As an artist who wields the pen to produce both words and visual art, I seek to be conscious of the relationship between elements. I am fascinated with the connection that develops between two colors that sit adjacent to each other, or similar hues that are placed apart; the combination of different languages of lineal style, whether by differing curvature or thickness; and, perhaps most of all, in the movement of the eye, how combination of line and shape blurs—or, perhaps even heightens—the difference between what they do.
This relationship is remarkable in how it alters the understanding of its fundamental components. Two colors in connection creates what one shade alone cannot perform: a yellow can describe a warm light when backed up by the blue of half an hour after sunset, which also, in return, wouldn’t be the emerging night that it is without the yellow. I have found that such relationships are what evoke the intimate, and the personal—memories, emotions, and all that lies in between.
I enjoy working with different media, including ink, charcoal, watercolor, and digital. This idea of connection encompasses everything from producing animations—where each frame informs the one that follows—to experimenting with a few simple lines so that they own a certain space behind it, without overwhelming its own body. Such connections between different elements, which often become tangled and complicated, seem to imitate interactions between living beings. This is perhaps why my subject matter are often animals (including humans) and the places in which they reside. I see human gestures in animals and instinctive moments in people, and am interested in how depicting one with the characteristics of the other, internal or external, can yield new understandings.
Drawing and I are inseparable; I love creating imagery. I am yet to settle with a "specialty," but enjoy everything from quick sketches to printmaking and oil painting.
Why do people look different, odd, sometimes downright strange in photographs? That doesn't look like you. We think we see things the way they look, but when you really think of it... so much of our understanding of people is dependent on the way they move. You know it's Max even if you're too far away to see his face, because the way he walks. Emily's smile is what it is because of the way it appears. Each "image" we see is informed by the image right before it - that is how we understand people. And things. Everything. Okay, maybe not everything, but almost.
Animation is amazing in the way that it's one of two art forms capable of imitating the movement aspect of reality. The other is film, of course... but it is certainly easier to be conscious of every controllable aspect of animation than filming videos, because it's so easy to give the camera a mind of its own. Compared to hand-drawn animation, that is, where you have to draw each drawing. Each static drawing. The magic happens - here comes my favorite part - when you put them together, one after another, and find the right timing. There is a definite moment of click when the space each image is taking up in the timeline becomes just right, and the animated series of images becomes something more than its sum. It takes a life of its own. That time-consuming manual labor (because there's no denying it is exactly that) of finding that timing is one of my great passions.
Below are images of the results of that passion - my personal projects. If you are a potential employer and would like to see them, please contact me via email.
My "web design" sample is this website itself, but I also enjoy working on event posters, print material pages and the likes - anything where the colors, shapes, illustrations, text, and fonts, have to collaborate for a design that is visually pleasing and informative at the same time. What makes a design attractive to the eye, and how to make sure that the right things stand out at the same time? It all comes down to communication, and living at a time where information has never been more abundant, this is the question.
I enjoy doing book covers, magazine covers, magazine pages, book pages, event pages, anything. I like the experimentation, the potential of a really good design, and the slippery slope of a quarter of an inch making all the difference. Finding the color scheme and the right fonts is usually where I start, and then I tweak until it starts to make sense without the viewer trying too hard.