This image popped into my mind seemingly out of nowhere but does reflect something of present day concerns with those who live a sedentary life - beware illustrators, this could be you!
I wanted to do this one fast so instead of cleaning everything up after scanning I just worked directly on top of the rough and kept in all the bits of tracing paper, tape and perspective lines. I liked the idea of sepia toning so as to give it a feel of someone in the future looking back to see what life was like today.
I was asked by Georgetown University to produce a banner illustration to show a diversity of people, ethnicities, genders and ages. While waiting for the brief I had started to do some pen drawings of heads and envisaging a way the banner might work. The yellow version here is an option but as it turns out the requirements called for a high level of realism - more of a photo/collage look.
These rough line scamps were intended to show the layout. Larger heads in front, receding in size with rows of people behind.
These were three alternatives of which the all-blue version was the preferred option.
I love to create 'versions'. I got what I wanted with no. 4 here but have continued to look at ways of making other versions.
It's one of the oft-overlooked benefits of the digital age - the relative ease in which 'versions' of pieces can be created and stored. It used to be that traditional materials dictated that the artist 'nailed their colours to the mast' when creating a new piece but with the tools of today that no longer need be the case. Versions can be tried and tested, colour options run through and even different rendering methods are all available to the illustrator to experiment with. The danger of course is getting lost in the myriad of possibilities. To that end personal work is essential from a creative point of view so the results of successful experiments can later be incorporated into professional jobs. In that way the artist can continue to develop and evolve in a commercial marketplace.
This was a spread piece for the Spring edition of William & Mary alumnus magazine. Essentially it was intended to represent the college and it's research infrastructure.
I wanted to steer away from a literal rendition of the building so instead opted for a kind of interconnected structure of symbols and architectural elements specific to the college.