Archive for the 'Freelancing' Category
Thursday, December 4th, 2014
The other day writer extraordinaire Mark Evanier posted an interesting article on his must-read blog about making a living as a writer. Some of the post is about how people you might think are rolling in money are actually struggling to get by, but the gist of his message is that in order to make a living as a writer (or anyone in the creative field), you need to write (or do whatever your creative skill is). That sometimes means you take on jobs that others looking from the outside in might think to be “selling out” your artistic integrity. Mark tells a story about a well known “creative person” who is doing projects that others condemn him/her for as “selling out”. Mark points out that others should reserve judgement until they’ve walked a mile in the other person’s shoes. The creative person in question has some financial difficulties and needed the work. Jack Nicholson, when asked why he sometimes did lousy movies instead of waiting for nothing but Oscar bait roles, famously responded: “I’m an actor. Actor’s act.”
The world of illustration and comics is a little less high profile than say acting or writing for TV and film. Cartooning is cartooning and there are not many jobs I would equate as going from doing Oscar worthy films to direct-to-video B-movies. That said, when I tell people about freelance illustration as a living I always point out that basically no one makes a living doing Time Magazine covers or similar, even the people that do Time Magazine covers. There is just not enough of that sort of thing out there. Virtually all illustrators make the bulk of their living doing work for clients few people have ever heard of, even the really famous illustrators. For every cover of Time they do, they probably do twenty illustrations for publications like Financial Planning Magazine, Snow Country Magazine or Basket Weaving Monthly. That’s certainly true for me… I’m still waiting for my first Time cover!
That’s not to say I’d take any job that comes my way. I do have standards… which is kind of funny coming from someone that draws for MAD Magazine. However my standards do not have anything to do with ego or the need to be sure my work is only done for “a certain level of client”. My taking on jobs or not is based on three criteria:
The first is basic reality. I have to have the physical time to do a job. If I am backed up or the deadline is impossible with my current workload, I have to turn down the job. This is sometimes physically painful. If the other two criteria are in place I try and justify taking on another project by thinking I can just stop sleeping for a week or so. That’s something I am learning to not do anymore. I’m getting too old for that crap.
The fee is something that is a little bit based on what we in the mid-west call “being uppish”. I cannot take on jobs where the fee is not at a level I have set for my work. This is kind of related to the time criteria, because if I do jobs with lower fees, I might have a problem with the time thing when another project comes along that will pay a more reasonable fee. This is a bigger problem these days when anyone with a computer and a bit of software thinks they are a publisher, you are only a few keystrokes away from being accessible, and the internet has devalued creative work badly thanks to legions of amateurs doing tons of work for nothing or next to it. The bottom line is I have set a bottom line for what I am willing to accept as a fee for doing a job. It’s probably a lot lower than you think, and maybe lower than it should be, but I still turn down some jobs because they won’t pay enough.
The third criteria is “personal code”, meaning stuff I won’t do no matter if the other two criteria are met (even for ridiculous money). I won’t work for big tobacco. I won’t do pornography. I won’t do anything that glorifies drugs or that I feel encourages kids to use them. I won’t do any work that reinforces any kind of hate speech. There may be some other things I would turn down based on my personal beliefs, but I think that pretty much covers it. I don’t begrudge others for doing that kind of work, although I might not want to be your Facebook friend if you do any hate speech work, but I won’t do it. Personal choice.
One thing I do tell young illustrators asking for advice is to expect to need a day job for quite a while in order to make a living in the freelance world. Mark points out in his article that getting a job doing anything in your field, even if it’s not the most glamorous of work, is preferable to waiting tables but that can sometimes be impossible. Drawing live caricatures was what paid my bills for many years until I got my freelance legs under me. That was not only directly related to my goal of being a humorous illustrator, it allowed me to hone and practice my skills while I paid my bills. I encourage a lot of young cartoonists to give live caricatures a try as a potential financial stabilizer as they try to “break in” to the freelance business. Breaking in takes years, by the way… and that’s doing it at warp speed.
