when i was asked to illustrate a piece for Plansponsor focusing on the theme of ‘Chasing/Collecting’ it wasn’t long for the sketch process to start to gravitate towards the pastime of chasing and collecting bugs.
"The gritty magnificence of all this cannot be overstated" -The New York Times
“Absolutely wonderful in every way” –Kirkus, Starred Review
New York City in the 1860s was a mess: crowded, disgusting, filled with garbage. You see, way back in 1860, there were no subways, just cobblestone streets. That is, until Eli Beach had the idea for a fan-powered train that would travel underground. Fifty-eight days of drilling and painting and plastering later, Beach unveiled his masterpiece on February 26, 1870–and throngs of visitors took turns swooshing down the track. This true story by Shana Corey and a New York Times Best Illustrated artist, Red Nose Studio, will wow readers just as Beach’s subway wowed riders over a century ago.
a personal piece about dealing with tough issues and getting on.
Commissioned by MTA Arts & Design to create an art card for the subways. the art card project is a way for the MTA Arts & Design to give daily riders something to look at, among all the hustle, that hopefully makes the ride a bit more enjoyable.
The project expanded into a 2 minute stop-motion animation that would run on the 52 screens throughout the Fulton Center.
Knowing all the work that would go into both projects, i wanted to make sure that i ran them as parallel as possible not only to distribute the workload but also to allow them to compliment each other. wanting folks to see connections between the art card and the animation and how they both add to one another.
The art card pays tribute to both the past and the future of the subway as our hero chases his elusive blowing bowler across the platform and into the future as Alfred Beach encourages him forward.
The animation follows a man as he chases after his wind-tossed bowler hat in a subway. While pursuing the hat, “a progression of subway cars rolls by representing designs from the Beach Pneumatic Transit Company (1870s), Interborough Rapid Transit Company (1910s), a second generation R-10 car (1940s), a R-15 car (1950s), a car from the 1970s State of the Art Car Program (SOAC), and a more recent R-188 subway car (2013).”
I was asked to develop and design versions of The Little Prince, The Aviator and The Fox for preliminary pitch art for Mark Osborne's feature film Le Petite Prince. The work is feature in the Art of the Movie book.
A holiday piece that ran in The Wall Street Journal
For the Harvard Business Review about how the managing technique of using analogies from fables needs to hit the road.
An Impersonation of the Alphabet.
4-6 year olds are encouraged to engage with a pair of whimsical contortionists as they perform an impersonation of the alphabet.
The duo perform and paint the alphabet sequentially with each new painting covering the previous one. Not only do they paint an image that starts with the letter they impersonate, but the image is also part optical illusion using both the wall and ground in this, otherwise unassuming, urban back alley.
A personal piece originally pitched to The New Yorker as a cover for their fiction issue.
A stranded car leaves its driver scanning the horizon for help. He finds a centaur with a drinking problem who offers a unique repair in exchange for a favor
A cover for PlanSponsor about previewing the coming year.
Angie’s List magazine called and asked if i could create a ‘dude grilling’ for a summer outdoor cooking cover.
i was happy to accommodate.
I was delighted to be asked to capture the feverish energy of the young hero.
When work slows down at the studio, that’s when I start to dig into projects to sharpen my skills, play, explore and (now that my kids are older) collaborate.
A series for a Journeys Issue of The New Yorker
chairman portrait of Chris Buzelli for the Society of Illustrators 57th annual.
i will be the first to admit that i am not a portrait illustrator, but being that Chris and i go back many years i felt that i couldn’t say no.
his paintings are synonymous with warm, glowing light, his long time role as a teacher at RISD shows that he is willing to share his light with others and the bug wings were just too cool to not include.
A series for The New Yorker's anniversary issue. Paying homage to an iconic cover from each decade.
More than 600 stop-motion frames animated by Red Nose Studio. All the 3D elements are hand made, mostly from junk and recycled parts. Primal Screen Atlanta did sound mix, post production and SFX – maintaining the handmade feel of the animation. Jim Newbury of Tin Roof Marketing Design here in Decatur led the creative team. Eight GTA volunteers participated in the project.
R.E.M.’s anthem was written about acid rain. It is reintroduced here in a new and hopeful light.
If David could slay Goliath, than we can too. One stone at a time.
Falling in love with textures again in the fall.
this character experiment is something i have wanted to work on for awhile.
to see how i could, in my own backwards way, attempt to animate a drawn (painted in this case) character and see if i could also animate a three- dimensional head onto that moving character.
i hesitate to add much to the story of Steven “Bo” Keeley AKA Catman
what a story it is.
the indistinguishable fact and fiction made a perfect case for me to further explore to combination of 3D work and line art.
you can read the piece written by Tim Murphy over at Mother Jones: http://www.motherjones.com/media/2015/01/bo-keeley-corporate-hobo-adventures