Kendra

THE ASSIGNMENT

Create a thick, rich, painterly portfolio piece.

THE CHALLENGE

Create a multi-layered, beautiful illustration filled with immediacy and dimensionality, while also working as a flat abstraction.

GETTING STARTED

I dabble in photography. A nice byproduct of this is I have an abundance of source material when I want to play, a bit, with the paint.

One such photo session was with one of my favorite collaborators, Kendra Scott. We tend to create magical images, together. This particular session was a metamorphosis-themed concept, transitioning — visually and metaphorically — from a beautiful facade to raw vulnerability. You can see and read about this beautiful and emotional session, HERE and HERE.

One of my favorite images, from our experience, was this simple, yet elegant, back shot. The sensual forms and shapes would provide lots of opportunity to juxtapose bold strokes and textures, and see what might pan out, in a painting.



Using the paint in a sculptural way, I strove for economy of mark-making — a few marks to define the dimension of a shoulder blade or a mass of hair.

Red is one of my favorite colors to exploit, in a piece of art. It’s an automatic call-to-arms, visually, and emotionally. It lets the subconscious know there is a bundle of emotion, residing, within.

What better way to exploit red, than with green, its complement?

The photo has a much more subdued background, which works, for the photograph. But, for my illustration, there needed to be more for the eye to touch and experience. I decided it needed to remain a non-descript background, but still be filled with detail and depth, to add that richness and energy I was looking for. Layers of lines, shapes, dots, and negative space, all trigger the mind, in different ways, while still harmonizing within that single background space. The green colors are just subdued, enough, to not overpower the main statement of the red. That’s important for color balance.

THE FINAL ART

To further enhance a sense of beautiful, painterly mark-making that also happens to create a recognizable series of forms, a ragged black border seemed to be the perfect final touch. In addition to creating a frame, the border intersects and blends into the figure, separating the picture into three shapes (negative space to the left and right of the figure, and the figure, itself). In doing these things, the frame starts to trick the eye into choosing between a 3-dimensional form or a flattened abstraction. The mind is always trying to make choices as it attempts to make sense of the world.

This complex journey into a piece of art is what makes an eye want to come back and investigate. The question of what is real vs what is illusion is one of the most important questions art can pose to a viewer. It is just one aspect of art that makes it such an important part of the human experience.

My thanks to the amazing, Kendra, for creating beautiful images, with me, and helping to make this artwork, possible.



Allan Burch is an award-winning illustrator and portrait artist, providing solutions for editorial, book, advertising, and institutional projects.
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Manhattan

Oh...hello.

I didn't see you come in. How have you been?

Is that so?

Well, I'll be...

Long time, no blog, you might be saying if you happen to follow these posts with any regularity.

If you don't, then, welcome! I invite you to browse around. Hopefully, you'll find something you like. If so, please drop me a line. I'd love to help with your next project.

As you might have guessed, I've been quite busy with commissioned projects, which is a good thing. But, it's come at the expense of my blogging habit. I apologize for the lapse in posts.

Let's talk about some art.

This is Melodie.

I am so very fortunate to say Melodie is one of my amazing models. One Sunday afternoon, Melodie came over and participated in a photo session. Of the many, many remarkable shots she allowed me, this one beckoned me.

During the summer of 2009, the Allan Burch Illustration model reserve was born. Basically, this is a group of very nice and very generous folks who have expressed interest in helping to model for my illustration needs.

Between its conception and birth, a call for models was posted on Craig's List. After vetting the voluminous replies, I've now come away with a healthy group of models on my team who continue to be giving with their time and energies toward enthusiastically participating in my work.

I am extra-energized by the fact my model and I are collaborating in the creative process toward something special. It's beyond just me...and that's a very good thing.

This is a personal piece, part of a series I'm producing. It's intended to have more of a fine-art flair.

I like this shot because of her elegant, iconic, yet full-of-attitude storytelling pose, coupled with unique vantage point and dramatic shadows. It was an un-posed, pose; a position she happened to take in between other shots. These unguarded moments can be some of the best kinds of poses, I think. There is an inherent beauty in the lines, attitude, and energy of the human form in those moments where she or he isn't trying to be picturesque.

In the photo, she was standing against a white backdrop. In the illustration, she should stay against a wall of some sort to keep the dramatic shadows in the picture. I thought this might also be a good opportunity to utilize pattern -- as a storytelling device, a design element, a textural contrast, and a subtle, yet intricate, secondary point of interest.

I'm kind of into patterning, at the moment. It's a nice, controlled, complex textural contrast to my simplified approach to shape and form. It makes for a nice foil to my picture's protagonist.

I've also been tinkering with a more complex color palette -- utilizing cooler temperatures in the shadows to help create a sense of space and to help direct the viewer's eye. I'll talk more about this in future posts.

My thanks to Melodie for helping to bring this illustration to fruition.

Allan Burch is an award-winning illustrator and portrait artist, providing solutions for editorial, book, advertising, and institutional projects.
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Timna

Timna, in the recently released story from Lucille Travis, published by Herald Press, is the young wife of Noah's son, Shem.