Thursday, November 6th, 2014
It’s no secret the world of publishing and printing is being taken over by digital publishing, the internet and hand held “media consumption” devices. That said, the world of illustration is hardly dying as a result, it is merely changing to fit into the evolving digital world. No corner of the business is immune. Here’s a case in point.
Followers of my blog will know I do work for a client called The Marlin Company, which produces workplace communication products that employers purchase on a subscription basis with monthly messages of teamwork, stress management, safety, etc. as well as other useful information tailored to various industries. For the last 14 years or so, I have done an illustration every month for them for a 17″ x 20″ poster that is part of that product. The subscriber would get a large plastic wall mounted sign-holder with various pocket frames, and each month receive materials that would be inserted into those various pockets including my poster (if they were part of whatever industry package my poster art was used for that month). I estimate I have done about 160 of these posters.
Last month I got a call from my art director there to tell me they are completely dropping the printed materials program, and moving to 100% digital content. Instead of the large sign holder, Marlin clients now have a large ditital monitor to hang in their employee break room or wherever, and the images and information is displayed on it instead. This has actually been being phased in for some years now, but officially the print part is now a thing of the past. While that changes my role with the company’s products, it does not eliminate it. The chief difference is they want some animated elements to these images.
My work is a little more complex in nature than some of the other art they use for the same purpose, so it’s harder to animate. What I’ve been asked to do is to provide a multi-layered image as opposed to one static, flattened one. This way they can do some simple movement to the art and achieve their animated ends. So, what would have once been this:
And they do their animated magic to it. I’ve never seen one of my pieces animated, so I have no idea what it looks like.
Adapt or die, as they say in the wild.
Thursday, September 25th, 2014
Clicky any to embiggen…
This was an odd job from early last year. A design company was doing a calendar for some client and one of the months they wanted a comic book “superhero” designed that would represent a color process or technology from 3M called “Q-Def”. They wanted a little humorous look to it, rather than a more serious comic book look… that’s why they called me.
We needed to explore some ideas of the look of the character, so I gave them 4 different concepts. Three human characters and a robot:
Then I worked a bit on the “Q-Def” logo. I really hate doing logos, but this was not too taxing:
They liked the robot, but were not sure if they wanted something more obviously robotic ala “Iron Giant” or something that might be more of an “Iron Man” look. So I did a couple of robot concept sketches:
Ultimately, we combined a couple of different elements from the two robots, simplified the cityscape and ditched the logo for a simple title on the breastplate. Final pencil rough here, color final at top of post:
A lot of concept work here, and these are just the sketches I showed to the client… I probably did three times this many drawings noodling around trying to come up with different ideas. This is a good example of why you need to consider how much work you will spend on the concept stages of a job when pricing it. I did and was paid for that concept work as well as the final.
Friday, June 20th, 2014
This was a recent column of mine in a recent edition of the National Cartoonists Society publication “The Cartoon!st”:
One of the things I love the most about the NCS is that our members cover the gamut of all facets of professional cartooning. Syndicated comics, comic books, animation, web comics, book illustration, gag cartoons, greeting cards… you name it and some of our members do it. I find it fascinating to hear and learn about the trials and tribulations of the different ways people make a living in this industry. I do mostly freelance illustration, which is an exercise in feast, famine, panic, and anxiety.
Like all aspects of popular media, the world of freelance illustration is changing. I used to do the vast majority of my work in magazines, but these days I am finding myself doing jobs for all sorts of different clients. Not that I wasn’t always open to doing different kinds of work, but the need for traditional illustration to accompany articles in print is shrinking and it’s become more important than ever to branch out into other outlets to stay busy. There are just fewer major magazines out there these days, and the budgets of the ones still around are less than they once were. There are still a lot of publications needing illustration, but most are niche magazines with mid to low circulations that cater to a very specific audience—publications for industries or specific hobbies like actuaries or snowmobiling, for example. These magazines still buy illustrations but they have smaller budgets and are harder to find and market to. Now more than ever it’s important to not be afraid to get “outside the box” and find work in different parts of the industry. Fortunately humor is something that is universal, and any form of media can and does need cartoonists/humorous illustrators to create visuals that invoke a chuckle while conveying whatever message they client is looking to get across.
