Thursday, February 9, 2017
I've been practicing the art of Watercolor since last summer. The warm weather is perfect for outdoor painting, especially when I can find a shady alcove to set up shop.
I'm not working in any sort of conventional manner with Watercolor. For starters, I don't actually soak my paper, I tend to just streak it with a big flat wet brush. When the paper is close to drying, I have planned a loose workflow in my head. Every painting has its own workflow, as determined by what I want to accomplish in that particular setting. I work direct most of the time, no pencil, just straight brush with color on the wet surface.
Trees have always astonished me, provoking a sense of wonder for the miracle that is nature. If trees could talk, the stories they would tell. An old, twisting tree whose winding branches reach up to the heavens and expand far from their base like some protective canopy invites me to come near. New York's Westchester County is replete with beautiful trees and landscapes, and provides me with many possibilities. Each painting is an exercise for me. What can I do different from last time? How much tree do I actually need to describe? Would it be useful to design selectively and simplify or draw every branch?
After spending some time struggling with the medium and evaluating my results, I finally understand why years ago friends like Ray Lago (great water illustrator, voice of reason and all-around nice guy) surmised that watercolor may not be best suited for my temperament. Back when I had a partial share in a studio space with him a few other guys, I lacked the patience for Watercolor. Today, I am eager to expand my traditional skills and explore more mediums. Digital deadlines as a storyboard artist have inspired me to step away from the screen and reconnect with myself. I have the luxury to improve, question and experiment - something I can't do when on a client deadline.
My sketchbook is full of pencil drawings I made every day for a month or two, usually after school drop off and a morning run. It's the little efforts that accumulate to a big result. I was able to satisfy the draughtsman in me by doing tree studies in pencil, purely as an observation and note-taking process. With this confidence gained from routine exploration, I was ready for bumping it up a notch with Watercolor.
Being spontaneous is what I love so much about drawing and painting, and my direct approach brings me the most satisfaction. The results are uncertain but captivating. Either way, I am having fun and conditioning myself to associate good feelings to Watercolor. With that reinforced, I'm sure to be productive well into my future journey as an Artist.
Monday, January 30, 2017
I recently illustrated a series of watercolor/brush and ink drawings for a History Channel promo.
The network's new "SIX" is based off real Navy SEAL missions, and authentically captures the inside world of America’s Elite Special Operations unit, Navy SEAL Team Six.
In this promo spot, cast member Barry Sloane reads a letter from a WW1 soldier to his younger brother, written from the front lines of the trench war conflict that dominated Europe a century ago.
Many assignments I accept are created on a digital format. I use Photoshop and/or Storyboard Pro on a Mac platform and draw on a Yayanova 19" tablet. Most clients don't have a preference how I work, but they understand that if working digitally it can be easier for me to react to changes, notes, and iterations. For this project, the director and I quickly agreed a traditional approach would be best. I created some samples by applying brush, ink, and watercolor on different paper stocks, and found a smooth press 140 lb. gave me great results.
I'm no expert with watercolor or brush and ink, but my recent practice of painting trees around Westchester came in handy. Watercolor can be a fascinating medium, one that evokes mood and allows room for the viewers imagination. Painting these images of WW1 was a thrill for me, and I am grateful that I had the opportunity to interpret this soldier's historic letter and share my results with History Channel audiences.
Saturday, October 22, 2016
|Belle returns as Emma Watson in a live action "Beauty and Beast" |
retelling, while Mogli gets realistic in the" Jungle Book."
When I was a clean-up animator on Mulan, I experienced the magic and innovation that Disney Animation was so good at bringing to their latest feature slate.
Still rolling in "Lion King" money by 1997, Disney had little box office competition and existed in their own bubble. The halls of Feature Animation Florida were lined with stunning masterpieces of visual development and model sheets that made crossing the building a sensory zenith. Everyone inside was drinking the Kool-Aid, even when competitors like DreamWorks, Blue Sky, WB and Sony were trying to jump on the hand-drawn animation bandwagon. It was a bright spot that everyone expected to last forever.
The Disney Legacy of Hand-Drawn Fortunes
Where Walt's “Snow White” and subsequent films took decades to break even, Disney was leading the industry with handsome profits from their revitalized hand-drawn division, propelled by "Beauty and the Beast and it's Oscar nomination for best Picture.
|Disney brings the Renaissance in a "Quasi-something" success.|
The reigning champion of 2D animated films, Disney could afford to take risks outside the fairy tale box while exploring new technology with 3D partner Pixar. Groundbreaking 3D features like “Toy Story” fuelled Disney’s appetite for more, making the climate receptive to non-fairy tales like “The Hunchback of Notre Dame” and “Hercules.”
