Thursday, February 26, 2009

Ghost Factory Magazine (Roughs)

My friend David Peak has commissioned me to create a cover illustration for his annual literary magaszine, "Ghost Factory." He has given me free reign, and a lot of lead time, so I have decided to document the process in real time. The following is a narrated tour of my first round sketches.

In general, these sketches have come from my initial reaction to the title of Mr. Peak's publication ( which I find to be very evocative, ) and the aesthetic that I have seen evidence of in his first two covers. When the cover image is paired the phrase "Ghost Factory," the title of the magazine will in a sense become the title of the painting, and the image will be seen with whatever connotations that title suggests.   The drawings below are not so much illustrations of what I think "Ghost Factory" means, but images whose impact is enhanced and slightly augmented by being paired with this phrase.

Keep in mind that the following images are just sketches. I have simply colored some drawings on photoshop. The cover, whatever we decide to go with, will be much more carfully drawn and rendered.

Enough gibber gabber. here goes




1: Ghost City

A rendering of a city as scene from above and reduced to an almost abstract geometric pattern. In this scale it might be hard to see, but there is room in a piece like this to create some interesting little details amid all the seeming conformity of the urban grid.




2: Ghost City II

A variation on the previous image, this time showing the city at an angle to create a little more sense of depth. ( again, pay no attention to the roughness of the lines here. All of that will be ironed out in the execution stage.)


3: The Writer's Workshop

This is a variation on one of the motifs you may have seen on my website, that of the "imagined interior." In this interior, I am imagining a hypothetical author's writing room. The walls are made of rough wood paneling, and crowded with reference material. The floor is littered with paper. Something nice in the idea of the writer making ghosts.



4: The Heap

I am always drawn to the piles of discarded furniture that suddenly appear on the sidewalks of my neighborhood. Their is something evocative about these personal objects being suddenly abandoned, and also an element of surrealism in seeing such everyday objects out of their usual context.



5: The Shipwreck Graveyard

Here, an image I have been batting around and would love to bring to a greater state of completion: a bermuda-triangle-esque, shipwreck graveyard. This isn't necessarily the layout I would choose for this image. And, as with all the images, there is a lot I would do to bring more detail and interest to this piece.



6: The Factory

The most literal response to the title of the magazine: an arial view of a factory and parking lot.


7: The Wood Lot

And finally, an image I seem to return to again and again. I thought I would throw this one in as a signifier for a whole lot of images I have been toying with surrounding my interest in the great depression.


That's all for now. . .
Tune in next time when I take one of these through the development process!

Saturday, February 21, 2009

Recent Drawings

This first group is my most recent work, and the drawings I am most excited about. All of them follow the same basic procedure of starting with a single image, and snowballing outwards without too much forethought as to meaning until the space of the drawing is populated in an interesting way. The titles refer to themes that I saw developing in the work as it happened.


Action Drawing
2008
White Charcoal, Graphite and Ink on Paper
18" x 24"

Horror Montage
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Robot Games
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

I Want to Believe
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

The following group of drawings are more traditionally composed scenes inspired by moments in History. The Great Depression, the forming of the Spanish Armada, and the backwoods-bohemian culture of Big Sur in the 30's and 40's.


Hooverville
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Armada
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Provisions
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Phonograph
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Reading Room
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Splitwood
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Woodstove
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Finally, a handful of portraits mainly inspired by the two-tone illustrations of contemporary alternative comic book artists I have been looking at.


Bald Man
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Optimist
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Sexy Nerd
2008
White Charcoal, Graphite and Ink on Paper
6" x 9 1/2"

Saturday, February 7, 2009

Macgyver Portraits




My wife and I got into watching Macgyver again when we found out they had the whole series at the broadcaster's website. We watched about 4 seasons of it in a month. I've been breaking in some new materials, and I thought I would take the opportunity to polish up my figure drawing chops, and pay tribute to the master physicist/hostage negotiator/pilot/almost-pro-hockey-player/political-activist that I loved so much as a kid. Each of these was started from memory (which accounts for the pretty iffy likenesses) and then finished with a photo reference to get some more detailed shading information.

Thursday, February 5, 2009

Illustrations in "Ping Pong"






I am pleased to announce that a group of new drawings were chosen for publication in the upcoming edition of "Ping Pong," the literary and arts journal of the Henry Miller Memorial Library. The drawings chosen were based on my interest in the mythology of Henry Miller, the revolutionary 20th century author who settled in Big Sur during the 1930's, and wrote much of his greatest work there. Henry Miller's decision to forgo the modern conveniences available to city dwellers while still retaining a life of intellectual engagement and ambitious artistic pursuit is one shared by many of Big Sur's residents to this day. In this series of drawings I tried to hone in on the physical ephemera that would surround such a person. I drew the scenes without visual reference, but used my memory of Henry Miller's writing, especially in "Big Sur, and the Oranges of Heironymous Bosch," as a guide. For more information, visit www.henrymiller.org/ping_pong.html.