Just to give you an example of the kind of wild swing the sort of work a freelancer might do, here’s a list of the types of projects I’ve done or am doing in the last 12 months: magazine illustrations, book illustrations, comic books, TV animation character design, product art for posters, T shirts and other merchandise, illustration for smartphone/tablet apps and assorted other jobs. In the past I’ve done character designs for CGI animation for films, concept drawings for toys and other products, storyboards for commercials and films, art for advertisements from prints to billboards, products labels, CD covers, art for computer games, movies posters, and many other diverse projects. As I write this I am working on, among other things, a 44 page comic book for an independent publisher and doing the art for a birthday party invitation. That last one may seem odd but “odd” is the name of the game these days. Actually it’s no ordinary birthday party, it’s for a big media mogul who has bands like AC/DC play his birthday party and hires MAD Magazine illustrators to do his invitations. That’s a great example of the weirdness of making a living as a freelancer… if they pays you da money you does da drawrings.
Another avenue that is becoming an important part of being a freelancer is concept art. More and more jobs I do these days do not involve my finished art being the end result, but rather being part of a larger process. Doing concept drawings for products, commercials, and TV and movies has become a big part of many freelancer’s source of income. I recently explored the possibility of getting an illustration “rep” and had a conversation with an agent from one of the biggest rep firms in the business, Gerald and Cullen Rapp. He told me that much of the work they get for their artists these days involves concepts and visual design rather than finished art. This issue’s cover story (meaning The Cartoon!st) features a cartoonist whose bread and butter is that sort of work, Cedric Hohnstadt. His career trajectory is another excellent example of how traditional illustration is evolving into work that is part of a multimedia creative universe. Like most forms of creative work, freelance illustration is experiencing a tectonic shift right now, but also a renaissance. The demand for art and the people who create it isn’t going away. If anything, it’s increasing. What’s changing in the way it’s used, who wants it and how those people find the creators they are looking for.
The eternal bane of all freelancers is fear, mainly the fear that the job you are working on is the last one you’ll get for a month or longer… or forever. This usually leads to an inability to say “no” to jobs that maybe don’t pay as well as they should or that you shouldn’t take on as the deadline is too tight or you have too much on the board as it is. No matter how busy I am, I experience a physical pang every time I turn down a job that is offered to me. A freelancer is always afraid that the phone is not going to ring again for a long time, and he or she can’t say no to a job no matter how overworked they are.
That’s one part of the business of freelancing that hasn’t changed, and never will.
Tuesday, April 8th, 2014
Sometimes when you freelance, a job comes along that seems promising and then it falls thorough or never ends up being brought to completion for whatever reason. I wouldn’t say I’ve had a lot of those kinds of jobs, but after 25 years of freelancing I’ve had my fair share. Most never get to the point where I do any actual drawing for them, except when that drawing is part of a conceptual stage where I get paid for my efforts regardless if the job gets “picked up”. Those kinds of jobs are fairly common in the advertising world. I have done illustrations for packaging or marketing campaigns that never actually get used or run, but I still get paid for the work.
The image above is a rough concept I did as a pitch for a poster for the independent film “The Linguists”, but I didn’t get paid anything and it never went beyond this conceptual art. I did this back in 2007 right when the film was about to be featured at the Sundance Film Festival. “The Linguists” is a documentary following two researchers abroad on their quest to document obscure languages that are on the verge of becoming extinct. I ordinarily never do anything “on spec” (meaning for free in order to secure the job and MAYBE get paid), but in this case I spent a small amount of time cobbling together this rough layout for the client to use to try and sell the poster concept to the rest of the producers/investors. This image is actually is a very dumbed-down version of the original concept, which was to be a high energy action caricature of the two main guys and lots of surrounding caricatures of some of the colorful people they meet on their travels ala a Jack Davis crowd scene illustration. Even this less-manic concept got rejected because they felt it would have been too humorous. Actually the original concept would have been far more humorous… this rather boring design was an attempt to salvage the idea a little. In all fairness I didn’t think a humorous poster was right for this film anyway. There was very little funny about the movie, and a poster like that would have given the wrong idea to a potential audience. Still, it would have been fun.
