This week, I posted three new pieces that I’ve been working on over the past couple of weeks.
My first piece is for R&B group, KING. Three beautiful ladies with beautiful harmonies asked me to create the single art for their upcoming single “Mister Chameleon.” The artwork blends my love for florals and pattern/textile design and the group’s request to keep it colorful (my forte), with the mysteriousness of the man in the song. Check out the 6 second preview of the song below and look at my previous post for the full artwork.
The second piece is for the Baltimore City Paper’s review of the classic Jean-Luc Godard film, Alphaville. This project was fun for a variety of reasons, the main reason being that it was for the City Paper, my former place of employment for nearly seven years. This is my first piece for them since leaving at the end of 2011.
The third piece is dear to me because it was completed for a Charles County, Maryland theater, Port Tobacco Players (local to me). This is my third (and favorite) poster that I have done for them to date. The poster that I designed and illustrated is for Godspell. Godspell is a musical based upon the gospel according to St. Matthew. If you look at images of St. Matthew as depicted by artists and sculptors of the past, he is usually seen holding the gospel with a big beard. Seeing as how beards have made a comeback and Godspell is known for its modern interpretations of the gospel, I thought it would be cool to have a hipster-like St. Matthew on the poster. The tattoos on his arms include lyrics from the musical, except for the tattoo on the far left which references the lyric “We plow the fields and scatter the good seed on the land…” from the song “All Good Gifts.”
About a month or so ago, I was approached by the fantastic R&B group, KING, with a request to create another single record cover for them. Last year, I created a cover for their single “In the Meantime,” a warm, beautiful ballad from their upcoming full-length LP. Their only request this time around was to make it colorful. With that in mind, I wanted to create this man of mystery who sort of blends into his surroundings. My love for floral patterns and the request to keep things colorful were the perfect blend for the final art that you see below. Look for the full single to be released on July 1st.
This piece is one that I have been working on after seeing a National Wildlife Federation Facebook post that referenced the crisis that is happening in Montana regarding the need for bison to roam more freely. From NWF’s page:
Right now as spring arrives, bison in Yellowstone National Park can be harassed, corralled and slaughtered when they wander out of park boundaries in search of food.
But a critical new plan would help bison by opening more than 400,000 acres of public lands outside of Yellowstone for the wild bison to roam freely—and after years of hard work, just one more approval is needed to provide bison more room to roam!
To find out more about how you can help, visit their page where you can take action here.
This piece was based off of a cover concept that I had for a book for ASCD that didn’t quite work for the particular title that I was given. Still, I loved the concept and decided to finalize the illustration. The spout represents the principal’s role in the school, particularly when it come to special education.
I’ve been playing around with the idea of a school principal and his/her role in the complicated field of special education. Here is one idea that I’ve been particularly drawn to. Here, the principal plays the role of the faucet which provides a water source (growth) to the students and school via the various connected hoses which could represent the sometimes complex nature of special education.
This is a title treatment and logo that I illustrated and designed for Port Tobacco Players’ production of Godspell. The first black design is the final approved design and the red design was a proposed alternate.
I wanted the final to represent the religious aspect of the musical without being obvious (cross, Jesus, bible, etc.). I chose to use colors typically seen in stained glass and a treatment to the ‘O’ that referenced ‘The Light.’