stewart.
I knew I wanted to hide the top of his head in a dark band so my sketches investigated that, and the shadow that fell on the background was supposed to be all that the background was to be. The bands ended up being the colors of the flag, so they did double duty and made the cover a bit deeper and connected to the cover tag-line.
It was a fun assignment to do and was one that I was able to benefit from letting it dry a bit then work on the skin a bit more, allowing for subtle scumbles and glazes.
If I had longer deadlines, I would do it more. Being so busy for so long, I have forgotten the benefit of slowing down just a bit.
The two source Gilbert Stewart portraits
I like the look of this Washington very much. However, to be successful, this has to read as Washington immediately. The thing I had to take a stab at guessing is the ornamental flourish behind his collar. I figured it was some sort of bow that is gathered in the middle and we are seeing the edge of it. I may be wrong but it helped me draw it.
This is the more recognized portrait of George. In both cases I flipped him, normally not what you want to do with a portrait, but he's fairly symmetrical. I think you need that portrait facing to the right since that works better on a magazine cover.
I thought I'd like to hide the top of his head in shadow to change the portrait a bit more and add to the secret concept. In doing that I added a corresponding shadow on the wall behind them. I played with the colors a bit to achieve the colors of the flag. This was approved.
Close shot of the brushwork
Thanks to Maria Keehan for the wonderful assignment.
The summer of 2014 was a whirlwind of activity. From a renewal ceremony in June (20 years!) to a sudden major surgery for my son, the summer had to be lean and efficient. I did my work but dropped off of social media, the sharing of work, and many other social activities. As the summer of '14 turns slightly cooler at night, as the leaves start to ever so slightly go yellow, I am about to enter into the part of the year that gets busy again. But, before I move on, I'd like to show a few things I've done this summer. Many paintings came from wide ranging and interesting assignments.
This was an interesting assignment for Reed College Magazine. Emilio Pucci, the Italian fashion designer was being featured. From being a fighter pilot, to a mountain climber, to an iconic designer, all elements were to be woven into this cover. The final had the planes 'shot down'. It looks better without them.
For the New York Times Travel section, a story on how hotels and destinations now seek gay couples and feature this demographic in advertising.
At the time of this assignment, a friend was losing his battle with cancer so there is an homage to him on the label. Dave was a world traveler.
As usual, a trick learned in a previous painting is useful in the next. This was helped by Spock Riding a Unicorn.
In loving memory of Dave McDowell
Francis Scott Key, 2014
Smithsonian Magazine asked several artists to interpret the Flag for the Star Spangled Banner issue. Brad Holland wrote earlier that he thought people would probably paint flags and portraits of Francis Scott Key. I actually thought people would paint the flag and not many paint Key and luckily I was right. When I get an assignment like this, I too consider how I will look amongst my peers ( peers, did I write "peers'? What I meant was people who were asked. The list included R.O. Blechman, Anita Kunz, Christoph Niemann, Daniel Libeskind, Brad Holland, Matt Mahurin, Robert Longo, and Jean-Michel Basquiat).
I then think of what I can do well and ponder that group, where they might go with their pieces, and then offer my take. I went 'portrait' and that choice was solidified after doing a search for Francis Scott Key images, very few came up. I then became excited to add the the images of Key out there in the world. The two I cam up with were mediocre (but helpful) and I arrived at an elegant, yet anxious Francis Scott Key.
I could not find who did this engraving. It was a useful source image, though blown up it's all over the place.
An image I found of Key that I did not reference. This mediocre shot and the lack of images made me excited to proceed.
The approved sketch. I like this image in it's roughness.
Finally, I'll conclude with this piece. Perhaps my favorite of the group, it was a challenging assignment from GQ; paint the 'North Pond Hermit.' In Maine, there was a man who was living on North Pond for 20 years. He would break into homes, steal what he needed and remain out of sight. He never hurt anyone but created a sense of terror because the people knew of the legend and were forced to lock doors and be wary. Finally he was caught and he was a mild mannered man. He did steal so he was put into the clink.
The idea at first was to depict him like a Magritte trick; as a fractured portrait on some trees. He's not as scary or mythical in real life, so it was suggested I move on to that mythical Hermit we all can imagine. So, I did some revised roughs and found the right image.
With apologies to Margritte.
The right guy / the wrong pose
I thought I'd hide him and still like this idea. I'll have to recycle it someday.
Sadly, I was the model for this aging, mythical hermit. I did age myself up a bit.