Texan Gothic / DSVC Dallas Awards

I'm honored that a batch of my self-promotional 'Texan Gothic' series and MFA thesis illustrations were awarded a bronze medal at last night's annual DSVC juried show!  (The thing itself is a solid bronze lightbulb that has to weigh nearly 5 pounds!)  This was my first time to attend a DSVC event, and I was immediately blown away by the caliber of work that was on display.  The Dallas Society of Visual Communication assembles some remarkable talent, and there had to be close to 500 people there!  

The exhibition and formal awards dinner was an impressive event with designers, creative directors, illustrators, educators, and other industry titans in attendance.  Fossil's Senior VP Tim Hale won the Golden Egg lifetime achievement award, with previous winners including Stan Richards of The Richards Group and illustrators Jack Unruh and Bart Forbes (both of which were guest lecturers for my graduate MFA class in March 2012).  All in all, a very classy event!

I'm honored to be involved and look forward to meeting more folks in years to come.  Thanks very much to the Dallas Society of Visual Communications, guest judges, and to the Hartford Art School low residency MFA in llustration program! 

I'm encouraged and excited to share the full series after graduation next month!

Holiday Show Poster & Illustrated Frame

In the spirit of supporting small businesses and local art this holiday season, Kettle Art is kicking off its 8th annual Holiday Presence show!  It's a great place to buy some affordable gifts from your favorite Dallas artists.

When I was asked to put together a show poster for the event, I wanted to experiment with designing a custom frame while also applying a softer, seasonal palette to my typically stark black linework.  I had a good time plotting which artistic media to embed in the frame itself, and how to create a quick read that the Kettle Art gallery provides a framework for local artists to play and exhibit.  Oh, and I also wanted to cleverly hide the #8 in the shape of a snowman.  See what I did there? wah wah.

Holiday Presence #8 opens at Kettle Art, Thursday, December 6th at 7pm, hope to see you there! Feel free to RSVP @ the Facebook Event Page

Sterling Archer - Custom Vinyl Munny

I recently finished this pair of custom 'Archer' mini Munny vinyl toys, based on the title character from the FX comedy.  One was a direct commission, and I figured why not make two options and have the second to keep, show, or sell down the line.  The 4.5" size is a lot of fun, but small enough to be a good challenge to paint and draw on.  Sculpting and painting the accessories is another challenge entirely!



I also made a 12"x12" painting for Vinyl Thoughts 3 in Dallas, which now accompanies the commissioned toy.

"Would you say that we'd be venturing into a zone... of danger?!"

Extinguishing The Museum Tower / Nasher Debacle

'Extinguishing The Nasher Debacle'

Digital, 2012, Semigloss. Mag 

https://www.facebook.com/semigloss.mag

Hot enough to kill the gardens, damage original artwork, and close whole exhibitions, Museum Tower casts its destructive glare onto the Nasher Sculpture Center.  Can Dallas save the day?

I'm excited to say that this piece will grace the pages of the inaugural issue of Semigloss. Magazine, addressing current issues in the Dallas art scene.  I'm also excited because while this illustration isn't exactly the first completed, this is the first public display from my new body of work.

I've started developing what I'm calling 'Pulp Editorials,' which is just my fancy way of saying I'm illustrating topical subjects in my dark and exaggerated comic style.  It's more in line with my natural mode of expression than what I had originally proposed for my graduate thesis, and it's allowing me to be more spontaneous and also more thoroughly entertain myself through the process.  Rather than digging into the deep dark personal hole for subject matter, I'm enjoying being more outwardly focused, scanning the news and current events for ideas worth exploiting.

This is also one of my first works using the new Wacom Cintiq 22HD drawing tablet that is helping to improve my ergonomics and push some new boundaries.  My wrist is much happier now, and I'm loving the process!

Tentaskull Shirt Design for Socialaundry

Check it out... my "Tentaskull" shirt design is now available at Socialaundry.com!! They're a very cool and socially conscious American brand, with portions of every sale going to both charity and the original artist. Definite thumbs up!!

Portrait of David Bowie as Tesla in 'The Prestige'

I was invited to contribute to a David Bowie themed art show in Dallas, and admitting a cursory knowledge of his catalogue (highlighted by I'm Afraid of Americans with NIN mastermind Trent Reznor), I felt most compelled to pay homage to his portrayal of Nikola Tesla in The Prestige.  Having seen and loved most everything by director Christopher Nolan, I felt this was a concept I could run with and keep within my typical aesthetic.  Drawing electrocuted cat = fun!

Challenging myself to work a little larger, and with less comfortable tools, I worked on a sheet of 11x14 bristol board using a Pentel pocket brush pen.  I'm enjoying the line quality you can get with a brush vs a fixed width technical pen, and working a little larger seems to be helping as well.  Hatching with a brush is a little awkward at first, but it's starting to make sense to me.

Posters are available here, and for those of you in Dallas, check out the show page!

Balancing Values in Black & White Line Art

In the seven months since beginning my Low Residency MFA in Illustration at Hartford, the biggest personal change I've witnessed beyond multiplied creative output is a new found sense of focus and confidence in my individual style. In the 6 years from undergraduate work til now, a number of techniques, media, and approaches took hold of me. In that experimentation, I lost a sense of confident direction in my work... and my output suffered as well. Whether it was the final decision to take responsibility for my growth through graduate work, or simply being surrounded by massively talented classmates, almost instantly in the first days on campus I could see with a new clarity which piece best represented me as an artist. 

'Survival of the Biggest' had been an experiment in process, using technical pen on blank white clayboard as opposed to scratching into pre-inked black scratchboard (something I went back and forth about multiple times over the years). Claybord's unique flexibility for sculpting values in ink combined with additional compositional prep work on my part brought the piece to a certain level of style and finish that I continue to be proud of today.  I decided that between my enjoyment of that process and satisfaction with the final product, this was the vein I would continue down for the foreseeable future. 


Since that moment seven months ago, I have held true to the process and started building a new portfolio of work that feels genuinely 'Albright,' for all intents and purposes. Now I've come to a point where I feel a comfortable enough distance from the pieces that I can evaluate the body of work as a whole, and am more able to improve upon the formula in small but significant ways. For example, using what I'd call thumbnail evaluation some images are more effective than others when viewed from a distance or reduced to a small preview on screen.  Viewing an image at this greatly reduced size helps you ignore the subtleties for a moment and instead judge the overall composition, clarity, and impact.  

Using quick thumbnail evaluation, I've recognized that my drawings with larger areas of heavy blacks are more immediately effective and easier for the eyes to process than drawings with even contrast through the entire piece.  Case in point, both 'Sabre Skull Valley' and 'Pterodactdinner' (above) are rather tonally even throughout.  Intending to provide the viewers dense jungle of information to explore, all areas of the picture plane are handled with equal contrast and no large areas of heavy black aside from 'Pterodactdinner's frame. But in comparison with 'Lava' or 'Post-Apocrowlyptic' (below), both of which contain large areas of black to counter evenly balanced hatch work, I'm finding the two latter examples are more successful and give the eyes both a resting place and an easier point of entry.  And by that virtue, they both perhaps appear more 'finished.'

Long story short, moving forward I intend to pay closer attention to having areas of heavy black as a resting point for the eyes.  I also suspect this will lead me to make more complete use of the claybord medium in the sense that these black areas will require that I use my scratch tool for white detailing, rather than building up values with the pen and using the scraper tool for corrections alone.

Thanks for reading, and stay tuned for more!