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Jacqui Oakley 2015
I can’t tell you how thrilled I was to be asked to do this job by Cassidy Zobl the Art Director at Hour Detroit. It’s always great working with them and it’s wonderful to have an opportunity to do a cover inspired by the Farmer’s Almanac, garden gnomes, topiary and flowers. It’s like they read my mind.
Here is the Farmer’s Almanac cover from 1902 that I was asked to work from. It’s a beauty isn’t it? I’ve definitely learned a thing or two working from its gorgeous detail.
Here’s the linear I sent to the art director. As you can see I’ve squashed some of the elements of the Almanac design to allow room for the title and the different illustrative elements I planned to add.
Here’s the start of the rather long but fun inking process. I used a very very fine brush and ink for this and went through a lot of podcasts.
The cover is filled with hints to the stories inside including topiary hairstyles, baseball and gardening.
Nearing the end of my night’s work. I think I was hallucinating gnomes at this point.
The next step was to add colour! I scanned in my inked page and then started adding in painted textures, making sure to focus on greens. The line-work I changed to greens and browns, bumping up the contrast in some important focal areas. Then a sprinkling of some warmer colours to add some contrast and further emphasize the green. Here’s a breakdown of some of the colour layers….
….and here’s the final version with the very green background. Hour wanted the cover to look super green, so it was a welcome challenge to not add all the colour I usually do but to still create some focal points amongst the intricate detail.
I went a bit crazy on the detail on this piece, which I have a tendency to do, adding all sorts of little elements that probably no one else will notice but that I enjoyed.
Not sure what the weather is like in your neck of the woods but around the Toronto area it’s still cruelly clinging to Winter. We’ve had a few tempting peeks at Spring which has been enough to get me excited to start working on our new garden. It’ll be the first growing season we’ve had in our new house and I can’t wait to see what we’re going to do with the yard. It’s pretty barren now, but in a few months I’m sure it’ll be as green as this image….. hopefully!
Last year I was asked by Ryan Cox to contribute to a book filled with his poetry about the musicians he loves, A Circus Mind. Since I was asked to paint Elvis and Paul McCartney I jumped at the chance, especially since I got to work with a bunch of talented artists: Elissa Parente, Andy Potts, Julia Minamata, Samone Murphy, & Zela Lobb and my friend and one of the talented illustrators, Dushan Milic was the designer of the book. Everyone did a beautiful job and I was so excited to have the book delivered to me this week.
My first illustration was about the urban legend suggesting that Paul McCartney died in 1966 and was secretly replaced by a look-alike. For more about this legend check out this link. So I illustrated a sad confused looking Paul in his coffin surrounded by hints of his demise and the use of his doppelganger. I love the hilarious side note that the Beatles started resenting the fake Paul and nicknamed him “Faul”.
Alan Parson, engineer of The Beatles “White Album”, claimed that he created the phase “turn me on dead man”, which can be heard when playback “number 9″ from “Revolution 9″ in reverse direction. But John Lennon, who created Revolution 9 said that the “Number 9″ was just an engineer’s testing tape with a voice saying “This is EMI Test Series Number 9″. Believers of this “Paul is Dead” conspiracy believe that this hints to poor Paul’s death.
Another one of these hints to Paul’s death is visual clues on the Sgt Pepper’s Lonely Hearts Club Band album cover. If a mirror is placed horizontally across the middle of the Sgt Pepper bass drum, bisecting the words ‘Lonely hearts’, the phrase “I ONE IX HE DIE” can be seen. This was taken to mean “11 9 HE DIE”, a reference to the supposed date of the ‘real’ Paul’s death, 9 November. Another interpretation of this is that “1 ONE 1″ represents the three other Beatles, and the X represents the dead McCartney. A diamond symbol between HE and DIE points upwards to McCartney. Surely there must have been easier ways to suggest this wicked ruse? Just reading about it is exhausting.
In an edition of Life magazine dated 7 November 1969, McCartney reassured fans that “Rumours of my death have been greatly exaggerated,” paraphrasing Mark Twain. “However,” he continued, “if I was dead, I’m sure I’d be the last to know.”
