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A MILLION EARS OF HOUSE CORN
posted: January 18, 2007
This was a fun job. It's for Mortgage Banking Magazine. The subject matter was a perfect fit and what makes it particularly cool, is the fact that Donnie Kills will be in the same issue. Im sure he'll be posting his piece soon—it was due yesterday!!;p As I was working on the sketches, I began to get into the character and developed a nostalgic, whole-grain type of guy. My previous post shows two sketches I did while toying with this character. The art director seemed to like all the sketches, picked the third one shown here, but asked if I could make it feel more modern. I shot my self with a baseball cap and removed the suspenders.
I enjoyed the subject matter a lot and am moved to paint this compositions for myself. This farmer is actually riding his tractor, but most of it is buried in the corn. He's holding on to a steering wheel, which I'm hoping will indicate that there's a tractor below. The wheel is visable as well. ...
With AD's edits...
8 comments
Zina Saunders January 18, 2007
Beautiful, Peter. The painting (and sketches) have so much weight and mass, you convey volume amazingly well. And atmosphere. I feel like I'm looking out the window of my corn house right there in that field. Magical.
rag January 18, 2007
Tres nice composition.
Nancy Stahl January 18, 2007
Really nice, Peter..!
Peter Cusack January 19, 2007
Thanks Rag Nancy and Zina. Zina your very funny. I bet you'd like to live in a little corn house. "Hey you on the tractor! Can I ask you a few questions!"
Leo Espinosa January 19, 2007
The final looks great, Pedro, but the first sketch, because it has more sky and gorgeous clouds makes for a more appealing composition (that's my take). I totally see the guy driving the tractor. I'm really into clouds since watching a documentary on Maynard Dixon while I was in Utah.
Tim O'Brien January 19, 2007
Nice piece and sketches. I like the top composition too. Having the farmer off to the left, leaves the focus on the corn more and the eye moves around. The AD's need to see tractor (don't they all?) is not all that crazy.
Peter Cusack January 19, 2007
I know what you mean about the fist sketch. That was actually the last sketch I had done and was most excited to work on that one. I had begun to get into the farmer character, pushed the narative elements a bit more, and overall, felt that that composition was more of a surprise. I added some telephone wires, a little straw in his cap, pumped up the sky and clouds, yada yada yada . . . I was sure the AD would select it. I'm not too aware of Dixon but I will go look him up. UTAH . . . big sky. You know when I went out to CA for the first time I was blown away by the size of the sky. There is something different about it out west. What was the documentary?? Muchas Gracias Pedro (did i kill that spelling? lol)
Peter Cusack January 19, 2007
Tim Yeah, more tractor, more obvious, seems to be the thing. But I love it when a narrative element is just implied. Something about that can be very powerful, or interesting. Kind of like a good stage set, where the drama takes place in and out of the light, off stage or in the shadows. Thanks for comments, helps me see the whole process better.
cusack.buglogic.com