You Are the Pan

Plain and simple, Hook is my favorite movie.
There's a puzzle that I made when I was a kid that's stashed away somewhere in my parents' basement. It was one of those draw-your-own-design puzzle kits. So naturally I drew the big fight from the end between the Lost Boys and Hook's pirates.
I watch it on Blu-Ray at least once a month.
I listen to the John Williams score at least once a week. (In fact, I just got the expanded soundtrack, which has several pieces from the film I've been dying to have)
Hell, I even wore out my copy of it on VHS.

 
There were a number of moments from the film I've wanted to draw as a poster...

 ...but I ended up choosing what I felt was the most appropriate: when Peter finally finds his happy thought and becomes the Pan once more.

Bangarang

--CKL--

Textbook Piracy

Ahoy! Here's a new spot once again for this week's Village Voice Winter Education Supplement, Class Action. The article by Patrick Arden, to be read here, is about how college students nowadays are circumventing the dreadfully depressing practice, which I can safely say that I do not miss in the least, of having to buy costly textbooks for their classes. Instead, they're able to find and download illegal PDF eBooks of the textbooks online for their tablets/devices.
AD Jesus Diaz contacted me with some fun ideas about really playing up the aspect of pirates. While sketching out ideas, I looked at a lot of pirate illustration done by greats like N.C. Wyeth and Howard Pyle to find the sort of "standards" in pirate characters. I also listened to John Williams' score for Hook extensively, but that's not unusual for me.

I wound up with 6 sketches, many of which I would have been happy to take to final. The first sketch was chosen, with the added idea of putting the mast of a ship in the background behind the pirate and student.

Thanks again to Jesus for an extremely fun gig!

--CKL--

Beasts of the Southern Wild

To point it out right way, yes, it's another personal illustration based on a movie (in case you didn't pick up on the fact that this is a trend, see examples here, here, here, and here) This time, it's the beautiful film Beasts of the Southern Wild, directed by Benh Zeitlin. It's a sincerely unique and powerful film, from the vision of the Bathtub to the impressive performances by Quvenzhané Wallis and Dwight Henry or the wonderful, Malick-like cinematography by Ben Richardson.
I'm still not positive why I had wanted to do this piece. Maybe it was the opportunity to draw a creature as unique as the film's auroch or to try and capture the strength in the wonderful and magnetic Quvenzhané Wallis as Hushpuppy. Either way, I was dying to do it.

Sketches

Pencils

Auroch fur texture

Hushpuppy detail

Auroch detail

I was initially planning on holding off on the release of this piece until it's release on Blu-ray and DVD on December 4th, but it turns out that someone from the Beasts Twitter (@BeastsTheMovie as well as @thebathtubber) noticed some small previews I had posted on Dribbble. They asked if they could share the piece on their blog! You can check out their post about my piece here along with a little blurb I wrote about what the piece and film mean to me.
Be sure to check out the film if you haven't yet when it comes out on Blu-ray and DVD on December 4th.

"I see that I am a little piece of a big, big universe, and that makes it right." -Hushpuppy

--CKL--

UPDATE: This piece is now available as a print as well as iPhone/iPod cases and stationery cards at my Society6 store,www.society6.com/cameronklewis

The Master

Here's a personal piece I just finished up that's based on the new Paul Thomas Anderson film The Master starring Joaquin Phoenix, Philip Seymour Hoffman, and Amy Adams.
I've seen the film twice now and I can sincerely say that it's incredible - challenging, distant, and powerful. Between the performances, cinematography, and direction, it's sure to be an awards juggernaut. Please note that I'm definitely biased as I'm a big fan of Paul Thomas Anderson's movies. Here are two watercolors I did back in college based on There Will Be Blood.)

Walking out of the theater the second time, I really wanted to draw this twisted kind of scowl that Phoenix's Freddie Quell seems to wear on his face throughout the movie.
In coming up with an idea for an image, I landed on the idea of a small, bent Freddie in the foreground, looking up at the massive form of Hoffman's Lancaster Dodd behind him. I imagined it as a poster for the film, with Dodd sort of posing and presenting himself for the viewer as the "writer, a doctor, a nuclear physicist, a theoretical philosopher" while Freddie peers up at him, unsure of the man he's fiercely following.

 

The wonderful Steve Brodner also recently tackled a Master illustration for the Village Voice, which you can see here.

--CKL--