Last minute poster to herald Creative Carnival's return to New York. I decided on this little devil clown to accentuate the fire performers included this year. October 30th at Jack Studios, 601 West 26th Street, 12th Floor..
Details of little flaming Carny People running around on fire. I tried to give it a warm "Dust-Bowl" earthy color tone....
I had a chance to do a few new paintings for the up coming in September. Such pressure, so many talented artist... But so much fun...even after Monte picked his four for the show I had another in my head just had to get down on paper. The series started off as a sort contrast between light and dark. Somehow it all went to the dark side. I had two dark images Mother Of Crows and Death Of Crows. Each representing a kind of nihilist view of crows. The Death of Crows I saw as a dark angel on the oil soaked beach with eggs that blend into the stones. I wanted the image charred and dark like coal. The Mother Of Crows I also saw as dark and hopeless. When I got to the forth painting I think I was just tired of the "Birds" and wanted to try something different. I have this stuffed standing goat in my house that has a little stand that reads "Pull My Tail". Seemed like a natural subject. I played around with a more neutral palette that seemed to add to the moodiness of the piece. A last little thought was to put the crows coming out of his pipe. Like Swifts at dusk around a chimney." The Amphibious Ambition" Seemed like a likely Cliche´. A variation on the frog prince. I hadn't cleaned my palette so grey and moody just like the Goat. I thought it would be funny to put him in kind of a variation on a French Soldiers uniform. One of my interns Denise Planche said she thought he had a "Tadpolian Complex".... Pretty funny.
"The White bird" Came from JM Berry's book The Little White Bird, a melancholy story about the loss of a child. It's the first place Peter Pan appears. Symbolism in the cross like composition, the stork, the Child's gown and the water. the dark cloudy sky. All to draw a subliminal feeling of sadness and accentuate the loss. This one was not chosen but was one of my favorites.
This little gouache illustration I called "The Land O' Plenty"...." Night of the Lepus" was a quick little study I thought it would be funny to add huge carrots onto the mountains in the background. this time more of a warm color tone to acetate the orange of the carrots.( not part of the BLAB!)
This was a fun job for Jason Mischka at Scientific American about things companies could do to make their "Big Data" more secure. My initial ideas were based on the needle in a hay stack cliché. l think where we ended up was a much more powerful and compelling image. I wanted to give it a kind of strong Deco feeling, a giant tower with tiny figures trying to hold it all together.
I decided to make the tower alive and give it a face, something to imply a sense of intelligence. Naturally they seemed to take on kind of an easter island feeling. In my thumbnail i had a bunch of towers going of into the distance, In the final I scrapped these extras because they seemmed distracting from the core of the idea. Intially I had thought about paiting this illustration, but now that it moved in this tower direction iseemed better to to an airbrush and digital variation. I ended up painting the little figures small in gouach and stripped them together in Photoshop.. Tillted the tower over to make it appear more dramatic.
Jason wanted to make sure some of the people were women and that they looked like they were holding it together, not tearing the tower down. I had really thought about that but the figures were so small i didn't think it was that important. Small adjustments and on to the final.
I liked the moody monochromatic background and pushing the figures into the shadow of the tower. More cracks.. Bigger pieces falling down. Last minute I tried larger mouth... I think it worked better...Maybe.. anyway, small change.
Beautiful type is always a joy to see.Here it is all put together. Beautiful design...
So much fun working with Jason Mischka , Scientific American. Truly a great collaberation. Big thanks for a chance to work on a really fun prodject.
Two new little portraits I was playing around with.
I had been painting a lot of animals lately and thought it would be fun to try some human subjects. Intially I had thought about a typical, headless, portrait of Marie Antionette. Something not quite normal... I had two ideas, and I couldn't decide which I liked better, so I did both.
The first portraits were so complicated, I wanted to try something a little simpler. I remembered an image I had scribbled on the back of an envelope I mailed a friend, which was the inspiration for this little portrait of Erykah Badu... fun little experiment. I will try a few more and post them later.