How To Build an Autocracy, The Atlantic (March 2017)
The Warm-up Drawings (To see more drawings, please find previous post, The Atlantic, Warm-Up Drawings, on Drawger.
Cover Comps; I submitted a total of 25 cover (photo) comps for this assignment. Through this process, the art director and the editors slowly began to focus their lens. Here are a few.
Cover Art; Initially, I painted the cover art in 3 pieces. 1.) The Sky 2.) Mr. Trump. 3.) The Crowd.
Eventually, several revisions were made to the crowd and thus the necessity to draw several more figures and revise 40 or so heads in the crowd.
The Crowd; Damn good thing I love to draw because this part of the illustration took 9 hours for the first rendition, and then probably 5 more hours of drawing and Photoshop time. The figure of Mr. Trump was fast and easy, and the sky was kind of a process using acrylic ink, watercolor pencil and digital media. All 3 pieces were painted at a different scale for speed and detail.
This is the story of the murder of Dr. Eugene Mallove, cold fusion pioneer. Dr. Mallove was beaten to death in an act of senseless, and random violence. The case went cold for 8 years, until a new investigator, Detective James Curtis finally solved the case.
This is a process piece about a recent assignment I did for Fortune Magazine titled, Battle for AIG. The assignment was essentially a re-creation, portrait illustration about a confrontation between Bob Benmosche and Harvey Golub. For reference, I used photography sent by the art staff at Fortune, and other reference from the internet. In Mr. Benmosches case, I assembled him from several pieces of reference. What follows is a look at the layers of my photocomp, and then the layers of my hand painted, FW acrylic ink illustration.
The exterior view, no.1
The middle ground; Office windows
The Foreground; Mr. Benmosche already assembled from several pieces of reference.
Foreground; Mr. Golub!
Extreme Foreground; The Desk
The Background; Another option
Back Ground; This?
Background; That's the one!
Step 1: For the sake of time, I decided to paint this illustration in layers. I painted the background at a small scale, the figures at a slightly larger scale, and the portraits at still a larger scale. For this layer, I painted only the windows necessary to complete the task.
I then copy and pasted the remainder of the windows using Photoshop>Warp Tool to adjust the perspective.
Here is a portfolio of editorial illustrations from 2014. All of the work is hand drawn, and painted with FW acrylic inks on BFK Rives printmaking paper. Also, I've been using quite a bit of watercolor pencil lately. Most of this work, weirdly, has something to do with survival. Hmmm.
I did this asssignment for The Washington Post last month. It was a story about a nun, a painter, and a wanderer, all non violent activists who cut through chain linked fences and climbed over hills to get into a nuclear storage facility in Tennessee. Once there, they threw blood from a fallen comrades body onto the exterior walls, and spray painted passages from Isaiah as well.
The assignment was a lot of work and a very quick turn around, but in the end, I got a lot of positive feedback, and even sold a set of prints to someone who enjoyed the story and the illustrations.
Here are several illustrations about "Confrontation" I've done in 2009. All were for magazines, most were full page, some were half page. The clients were Harvard Divinity Magazine, Rolling Stone Magazine, G.Q. Magazine, Security Management Magazine, Forbes Magazine, Golf Digest Magazine, Reader's Digest (London) Magazine, American Cowboy Magazine, and Asset International magazine. In these stories, the subject confronted a wide range of forces including war, addiction, religious beliefs, patriotism, arrest, intimidation, avarice, criminals, a very big fish, a storm, poverty, sexual predators, shotgun weilding gangsters, and the viewer. Confrontation comes up a lot for me in my illustration work.