Friday, May 26, 2017

An Interview with Bryan Mark Taylor

-By Howard Lyon


Bryan Mark Taylor is a name that I have known for some time, but just recently have gotten to know him personally.  He moved this last year from San Fransisco to Alpine, Utah which happens to be about 10 minutes from my place.

I have loved Bryan's landscape and plein air work for some time now.  It strikes a wonderful balance where Taylor has simplified the information but created complex and interesting textures and surfaces.


Bryan grew up in Utah and credits the state's long tradition of outdoor painting as an influence on his career. He attended Brigham Young University, receiving a BFA and then studied at the Academy of Art, San Fransisco earning an MFA.  As he was wrapping up his MFA he began teaching at the school and particpating in various shows and competitions.  Taylor estimates he has been in over a hundred group shows and competitions and 15-16 solo shows.  I mention this because it speaks to his work ethic and dedication to his craft.  I am including several paintings through this post, but also go to his website to see more and find contact information too.


His work has be evolving in the last few years.  After thousands of paintings chasing different kinds light, texture and color, Bryan said that his interest is turning to new ways of applying paint.  



He also see the changes happening in the environment/climate and is motivated to capture the effects as well as some of the places being impacted. He has recently been on a couple painting trips (that make me a bit jealous) to Cuba and China. 

When the opportunity to go to Cuba came up, Bryan wanted to get there before the inevitable flood of American tourists brought money and change.


Bryan's work is a wonderful blend of interpretation and realism.  I can only imagine that it comes from doing so many studies from nature.  Look at the washy brushwork in the foreground shadows in the image above. It is contrasted by the geometric, heavier flat-brush application throughout the painting and the clarity of the rendering of the blue car is in beautiful contrast with the background.

Bryan also went to China. He said that he was able to travel with some other painters from China and visited some smaller villages.  While there he as able to observe the impact of environmental damage and advances in technology and industry to the poorer population.  It brought out some interesting thoughts. There was often a juxtaposition of beauty, tradition and change.  This was especially clear in some of the junk boats he saw.


He said that there are whole populations that live on the boats.  Raising animals on them, fishing from them and depending on the river for much of their living.  They also pollute the river, dumping trash and human waste right into the water.  The government in China is removing many of these people, disrupting a lifestyle that goes back generations and placing them in apartment buildings. Most of those being transplanted don't have skillsets to do something other than live on and from the river. It is challenging situation with complex problems. 



Bryan said that his roots in art also come from sci-fi though and feels that the time is right to come back to what inspired his imagination from childhood.  He is taking his experience and applying to more imaginative work. I couldn't be more excited to see where this takes him. - ArtStation page for Bryan


His concern for the environment influences his sci-fi work too.  The painting below is called Industrial Reef.  It is meant to evoke the Great Barrier Reef.  I can see that, especially in the way the ship seems to be lurking inside the opening in structure, ready to either duck back into the shadows or dart out. There is a sense of decay in the painting but also wonder. I see in these works that the technology we create has the potential to inspire and create wonder but with a cost.



As I asked Bryan to elaborate on what inspires him in his sci-fi work.  He said that one of the things he loves in sci-fi movies are those moments and scenes that inspire a sense of wonder and vastness.  The shots that usually come before the conflict, before everything goes wrong. He always wants those moments to last a bit longer.  You can see that in his work.  They feel cinematic, capturing the a moment filled with tension and possibility.  I love the tilt of the ship in the painting above, conveying motion and action and the perspective of the painting below invites the viewer to lean forward to try and peer deep into the scene.




Bryan will be at Illuxcon this year and I am so excited to welcome him here on Muddy Colors to the world of sci-fi and fantasy art.  His work is complex and exciting. I see influences of John Berkey and Syd Meade but the work is clear and unique.  Given how prolific he is, there will be many more inspiring paintings to come.

I closed my interview with him asking where he wants this new work to go. I think the fun and excitement of not knowing exactly where it might lead is part of the appeal for him.  He did say that he would love to work on Star Wars or Avatar or even do some book cover work. If anyone reading this has a say for any of those things, definitely reach out to him because I want to see where these go!

Thursday, May 25, 2017

Artists and Mental Health: Brian Wilson vs. David Bowie

By Lauren Panepinto
  
I've been working on a project that has had me doing a ton of reading lately into artists and the psychology of why artists make art, and what sometimes (often) stops them from making art. And I'd very much like to hear what you guys think about the issue, because most of the readers of this blog are artists and creatives, and thus have experience with the mental health of said artists and creatives.