Mulan and Tarzan were epic 2D masterpieces. Subsequent releases like the 3D “Bug’s Life” and “Toy Story 2” were successful distractions from the poor performance of 2D features like “Fantasia 2000” (2D and 3D) and “Dinosaur” (half CG, half live-action).
All Hail the CG Cash Cow
The next four years contained twice as many releases, including staggering receipts from “Monsters Inc.” and “Finding Nemo.” Mixed results from 2D releases like “The Emperors New Groove,” “Atlantis” and “Treasure Planet” couldn’t justify the modest success that 2D “Lilo and Stitch” would bring. In early 2004, Disney halted all 2D operations and would focus on the “sure-fire” prospect of 3D animation. Executives claimed that “2D was dead”, as they planned to take back the market share that DreamWorks and Blue Sky had earned from 3D. For a business answerable to profit and stockholders, some may argue it was the only way to go.
|Quirky, off-beat "Lilo and Stitch" charmed audiences and critics.|
It took Disney a long time to remember how to get it right.
Before masterpieces like “Tangled, “Wreck in Ralph,” and hits like “Frozen,” Disney (and audiences) plodded painfully through CG features like “Meet The Robinsons,” and “Chicken Little.” Pixar’s “Cars,” was unwatchable. “Wall-E” and “Ratatouille” were hit-or-miss, and foreshadowed the pretentiousness of “Brave.”
To gain future permanence, Disney has resorted to branding itself to death. There are more Toy Story sequels on the way. “Cars,” “Cars 2,” “Planes,” “Boats,” and “Skateboards” are close behind. Disney Princesses are starring in TV series, sharing all ethnicities and all sizes to speak to every demographic on earth. Animated classics like Snow White and Cinderella and Jungle Book are remade as live action, fractured fairy tales, appealing to a new generation.
|A Long, Long Time Ago, in a Galaxy Far, Far Away, |
the only thing the script could imagine was another Death Star.
Lucasfilm and the Marvel Money Machine
Disney’s acquisition of Lucasfilm and Marvel brought a new meaning to marketing.
We are assured a new SW movie every year. "The Force Awakes" is the first SW entry to have a female protagonist, and it won’t be the last. “Rogue One” has another female lead in a prequel to the original SW (but taking place after the second trilogy). Ugh! Amidst these films, the Death Star plays a prominent role. Disney, Lucasfilm – whoever is listening: ENOUGH of the DEATH STAR ALREADY! You would think with a billion characters in the Star Wars universe the studio would tread new ground come up with a new idea. Sheesh!
We've also seen several animated CG kids television series: “Star Wars: The Clone Wars,” “Star Wars Rebels,” and a plethora of Lego Star Wars toys, replete with animated webisodes. Toys R Us has an isle dedicated to Star Wars merchandise, and Disney Hollywood Studios has remodeled its theme park to emphasize the SW experience.
|Lego Star Wars are the popular kid on the block.|
Is branding to death a good thing? Or is it a surefire way of diluting the integrity of a product?
Look at Marvel, who started trivializing their comic book characters years before Disney bought them. How many “Spider-Man” titles is Marvel publishing now? There are several Spider-men wearing the mask, both male and female, present and future tense. Can anyone keep track of The Avengers books? New Avengers, Uncanny Avengers, Young Avengers, Great Lakes Avengers, Secret Avengers, and Avengers Go To College (I made-up that last one!).
|Will the real Spider-Man please stand up (before I barf)?|
They’ve penetrated the Marvel kids market with “Super Hero Squad” and Marvel Max for adult content. The Marvel movies are a mega-monolith of licensing expansion and profit. Marvel has furthered their reach expanding into Netflix with binge-worthy series like “Daredevil” and “Jessica Jones.” ABC’s “Marvel Agents of Shield” airs in the prime time family slot. The live-action productions that have been inspired by the classic comic titles are now so successful, that they are, in turn - driving the comic book content.
Forging new territory is part of what makes things exciting. We love better products. But let's not overdue it. Stop reincarnating the “DC Comics” Universe, as done in the recent “DC 52” super hero titles. Superman is still Superman, with or without red tights. Aquaman is blond with no beard, folks, let’s keep him that way. Batman is getting more miserable and grim every day, no matter where you meet him, with costumes running the gamut from black armor to grey rubber and back again. And DC has released a cartoon and toy line up called “Super Hero Girls” aimed at capturing the school girl market.
| DC Comics "Super Hero Girls" take no prisoners as they |
infiltrate the school girl market.