In the story, readers follow Timna as she endures ridicule and struggles with her faith and uncertainty in the journey which she is about to undertake with Noah, Shem, and the rest of his family on the ark. Two stray dogs, Mangy and Thief, defend her from a couple of bad seeds, and find their way both into her life and onto the craft.

I've developed a nice working relationship with Herald Press, and have had the opportunity to illustrate several of their book covers.

This one is aimed at middle-school children, their parents, and teachers.

Timna is freshly on stands, as of April 2009, but in January, my first task was to read through the story, and glean ideas for a cover direction.

The publisher wanted the scene to focus on Timna, the ark, and her two dogs.

I scoured the 'net for inspiration, finding shots of biblical scenes to get a sense of clothing. I also took the opportunity to research Noah's ark, as well as look for any spark of an idea that would make me sleep easy knowing what I was planning to do.

My next immediate pressing concern was setting up a photo shoot. My sincere thanks to Jessica, my enthusiastic co-worker, who graciously posed as young Timna.

A trusty thrift store dress worked marvelously as her robe.

The head scarf she brought along was a must. It would add a bit of mystery to the face and create some nice flowing movement. Plus, it would be very time-period appropriate.

I like to go into my photo shoots with some idea of general direction, but I leave plenty of room for accidents to happen. As a result, I tend to take hundreds of photos, hoping at least a handful will be above and beyond my greatest expectations.

She patiently posed standing, sitting, and kneeling; petting and feeding her imaginary dogs; looking pensively in many directions, with and without props, while I shot from a multitude of angles.

An hour and a half later came the moment of truth.

Opening Adobe Bridge, I scour the 400+ photos, looking for shots that resonate on a cellular level. Late in the series, my model is kneeling and turning to face the camera, looking down, with a beautiful splash of light catching the left side of her face.

I love these.

Hopefully, they will be the chosen ones.

Now, I have Timna, and I can surely scare up some dogs. What about this ark? How will I include it and its horizontal proportions into my vertical and small format without simply looking like a close-up of lumber?

It must be shown small enough so as to recognize.

How about l put Timna on a hill, so we are looking down on the ark in the distance? That will also give me an expansive landscape to include coming storm clouds, with rays of sunshine peeking through -- further telling the story of uncertainty and hope, and an obvious hinting of the impending storm.

Perfect.

Five color-comps later, I await the client's approval.











Will they like them?

They like them. And, they like my favorite. Except...please place her left hand on the lying dog, open her eyes a bit more, ditch the distant water, and alter the dogs' colors.



A few supplemental photos and one revised comp later, I'm on to the final art.

The sketch phase is where the bulk of the work takes place, in my view. Once all the decisions are made, making the final illustration is the easy part.

The final art was crafted with a combination of acrylic paint on illustration board mixed with Photoshop.

The warm palette helps further bring a sense of optimism to the scene.

I personally like the way the illustration turned out, and would say it is my favorite of the covers I have done for this client.

As always, I'm appreciative for the opportunity and for Herald Press' continued confidence in what I bring to their project.

Allan Burch is an award-winning illustrator and portrait artist, providing solutions for editorial, book, advertising, and institutional projects.
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Plenty

This is all about vulnerability.

When depicting the female form, most of the time there is an automatic sexual component to the symbolism.

What I'm trying to do with this piece is lead the viewer on a ride that looks like we're headed towards that end, but as the composition is dissected, the intended meaning is exposed.

When I happened upon Nathalie Mark's photograph (the reference for this illustration), I saw just that. And, it was very powerful to me.

In my view, one cannot stage the purity and honesty of an unguarded moment, no matter how hard one tries. One can come close, but there is a last bit of integrity that comes through in such true moments.

With foot rested on the window sill, her relaxed, yet partially deflated posture says she is not trying to be anything to anyone. Furthermore, she is staring back at you -- expressionless and non-judgemental -- daring you to draw your own conclusions, invoke your own expressions, and make your own judgements, while forcing you to see her as a person rather than an object.

My challenge was in capturing this dichotomy and making it all about vulnerability, rather than sexuality.

The emotion that I'm banking belied the taking of the photograph, channeled into me as I rendered the illustration with some of the most unguarded strokes I have ever used in an illustration.

I believe that sort of raw emotion seeps in, through the human mark left on the paper -- another bit of the power of illustration.

There is just the slightest distortion in the form to add an undefinable touch of awkwardness to the scene. My color choice further attempts to shift the mood my direction. And, the text brings communication -- the power of words -- into the equation.

What are you saying...what is she thinking? What was said to inflict the hurt and make her remove all guard?

Allan Burch is an award-winning illustrator and portrait artist, providing solutions for editorial, book, advertising, and institutional projects.
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Good Enough

"The way I used to love you
Baby, that's the way I hate you now."

--B. B. King, from the song, "You Done Lost Your Good Thing Now."

Quite frankly, there are plenty of opportunities out there to see the cozy side of Valentine's Day. What about the other side?

