Hey! Author Linda Glaser's Kar-Ben title that I illustrated, Hannah's Way is this year's Gold Medal winner in the Sydney Taylor Book Award's Younger Reader category.
A quiet period piece that takes place in rural Minnesota, it was neat book to get to work on and had me surprisingly deep in research for a good stretch of time. More news on the subject soon...
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I make my way as a professional artist living in lovely NJ, working from the attic of my small town mock Tudor home. Among other things.
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A selection of one hour oil painting demos from this past Fall semester at the University of the Arts.
Various supports (paper, canvas...),
various sizes,
various levels of success...

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I'm glad you asked. Why, they're all featured in the comic anthology Dead Anyway, a charming and virtually bottomless assortment of zombie stories.
And it's available for pre-order HERE.
Cute zombies! Fairy zombies! Carny zombies! Child zombies! Culinary reality show zombies! Zombie stories of love, loss, redemption and even the occasional western.
And, of course, existentialist zombies. Here's page one of my contribution the pantheon.

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Care of the fabulous Molly Idle. Wherein I expound on questions about the creative process, style, and the five words that describe me best.
Read the whole shebang here. The word here, that is. Just in case you thought it was here on this blog somewhere, which it's not. It's here.
To lure you in, here's a new image from a new title spoken about therein. And when the book comes out, there'll be 34 more where that came from...

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The folks over at kid-lit.com have issued an attentive and rather sparkling review of my latest book, Lost and Found, written by two-time Grammy winner Bill Harley. The review can be found in its entirety here...
...with a lively interview with Mr. Harley accompanying it here...
In the mean time, here's another lovingly crafted image from this newly released title.

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My 20th high school class reunion is this weekend. I've been asked in the most flattering way possible to create something for the event's dinnertime raffle, which I assumed meant a drawing or painting and not crocheted potholder. I'm hoping this is the case, as I've never crocheted before.
So after some internal mulling over pictorial options, I settled on this.
He's my high school mascot.
Last time I saw him, he was, like, big and awesome and strong and fast. Always snarling, or haughtily prancing about. He had a closet full of sports jerseys, as far as I could figure.
But it's been 20 years. I'm sure he's still roaring and prowling on the inside.

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With thanks to my dear agent, Abigail Samoun, for requesting the theme.
The beatnik thing, that is. For some reason, the turtles just came to me. I mean, who doesn't just think about turtles?

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So yes, I'm finishing up work on a book project for a sizable non-profit public outreach organization. The deadline has been a little tight; from initial pagination, sketches and on to finished oils the turnaround will top out at around a month and a half. Just for comparison, the usual time frame for a project of this scale (33 illustrations total, including spots, full pagers, spreads and cover) would be between 6 and 9 months.
It's been a bit of an adventure, but aside from the time constraints, said client has been among my most relaxed and trusting. And, as I mentioned before, they let me paint mismatched Lego people doing battle. So really, no complaints.
It's also led me to a rumination or two on some of the artistic challenges of illustration. Namely, aside from its end goal of communication of some point, concept, narrative or all of the above (as opposed to obfuscation, of course), illustration requires one to find imagery where one might not have otherwise looked or found inspiration, and to compose it in way that is compelling while still serving its source material, in this case a manuscript with a clearly defined philanthropic goal.
That, and in a forty page book, one has to thoughtfully pick out clothes for everyone.
Needless to say, while working on this, I've made little or no effort to pick out clothes for my own children. I should probably go make sure they've changed out of their pajamas.

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Any job that lets me include an image like this is okay by me.

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Here's a small peak into the project I've been working on for most of the year, Rock and Roll Highway: the Robbie Robertson Story, by Sebastian Robertson. It's due out from Christy Ottaviano Books (an imprint of Holt) in Fall of 2013.

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Over at Red Fox Literary, we've commenced with a little bi-weekly adventure, assigning ourselves a theme to inspire the making of some art, specifically some art that's not the job we're working on that particular week. This is really nice, as I'm right in the midst of a few projects that I'm not allowed to release anything from yet.
So that said, this image is confirmation that I'm still both alive and working as an illustrator.
Oh, and the theme was "summer." Gouache on paper, 11" x 15".

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I'm currently neck deep in book projects, really exciting ones, actually, for which I'm contractually forbidden from posting any images at this time. When industry legal teams say "we'd prefer you not leap at this moment in time," well, far be it from me to ask "how high?" No, no, I contentedly stand around.
So in lieu of any new paintings, here are some restaurant place mats I drew on.