Ah well, you can’t win them all.
Friday, November 15th, 2013
Clicky to embiggen…
Ventriloquist/comedian and client of mine Jeff Dunham just came out with a new game app called “Achmed’s Bombsweeper” that uses a lot of my artwork throughout, including the giant “RoboAchmed” above. It’s a variation on the old Minesweeper game where Peanut, Jose Jalepeno, Bubba J, Walter and the gang try and prevent Achmed from completing his RoboAchmed terror weapon. You can get the game for free on iOS and Android platforms, or play it on Jeff’s website.
Thursday, August 15th, 2013
…or “A Theme Park Caricaturist’s Long Journey Down a Freelance Path”
The following is an article I wrote for the latest issue of the International Society of Caricature Artist‘s quarterly magazine Exaggerated Features. It is one of a series they call “A Master Piece”, meaning articles written by past winners of their highest honor, “Caricaturist of the Year” aka the “Golden Nosey” (which I won in 1998 and 1999). Its focus is advice on ways a live caricaturist can branch out into a career in freelance illustration:
I’ll never forget my first summer drawing caricatures. It was 1985 and I was a new artist for Fasen Arts at Six Flags Great America in Gurnee, IL. Madonna was the newest pop star, Arnold Schwarzenegger was a budding action movie hero and people would immediately recognize a sample of Grace Jones hanging on the wall. I had just turned 19, and was getting paid to draw. Paid. Real money (sort of). I spent that summer thinking, in my best stereotypical Italian cartoon voice, ‘Thees eesa da life!”
I enjoyed doing live caricature. I must have—I did it full time for over 20 years. I found it challenging in its unique dynamic which demanded a combination of speed, accuracy, and interaction with the subject, all the while in front of an audience. After a while, however, I got a little tired of watching all my work being carried away in a rolled up tube bag or a cheap frame destined for the wall of someone’s basement rec room, or on a refrigerator via a magnet shaped like an ear of corn, or some dusty junk drawer. I knew live caricature was always going to be some part of my career as an artist, but I also wanted to branch out and see if I could become an illustrator doing comics, cartoons, advertising, magazine illustration . . . wherever “humorous illustration” was needed. I wanted to be a freelance illustrator—I just needed to know where to begin.
I get a kick out of people who seem to think you get “discovered” as an illustrator and that overnight you go from doing art for your local church social to TIME magazine covers. That happens to no one. A freelance career is something you have to develop over the course of many years, slowly building a client base while tirelessly pursuing jobs. Developing that freelance career takes a combination of hard work, perseverance, determination, fearlessness in the face of failure, and a bit of luck. By the way, that last one isn’t totally out of your control—luck is something you make for yourself. Luck in freelancing is simply having your work on the desk of an art director right at a time when they are thinking they need an illustrator with your set of skills for a job. The previous four elements of building that freelance career set up that fifth one… you make the luck.
The most valuable piece of advice I ever got about freelancing came from the great caricature illustrator David Levine, and he told it to me in that timeless repository of all wisdom and great thoughts: the restroom. It was 2000 and I was then president of the NCN (the former name of ISCA) and had organized a mini-con around a panel presentation on caricature taking place in Minneapolis as part of the American Association of Editorial Cartoonists convention. In addition to David, the panel also contained Philip Burke, David Cowles and Steve Brodner (I think Steve was there, although he might have not made it), moderated by Bob Staake. About 20 NCN members were in the audience thanks to a special fee that local host and editorial cartoonist Steve Sack got for us just for the panel. It was enlightening, not surprising given the talent on the stage.