Stop, Apple. Please.
Only the future will tell how much brand saturation consumers and audiences can stand. Although I love my Mac, I am tired of Mac this, Mac that, Mac the other thing. How many more OSX system updates do I need to stay compatible with Facebook or LinkedIn? Soon I will have no alternative but to update my entire hardware and software packages to stay in step with the industry. My iPhone 4S still works fine, thanks.
|The iPhone 4S is as sophisticated a phone as I need.|
Adobe, take note. Do I really need the latest Photoshop iteration? The one I have has served me well in painting digital storyboards and illustrations. To get the latest Storyboard Pro, Adobe Illustrator, Maya, Final Cut, Cinema 4d, Final Draft, Microsoft Word and Office, how much do I need to earn? A lot, I think. Which makes it more frustrating to make a living doing what I love.
Back to Basics
I’m a ravenous geek and fan-boy at heart. In a radical detour, I've lately developed a habit after morning school drop-off. I bust out my watercolor sets to practice the “master's medium” amidst the nature preserves in Westchester. I can study and paint the most beautiful trees in New York while learning this evasive medium. Despite all the frenetically-paced myriad branding in Show Business, Advertising, Publishing and Social Media, the simplicity of a brush, water, a rag and a block of watercolors is helping restore my sanity temporarily, and revitalizing my soul to withstand the next Apple update, Disney trend, or female Spider-person.
Friday, September 30, 2016
|My parents vintage Emud Radio Phono Console Model 932, |
made in 1962 from the German manufacturer.
With the passing of my father earlier this year, my family has been going through his possessions, many of which are loaded with sentimental value. One item in particular that I wish I could find a good home for is my parent's Vintage Emud Radio Stereo Model 932.
Known affectionately as "the black stereo" or "your father's stereo," the Emud has been a family fixture since before I was born. I did a little research on Emud while preparing it for it's eBay auction.
Manufactured in 1963, my parents bought the "Emud Model 932" in J.C. Penney where it was distributed from Delmonico International. Emud (Ernst Mästling Ulm) is a German brand renowned for manufacturing inexpensive radios. They established the company in 1911, began radio production 1923. They were one of the oldest radio manufacturers in Germany. After rebuilding the ruins of their factory after WW2, the company built and made almost everything under it's own roof. They began to export 25% of their business to other countries, and in later years put too much emphasis on their export to the US. The company closed in 1972, largely due to their unwillingness to partner with other manufacturers. (source: http://www.vintageradio.nl/menu/emud_engels.htm)
|Monarch Turntable or "Record Changer UA12" as it's called in the owner's manual.|
The turntable inside the cabinet is a Monarch Record Changer UA12 manufactured by Birmingham Sound, England, and I believe the only part that is not made in Germany. It still plays with beautiful sound.
If I had the room and lived in a house like normal people, I would most likely keep this gem for sentimental value. Typically I am not so sentimental, but some things are hard to part with, especially when they remind me of dear departed family.
|The Emud console has a life of it's own.|
The Short Wave feature worked at one time, although I don't know if it still operates. I used to picture scenarios of WW2 Allied intelligence on the other side, broadcasting code messages in different languages from all over the world. Identifying each language was a mind-bender for me. The world sounded bigger than any map could explain to a young kid whose world was GI Joe's and Baseball.
One of the first memories I have of this bright and shiny piece of standout furniture, is the white buttons on the console. Five or six buttons, I think, which made a strikingly loud "Cha-Ching!" each time I pressed them. I recall enough to know that before I could talk the sound and mechanics of pressing these buttons fascinated me. Pressing one at at time wasn't enough. I had to press two or three at once and see what would happen. Needless to say, I was admonished for breaking the function of these, and my father sternly reminded me as I grew older that I need to not "play with the buttons, you will break them again. To fix them is expensive."
|Mom with my Dad in the early days.|
That's the first time I heard Sgt. Pepper, Magical Mystery Tour, the Yellow Submarine soundtrack, and boy was I mystified. I could relate to the Mystery Tour with gems like "Hello Goodbye" and "Penny Lane," but "Within You Without You" and the "Sgt. Pepper" intro were not what I expected from my favorite Liverpudlians.
|Tosca to Sgt. Pepper: My first listen was on the Emud|
Perhaps the most personal memory for me was sitting in front of the stereo with my dad, lights turned low, listening to broadcasts from the Metropolitan Opera and the Italian Soccer games from Europe. The hush that came over me was one that speaks of the intimacy a father and son may experience when fishing on lake together for the first time. The Master explains, while the student, with empty cup, listens. That's what it was like for me, as my dad would translate the legendary Puccini opera's and lyrics into English. My knowledge of opera, minimal as it is, stems from those sessions. In addition, listening to the Italian soccer scores taught me to count from 1 to 10 in Italian.
