This image, which will be made available at first as a promotional postcard, is the first in a three-part series representing Flux's full season. Each postcard will fit together seamlessly. Read part of the collective thought process behind the imagery here.
Walking backwards through the rewarding, collaborative process:
|Final image with .125" bleed. Click to see larger version.|
Before submitting the final image I took a day off and then revisited it with my eyes open to how color leads the eye. I also responded to the group concern that, for the sake of the integrity of the larger season image, the action of this first stage should be pushed farther back (I had previously utilized a harsher crop but had given myself wiggle room in anticipation of just such a conversation.) I recommend clicking the image to see the larger version.
As soon as I started experimenting with application of color I submitted a jpeg of progress to the group, hoping to set minds at ease. Whether that was a totally successful move I don't know, but here we are today, hopefully happy at large with our final product.
The final drawing was pencilled, inked and scanned on a rainy Sunday that was memorable for the number of people bustling around my apartment/studio space, as there was—no lie—a film shoot happening at the same time. As I drew I watched the crew express collective emotions of curiosity/nervousness, skepticism, preparatory feelings of resentment aimed at the uncooperative weather, sleepiness, and, finally, an acceptance of having generally enjoyed themselves.
After my first meeting with members of Flux Theatre Ensemble I sketched this image. I had read the play, but there were aesthetic concerns outside of the play since the image will be integrated into a larger whole, and we discussed the larger themes tying all three plays together.
There are unending benefits to a collaborative plan of action. After the Dog Act image was well on its way I had the chance to see the press photos taken by Flux core member Isaiah Tenenbaum, and I feel, happily, that the aesthetic worlds are as similar as could be. I expect the world presented by the play itself to continue validating Flux's commitment to open dialogue.
Coming soon: illustrations for Ajax in Iraq by Ellen McLaughlin and Menders by Erin Browne, whose play Trying is featured in 2010's New York Theater Review.
Incidentally, Flux Theatre Ensemble core member August Schulenberg, who is directing Ajax in Iraq, is also featured in 2010's New York Theater Review, for his play The Lesser Seductions of History, which was directed by core member Heather Cohn and the introduction for which was written by core member Kelly O'Donnell. I think 2011 will be their year.