After the program I was in the hotel lobby bathroom when Mr. Levine entered and came up to the urinal next to me. We were observing the male ritual of staring straight ahead into the tiles while engaging in small talk as we relieved ourselves. He told me he noticed I had asked several good questions on freelancing.
“Do you want to know the real secret to a successful career in freelance illustration?” He asked.
“Uh…. yes!” I replied.
“People,” He said. “That’s the key to making a living and being successful as a freelance illustrator. It’s all about people and building relationships with people.” He went on to say that doing good work was what got you your first few jobs, but continuing jobs was about building relationships of trust and respect with art directors, because they invariably moved on to other art director jobs and passed your name on to other ADs, who would give you jobs and then you’d build a relationship with them, eventually creating a large web of contacts and people who know you were a professional who did not only good work but who did it in the professional manner they appreciated. That was some great advice and I have built my career around it.
As we were flushing and zipping up, he commented: “Shithouse wisdom… it’s the best kind.” I agree.
Not that just “knowing people” alone will get you very far. The ability to do good, eye-catching work that has an appeal to art directors is the first order of business. Many live caricaturists are great at doing a single caricature of a subject, but their comfort level stops at the neck. Caricature is one of those skills that is “evergreen” in the world of illustration, meaning it does not go out of style. When you get right down to in, most stories, articles, books, shows and other media are about people, and caricature is a unique and entertaining way to depict people that is much more than just photography. As a result, caricatures are something that work for almost any facet of media communication at some time or another, and are always in demand. The popularity of styles come and go, but caricature as an element of illustration is here to stay. That means illustrators that can do good caricature can always find outlets for their work.
Notice I said “illustrators that can do caricature” as opposed to just “caricaturists”. That’s because when you are talking about illustration, it’s more than just from the neck up. You have to go beyond doing just a caricature of your subject’s face . . . you have to caricature the whole universe. One of the greatest humorous illustrators of all time, Jack Davis, is a prefect example of this. Jack’s caricatures and drawings of people are instantly recognizable—but so are his drawings of everything else. A Jack Davis fire hydrant is unmistakable as his work. Likewise a Jack Davis chair, or fishing boat, or telephone, or ham sandwich . . . Jack’s art shows us the universe thorough his eyes, all aspects of it. Virtually all great humorous illustrators share this talent: Mort Drucker, Arnold Roth, Jules Fieffer, Sergio Aragonés, the list goes on and on. That is one lesson I learned early on, that caricature is only a single element in an illustration, and other elements need the same amount of attention as I would give the caricature.
My freelance path reads like a textbook guide for how to start small and slowly build a career doing illustration. I started when I was still in college in the late 1980’s, doing a few small jobs for some of the professors at my school who were also art directors for ad agencies and design firms, and local art like kids menus for area restaurants. In 1990 I got work from a small comic book company called NOW Comics doing a title called “Married… with Children”, which eventually led to a mini series for Marvel called “The Coneheads” in 1994. I did my first magazine illustration for a local publication called MPLS ST. PAUL magazine in 1991, which led to my doing work for the Minnesota Twins when that art director moved over to do the Twins magazine (the Levine Principal in action). In 1993 I did some of my first advertising work when I picked up the ball from another artist who was not getting the job done on a promotional anti-drugs comic book for kids for a company called Business and Legal Reports. I ended up doing 6 more comic book projects for them that were messages about the inadvisability of smoking, drinking, bullying, etc for grade school aged kids. That work led to work for kids magazines like Scholastic, and National Geographic for Kids magazines. In 1997 I did art for a series of CD-ROM parody games for a small company called Parotty Interactive, which led to a big job doing a game for Hasbro called “Super Scattergories”. In 1999 I started doing work for Cracked Magazine, a now-defunct MAD rip-off, doing TV and movie parodies. In 2000, I was in my first issue of MAD. My work in MAD has led to many opportunities over the last 13 years. My “overnight success” took 15 years or hard work and building, and it’s still ongoing after 28 years.