One of my favorite artistic techniques to call attention to something is to bring to mind its opposite.

How do you call to mind the opposite of love? Is love always a good thing?

Assuming for a moment that it is, what is that minute like when one realizes things have gone toxic?

Maybe it looks like this.

This is a charcoal study for a painting I have planned.

What's endlessly fascinating to me about this pose is its honesty, coupled with the tension in the body, which is also reflected in the tussled explosion of hair and gnarled hands keeping it from bursting from its seams.

The attractive woman is not attractive in her polka-dotted spaghetti strap summer dress. The revealing flesh and contours of the back, accentuated by the straps, digging in and winding their way around the scapulae, is nothing but vulnerable, as it sits exposed on her unkempt bed, doubled over in absolute grief.

This image is a collaborative effort with Photographer, Nathalie Mark.

I was thinking about the other side of Valentine's Day and what kind of imagery would speak to utter toxicity.

Turning to the web for some inspiration, I happened upon a photograph that wound-up being the reference for this illustration.

I saw incredible potential in a shot that, intended or not, captured something very pure and very emotional, and something that would be very difficult for me to otherwise stage. Plus, the supplemental components (the dress, bed, lighting, room decor) were perfect, and exceptionally ripe for storytelling, in my eyes.

I decided I had to go to the source and see if the photographer would grant permission for me to use the photo as reference for part of a series of illustrations I am planning.

Ms. Mark was very gracious, and we worked out an arrangement granting me such permission.

This is the study.

Some other elements will be added to the painting, to further enhance the story, but as a drawing, I think the power in the pose comes across.

Allan Burch is an award-winning illustrator and portrait artist, providing solutions for editorial, book, advertising, and institutional projects.
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Dancing With Myself

Above is the image gracing my 2008 year-end holiday card.

In 2007, I created a card featuring 2 dancers and the word "joyous" on the front. "Noel" was awaiting the recipient upon opening the card.

I liked the subject and the concept from 2007 so much, I decided to repeat the idea for this year's card, with a different image, of course.

I wanted to keep the colors warm and reddish, to reflect those we see this time of year. I wanted the image to say, "joyous," and play well with the energetic brushwork I planned on using.

Thanks so much to everyone who has taken the time to view this blog, whether you are a first-time viewer or a faithful follower. I'm looking forward to a positive 2009, and wish the same for you. You may always follow the year, as it unfolds, through this blog, as I update work every week or two, my website, and my monthly newsletter (please see the link to the right to sign-up).

I wish you all the best for a wonderful holiday season and a peaceful and prosperous 2009.

Valerie

Her name may or may not be Valerie. She kind of looks like a Valerie. I just thought it a perfect excuse to use the name of my favorite song at the moment.

I'm always on the lookout for interesting photographs. In 2005, while in San Francisco for the Illustrators Conference, I was able to absorb the wonderful energy of the city and take nearly 1,500 photographs.

Near the Hotel Nikko is Union Square, where people gather to eat lunch, hang out, people-watch, or just rest their weary bones. I hung out there quite a bit, grabbing a panini on occasion from the adjacent cafe. Of the many people who caught my eye, this girl with her cell phone and portable CD player was a source of many photos. She kept making great animated faces as she sat and waited out the afternoon. In this scene, I seem to have snapped her in mid-blink.

This turned out to be more of a character study with the background remaining fairly non-descript. The radiating brush strokes and shocks of vibrant color are recurring themes for me at the moment. I'm also experimenting with storytelling -- allowing the viewer to engage with the picture and come up with their own story. How little is required to tell a compelling story? I don't know if I've come in under or over the line on this one, but there are puzzle pieces here for the finding. I think the human mind is always looking to make sense of whatever it sees. It's always more fun to let there be some interactivity rather than spelling everything out for the viewer.

It's the same kind of intrigue we get from looking at a candid photograph -- trying to fill in the blanks to the lives of the people in the picture. What are the details of her life?

detail


"Valerie"

Pumps

Great illustration is great storytelling.

There is a story here, but I'm going to let you tell it. Why is the chair red, like the picture hanging above her head? What's her name? Is it 3:29 a.m.? Why is she dressed like this and why is she holding her glass like that? Does everything point to the wine and what could the wine represent? Bitter, sweet, red, blood, thirst, heart, mind, dependence? Is it important that the wine level is perfectly horizontal, yet not quite spilling? And, why isn't the picture frame level? What does the hanging picture symbolize...a memory? What is off the right side of the page? Does it matter? Does it have something to do with the way she is piercing your eyes with hers or that her right foot extends off the right side of the frame? Do the boots symbolize something? Power? Sexuality? Red wine, red hair. Love, anger....what do you see on an emotional level? Does it connect with you? Does it make you nauseous, anxious, uneasy, overjoyed? Does it remind you of anything. Does it feel like the dream you had last night?

It could all just be a coincidence.

There are many ways to tell a story. Everything means something. Illustration is so great because the artist has so many tools at his or her disposal with which to tell their story. Everyone has a story and everyone loves a story.