Cigarettes - "Turkish Blends"
- These are just some of the illustrations I did for
an ad campaign for Camel cigarettes. Camel was adding
a section to their website where, using Flash, a user
could create their own movie poster using different
elements. You could create a Sci-Fi, Mystery, Romance,
oe Horror movie poster, and while the ad agency went
ahead and created various logos, they asked me to
do the main illustrations.
were twenty illustrations in all--five for each of
the four genres--and I pulled these together from
a variety of sources. The
model for"Mad Scientist" is my friend Dan
Fraga, the perfect man to give off a "mad scientist"
vibe. The "Shrieking Woman" is none other
than Trace herself. I took a big round of photos of
her first time around; and I was a little disappointed
in my photography skills---they seemed a little dull.
But I pushed ahead and did a rough based on what I
had, never being totally happy. It was only after
I finished most of the other pieces that I took some
time I hadleft and re-shot her, with more precise
lighting and more of an exaggerated pose. It was after
I finished the piece did I realize that, Thank God
I did, because I found this new one to be my favorite
of all of them. It was exactly what I saw in
my head, and getting to render my darlin' Tracy was
a nice bonus.
futuristic space city is made up of several different
elements--some basic geometric shapes combined with
a skyline from an old New York World's Fair poster.
I decided to go monochromatic to give the sense that
the whole city was built from lightweight, plastic-type
material; no cement or wood. The spaceman was directed
to specifically look retro, so I gave him that tousled,
Flash Gordon-esque haircut.
project was also a technical challenge because the
agency wanted the finished pieces to be done in Adobe
Illustrator, not my usual Photoshop (since they were
going to used in Flash, they needed to be scalable
vector graphics, not fixed-size ones). One
nice, unexpected result of doing my work with a different
set of tools was how they looked--via Illustrator,
they all had a more rounded, smoother, "cartoony"
feel. While I wouldn't necessairily want all of my
work to look like this, I did like the change and
I'm glad I have that option open to me now.
Alison Rules - This was my first
book cover and boy was I excited! To
get the exact look of the girl, I had to arrange a photo
shot the photos on the edge of the lake by the house.
It was a brutally cold, windy late November day, and
since the book deals with lots of somber themes (lonliness,
death, depression, Jolly Ranchers), I wanted my "Alison"
to look a little sad and distant. Luckily, the model
Danielle didn't have to channel too many emotions, since
the wind made her eyes tear up, giving her a face an
extra bit of tenderness and sadness that would fit the
I put together a composite of the best poses for the
illustration. I knew I didn't have a lot of space, so
I had immediately decided to render the bridge just
as a dark color on the light color background--so you'd
know exactly what it was, but I didn't have to spend
lots of time putting in detail that wouldn't add anything,
or, worse yet, conflict with the main figure.
tried several different color schemes, but the blue
tones we all felt got the mood of the book across best.
I fiddled with an outline, no outline, etc., on the
figure, but again did both--outlined the body, but left
it off the face, which with the outline looked too thick.
The character of Alison is considered by everyone to
be extremely beautiful, so I didn't want to add too
submitted the final, HC added the text, and now the
book is finally on sale at bookstores everywhere! This
project was an enormous challenge, but I'm proud of
how it came out, and I hope to do more book covers in
was a pleasure to work with and an important part
of helping us reach this point with the Alison
Rules cover art that has been so well received."
G - One of my biggest projects of
2009 was working with the ad agency Concept
Farm, for a print campaign for the banking firm
was asked to produce an initial batch of nineteen portraits--using
Cap G's colors of pink, purple, and green--of some of
the firm's customers testifying to Cap G's qualities
as a bank. Each portrait had to be highly detailed,
and most of the portraits were of the people from the
waist up, which we'll see examples of tomorrow.
ad lumps them all together, and seeing them all in one
spot like this makes me relive just how much work went
into all these--whew!
print ads are running in Bermuda, where Cap G is located,
so I won't get to see them around here. Thankfully Concept
Farm--who were great to work with--provided me with
some examples so I could see the final product.
Bowes - "Communication"
- This was a six-illustration project for the Pitney
Bowes company through the international advertising
agency Ogilvy & Mather.
came up with a campaign dealing with the importance
of communication, so the theme was played out by using
a series of famous, historical phrases, but slightly
altered to relay the idea of how different these words
would be even if just one of them was heard wrong.
with Ogilvy & Mather, I came up with the ideas on
how to best represent those phrases and then had to
illustrate them. Some, like "We have nothing to
fear.." (at left), were easier than others. The
ads had been designed to be very simple, strong, and
only using two basic colors. After experimenting, I
decided to keep the illustrations basically monochromatic
as well, that way they looked like part of the ad. I
didn't want them to be too colorful or busy and draw
attention to themselves, away from the copy. I
ended up creating illustrations of President Franklin
Delano Roosevelt, the Capitol building, Paul Revere,
Mark Antony, a movie marquee, and a hand holding a "guaranteed"
was a nation-wide campaign; the ads appeared in full-page
ads in The Wall Street Journal, and double-page
spreads in Forbes, The New Yorker, and
other magazines. They were also be part of a series
of displays in airports all over the country.
Marshall Federal Building Anniversary
- I was contacted by the biggest possible client of
the them all--The United States Government! It was the
Public Affairs branch, to be specific, and they wanted
to produce a mug to comemmorate the 10th anniversary
of moving into their new building, one named in honor
of legendary Supreme Court judge Thurgood Marshall.
to replicate the "look" of a building with my style
was quite interesting; and it was nice to know just
how many different kinds of things--people, animals,
and now even objects--I could portray visually with
just color and shape. After a great many revisions along
the way, the mug got changed to a paperweight, and a
double-sided one at that (I had designed the entire
piece, in addition to producing the illustration of
received a box of the finished paperweights; the clear
Lucite block makes it look really classy (the pictures
I took don't do it justice)--now I don't need to use
my ruler to keep papers from blowing off my art table
was such a pleasure to work with. I asked two other
illustrators, along with Rob, to produce a comp
of a design. Rob's concept and use of color was
on-the-money from the onset. This was one of the
easiest special event projects of my career, thanks
Nichols, Special Events Coordinator, Office of Public
Affairs, Administrative Office of the U.S. Courts