Brian Wilson by Bjorn Lie • David Bowie by Daria Theodora

First let's define terms. When I say artists I don't mean just visual artists. In Otto Rank's Art and Artist (his 1932 work about the personality development of artists) an artist was defined as a "productive personality" — by which Rank meant someone who produces something. I think it's too easy to get "productive" confused with "productivity" (aka efficiency) so I think a more accurate term for us today would be "creative". I know that's a fancy buzzword these days, but I think it captures the idea that we're talking about artists and writers and musicians and all kinds of people who make creative stuff.



I'm trying to distill a very big book dense with a lot of ideas (originally written in German) down into simple terms here, so forgive me for oversimplifying if you know his work but Rank says artists make art because of two reasons:

1) The universal human fear of death makes people crave immortality, and the productive personality deals with this fear through making works that will outlast them. (As opposed to other personality types who freeze up in the face of this fear and get stuck, or ignore or avoid dealing with this fear entirely.)

And/Or

2)  Productive personality types are more sensitive and take in more stimuli than non-productive personalities do. This extra stimuli/sensory information will overload them unless they do something with it, so they offload the excess energy by putting it into their creations. This second theory aligns nicely with the Highly Sensitive Person theory by Elaine Aron, which I'm currently rereading. (Thanks to Chris Oatley for reminding me of that parallel when we talked recently.)

Now, while reason #1 (fear of death) certainly holds true on some level, I have to admit most artists I know don't start making art for immortality (or fame). Yes, I know these kinds of motivations can easily be subconscious. However, most artists I know have been making art since before they were old enough to really understand death enough to fear it — that seems kind of a post-pubescent problem at the earliest, unless you've had some kind of trauma in your younger childhood. And while many artists certainly do get praised for their art young, and are encouraged to continue due to that praise, that doesn't seem to be motivation enough to choose a creative path for life.

In fact, most artists I know really didn't choose creating. Whether they do it as full time work or on the side, creating is something they were compelled to do. Something they have to continue to do.

So that brings us to reason #2 (creating as a compulsion). It seems to me that many many artists do use creating as self-medication. Very often as a self-directed therapy. I know I do. Sure I want to create a lot of the time, but sometimes it's a lot of work, or I just don't feel like it, and I still have to do it, for my sanity (or semblance thereof). I'm a wreck if I haven't made a thing in too long. However, if you dig into this reason, I think you come to a big chicken-and-egg question: Are people born more sensitive and then become artists to deal with the input overload? Or does being an artist force people to become sensitive, taking in more and more sensory info, until they are forced to keep creating or overload like a tap stuck open?

I'd really love to hear your reactions, input, and opinions to all that. I apologize if it's not perfectly formed, these thoughts are very much still a work-in-progress, as well as mid-research.

Wilson by Ana Mourino • Bowie by Rebecca Leveille Guay
This might seem like a purely theoretical mind exercise, but I think it has definite real-world implications. Recently I read Brian Wilson's memoir, and I was struck by how profoundly his mental illness crippled his ability to make art. You may or may not be familiar with Wilson's music, or you may suddenly be asking yourself "she doesn't mean the surfing music guy, right?" but in short, this is a musician of such skill (I won't say talent on this blog or Greg Manchess will kill me) that John Lennon called Pet Sounds the best album ever made. He had a nervous breakdown in the mid 60s (from some combination of overwork, a bad acid trip, depression, and maybe schizophrenia), and he wasn't able to tour or create music for decades. He fell into an abusive doctor-patient relationship with a predatory therapist for years. Through work, family, and friends, he was able to pull out and create music again many years later, but as an obviously damaged artist and individual. Reading the memoir, I couldn't help say to myself over and over, what creations of such a genius were lost to us because he didn't find a way to someone who understood the mental health of artists and could support him properly enough?

Wilson by Matt Rota • Bowie by Marc Scheff

Then I read Season of the Witch: How the Occult Saved Rock and Roll (thanks for the recommendation Mallory O'Meara) and read the chapter on David Bowie. The book is a great look at the origins of rock music and how much religion, ritual, and art have affected it throughout it's evolution. The Bowie chapter is a great description of a man who pushed himself so hard and so far artistically, who absorbed so many influences (and cocaine) and struggled to digest and synthesize them into persona after persona, rebirth and redefinition, that he had a nervous breakdown. But Bowie was able to put himself back together and return to making art from a stronger place that supported him for the rest of a very long and insanely fruitful artistic career. It reminded me a great deal of reading that shamans and medicine men of many tribes around the world were chosen for the job because they had a mental crisis or disintegration (what we would call a breakdown today), and were able to reform their personality, often with the help of the current shaman. This also mirrors the descent into and return from the underworld in Joseph Campbell's Hero's Journey. If there is a musician that fits the bill of a shamanic hero artist, it's Bowie. So what was it that made Bowie able to survive his mental demons while Wilson drowned?

