Hey, try to look past the poorly lit photos and dig what I’m working on right now for my new book. On the top you’ll see some pencils for the intro page on which I present myself as a slightly disturbing character under a sheet with no apparent clothing or arms. Next, a pile of the thumbnails from my sketchbook that I did up rapidly in ballpoint pen and photocopied onto sheets so that I could see them all at once. Last, a shot of the never ending Action Steps list. Yes, if that sounds familiar then you too may be a devotee of the latest, greatest, organizational productivity system, AMO. It’s been working so well for me for the last few weeks that I’ve even started a small cult about it that meets monthly to review checklists. Yes. You hit your 30s with some kids and a mortgage and you’ll start devoting social time to production efficiency too. You’ll see.
Anyway here is one more shot of some inked pages and parts of pages:
It looks like my new book coming out next year will be called Why Is Sasquatch Crying? after all. It was pretty much the first idea that Jay, my editor at Chronicle (and longtime Meathaus compadre) pulled from one of the interior pages and we’ve been running with it all the while while tossing around alternates. But it’s settled. I like it! Here are some more peeks at the inks rolling off my production line…
Here’s a peek at the cover of the newly translated and updated design of the French language rock and roll comic book anthology, Rock Strips. On the left, Rock Strips, on the right, Tunes, the English language version from Universe. Spot the differences! Much more on this soon when I post it all as a proper portfolio item. Below is a more radical redesign that I proposed as an alternate approach during the process:
I think hair is hilarious. The new book that I am writing and drawing will be published in fall 2011 and it contains hair. Another tip: it is a book that you draw in!
Here are a few shots of the Rizzoli book, The Making of Fantastic Mr. Fox which I did production work on. The company Pentagram designed the book and I was brought on to process through hundreds of images that needed to be cleaned up, digitally cut out, optimized and standardized. Silhouetting objects so that they were cleanly resting on pristine white backgrounds with subtle shadows was one of the jobs. There was also a lot of photo retouching and removal of obtrusive graphics and jpg artifacts, as well as cleaning up the presentation of production drawings and scripts. I was very excited to work on the book because I love the work of Roald Dahl and Wes Anderson, and obviously I love animation, cartoons and drawings. And books. And design.