I’ve been lucky, but there have been many, many more unlucky moments overcome than lucky ones taken advantage of. During that first 15 years I sent out innumerable postcards and tear sheet promos, invested in ad pages in Sourcebooks like the Directory of Illustration, and scoured the news stands looking at what kind of artwork different publications were using and which might be most interested in my style of illustration, then adding them to my mailing list. One key ingredient: I used the financial bedrock of my live caricature work to pay the bills when I was struggling to find steady freelance work. Most illustrators have to have a “day job” for a long while until they get that client base built up, I was lucky my day job was still being an artist. That gave me not only time to find and develop those client relationships that David Levine later advised me about, but to develop my skills as well and become a better illustrator. Without my live caricature work and experience, I’d not have ever made it as a freelancer.
Today’s world of publication may be shrinking, but it’s far from dead. There is plenty of work out there, especially for illustrators who are adept at caricature. So far no one has written a computer program that can create a caricature—you still need and artist to do that. While some of the larger magazines are struggling, there are still hundreds and hundreds of niche publications out there with small to medium circulations that need illustrations for their articles. It’s the dirty little secret of freelance illustrators that no one earns a living doing TIME covers. Most illustrators, even the big names like Payne, Brodner, Burke, etc. make a living doing work for magazines you’ve probably never heard of like Snow Country (winter sports), Detour (fashion/pop culture), Broadcasting and Cable (TV/cable industry), UTNE Reader (politics/opinion), Financial Planning (accounting industry) or Contingencies (actuary industry). . . I’ve worked for all those and many more you would not recognize. They pay decently and there are a lot more of them than there are TIME, People or MAD. TV/film, advertising, products and the internet aren’t going anywhere, and there are clients in those areas of media who need illustration as well, especially caricatures.
For those who want to branch out into publication illustration, tomorrow is never as good a time to do so than today. Put together a nice collection of your most appealing work, start looking around your area for companies and potential clients who might be looking for artwork, and start pounding the pavement. The children’s menu you design and illustrate for the corner family diner is the first step on a path that might lead to that fabled TIME cover. You’ll never know until you step onto the path.
Thursday, June 13th, 2013
Of the many interesting things that happened with respect to self-publishing my book, one of the most surprising was finding a very unexpected market for it: wood carvers.
Apparently caricature is something many wood carvers are interested in, either by actually carving caricatures out of wood or using some of the principals of exaggeration and expression found in caricature art in carving fictional characters and anthropomorphic animals. I have several woodcarver shops that buy books directly from me wholesale to sell in their shops, or at their booths at the many trade shows and conventions dedicated to this art. Last month at the Pittsburgh Cartoon Festival I had someone come up with a copy of my book to get signed, and showed me a carving he had done of a caricature of Hulk Hogan I had done. It was really well done!
One of those shops commissioned me to do a T-shirt design for them, final result above, rough sketch below.
I would never have guessed that would be a market for a caricature book, but it most definitely is!
Rough Sketch (they asked me to lose the safety goggles!!)
Thursday, April 18th, 2013
Clicky to Embiggen…
Last week in the Sunday mailbag I promised to post about a recent job I completed that reminded me (again) of why I turn down most jobs that involve doing caricatures of the actual client, or their employees. See that post for the reasons why, but here are the gory details of the job that resulted in the final art above (I have changed the names to protect the guilty):
I get a call from a company that works in the film industry that wanted me to do a parody/homage of the classic Animal House movie poster, only with caricatures of their sixty-plus employees and bosses. It was to be used as an ad in an industry publication and as a mocked-up movie poster for their offices. Initially I turned them down for two reasons. First, I wasn’t too wild about having to ape Rick Meyerowitz‘s art style for the job… this isn’t strictly speaking a parody like I might do for MAD, which would require closely mimicking the original’s look for purposes of making fun of either it or something else in context. second, and more importantly, I don’t like doing jobs for company’s where the employees and bosses are the subjects. It almost always leads to my imitating a Glamour Shots camera.