I feel like the answer is somewhere in the above questions about why artists make art. I'm not cocky enough to think that's an answer anyone is going to be able to figure out once and for all, but I think it would be critically useful to artists working today if we had a more recent working hypothesis. Could we figure out what the difference was between Wilson and Bowie? If we could distill that down into actionable steps we could save more masterworks from the jaws of mental illness, and more artists from being stuck and frustrated and in despair.

If you have a book recommendation along these lines, I'd love to hear it. If you have thoughts and/or stories about how these questions apply to you and your creative life, then please comment below.






Wednesday, May 24, 2017

New Portrait Demos

Victor Frankenstein, from Penny Dreadful

--Greg Manchess

During my SmArtSchool classes I try to work in at least one or two demos during the fifteen weeks we work together. And I’m beginning to understand that watching someone paint multiple times can be the push needed to bring one’s work up to another level of understanding.

It’s usually difficult to squeeze many in because I feel that the student should get as much attention about the piece they are working on at the moment; to get them at a time when their insights are at keen levels of listening strength. But sometimes, showing is better than telling in this regard.

Notes about painting these:

After the initial sketch, start with a mid-tone value, even on a face; be bold and sweep the tone all around.

Next, a mixture of any darks can be applied to the bolder areas of the face, i.e., hair, eyebrows, eye socket shadows, nostrils, lip line, under bottom lip, ears, under nose, under chin.

Then, work your way up through the value range, darker skin values first, laying lighter and lighter skin values on top of them.

Ta-daaaa! Simple and direct.

Remember: value first, then shape, then color. Value is color, shape is form, color is description. In other words, once we know the value, we need the shape to tell what it is, and the color becomes the final information. Worry least about color, but get value down immediately.

Last bit of info: consider that the difference between painting a man’s face full of brushstrokes and a woman’s the same way is how much the value shifts between strokes. A man’s face can take a broader jump between values and still look manly. A woman’s face should have more shallow shifts between the values, a tighter range, so that the impression is one of a smooth transition, and therefore smoother texture on the skin. Just study the pictures here for a bit.

Jyn Erso, from Rogue One

So I plan on adding more demo time to my classes. If you’ve been thinking about taking one of my classes, sign-up for the Fall semester is coming up. I keep the atmosphere in the class a comfortable setting where all questions are welcome because they usually lead to even better questions.

I consider the class like a dojo for training. ‘Cry in the dojo; laugh on the battlefield’ is an old saying that helps us understand what we are really trying to achieve in an educational setting.

I want you to eventually laugh on the illustration battle field.

Tuesday, May 23, 2017

3 Photoshop Speed-Paintings and Some New Brushes

-By Justin Gerard


Recently, I released 3 new Photoshop brush sets containing nearly 100 of the digital tools that I use for my personal and client jobs.  For today's post I am sharing a few videos which show these brushes in action, as well as the method I use when I work digitally. 



Demo from the Pencil Set


Samples from the Pencil Set

Why bother making your own brushes? 
The reason I started making my own brushes was that my first true love was traditional media. When I discovered digital painting, I fell in love with so much of what it could do, but I found that most of the digital brushes looked too, well... “digital.”  They look flat, plastic and they lack character.




To make matters worse, my favorite use for digital painting was to apply it over top of a traditional underpainting. But I found that most digital brushes looked unnatural over traditional material, and the final painting would feel unfinished and soulless.

To solve this problem, I sample scans of MY OWN BLOOD.  (just kidding)  I sample scans of actual brush strokes, paint splatters, pencil marks and paper textures, made with various traditional tools and surfaces. (And some spilled coffee)
I then arrange all of the 10 billion sliders and knobs in Photoshop to arrive at a specific mathematical formula. This transmits my subconscious into the computer, you know, like that guy from Tron. And once inside, there is a whole universe in there, filled with millions of people, all of whom hate me and want to kill me with laser frisbees and motorcycles.  BUT I KILL THEM INSTEAD. And I use their ground up bones to make my digital brushes. 