The canvas covered speakers still emit a deep, rich sound.
Friday, September 16, 2016
You’ve got the experience, you’ve got the skills, you’ve got the interview. Now get the Job.
If you are fortunate enough to get an interview, that means something in your resume and experience leapt out at the HR representative. If you know what that star item is, you’re off to a good start. Be it a full time position, freelance role, or contract assignment, the interview is your opportunity to follow that momentum and see how you might add instant value to the organization.
Do your homework
Before you approach a prospective employer, do your research. Know the company’s history and strengths. Read about the founders, the CEO, leadership structure, etc. Study their products and evaluate their market impact. Is their stock suffering over the last year or two? Are they the leader in what they do? How do you think this company would benefit from your skill and experience? In addition, what technology are they utilizing to get results? What partnerships have they formed and what new markets are they breaking into?
Doing your homework will give you plenty of talking points in your interview. You will also be well equipped and less nervous for your shot at the title. You will form a concise reason as to WHY you want to work for them. If they ask “Where do you want to be in five years?” “In ten years?” and “What is your ideal job?,” you better have good answers. Your research will enrich your responses and paint you as an interesting candidate. By doing your homework on the most relevant points, you will make a good impression.
Ask the Right Questions
Based on your homework results, you are prepared to ask good questions. What does the company hope to achieve by hiring you? What do they think your biggest challenge will be as a newbie? Is the team eager to have the position filled? What kind of reception would you get if you started work tomorrow?
I once got hired in a key leadership position, but was dismayed to learn upon my first day that the team was skeptical of change. They felt a new team leader would amount to nothing in contrast with the long autocratic history that governed their daily tasks. Gaining their trust was an uphill struggle. If I had known of this atmosphere before I accepted the offer, I might have prepared some strategies to galvanize the team and replace unproductive pipelines,
Asking the right questions will not only give you the information you need to assess your effectiveness, but will clarify to your employer that you are a forward-thinking, clear-headed mature candidate. Skip “Where’s the coffee machine?” in favor of “Would it be possible to meet some of the team?” or “Who would I report to”?”
Another area to define is your employer’s expectations. Do they expect you to bully your way into your new role, or do they prefer you forge alliances with key colleagues? Are they prepared to publicly back you up and give you the support needed to make their directives a reality? How you are woven into the group can make a big difference between a great first year and a terrible one.
There may be an opportunity to mention the latest tech you’ve read about in the trades. What kind of version control software are they using to manage assets? Is their compliance software off-the-shelf or proprietary? You might inquire if they’ve considered using “xyz” technique to improve accuracy. When your prospective employer scores your interview, they will account for the relevance of your questions.
Know Thy Value
How much are you worth?
Your worth comes down to two things: How much value you can bring to the company to make their business a more prosperous entity, and how much you deserve to get paid. Your interview will probably breach the daunting topic of salary. “What kind of salary are you looking for?” they may ask. This one is a doozie. If you respond with a number that is much too high, you stand to look foolish if you still want the gig and are willing to accept a much lower offer. Go too low, and you look as if you undervalue your contribution.
When asked any salary question, have an answer ready. Unless you are damn sure what they industry standard salary is for this position, you may want to redirect the inquiry with something like “I’m flexible within the going industry rate, but it depends on the big picture. Salary is important to me, but so are opportunity and a feeling of accomplishment.”
If possible, be first to ask them what their budget is to see if they are even considering a reasonable number. If their figure is far too low, but you sense they like you, you might be able to itemize each of the proposed job responsibilities and get them to reflect on the veracity of their pay scale. You could be the one candidate who proves they need a higher salary range to attract top talent.
Thank You and Follow Up
Don’t forget this important step. If you think this position is everything you want, say so. Let them know that you are most definitely interested in joining the team. Mention your availability date and that they can contact you anytime if they require further info for making a decision.