After some talking the first point was mitigated as this was a company working in the movie business, so doing caricatures of them in a classic movie poster setting seemed more like an homage than a rip-off. Plus, I made it clear while I would try and capture the look and feel of the original I was still going to draw it more my way, especially the caricatures. The second point was of more concern, and I was promised that only the two heads of the company would be approving the caricatures, and they loved my MAD work and wanted me to do what I do.
I am such a sucker.
Naturally I had to redo many of the caricatures out of concern for the “feelings” of their employees. They seemed to mostly have a problem with noses, and many of the profiles I did had to get toned down. more than just toned down, really, they became very dry pseudo-portraits. Here are a few examples. On the left is the picture I worked from, center my caricature, right the final approved revision:
Considering these printed very small in the final (even at the actual poster size of 60 inches high… they wanted something BIG for the office) the plain and boring nature of the revised carica… uh… portriacatures, really served to kill much of the fun feel of the piece. I did start to get frustrated when I found out the bosses wife was art directing his caricature. BUT, the client is the boss so I did what they asked.
Basically every freelance project starts out being about the art and doing the best job I can do to accomplish the client’s goals. Some jobs are about that all the way through. Others degenerate into being just about finishing the project and cashing the paycheck. That’s sad but that’s also reality, and the track of any job is ultimately up to the client. It never does cease to amaze me how someone would hire a particular artist for their “expertise”, for lack of a better word, in a certain style and then proceed to direct them away from the very style they hired them for in the first place. Caricature may be uniquely vulnerable to that sort of issue. You have to divorce your personal feelings from the work when things get to the point where the client is asking you to do something you don’t think is very good anymore. That’s when it does get frustrating—not because you are asked to make changes, that happens all the time and there are many different ways to accomplish a goal in an illustration job—but because you are being asked to do something that isn’t what you do.
I did remove my signature, though… I have that right to not have my name under a piece of work I am not happy with. I’ll have to remember this job the next time I get promised there won’t be vanity revisions in a piece like this one.
Tuesday, April 9th, 2013
I did the cover of the latest issue of the UTNE Reader, now on news stands. The folks at UTNE favor my “colored line” style, as I used is a few previous covers for them. Here’s a peek behind the scenes of this freelance project.
The job: design and illustrate a cover depicting how President Obama’s immigration reform policies are contradictory, both making easier and harder to become a legal immigrant. The editors wanted a large wall on the border with a crowd trying to get in, and Obama looking like he’s welcoming them but still has the wall. The proplem was they wanted me to simultaneously show the crowd being very confused and unhappy, yet focus on Obama. Impossible if he is set high above the crowd on the wall.
The roughs: I sent in three concepts, all based on Obama on top of this giant wall:
This was focusing more on the crowd and the wall’s impassibility. An “upshot” like this adds menace and strength to the wall, and allows me to do expressions in the crowd to get their confusion across, but I knew would probably not focus on Obama enough for them, even with his breaking the logo plane above.
This one was a balance between Obama and the crowd, but of course loses all sense of the wall’s looming barricade.
This one is using a “fish eye” sort of warped perspective to make the wall seem really big and adds drama to the scene, yet allowing some sense of the crowd’s expressions and really focusing on Obama, which they wanted.
The final pencil:
Clicky to Embiggen…
Here is the final pencil sketch. I’ll be inking only parts of the image so it was done kind of loosely, especially the wall text.
Clicky to Embiggen…
There was just enough room on the bottom right to get a few of the expressions in the crowd to look confused’ getting that across. I could not get PhotoShop to create that wall lettering in the curved yet 2 point perspective, so I hand lettered that (ugh). The only concern the editors had was that they wanted it plain that this was the border of the US and Mexico. I pointed out that, by using very strong southwest desert coloring and terrain behind the wall, no one would mistake this for the Canadian border. I resisted adding a sign that said “Mexico” or any flags in the crowd, as we already had too many signs and it made no sense that individuals looking to come to the US would be toting Mexican flags… that would look like a protest of some kind.
UTNE’s covers are always very political and have resulting challenges in getting across the point. That make them fun to work on.