*ahem* Anyway, once I have imported these "real" marks and input all the correct settings into Photoshop, I am left with better brushes that look natural alongside traditional media and leaves you with something that feels traditional, yet unique. Sort of like the robots that will soon be among us; they aren't quite human, but close enough that you won't be that bothered by them serving you fries at McDonalds.



(Coffee. Not human blood!) 

I'll be releasing 6 more sets this year. Next week I will be releasing a set made up of coffee spills! 


Colorizing a drawing with the Texture Set




Colorizing a traditional drawing using the Watercolor Vol. I Set



To learn more, check them out here on our store!

Monday, May 22, 2017

Pretty Pictures Failing

-By Jesper Ejsing


These days I am hired frequently as a concept artist. I am not a concept artist, but see myself as an illustrator, but I have always been very fascinated by concept art and the mere fact that I could do illustrations without having to fine render it all to perfection made me jump into this business happily and without hesitation.

I have been thinking lately about my concept art - "Don´t do that, Jesper. Don´t think, just draw". The voice in my head starts arguing again. But this time he is wrong. I have been thinking lately about what I am doing wrong and I thing it is NOT thinking enough!

When I am asked to do a concept art push for a new world being it a game or a new setting for Magic teh Gathering or something similar, it is my job to come up with a visual homogeneous vision of a race or a tribe or a landscape and so on. At first "Yeah! I can do whatever I want. But the more I draw the more I feel like it is all just a mess of elements I have stolen from real life references or historical costumes. It lacks the visual shape language that makes it unique. As an example think of Tim Burtons universes. They all have his tell tale spiral. Or Moebius Starwatcher series. As soon as you see the tall hats and the bright pastel colors, you recognize it right away. They all have a unique form and shape that is incorporated in the whole world they create.

Searching for that visual cue, is the most important thing in concept art. I see that now. I did not before. What I did was trying to make pretty pictures. Like I do when I am asked to paint illustrations.


In these examples from 3 years ago I was doing a small selection of Gypsy Characters for Dungeons and Dragons. The assignment was really simple. Draw a bunch of different professions of gypsies.

Looking back I wish I had focused more on the visual cue that would tie them together. Instead I concentrated on portraying characters - like I was going to play these guys as a role playing character. That is also fine. I know, But from a concept art point of view they are just pretty pictures and not adding to a homogeneous world. They are separate figure drawings. Nothing ties them together. Do not get me wrong. I like the illustrations. I just wanna be more Moebius and less "Men at Arms"




Sunday, May 21, 2017

A Portrait in Pencil : Download Available Now!


This month's Patreon video 'A Portrait in Pencil, with Greg Ruth' is now available for download.

In this 2.5 hour demo, Greg Ruth walks us though his process of creating a fantasy portrait in graphite. Using one of his Dune-themed pieces as an example, Greg discusses not only how he creates convincing form, but how he imbues his portraits with a sense of character and backstory. Additionally, Greg takes the time to demonstrate how he creates the unusual textures he is so well known for, such as smoke and stars.

This video is available to all of our Patrons who donate $10 or more. If you are not a donor, but are interested in acquiring this video, please consider making a donation here: https://www.patreon.com/muddycolors

Model at Rest



Anita Meseldžija Das (1952 - 2017). Paintings by Petar Meseldžija

Saturday, May 20, 2017

Gesture Drawing Is A Part of My Life

-By Ron Lemen

I do a lot of sketching before any job, and I do a lot of sketching beyond the job.  I sketch to stay in shape.  My weekly calisthenics include drawing from life, in my opinion, the most important sketching to do as often as possible.  It is the major and minor scales of our visual language. The tones we see are as sensitive as the tones a musician hears, and as a skilled musician will play scales along with their music on a daily basis, if we want to stay on top of our game we need to continue plugging away at the basics.

Here area few different drawings from various evenings this last semester in the gesture drawing class I teach at LAAFA.  I have a brief explanation for the motivation behind the drawings.  I put little ashcan books together each Comic-Con with a collection of these along with lessons to learn about quick sketching.  It is fun to look back at each drawing, and it is really great to have all the memories surrounding each drawing from that day still fresh in my head when I look through the various pages.  The following drawings are 3 - 5 minutes each using charcoal in most of the drawings and design marker in several.



This first sketch is using design abstraction to link the various anatomical landmarks together through the center line of the figure.  I had two goals here, the first is abstracting the musculature and connecting the muscles together in a design aesthetic similar to how Dean Cornwell would construct and connect his anatomical designs.  The second goal was to achieve volume within each physical region of the body through varying the edges.