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The latest offering from author Bill Wise, Silent Star: The Story of Deaf Major Leaguer William Hoy, which is, hey, illustrated by Adam Gustavson, is now both available and the recipient of some awfully nice reviews.
"At a time when deaf people were routinely called “Dummy,” William Hoy accepted and owned the nickname proudly.
". . . Employing rich descriptive language with just the right combination of drama and information, Wise emphasizes Hoy’s steadfastness and determination in his baseball exploits and in every endeavor before and after his career. Gustavson’s sharply detailed illustrations, rendered in oil on paper, follow the text faithfully and offer glimpses into the look and feel of life and baseball in the19th century. Line sketches of baseball action and hand signals fill the endpapers.
"A fascinating introduction to a little-known hero."

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I recently sat down to an interview with the wonderful Jules at Seven Impossible Things Before Breakfast. If you ask me to talk about myself, you're in for a lot of reading, but relax. It's got pictures!

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Ohhh, that kind of lady.
So it's oil painting demo time at the University of the Arts. There is a sophomore tradition of reinterpreting an Old Master's painting in some way, shape or form that comes around every Spring semester, and so for fun I've been taking it upon myself to combine that particular idea with a demonstration of oil painting technique, in part to illustrate just how literally or conceptually I'm content to let the assignment progress.
Besides, there's a part of me that always wondered what De Kooning's women would look like in person. In this case, are those her eyes, or could they be horn rimmed glasses? What's the slather or greenish blue sitting off-kilter above her head? Is that a squiggle of blond hair off to the right?
Does she have a rainbow boob tattoo?
After finishing and tweaking the drawing, I scan and print it to a size that seems comfortable to paint. I tend to do a test print of the most challenging area (usually the head) to see what the scale looks like in real life, and if I think I can paint it that large/small, I go ahead and rescale the whole shebang to match.
The drawing is transferred to primed paper, either Fabriano 140 lb. soft press watercolor paper or Rives BFK printmaking paper. In this case, we're on Rives, at about 15" x 22".
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After sending off what was apparently the same photo to publishers for ten years, we here in the Adam Gustavson camp decided it was time for a new picture.
So here it is, photo courtesy of my lovely wife.
Of course, you're invited to troll through the blog to see where that other guy reappears. And if you should find him, it may also be worth knowing that he answers to the name "Mr. Scrapple."
The decorative backdrop behind us is the 2' x 4' piece of plywood upon which I've tacked up and painted most of these past eleven years' worth of work.
And by "troll," of course, I mean "lazily cast about though" and not "leave me mean comments using the interactive features of this minicyberwonderland," though I'm by no means saying I'd try to stop you. Carry on.

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Just a few...
The oil paintings were attempted during the community college Art Appreciation classes I teach in Paterson, NJ, while the black and white acrylic number and the small watercolor were for my sophomore level Pictorial Foundation section at the University of the Arts in Philadelphia.
Each demo was completed in just about an hour; the oils are of students in each respective class, and the black and white piece completed from a scrap of photo reference, originally taken for another project.
All the demos in this batch were done without any preliminary pencil drawings, just attacked with a brush from the start. The oils were completed using a limited palette of titanium white, cadmium yellow light, yellow ochre, cadmium red light, permanent alizarin crimson, ultramarine blue and cerulean blue, with some sap green thrown in for mixing up blacks and some burnt umber to tone the support. They're painted on canvas, linen, and prepared paper, respectively. The acrylic piece was completed on an acrylic primed sheet of Fabriano Soft Press 140 lb watercolor paper.
I should probably put a step by step at some point, but for now finishing an image with a dozen or so students huddled around might have been miraculous enough...
In other related news, this Friday, the 9th of December, I'm looking forward to conducting an after school oil painting workshop at Millburn High School here in NJ, working from a model and broken up into a one hour demo and two hours of supervised painting on the part of the students.

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But for now, this is all I have to say on the subject.


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No longer, Becky told herself,
would Mr. Squiggy be forced to circle
his tiny bowl of tepid tap water,
goggled by visitors and fed those small
factory made protein pellets.
No, for today he had been made free,
free to make his own choices,
liberated from the stifling care
of his old home,
to chart his own course
and seek his own fortune.
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So wonderful to see your work recognized! Big fan here, as you know.
Congrats! Love that street scene :-)