Here are my linears for Elvis and Paul. With Paul’s concept I was toying with the idea of adding even more symbols in the flowers that relate to the controversy of his supposed death as you can see from those wee pics I pasted in amongst the lilies. At the end I though this was a bit too much, although it would have been fun to paint doll and a walrus head.
He’s the process for chubby Elvis. It was actually really hard to do a portrait of Elvis in his last days. He really didn’t look like himself at all so I had to merge a bit of the younger Elvis with some extra flesh and a disheartened look. As usual with portraits I print out multiple images from the web and combine them so I understand the structure of the face and at the end the illustration has a more unique look. For me, the most important aspect of this portrait was for his eyes to communicate a subtle weariness over his life.
At some point my Elvis was looking a bit too much like a sultry Bollywood star with his dark locks, his long eyelashes and seductive eyes, but I think I turned him around. Phew! There’s a lot of pressure to paint “the King”. Here’s some of the process:
My Paul McCartney:
Dushan Milic’s portrait of Rick Rubin has to be my favourite. Such good colours and just look at that magnificent beard!
Elissa Parente has tons of work in the book including this fabulous Bob Dylan piece. Her loose painterly style is so expressive.
and my chubby Elvis:
As I mentioned before there are tons of great images in this book, check out all the illustrators’ sites for more sneak peaks and be sure to buy a copy of The Circus Mind here. Thanks so much to Dushan and Ryan Cox for having me on this project. It turned out so great.
Last week I got a call from Minh Uong for a job for the New York Times about an issue that I’m sure we’re all well aware of: email overload. This piece written by Jenna Wortham did a great job at encapsulating how email has overwhelmed our lives. Appropriately, it’s actually been difficult for me to finish writing this post since I keep having to reply to new email messages! Not that I’m ungrateful for all the correspondence I have been getting lately, but it is hard to figure out an email system that works.
IN the not-so-distant past, the chipper AOL sound of “You’ve got mail!” filled me with giddiness and glee. I would eagerly check my in-box, excited to see what message had arrived. Those days are long gone. Now, when I examine my various e-mail accounts, my main emotion is dread.
“It’s not the quantity of e-mails that get us into trouble,” Mr. Lyman says. “It’s the ones that require us to slow down, find the file, compose a great e-mail back. Humans only have a certain level of information processing. We get overloaded.”
This piece was inked by hand as you can see in the photo below (please don’t judge my terrible finger nails), afterwhich it was scanned, tweaked and then coloured digitally using scanned-in paint textures.
Here are the three linears I sent to Minh. Of course it’s the New York Times so the deadlines are quick. I got a call Wednesday night, then sent linears Thursday, taught at OCAD and then came home to do the final illustration to get it on on Friday before the big snow storm hit NYC. Luckily I had a fun time with this one since the water was so fun to ink and so staying up late working with an audio book to keep me company was good.
Usually publications want your run-of-the-mill basic white male business man in their illustrations and any time I’ve tried to veer from this obnoxious stereotype I get pulled back. I was pleasantly surprised that the art director Minh suggested to make the main character into an African-American woman, namely the article’s beautiful writer Jenna Wortham. It is a tiny little portrait so it was hard to get the facial features just right, but hopefully I’ve captured a little bit of Jenna and she gets a kick out of the scenario I’ve put her in. Maybe it will even provide a little boost to help her overcome the email deluge. Below you can see the tweaks I did before I moved onto the final.
The article does end on a positive note, highlighting all the coming options to help us cope with the flood. It seems our etiquette about email has to catch up the reality of the situation. I’m really excited about programs like Mailbox which will allow us to sort through our emails in a more efficient manner and even set alarms on when to respond to certain ones. Such a simple solution that it’s shocking this hasn’t been implemented yet.
Anyway, I best be getting back to work, and responding to emails. Sigh…
I was so happy to get another call from David Powell, the very talented designer and all around nice chap at InRe, South Texas’ College of Law Alumni Magazine. I know, its a bit of a mouth full, hence the name InRe. I was asked to work with an intense piece written by Naomi Bang about The South Texas Human Trafficking/Immigration Clinic and the harsh cases they deal with.
