This is a sketch of the oldest photograph of my family, which I feel lucky to have. The youngest person in there is my great-grandmother, the woman in the white collar seated in the middle of the front row. The photo was taken right before she left Russia for America. Her mother is seated to the right, and her grandmother to the right of her. I don’t know a thing about the rest of the people in the photo, so I’d like to think they would enjoy my irreverent posing.
“The balloon, beginning at a point on Fourteenth Street, the exact location of which I cannot reveal, expanded northward all one night, while people were sleeping, until it reached the Park.”
-Donald Barthelme, “The Balloon”from Sixty StoriesNew York: G. P. Putnam’s Sons, 1981.
Herman Melville’s classic tale of office drudgery. Read the entire story here.
These are cover designs/illustrations for The Yellow Wallpaper by Charlotte Perkins Gilman, one of my favorite short stories. There are a few places to read it online. I like this one.
Oftentimes I wish I could stop at a thumbnail or a rough draft because it captures the feeling of my subject so immediately and succinctly. The most difficult thing for me in producing final work is to not have it appear too labored or stylized. Lately I’ve been trying to draw my final work with a looser hand and illustrating The Yellow Wallpaper forced me to do that— it’s such a raw, disturbing story and I didn’t want to mute any of its emotional power.
I love designing business cards for the challenge of expressing an entire identity inside a 2×3.5″ space. My favorite people to design business cards for are fellow artists, and I happen to have lots of them in my family.
My father’s card was the more complicated of the two. For the front, I took a photograph of the heart signature that he stamps on the bottom of all his pottery, and based the logo and other elements on that. For the back of the card, I photographed a few of his pieces and chose this green vase because it fit the proportions of the card well, and it had a nice warm glow that I was looking for. In fact, I barely had to adjust the original photo. I added a bit of soft reddish-brown to the edges of each side to make the photo and logo stand out more.
My mother’s card was easier to produce. For the front, I used the same fonts from her website. Taking advantage of Moo’s Printfinity feature, I sampled ten different details from her collages for the back of the card. I like to do this for my own cards because it’s like carrying a mini portfolio around. Also, I can see which images people respond to the most.