Circling back in a somewhat skewed arc to familial German Jewish roots, a 30 foot high Christmas mural was the climax to a big project last year for Breuninger. I was interested to discover this picture on line the other day (had only seen mock-ups till now).
Last month I was a visiting artist at the Kansas City Art Institute, where I spent a supremely enjoyable couple of days speaking, showing work, reviewing student projects, and exploring a very pleasant city I had never been to before. Everyone was so kind I wished I could stay. Also making me sad to have to leave so soon were Asner's Metals (run by the lookalike family of Ed Asner, who played Lou Grant on the Mary Tyler Moore show: amazing array of useful scraps), fabulous flea marketing, a series of great conversations with Steve Mayse and all the KCAI faculty, delicious meals and microbrews, and the high level of student engagement and work.
I was so pleased to learn that this project was selected by the jury of this year's Society of Illustrators annual publication and show.
This series of pen and ink drawings was done for For German Luxury department store Breuninger's 2017 Christmas campaign. It was such a delight to work with this wonderful client and their creative team.
The images we developed together will be used for posters, point of purchase displays, shopping bags, imagery within window displays catalogues and other printed promotions, "standees," mobiles and murals, in(and on) stores across Germany.
Drawn patterns for meat-wrapping paper and cheese- or sandwich-wrapping paper commissioned by Meraki, a high-end market opening soon in San Francisco's tenderloin district
Osaka apparel designer Masako Shinya produced the clothes pictured below, along with T shirts and sweaters and sleeveless silk tops, decorated with PB images. The umbrella and the boots were my favorites, and there's also a really nice scarf.
The story was about discussing the candidates at a dinner parties, how unavoidable it is, and the things people say. Now I can hardly bear to look at this, when I think how certain it seemed that Hillary would win.
Thank you to the judges of the 3x3 Illustration Annual who selected this piece for Honorable Mention. Thanks also to my art director on this project, Ken Shafer.
Thank you to to art director Ronn Campisi. and to the judges of the 3x3 Illustration Annual who selected this piece about adolescent brain function for inclusion in this year's annual.
For "Avoision" (taxes and the wealthy, hybrid of evasion and avoidance) in Inc Magazine.
Steven's "Carrie and Lowell" will be the lead album reviewed in the upcoming issue of Mojo Magazine. The album's themes of loss, longing, childhood and the search for "something to extoll" were easy for me to connect with, but I felt so much respect for the material, listening to it as I worked, that I hesitated about how to represent this artist. I ended up following a helpful suggestion made at the beginning of the project by the reviews editor, Jenny, that he could be shown as a sort of Saint Francis character. As she said, "Sufjan does like a bit of avian imagery." And because Mark, my art director, had requested a background, I appropriated part of a sky from a painting by another quirky mystical type prone to avian imagery, Hieronymus Bosch.
This was for Smithsonian. John Wilkes Booth did not act alone. In fact, the question about the Lincoln assassination was the same one every political thriller seemed to contain (before Hollywood decided it would be good to replace lean, fun genre films and B movies with lumbering, CGI-heavy wannabe blockbusters): "How high and how deep does this thing go?!" Top Confederate military brass were not accused -- despite some conspiracy-theorizing suspicion -- but the people pictured here were, and most of them hung.
I did this for a Smithsonian special newsstand-only "bookazine" publication. Thanks, amazing art director Erik Washam!
BTW, that's Booth's "real" gun in the center -- because with a historically-oriented client like The Smithsonian, one wants things as realistic as possible. And those are the actually the footprints those sloppy, sloppy, bad conspirators left behind as they positioned themselves for my photo.
My nurturing and beloved third grade teacher, Jan Holczer, recently mailed me this drawing I gave her more than 40 years ago. She remembers me telling her "The color is a concession to you." I do still love black and white so much that color often seems just unnecessary and distracting -- though in this case the texture/tint in the background is probably the best part. I also notice I'm already as an 8 year old organizing compositions into a single silhouetted figure within which is texture, a formula both my assemblages and pen and ink drawings generally still adhere to. "Give me the child at seven and I'll give you the man," is that how the saying goes?
This Art Rogers photo, also taken in 1974, was reprinted a couple of months ago in The Point Reyes Light. My first life-drawing class looks to have been a nice mellow one (That's Marin county for ya).