It’s been nearly 20 years since my first paying, professional assignment as an illustrator. In the past two decades, I’ve learned one irrefutable fact about this business: If you send a sketch with a dog, it’s going to get picked.
When Françoise Mouly and Genevieve Bormes put out the call for ideas for The New Yorker’s anniversary cover, I sent them this drawing of Eustace Tilley in canine form and to my surprise, it ended up on the cover. But it almost didn’t.
There’s a vector version of this image, but the editors felt it was missing something, so I was asked to recreate it with traditional materials, mimicking the style of Rea Irvin. So, for the first time since my days as an art student at RIT, I broke out the goauche and ink and created this. It turns out you can teach an old dog new tricks.
There’s a vector version of this image, but the editors felt it was missing something, so I was asked to recreate it with traditional materials, mimicking the style of Rea Irvin. So, for the first time since my days as an art student at RIT, I broke out the goauche and ink and created this. It turns out you can teach an old dog new tricks.