Houston is a hub for many notable things: transportation, energy, commerce, and human trafficking. The U.S. State Department estimates that more than 17,500 people are illegally brought into the U.S. each year, victims of ruthless traffickers who deal in the sex trade, extortion, and slavery. Unfortunately, Houston—with its international port, diverse population, and proximity to the border—is home to many of those victims who are kept in the shadows. The profit made globally each year on the illegal trafficking of people tops $9-billion, the third most profitable illegal trade in the U.S. following drugs and guns, according to the federal government. The organization provides the legal means to free men, women, and children from their captors, whether they be companies or individuals. The students, working under the supervision of adjunct Professor Naomi Bang, represent clients in federal and state courts, immigration courts, before administrative agencies, and work with myriad of law enforcement agencies.
The first piece I tackled was one depicting female genital mutilation. Illustrators often have to work with editorials where complex ideas are tricky to visualize and to relate to a general audience. This one took the cake but I was up for a challenge and wanted to do justice to such an emotional piece. Now to only figure out a way to show female mutilation in a way that was strong but not too graphic. Here’s the final result:
ASYLUM SUCCESS ON ISSUE OF FEMALE GENITAL MUTILATION:
O.S., an 18 year old female from Cameroon was placed in deportation proceedings. While facing several challenges with the typical asylum claims of domestic violence, one of the students realized that she was from a country where Female Genital Mutilation (FGM) was practiced. FGM, also known as female circumcision, is a procedure that involves partial or total removal of the external female genitalia, or other injury to the female genital for non-medical reasons. While O.S. did not come to her initial intake based on the FGM, nor were the students planning to use it in her favor, this sudden realization by the students triggered them to begin asking about whether or not her tribe practiced FGM and whether she had been forced to undergo the procedure. This sparked a new direction to the conversation, where O.S. revealed her fear of having to go through FGM. An asylum application based on this fear was filed and approved in the fall of 2011.
I also was assigned the cover illustration which accompanied this piece and was intended to sum up the issues of human trafficking in a broader sense. I wanted to first portray a strong emotion, a feeling of being trapped between two worlds. As illegal aliens with no rights in the U.S, the people in these stories are forced into manipulative and dangerous situations. In addition to being legally prevented from moving freely in their adopted country, they may also be escaping some sort of persecution or civil unrest in their home country and are thus reluctant to return. I wanted this image to represent the many different cases that the Clinic sees and the feeling of powerlessness that their clients might feel before finding the legal help they need.
Here’s a bit of my process for the cover, from my linears where I showed various collections of people and then to the acrylic under-painting. I wanted this cover to have a lot of impact and thought using the bars of light would be both striking and further emphasize the overall concept of entrapment and hopelessness.
Here’s a smaller spot illustration which accompanies the larger pieces on another facet of the article. I wanted to keep a similar palette, mood and again show the overlapping figures.
TRAFFICKING VISA SUCCESSES
During 2011, the Clinic applied for and gained approval on at least 15 Trafficking Visas for Vietnamese workers who were trafficked into the United States after having been promised great wages and a better life in exchange for $5,000-$15,000 each. Once these immigrants arrived in the United States, they were basically imprisoned in dingy apartments, usually at double capacity, and were transported to the store only once a week by a driver who did not speak their language or English. These people were warned not to talk to anyone and lived in fear. Finally, the Vietnamese community stepped in and the Clinic got involved. The non-immigrant status is exclusively used for those who are, or have been victims of human trafficking. It protects those victims, and allows them to remain in the United States to assist in investigations or prosecution of human trafficking.
Here’s some process work for the feature image including my linears and the acrylic under-painting. The first idea was to show a knife cutting the rose and having one petal fall. This idea was changed by the magazine towards the end of the process due to the possible harshness of a knife visual and so David and I came up with the idea of using thorns to show the abuse of the flower and to further emphasize constraint and suffocation. I think the end result worked quite well.