Here is another figure using design and direction as a means of sculpting the form and building movement in the action.  Here I am using parallel line structure to generate form and movement through thick and thin, soft and sharp, or the combination of line types.


This set of drawings is a page of form drawings, using value and edge to tell the story of the form design of the figure.  I am using a cleaner tonality and softer gradation technique here to achieve a very solid form design, where the bottom right figure is using parallel lines to describe the form, more like the way Leyendecker would build out various tones and gradients in his figures.




Here are a few more figures where the goal was to build out dimension and form using both line strokes and tones/gradients to explain the light and shadow.  You can see these drawings built out on my Instagram feed.  It should be one of the most recent posts.  I am posting more of these drawings done live on Instagram at the time that I am creating them on most Tuesday afternoons during my class.


These drawings are also developing form but using the anatomical rhythms between and across muscle groups and edges of bones.  So much can be seen with very few simplified and deliberate marks.



These are both form driven sketches done with the Touch Design Markers, both are roughly 20" tall on 24" paper.  On this tracing paper the markers can be manipulated like paint, achieving wet into wet effects, pick out, and blending are all very easy accomplish.




These two pages are very quick sketches working on using line to solve the movement and the weight of the pose.  Heavy handedness is encouraged in this exercise, and simplicity is an absolute must.  I think these could still be even simpler.


This last page is using calligraphic shapes, a shape language of sorts, to first build out the design of the pose, then using edge and if time warrants, also using value to build out the dimensions within the abstractions.  

I draw every day.  I practice most of that time knowing that without the practice the craft I do will atrophy or stagnate.  I love what I do too much to allow that to happen.  These gesture sketches definitely hone the skills and keep the eyes sharp, and just knowing that will keep me coming back for more.  I absolutely recommend sketching from life frequently, if not often if you are pushing yourself, trying to level up, or just trying to maintain a fresh hand in all the heavy loads of work that have to be accomplished.  



Stay fresh in the skills, sketch from life and enjoy the process.

Friday, May 19, 2017

MAKING A COVER: Criterion's "BREAKING POINT"

-By Greg Ruth



So I was recently asked to take on a last minute rush job for Criterion for a forthcoming DVD/Blu Ray release of the Michael Curtiz film, BREAKING POINT. Last minute rush pants-on-fire gigs are pretty common in my orbit. True for most of us I suspect. Typically Eric Skillman will get in touch about taking on a film, (I've done a few to date). The usual rub is I'll get a dvd of the pre-attended-to film if it hasn't already been made beautiful through the Criterionomatron (Their film restoration process is not called this but it should be, just saying), and I'll sit down and watch it with a sketchpad at the ready to mark time notes for particular scenes or imagery through which to find a cover and or interior illustrations that might be needed. I work up some proposed thumbnail ideas, we pick and choose and hone down things, execute the drawing and go through another round of approvals, go to finish and repeat and repeat until we're done.


This time however, I had a mere 2 or so working days to take this on, given the other obligations already on the table for the week- insane by any account, but also this time, much of the deciding had been decided upon already. (I got the call to deal with this issue on a Tuesday and it was due the following Monday). But I don't say no to a challenege if I think I can meet it, and try never to say no to Eric because, well, I love the work so much it's always a pleasure to tackle, even when it's nutburger like this. To be fair to him and everyone at Criterion, this is highly unusual. They almost always allow for a proper amount of time to take on a piece, and even when it's a rush job as A Touch of Zen and Dragon Inn were, they have never been THIS rushed. But I kind of got my start doing a rush fill in gig back for the Matrix Comics and have been relied upon to do this same dance for others ever since. There's far worse reputations to have in this business than being Johnny-On-The-Spot when needed. The trick of garnering and maintaining this rep is not only to say yes when someone comes with their head aflame, it's delivering what they need at a quality that they would ideally like to see if they had more time to give you. Whatever rush fee gets tacked on to your commission for taking this on, and there always should be one, the real dividend here is the relationship. I've worked for Criterion for a while now, I consider Eric a friend and I adore the work they do for the history of film. S0 this was a no-brainer.


