18 November 2006
A pair of illustrations to accompany a story about a flooded farm and the rescue of a trapped calf for Cricket magazine was the big highlight of the latter half of a rather slow November. I had a lot of fun working on this pair of illustrations, as I got a chance to draw what for me has always been a very challenging animal, the horse.
I'm not real familiar with horses, from a structural or familiarity standpoint, and they always require a lot of research and planning on my end whenever an assignment requires their portrayal. (another 'horse' assignment is to the right, that also came through around this time, this one a small rush job for the Wall Street Journal) The illustration above would be the opening splash illustration, and the one below would be a smaller spot further into the text on the 3rd page of the story.
And another fiction illustration for Alfred Hitchcock's Mystery Magazine, this one had to do with a murder investigation that involved a poisoning by rather obscure art materials, so my solution was a rather detailed and elaborate still life of an artists worktable.
Besides the two 'fiction' assignments, I also had the usual 'health care' column gig for the Journal that comes along every two weeks. This one on cholesterol screenings. And over the weekend, during this time, I also had a pair of portraits for the Far Eastern Economic Review in Hong Kong.
My memory isn't real good regarding the subject matter of these two portraits. I think one of them was the female ruler of the Philippines President Arroyo (the sinking boat was something to do with keeping the market afloat perhaps?) (right), and I don't quite remember who the other one portrait was of (pictured further below the 'dove' picture)
The 'dove on a sword' illustration above was for America magazine, that concerned the middle east peace process, if memory serves. I really liked how this one turned out, the white dove made a nice contrast with the dark blood encrusted sword, and some subtle blood splashes across the illustration kept it from becoming too static.
For a while now, I've been getting a series of assignments from time to time from Newsday whenever someone newsworthy passes on. This latest one was a personal essay about someone who considered the late Ed Bradley a good mentor, and rather than the usual straight on head shot portrait, I submitted a sketch of a view from behind of the 'mentor relationship', with only a hint of Mr. Bradley's features as one of my concepts. This ended up being the one that was chosen by the AD. Not really sure I'd categorize it as a 'portrait', however it seemed to suit the article well.
And, finally, I had a pair of illustrations for Barrons. The first one was a rather strangely shaped illo that showed a small figure hauling a house up from the edge of a cliff (not pictured, as it doesn't fit the page well, leaving a lot of white space around it, and not a particularly interesting illustration at that), and the other one regarded the wealthy taking advantage of tax breaks for making donations of personal effects. The AD wanted to make sure we understood how 'wealthy' the main character looked, so I sort of took a Thurston Howell the Third approach with the smoking jacket and ascot.