"Mother's Little Angels" is an art exhibition of collaborative works by Noli Novak and George Cornwell. Opening reception is on May 11, 6PM at Space 42 Gallery in Jacksonville Florida. This event is free and open to the public.
The exhibit will feature portraits of 45 historic icons in their childhood. These are graphic illustrations printed on a variety of materials ranging from vintage fabrics to faux fur. The subjects are presented thru the perspective of a negative ambiance inviting the participation of patrons with interaction of their smartphones.
To encounter history’s villains in the innocence of life itself. As children.
Through our experiences, as artists in graphic illustration and fine art printing, we unveil the imagery of Mothers Little Angels before they grow to mankind’s despised plunderers.
While contradictions are abundant to the lives destroyed, when seen in childhood, the wholesomeness observed in these icons go without question.
Equally, we present inarguable figures, with those stereotypes they transcended, in both positive and negative portraiture. While using the unorthodox substrate of faux fur in black and white. And in the context of both childhood and adult.
In applying the convenience of today’s technology, we introduce an interactive approach to viewing the artwork. To provide a fresh twist in the experience itself.
Noli Novak is an editorial illustrator at the Wall Street Journal. George Cornwell is a fine art serigrapher formerly based in NYC.
LEARN MORE: https://www.spacefortytwo.com/blogs/exhibits/mothers-little-angels
Connecting The Dots
Stipple artist finds a home in Riverside
Article about my life, art and strange things I do, by Tim Gilmore
(To read from Folio, click on the image bellow)
Meet the "WSJ Five", a crew of staff illustrators who cover all of paper's illustration needs. This group of artists hasn't changed in decades. Scan the Internet for information, you'll most likely get a wrong idea about who we are. Paired with the fact that we aren't credited in the paper (due to our staff positions), the confusion only grows bigger, so at the time when fake news and fakery in general is hard to avoid, it has become of utmost importance that we set the record straight and give credit where credit is due.
We are (in order of seniority):
Laura Levy http://www.lauraloulevy.com/illustrations.htm
Noli Novak http://www.hedcut.com/
Nancy Januzzi https://www.nancyjanuzzi.com/
Bill Hallinan https://www.behance.net/boodha
Bonnie Morrill http://bgmillustrations.com/
One more artist that must be mentioned, is our long time colleague Hai Knafo who retired 7 years ago. Although he still might do an occasional hedcut drawing, Hai spends most of his time curating the Museum of Nervous Energy, MoNE. https://www.museumofnervousenergy.com/
So, there you have it. Whatever else you might have heard, is simply false. There are no other illustrators drawing for the Journal and there are no automated applications making insta-hedcuts, not for the paper nor for outside clients.
As a group, we fought hard to keep this style of illustration present on Journal's pages to this day and in the process, it became not just "the look" of the Journal but an iconic style for the business world in general. Over the years, we had to find our way around many obstacles and challenges but we endured and even created a smooth transition into the digital realm.
It is also important to mention that contrary to another Internet rumor, the five of us have always been available for freelance work. We have been covering the needs of a variety of clients, especially the financial sector's, for many decades as well.
If you're in need of this kind of illustration, refer to the list above to make sure you're working with an authentic hedcut artist.
Curious about hedcuts? Here is an article from 2010 WSJ, touching on our daily routine and a little bit of history . Video on the bottom.
It is that time of the year again, Super Sunday! A day when the entire country is glued to the TV, eager to watch a bunch of puppies running after toys and each other, the Puppy Bowl!
For this occasion, here are just a few of my doggy drawings. I have done so many over the years, I lost count. Both for the Journal and many outside clients. I drew large dogs, small dogs, stuffed toy dogs, stray dogs, service dogs, royal dogs, presidential dogs ... even Snoop Dog!
The National Portrait Gallery is in the news lately (see the case of Chuck Close) and I was reminded that Hedcuts are also included in the NPG. Since I had a hand in making it happen, here is my story.
It was 2001, just a few months after the attacks of 9/11. The WSJ offices were located across the street from The World Trade Center, and our building was heavily damaged when the towers collapsed. In order to continue publishing a daily newspaper, our entire company and all of its operations had to immediately relocate to our parent company Dow Jones' corporate headquarters in South Brunswick, NJ.
