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    My working process for most assignments is first to read and respond to the supplied story, article, or job brief with small pencil roughs- somet… Read More
    My working process for most assignments is first to read and respond to the supplied story, article, or job brief with small pencil roughs- sometimes just one or two, if the job is very straightforward, or the client has requested a specific composition. But more often, and especially for the more conceptual assignments, I will do four, six, even ten roughs from which the art director will choose. Next might be one more pencil roughs with requested alterations. When this is approved, I may need to take photos of models and search out other reference before moving on to the ‘tight pencil’ or ‘working drawing.’ This is done on vellum, on which I work out all the kinks in my composition and refine the drawing, until it is all there, at least in outline form, exactly as it will appear in the finished illustration. I tape this down over a sheet of black scratchboard, with carbon paper between, and carefully go over every line of my working drawing with a pencil, pressing firmly to transfer the image to the scratchboard below. Then I have a black-on-black guideline for the engraving I will do, and can begin the rendering of my black and white original. Especially for complex pieces, it is slow, meticulous work. If this is to be a color piece, after I have completed the black and white original, I make a good quality reproduction, same size, on card stock that I can then watercolor on. This now becomes my original – or rather, I end up with a black and white original and a color original, which often comes in handy when the piece has several uses. Read Less

I have designed and draw the covers for all five of Gregory Maguire’s best-selling novels, beginning with Wicked. In this third novel, Lost, Maguire adapts Dickens’ ‘Scrooge’ story in the service of unsettling tale of tormented spirits and loss. I had free reign to respond visually to the author’s writing, but as always with his books, I had to design for the ‘keyhole’ jacket format. This is very challenging, as I have to choose a central element that will be showcased within the "keyhole" it has to be above the middle line, and portray something important to the story, without revealing too much. For a ‘surprise’ effect open the jacket and uncover the whole image. The larger, more important storytelling image thus has to be composed with the ‘keyhole’ element always in the same place. You’ll see in all the panel roughs here that the head of the main figure is always in the same centered spot. And the scene revealed is different from anything one could have expected from the jacket art, which is a variation on the Dickens scene in which Scrooge sees a ghostly head over his doorknocker.
To view more, view my online portfolio.