5/3/2016
I'm just going to come out and admit it - being a Creative isn't enjoyable 100% of the time. I recently completed a project that left a bad taste in my mouth. At the same time, I was working on a different project with another client, which was thoroughly enjoyable. I'll focus on the fun project in this post.
(I might write about what makes or breaks a Client / Creative relationship in a future post.)
A few friends and I got together to create a book cover for author Rosana DuMas's witty new novel, Unnatural Selection. My part of the collaboration was to provide the artwork.
Unnatural Selection by Rosana DuMas - final artwork
Five aspects of the project that made it so fun:
(One.) I admired the subject and style of the writing in the book, so I was honored when the author asked me to help with the cover art.
Rosana DuMas and I share a fondness for botanical illustrations. I introduced her to the work of Walton Ford, who makes contemporary versions with a twist. Here is an example of his work that Rosana wanted to emulate.
A photograph of a page from Pancha Tantra,
a book of artwork by Walton Ford.
She described what she wanted on the cover - a chimpanzee walking with a golf club. I had attended a reading of one of the chapters from the book and knew of some other elements to add to the picture. Here was my first proposal sketch.
First proposal sketch for book cover.
She loved it, and work progressed from there.
A later book cover proposal
Later, she sent me a copy of her manuscript-in-progress. I relished every chapter. Some artists may prefer not to know about the work of others with whom they are collaborating, because with this knowledge comes a responsibility to adapt our work to fit with the artistic vision of others. I personally love knowing what others are bringing to the collaboration, because then I can better see the mutual goal and contribute even more. By being granted access to the manuscript, I came to understand the meaning of the elements of the design I was being asked to illustrate, and I was able to offer even more.
(Two.) I collaborated with talented Creatives.
A mutual friend, Kirin Daugharty, designed a City Seal for the fictional metropolis in the novel. This multitalented woman worked with the author to make an official logo. We ended up using it on the cover.
The Great Seal Of The City Of Narcissa
A different friend, Sandy Masuo, created linocut icons for the chapters of the book, as well as a printer's mark which was used on the cover.
Mollusc Media printer logo
I proposed that another mutual friend, Mark Harvey, design the layout for the cover, since he was more skilled and experienced at design than I. I provided the elements of the artwork: the chimp, the City Seal, some foliage, a background.
A Mexican fan palm for the cover, by Michelle Leveille
A skyline for the cover, by Michelle Leveille
Background for the cover, by Michelle Leveille
Mark took the graphic elements and created an astounding cover.
Unnatural Selection cover draft 5
I took his layout and developed it further, adding more design elements such as the morning glory vine covering the statue.
We sent our work back and forth to each other.
Grotesque and vines by UPC box
Together we made sure that his layout and my graphics complemented each other.
Grotesque and vines final art detail by Michelle Leveille
(Three.) Many believe that in times of stress, people's true natures are revealed. Oftentimes when a project deadline looms, collaborators may lash out at one another as they feel the weight of their responsibility. This project was fun because everyone involved went the extra mile with a great attitude, going out of their way to help one another.
"...It is looking fanTASTic! I like the way the vines sort of make the ISBN box part of the composition...."
Little email snippets like that really had a positive impact on my mood while working on the project.
(Four) The author gave her collaborators plenty of time to complete the project with her.
I mean like years. And she didn't change what she wanted along the way - there was no scope creep. Her advance planning allowed everyone the time to develop their best work.
An earlier draft of the chimpanzee, by Michelle Leveille
(Five) Some amount of research and puzzle-solving was involved.
Besides reading Rosana's fictional novel, I looked in to real-life examples of what I was illustrating. For example, chimpanzees walking upright. I learned that bonobos stand erect often, but chimpanzees do not.
Photo copyright JGI Fernando Turmo
There was one notable exception: a captive chimp named Oliver.
Oliver, a chimpanzee who preferred to walk upright.
I drew the chimpanzee based on photos of upright chimps, but I struggled to get the right expression on its face.
After trial and error, my scribbles seemed to have the desired placement. Sometimes my illustrations don't work on the first attempt and I only arrive at their conclusion through a series of corrections. It's not the most efficient way to work. But it's fun if I learn from it and enjoy the process.
Final chimp face by Michelle Leveille
This book cover may not be classified as an educational illustration, but the process of creating it exemplifies why I enjoy drawing informational graphics. The research, the collaboration, the learning, and putting the pieces together, all while honing my creative technique, are all part of the fun process. It is rewarding to think that the viewer will get something out of it as well.
Update: This murder mystery is now available here, on Amazon.com!
