Three Ridiculous Wishes

"Three Ridiculous Wishes" is a French fairytale from the late 1600s by Charles Perrault, as well as the basis for a recent assignment with the Cobblestone group. Long story short, a down-on-his-luck woodcutter is granted three wishes by Zeus (aka Jupiter) and ends up using them inadvertently and foolishly while arguing with his wife at home about the mere existence of these wishes. On the second wish he accidentally wishes for a stifling sausage or black pudding upon his wife's nose (depending on the version) and when all hell breaks loose he finally concedes that he must use his third and final wish to restore his wife back to normal.

"Three Cats and a Rat"

In this month's Appleseeds magazine I was given a fun opportunity to illustrate an old folktale where a swordsman and his friend try to employ cats to catch a pesky rat, though the first two cats turn out to be more high maintenance than they are skilled. The third cat, a plain tabby, uses patience rather than an aggressive approach to finally catch the rodent who upon release promises to never return.

The story mentions a swordsman and the art director suggested maybe a Spaniard, so right off the bat I channelled what I knew of old European painting as inspiration, especially in terms of using dramatic chiaroscuro, multiple figures in complex angled poses, and setting everything in a ambiguous, darkened, rural space. Then from there I tried to combine it all into a more modern palette and look. (AD and Layout: Joshua Banks)

In my first rough sketch for the big splash image, I thought it was important to focus on a high maintenance persian cat and emphasize that by showing the swordsman rushing over with a bowl of milk to appease it. The little blobs up top were supposed to be kittens holding a "Fight of the Century" sign as mentioned in the story, to build up the hype even more. After stepping back and looking at the sketch I felt it just showed a jerk of a cat but didn't tell anything about the relationship between the swordsman and the cat.

I decided I really needed to include a mouse hole to show the reason that the swordsman is cajoling the cat. But at the same time the mouse hole alone wasn't enough to show the gravity of the situation - that was where the friend from the story came in handy. I placed him waiting to pounce by the entrance, thereby suggesting that there was something actually pesky inside that hole that the cat wouldn't even attend to until fully fed. Perfect...except for the fact that the composition became incredibly left-heavy at that point.

With some tweaking of the figure I changed him to better fit my needs there, which were to 1) balance the composition and 2) support the narrative. This arrangement also had a unexpected benefit too, which was how the shape of the cat now looked like it was literally stepping on him, as if he was a slave to that cat. I thought it helped to subconsciously push that idea that this was really one high maintenance animal. Plus I already had a composition comprised of many "U" shapes in varying sizes and curves, so putting the friend in a big "U" helped to hold everything together and perpetuate the rhythm.

Voila! Now I felt like I had a composition of dynamic implied lines and shapes that helped to tell the specific narrative, and I could finally move forward confidently with the rest of the character design, drawing, and painting. Below are the other two smaller illustrated spots that accompanied the story. I already decided early on that the rat was going to appear in both of those, which is why I never included it in the initial sketch for the splash image.

"The Spider Man"

For this month's issue of FACES magazine the assignment called for two spreads featuring a character named Anansi, a plucky spider from Caribbean folklore whose message in a nutshell is to never give up, even if you think you are small and insignificant. It's a suuuper trippy story that jumps from abstract scene to abstract scene so the concept for the illustration was very open ended. The only guideline I set for myself was to make sure to give it a hint of Caribbean characteristics in terms of character designs and palette. Below are the finals of the two spreads, plus a detail. I took a little inspiration for the ghost fight spread from Disney's Haunted Mansion in Orlando, which being a native Floridian I have ridden many many in my life. I always remembered that part in the ride where a swirl of transparent ghostly figures flies through the air in a big arch...if I remember correctly it's right before the ride car heads down into the cemetery? (AD and Layout: Joshua Banks)

Cobblestone Publishing: April Illustrations

Late posting! For the month of April I was happy to have produced illustrations for not just one, but two Cobblestone magazine titles - Odyssey and Faces. The Odyssey assignment called for a vintage-looking ad for geomedicine products by mail order. I like to think my general knowledge of science is pretty good, but I'll admit I had NO idea what "geomedicine" was; but I find learning something new is the beneficial side product of illustrating for a science magazine.

Faces Magazine is Cobblestone's world cultures topics publication for kids and was a new venue for me this month to my delight. The gig called for a series of narrative illustrations showcasing three ancient and witty Arabic folktales told from the point of view of a wise old man named Mullah, who also stars in each story as a character. The settings range from a restaurant, a lavish party, and the open desert. When you think about it, it's funny how so many ancient folktales around the world are based on either food or social statuses...

Odyssey Magazine: "The Perfect Storm"

For this month's Odyssey magazine I took on two illustrated stories as part of their "Perfect Storm" theme that ran through their entire magazine lineup.

On Display at Starbucks in Jacksonville

Currently showing at Starbucks in the trendy San Marco district of Jacksonville is my "Aesop Revisited" series. Since San Marco is a historic district, this particular Starbucks has this old existing brick wall inside that works in great contrast to the rest of the modern, hip look that a Starbucks normally has. The works will be up until the end of July. Each painting is 16" x 20" and done with acrylic on illustration board.

Weathering the Storm