Wednesday, June 22, 2016

Tree Island with Unicorn and Pop-Cup

I just did a new board collab with Uprise, my old shop in Chicago. Stoked to work with those guys on this. They even let me mess with their logo on the back. You can order one at their site, then go learn slappies on the curb outside your house.

Saturday, May 28, 2016

A Walk in Eden

I'll post more about this when the book is released next Fall, but I spent the last several months working on a coloring book titled A Walk in Eden, finally turning in the final files last week. It was originally commissioned by Ginkgo Press in Beijing and will be released in North America by Drawn & Quarterly. It loosely follows some of the other Garden of Eden drawings I've done in the last few years and shares a (secret sub)title with that of another large drawing I did in 2012... so yes, there is a very loose narrative to it. Most of the actual drawings comprise ten-to-fifteen page continuous panoramas. A gatefold in the middle showcases a few of these, but the rest of the book is, of course, necessarily made up of two-page spreads. A few of the original landscape drawings, in all their white-ink/cut-and-paste-y glory, are on view now as part of a special two-person show called Side Projects at Lula in Chicago through late Summer. I may try and make an accordion-book version of the best of these in the Fall if I can manage it. But for now, here are some snippets I captured for instagram (mostly) while I was working:

Friday, May 6, 2016

Some Golden Books and the Rainbow Book of Nature

Came across some really lovely illustration last month in various travels. I think I'm old enough that classic Golden Books still felt like normal, semi-current kids books when I was a child. Last month I came upon a friend's forgotten collection and found that they feel, now, like they are from a different age. Which is funny because you can see clearly that some of them probably felt very advanced when they were made – there are clear modernist touches in some of these with the emphasis on flat shapes and idiosyncratic self-conscious stylization. Others are more traditional and classic, of course. The bears and the rabbit(s) are early Richard Scarry, from when he was still lingering longer over his drawings.

Can't get enough of Little Red Riding Hood's amazing competing check patterns, here.

I also really love the style mash-up of the back cover template illustration. I remember lingering over it as a kid. There's something extremely compelling about usually separate fantasy worlds colliding. It feels faintly subversive in some way, like that the boundaries of reality are permeable. If Bugs Bunny and Mickey Mouse can escape their worlds into a shared universe, maybe you can, too... or maybe they'll end up in yours. It's pleasingly meta. Note the individual copyright information with its complicated footnoting, labelling each character in an attempt to shore up those boundaries and wall off that sense of possibility. And imagine the legal battles that would prevent anything like this image from being mass-produced today.
and here's a similar idea, but with non-copyrighted fantasy worlds. This was a book I found in a Portland antique shop. Three little pigs, meet Davy Crockett. Where the hell are they all going?
Lastly, here are a few illustrations by Rudolph Freund for the Rainbow Book of Nature, from the 70s, which I found forgotten on a shelf in an unused room in a different house. I love this sort of thing, too. The artist is doing a semi-scientific observational naturalism, but he's also interested in making beautiful drawings. Old bird guides are like this as well, it's a holdover from when art and science were still not fully separate disciplines. A book like this now would likely be full of photographs, which can be done well, but where one often loses clarity in a misguided emphasis on the apparent objectivity of photography.

Wednesday, April 20, 2016

Comic Tragics Show

Just got a clutch of photos from the Comic Tragics show at the Art Gallery of Western Australia in Perth. From the looks of it they did an amazing job framing and matting everything I sent. Just one drawing alone is seven feet wide and almost five feet tall. It looks like an amazing show. The big drawing is Adam and Eve Sneaking Back into the Garden to Steal More Apples. Also shown here are a large rootball drawing, the originals from Me and the Universe, original art for  posters I did for both Autoptic and the second Brooklyn Comics and Graphics Festival, a bunch of pages from Dogs and Water, The End, Big Questions and Don't Go Where I Can't Follow, sketchbooks with some early versions of pieces from The End, a one-of-a-kind accordion book, Captain America Resting and a drawing of a car engine. Huge thanks to Robert Cook and to everyone who mounted the show.

Monday, April 18, 2016

Comic Tragics/Emma Talbot

I have a bunch of work in a show called Comic Tragics at the Art Gallery of Western Australia at the moment. The Guardian just did a nice little piece about it, showing a few pages by Ron Rege (who also did an amazing wall-drawing for the show), Gabrielle Bell, Dash Shaw and others, including one Emma Talbot, who I had not heard of before the invitation to the show. There are a number of reasons why I wish I could have made it out to see the show – not least because I've just never been to Australia – but I'm sorry not to be seeing Talbot's work in person. It looks pretty much unlike anything else – super strange and beautiful, sweet and creepy... and heartbreaking. She does really nice things with panels, something I've been thinking about a fair amount lately, and with facelessness, which is also a thing I can relate to, especially in dealing with similar themes. Surprised I hadn't come across her work before, maybe because she's in the gallery world, rather than the book world. Hopefully that will change.

Wednesday, April 6, 2016

Semi-Annual Post On Book Design

I'm working on a cover right now for a collection of short stories for children and young adults that the University of Minnesota Press is doing (in conjunction with the Mid-continental Oceanographic Institute/MOI). For that reason I just went back to look at some of the stuff I've come across over the last few months for inspiration – when I'm out in the world I generally try and keep my eyes open for interesting book covers. The images below come variously from the Miami Book Festival, a flea market in Paris, an antique market in Portland and a hotel in Astoria, Oregon... and elsewhere. Along with covers I'm also especially interested in ways designers play with a book's spine,. In my opinion it's an under-appreciated aspect of the package. If only contemporary books for adults were as playful and visually interesting as the old-school YA spines shown toward the bottom of this post.

I love the silhouette images that make up the framing on these Doctor Dolittle books. These were especially fun to find because I am trying to do something vaguely similar with panelling in some comics I'm working on at the moment.
The next two images are of a nice use of a die-cut. From a magazine, not a book, but whatever.
And spines:

(My apologies to the various illustrators and designers who's names I am generally too lazy to track down/look up. Commenters please pipe up if you know)