Hello! Welcome to the News section. Check back often for updates.
My month of guest art directing The New York Times Book Review ran its course last week. When you work for a company like the Times, it doesn’t take much to understand the expectations; a certain level of responsibility to the tradition and legacy. I had the same feeling when I worked at Apple.
Besides working in tandem with well-known editors—discussing literary topics that went way over my blonde head—my favorite thing about the gig was working with amazing illustrators/designers. I hired over 30 illustrators during my stint (I wanted to hire 100 more!)—and when I had the opportunity to package the ‘Politics Issue,’ I jumped at the chance to corral some of my friends and mentors: Alan Dye, Brian Rea, Erik Marinovich, Lotta Nieminen, John Fulbrook, Joon Mo Kang, Mikey Burton, Paul Sahre, and William Morrisey.
I’m super excited to be a guest art director for The New York Times Book Review until October. I’m very happy/busy working with my own clients right now—but when Nicholas Blechman asked me if I was interested in sitting in for him, while he goes to Italy for the prestigious Rome Prize, I just couldn’t say no. I don’t need to explain how brilliant Nicholas is, and working on illos for him over the years as always been extremely easygoing and rewarding. I only hope I can deliver 1/2 of what he consistently does.
Furthermore, the awesome Rex Bonomelli will take over the gig from October until Nicholas comes back in April. See you on the other side, editorial peeps!
I’m excited to have a photo-illustration on the cover of this week’s TIME magazine. My second cover for them in the past 6 months, and this one couldn’t be more different than the first one.
Social mobility is the foundation of the American dream, but slower gains in education, along with the rise of technology, and the entry of 2 billion new emerging workers into the global labor force has led to a rise in inequality. This is the topic of discussion for an article called, What Ever Happened To Upward Mobility?
With limited time, they picked one of the more time-consuming ideas I presented. I knew this had to be photographed, and I knew it wouldn’t be easy to find a quintessential ladder that the idea called for. Scrambling, I was extremely lucky to find help from my lovely friend / super-awesome-dope-amazing photographer, Thayer Gowdy. This lady couldn’t be more busy, and I probably owe her my life. We rushed to the hardware store, bought wooden poles, broke them in half, and shot them individually at her studio. Finally, I spray painted the “rungs” to convey an idea of stripes, but the editor didn’t go for that.
Massive thanks to D.W. and everyone at TIME!
Design Director: D.W.Pine
I’m very excited to share a wall mural I created for Ace Hotel recently! It was a great honor being asked to be among the small group of artists who’ve contributed murals to the hotel in the past.
Opening in NYC last year, with locations in Seattle, Portland and Palm Springs, Ace is known for its hipster and motorcycle chic aesthetic. The lobby buzzes with lots of people, furniture, music, laptops and espressos. Their café, Stumptown, has gained lots of praise, along with their British gastropub, The Breslin, which is run by the owners of the Spotted Pig in the West Village. Oh, and Q-Tip spins every Friday night. Not bad, right?
While brainstorming in the weeks before, it was important to ask some larger questions before I started my sketch: What’s its relevancy? What’s its importance? Can it become engaging or participatory? Having an idea for a mural that’s both relative to the space it exists in and reflective of the culture around it is not an easy task to accomplish. However, I felt it was something I had to account for.
With those questions in mind, I hand drew 99 picture frames to create a dense wall of “discovery” about NYC that could be passed to the common tourist staying in the room. Each frame contains a different fact / love / tidbit / thing of interest / or shout-out to a place I dig in the city. At roughly 120 square feet, the art was drawn imprecisely to capture the spontaneity and grit of the city. I used paint markers and opaque black paint to help this technique excel. Consequently, it became a labor of love, an act of obsessiveness that was pleasantly grueling.
I send a huge thanks to the Senior Producer at Ace, Jou-Yie Chou, along with the awesome people at the Art Directors Club. Also a big thanks to Andreina Carrillo, who diligently assisted me in the beginning.
And finally, my sincere gratitude goes to the amazing Brian Rea, who graciously kicked my butt and prepped me to make sure this wasn’t a huge failure. The challenge of translating a paper sketch into a successful wall mural would have been impossible if it wasn’t for his invaluable advice. I am not worthy, Brian. Thank you.
Click photos to enlarge.
Photographs by Mark Dye.