The newsroom was still in shock from the attacks. We were uprooted from our daily routines and to make things worse, we had to commute such a long way, it was hard to squeeze out even one drawing a day. There was also a lot of talk about company's restructuring at the time, which caused additional pressure on us. I was so demoralized, that was the only time I actually hated my job.
Then one day, I was introduced to Anne Goodyear, curator of the National Portrait Gallery. She came to our office interested in including Hedcut portraits in the NPG collection. I was assigned a task of helping her, which worked wonders for lifting my spirit at the time.
The task however, was monumental.
Anne was interested in the history of hedcuts first and we spent long hours talking about everything hedcuts, from the evolution of the previous art styles, to all the artists who contributed their time and talents in creating the hedcut technique used today. When it came to compiling drawings, the task became even more complicated because a lot of our original artwork was destroyed during the 9/11 attacks, and archiving programs were still clumsy and not very reliable. In addition of going through hundreds of digital archives, Anne had to spend long hours in WSJ's storage building which housed decades of original artwork in dusty boxes.
After a few long months or work, Online Hedcut Gallery was created and the WSJ donated all the needed artwork.
20 of my originals were selected, dating from 1989 to 2001, picturing public figures of the time. They include Steve Jobs, Warren Buffett, Oprah Winfrey, Steven Spielberg, Martha Stewart and a drawing of my future boss, Rupert Murdoch and his new bride. Click HERE to see the rest.
Fast-forward to today.
My technique of creating hedcuts, has changed significantly since the early 2000's. The paper's needs keep changing, our deadlines are shorter, the quality of newsprint paper is different, but most importantly, online display of hedcuts was ultimately the biggest influencer for continuous updating of my technique.
When it comes to my process, the tools and art supplies I use, the biggest change happened when I was sent overseas to train the hedcut artist in our Brussels bureau. The Journal wanted the hedcuts used in the European edition of the paper to look more similar to the US edition's. In an exchange of artistry, the lady doing "European heds" introduced me to a completely new way of creating hedcuts and I use her system to this day.
I plan on doing a post about that sometime soon.
As per my invitation by The Metropolitan Museum in NYC, I participated in a public program organized on the occasion of the exhibition Michelangelo, Divine Draftsman and Designer. I held a workshop and showcase of my hedcut drafting technique for two groups of people interested in learning more about it. I was invited by Ann Meisinger, Assistant Educator for Public Programs & Creative Practice Education at The Met Museum.
For the workshop, Ann preferred that we use reference images of some of the artworks from the museum's own collection. She picked a few, including a Fayum portrait of a young boy named Eutyches.
I drew a stipple portrait of Eutyches to show the "students" what the actual hedcut would look like.
From my experience of training the new artists for the WSJ, I knew that the drawing process might be a bit too technical for the attendees to master in an hour. On average, it takes about a month of daily practice for a person to start forming a cohesive style, but everybody in attendance was genuinely interested in giving it a shot.
Most of the feedback from those who tried to draw, was that it is much harder than it looks. For instance, cross hatching needs to be smooth with the lines evenly spaced and dots have to be placed in patterns and even rows, both unique characteristics of the hedcut technique.
At the WSJ, my colleagues and I have all developed our own, individual ways of doing hedcuts over many years of paper's constantly changing needs and deadlines, so at the workshop, I set up a few different ways of drawing. We had drawing panels, as well as light boxes and a variety of micron pens and vellum paper.
In relation to the hedcuts, I checked out the Michelangelo exhibit. I focused mainly on his works on paper, more specifically his hatching technique and pen and ink line work which there were many examples of.
In the end, I'd like to point out that my hedcut "workshop" was a very special event. I get asked about hedcuts quite a bit but I normally don't teach the technique outside of the WSJ. Therefore, I'd like to extend another huge "Thank you" to Ann Meisinger and The Met for the invite and the rare opportunity to do a little show-and-tell about real WSJ hedcuts. I was also happy to learn they are interested in doing a workshop with my paper collage technique in the future, which is very exciting.
-Mother's Little Angels Art Exhibition
-Folio Weekly article
-Meet the WSJ Hedcut Illustrators
-History of WSJ Hedcuts
-It's the Puppy Bowl!
-Hedcuts at The Smithsonian's National Portrait Gallery
-Showcase at The Met
-Arts App & hedcuts
-Hedcuts at The Met
-Hello New Blog