As soon as possible send an email that says how much you appreciated the interview and would love to discuss the position further. Chances are you met with at least three employees in addition to the HR rep. If you were able to get their contact info from their business cards, drop them a short line of thanks as well. Now that you have garnered enough background on the position, it doesn’t hurt to add a short sentence or two as a reminder of what value you bring to their team.
You’ve learned a bit about the employer. You’ve clarified the details. You may have a good idea where you will fit in, who you will work with, and the project being considered. Now it’s time to go outside the conventional interview process.
When I interviewed for an Art Director position at EA Sports, I knew that EA wanted to merge cinematic storytelling with their blockbuster sports games like Madden NFL and NCAA Football. They had met me previously and were attracted to the drama and camera angles in my storyboard portfolio.
When I walked into my interview, I sat in a conference room of twelve staffers. Questions went all around, some great, some canned. I had my own share of questions, especially since I was unfamiliar with the mysterious technical processes of video games. Most of the staff seemed unreadable. After getting a complete studio tour from the senior Art Director, I walked away with uncertainty. For an interview that lasted over three hours, I couldn’t tell if they were or weren’t interested.
How could I add value to this extremely mysterious group of individuals? How would I get a second chance to talk to them?
In the next few days, I replayed the interview in my head. They had spent a lot of time showing me their current NASCAR racing game. I was sure they needed some art leadership in that area.
I needed a NASCAR related follow-up idea that would leave an impact – what I now refer to as my IMPACT MARK. I had recently spent an afternoon drawing at the Richard Petty Racetrack, designing drawings that felt like an actual NASCAR race in progress.
I had been amused when I noticed the Richard Petty track sold huge, worn out NASCAR tires as souvenirs for 5 bucks apiece! I can’t emphasize how big these tires were. I’m not sure if they sold any, as they had stacks of them outside. Any tourist would need a small fortune to ship one home, but I could buy one, throw it in my trunk, and use it my promotion scheme.
Using my PETTY drawings to build a portfolio, I placed the book inside a small tool kit, which I suspended inside the tire using bungee cords, bolts, and a black mesh netting to seal the tire on one side. On the front of the case I emblazoned the message “Put Me in the Drivers Seat to Complete Your Winning Team.”
To be honest, I wasn’t sure if my package would be a welcomed delivery. What if the Senior AD was irritated that an enormous rubber, metal, plastic and paper monstrosity appeared on his desk? What if he hated the smell of rubber and despised the cumbersome weight of my showpiece? I hesitated for a minute, but with the encouragement of my wife and some friends, I realized that the idea was too exciting to pass up.
I hired a messenger to hand-deliver it to the Senior Art Director’s desk that Monday morning. Within a few hours I got a phone call with an amused voice on the other end. “You sure know how to make an impression,” said the Senior Art Director. “We’d like to have you in for another interview.” My Impact Mark worked!
Two more interviews later I was hired, and soon the Tire Portfolio story was spread around EA like a folk tale. Many people heard rumors that “Someone got hired because they sent a “Big Tire” to the Senior Art Director.
I smiled inside because I knew that it wasn’t just any tire – it was my IMPACT MARK.
What Impact Mark would make a lasting impression on your next prospective employer?
Expect to Hear from Them
There is nothing like a sense of certainty to carry with you throughout the days following your interview. You are confident that your preparations - research, questions, value, and impact mark - will get you an offer in the near future, or at the least, prepare for that eventuality.
When you get the call and the job offer, be prepared with an answer. Have the answer rehearsed so it covers both a good offer and a bad offer. Is the offer final? Are they open to negotiations? Maybe you ask for a signing bonus or extra stock options to sweeten the deal, or maybe an earlier performance review. They might ask for something in return, maybe by starting earlier than originally discussed or by working a few weekends on the house. Remember they are making an investment in you, perhaps as much as you are investing your future in them.
CompletionTo sum it up, consider your top choice, do your research, ask better questions, clarify your contribution, establish your worth, say thank you, and leave your Impact Mark on the experience. Will you get an offer? I can’t promise. But each of these steps will rocket you closer to the role of a lifetime!
Tuesday, August 9, 2016
In this demo, I illustrate something a bit different from the normal advertising assignments. I created a scene from E.R. Burrough's book "Tarzan and the Lost Empire.' I discuss some techniques I use in Photoshop, but mostly talk about the craft of making pictures that tell a story. Inventing visuals that aren't described in the source material is what makes story illustration so appealing. They complement and enhance the narrative in a wondrous way.