Alright. Essentially they had chosen a cover image from a screen capture of the film, worked up the title treatment etc, gotten it approved and then when coming in the next day to show to others, some confusion took hold and threw the entire process into question.The issue after thinking they were ready to go, turns out to be both the obscurity of what's going on in our captain's hands and his partner-in-crime's hard to rerad gun and arm. Many thought he was pushing a broom, or didn't know what it was. At that point it really doesn't matter. One of the most important and primary rules in cover work is: if you're explaining it, you've already lost them, and the work is a fail. Covers should be immediate and direct. This is not to say they all need be bright simple and bold, but they need and MUST be clear as to what they are doing. If the issuance of the story and through the cover is a question, that then can be made to work and the rule is suspended. (ALL rules have exceptions. We live in a complex universe of variables and simply put... shit happens). So in an understandable panic Eric rang me with the crazy idea of fixing this by drawing it.





Now for those of you, like me who have a particular thing in doing cover work where the publisher often chooses a much cheaper stock footage photo comp for their cover instead of hiring an artist to execute one themselves, this came as a particularly sweet moment of vindication. While I get that sometimes the budget for a book or film lacks the funds to pay an artist a going rate, this use of photo comps is often just used for simplicity and saving bucks on their end. There are times when this makes perfect sense, and in the case of Criterion in general, it does given what magicks they display by using screen grabs of the films they cover. However, for one plagues by this occasionally in other areas, this was a mighty opportunity to put on display exactly why having an artist on hand is a superior and worthwhile choice.He showed me the cover they had, pointed out what they were bothered by and requested i essentially duplicate it in graphite and use that opportunity to compose and draw the thing to make it clearer and more effective as a cover for the dvd/blu ray release. The not so cool was that at this stage, having only a handful of days before the announcement, and having already gone through the approvals... this cover was locked as an image. There would be none of the usual seeking the image in the film, or composing/inventing I particularly like to do for these. It was a straight shot, copy job and left only the technical needs as a place of invention. Cool because an interesting puzzle to solve for me personally, AND getting the opportunity to use my "depth of field" drawing technique in the field by blur-drawing the foreground info.


So. Eric sent over a few stills from the film by request, and the original hi def screen grab of the scene they wanted. My job was to take that image, and duplicate it while fixing it. The foreground fellow had to be redrawn entirely, blurry but not so much it wasn't clear he was holding a rifle downward. The cap'n needed to have obvious money in his hands a counting and I thought some extra cash on the table would help as well as clarifying the windshield of the boat so it didn't look like a wall.


Because detail was so important here, I went ahead with a large 13" x 19" scale drawing of the image. (Sorry I didn't have a chance to stop and take progress pics- that would have been ideal, but this deadline was simply too insane for that business). But as you can see by the photo here, I've taken to reversing the trigger hand so we get a defined sense of the gun and man's grip. Left much of the bottom as balck as I could since happily I had a finished title treatment I could respond to, and tackled the rest of the necessities in the drawing. The blurring thing is always wacky on the eyes and usually I come and go with a piece to save myself from the headache and trippy eye-kimbo that happens, but again... terrible unforgiving deadline said no. But this section of the drawing is where all the action is, so it needed to be perfect: look as close to the original screen grab so as not to require further approvals, and change what needed changing without also triggering said new approvals. Even so... you can see the arm is a bit goofy with relation to his body- essentially requiring him to have his should be just above his butt. I also needed to add some clouds or indication of beyond the windshield... tricky because too much would make it bust- so seagulls and the moon say, were out. Time again was the enemy so I had to commit to the rest of the drawing and look to fixing that arm/shoulder thing in photoshop. Some lighting changes, depth of field enhancements and dragged in spot drawinsg to make it work came into the play and in the end we had what we needed to go:



The weird thing is, if I did my job right, no one would notice what we did or needed to do. Sure I made little errors and obvious drawing areas so that if you looked you could see it was not a photo but a drawing. Otherwise my job was to do what no photo cap could accomplish and so having done so I graciously step aside and let them go forward. I'm glad I had time to take this on, and again a personal moment of victory over photo covers was the perfect medicine right now. In the roiling sea of freelance pitching between feast and famine, it's hard to make and maintain room for these unexpected assignments, but it truly is something to keep in mind. I have an easy out in my ongoing 52 Weeks Project drawing series where I always now front load a piece or two to act as buffer should something like this occur, or I break my arm or the police finally find all the bodies I have been burying in my backyard. You never know what life will throw at you but it can be essential to your future self to make your present self available to them. They'll never take the shape you expect but they always seem to yield enormous lessons.


In any case, this is a really fun noir crime yarn to take on and as always I am thrilled for the opportunity. If you'd like to preorder the film directly from Criterion, please steer your crime-boat to this placid port, HERE.