Thanks again to David for allowing me to tackle such an intense article. My portfolio is filled with colourful and happy imagery and it was great to be able to stretch my boundaries visually and conceptually with these illustrations. I hope these pieces do the tragic subject matter justice and I hope this piece shines a light on what some people are going through. It’s shocking to discover that the profit made from human trafficking tops $9 billion, but it’s good to know that organizations like The South Texas Human Trafficking/Immigration Clinic are there helping the situation.
Even though I paint for a living, I still enjoy doing larger scale or more experimental work for art shows. It’s a good excuse to rediscover one’s enjoyment of making art, which sometimes can be forgotten when it becomes part of a daily routine (I know, shame on me). After exhibits I always learn something that I bring back to my illustration work, whether it’s a slightly new technique or subject matter or it’s purely a re-energizment.
This winter I was lucky to be in two art shows where I took the opportunity to try something a little different from my usual work and create some 3D pieces. I wanted to create pieces that forced me to not rely on my usual skills and would stretch my typical boundaries. I also wanted to do art that was a little more physical and get away from my studio table, so why not cardboard masks, I thought?
Below you’ll find some of my process for these cardboard critters which will be hanging up guarding my other paintings until the end of February at De Facto at Mulberry (193 James St. North, Hamilton, Ontario). Such a lovely gallery–thanks so much to Oliver and Ella for inviting me to show my work there. Here’s my third mask of the series, “The Boar” and the fourth mask ‘The Fox”.
I was surprised that the process for these wasn’t too arduous (aside from the occasional glue gun burn). I didn’t do sketches beforehand but just printed out a few low res photos of the creatures I intended to capture. I wanted to wing it for a change and see (good or bad) what would result. In my usual illustration work I’m so precise in working out sketches beforehand that with this project I wanted to feel a little freer. If these masks turned out to be aberrations, the experiments could be thrown in the garbage with no one the wiser. I had enough paintings to show anyway! Albeit a bit cheesy, I think feeling no pressure really helped open up those creative flows. Who would have thought those motivational speakers were right?
So without further ado, here are some process shots of the boar, where I built up the frame with chunks of corrugated cardboard (the cardboard came thanks to Jamie’s vinyl shopping addiction and their packaging). Then I would cut out random shapes and see where they could fit. I wanted to go for a very elongated shape and keep his mouth open which was a bit tricky to figure out at first. Luckily with additive work like this you can just keep building layers until it looks right.
I told you I wanted to get out of the studio. Here I am on the floor of my living room while Star Trek films play in the background. It was a fun day, and I got to wear track-pants all day which is always an added bonus.
The later stage was with gluing down finer bits of chip board which flex nicely into hair or fur and can add a lot more textural contrast and rhythm to the piece. They also covered up the messier glue parts and hid and refined the chunkier corrugated cardboard parts. I did still want to maintain a fragmented look though, since I think it’s more visually interesting. It’s hard not to overwork these and lose that construction-like quality.
As in my painting work, I wanted to to capture a strong personality in the face which is trickier to do when the eyes are wholes and I can’t paint in an expression. Instead I relied on tweaking the shapes around the eyes and the brows to try and portray an old brooding personality. I hope this comes across.
Here’s the start of the fox piece. As you can see they each started out like strange alien heads. With this one I really wanted to add a different sort of personality than the boar. I wanted to face to be stretched horizontally and to process a certain sort of mischievousness–this is a fox, afterall.
I was surprised to find that working out the facets of the fox’s face came fairly naturally (I’m going to regret saying this down the road when I try and do a trickier face, aren’t I?). Through my paintings I think I’ve trained myself to break down facets and levels of anatomy. This definitely helped with visualizing and building up the 3D planes of the faces. The more refined hair paper pieces felt like the final touches of a painting that I usually add with ink and a fine brush. Funny how similar this project was in some ways to my regular work.
So, hopefully I’ll find time between moving to our new house, illustration work and teaching to do some new masks. I’ll pop up the process for some of the other masks soon too.
I really have felt re-inspired from this process and feel so lucky to have the opportunity to show these pieces. I’m thinking about going a lot larger next time. Any suggestions?