DESIGNER AND ILLUSTRATOR
O
nce upon a time, there was a boy who liked drawing. . .
I
am a storyteller. I love words and images. In my early days, I spent hours drawing my favorite cartoons like Teenage Mutant Ninja Turtles and Snoopy.
O
ne day, my life changed. As a young kid, I went to a speech coach to improve my reading, writing, and speaking skills. One session, she brought out a comic book called Calvin and Hobbes. Hesitant at first, I soon realized the immense power behind those pictures and words. New worlds grew in four boxes. The explosive ideas, the bright colors, and the comprehensive vocabulary of a supposedly six-yearold kid enraptured me. I found my calling.
I
continued drawing comics into high school, but I wanted more. In a fit of spontaneity I found in German class, I flew to the counselor’s office and signed up for art classes. There, I expressed my innermost being for the world to see. I was home.
T
o this day, I continue creating the story that my ten-year-old self started. I imagine that my 120 year-old-self will continue just the same. I love words and images.
DESIGNER AND I LLUSTRATOR OBJECTIVE A position as a designer in publishing.
STRENGTHS Create unique visual ideas based on client requirements. Well organized to meet project constraints, budgets, and deadlines. Perform quick turnaround and end projects within tight deadlines. Listen to critiques and offer suggestions to clients to create the best possible end product. Develop lasting relationships with clients due to repeat business from exceeding expectations.
Eric Sailer 320 East 90th Street New York, NY 10128 EXPERIENCE www.ericsailer.com Penguin Random House, Ebook Designer,
[email protected] April 2015-current 267-614-6074 Export book files through Indesign into reflowable and fixed page SKILLS
ebooks. Prepare files by redesigning pages to maximize epub contents. Troubleshoot issues with typography, edit images with photoshop, resolve internal and external linking. Collaborate with editors and designers to meet author and client expectations.
FREELANCE
* Amazon Two Lions Publishing
* * * * *
Writing and illustrating a trade picture book to be sold in national and international markets for children ages 3-7. Coming 2017. Solocom NYC Created multiple portraits of varying actors and comedians in solo performances Stuckert & Yates, St. Mary's Medical Center of Langhorne Painted oil portraitures for different institutions Creative Differences, personal clients Designed logos, business cards, and web banners Smithtown Matters Contributed various illustrations weekly to an online newspaper website The Philadelphia Inquirer, Grid Magazine Created editorial illustrations for various articles
AWARDS AND RECOGNITION
* Winner of the New Jersey Society of Children's Book Writers and Illustrators' 2014 Showcase
* Artwork featured in the New York Society of Illustrators Museum * Craig Cutler and Brad Talley Awards for Outstanding Photography
EDUCATION
* Hunter College Continuing Education, Certificate in Graphic Design
* University of Delaware, Bachelor of Fine Arts in Visual Communication
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Book Cover
Fahrenheit 451
Redesigned a book cover to make it literally on fire. Not only is the book on fire, but the words themselves are being burned out of existence.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Book Cover
The Adventures of Nanny Piggins
Nanny Piggins is a middle grade children's book title that stars a circus pig fashioned after Mary Poppins. The illustrations are of my creation and are done in inkwash, pencil, and watercolor.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Book Cover
A Tree Grows in Brooklyn The tree referenced in the novel is the "tree of heaven," a hearty tree that grows despite the squalid conditions of 1910 Williamsburg. The tree symbolizes the protagonist Francie Nolan's determination to grow and overcome her surroundings.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Book Cover The Martian
The modern day Robinson Crusoe remimagined. The cover is to recapture the desolateness and vast expanse of the barren red planet. The cover is a photo composite of the images shown here.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
T
he Glasgow Looking Glass, published in 1826, was arguably the first comic strip. A satirical publication, later known as The Northern Looking Glass, it lampooned the fashions and politics of the times. It had all of the elements that make up the modern comic, including pictures with captions that display a continuous narrative told often in installments, and the use of speech bubbles, satire and caricature. Rodolphe Töpffer, a Francophone Swiss artist, was a key figure in the early part of the 19th century. Though speech balloons fell from favour during the middle 19th century, Töpffer’s sequentially illustrated stories, with text compartmentalized below images, were reprinted throughout Europe and the United States. The lack of copyright laws at the time meant that pirated editions proliferated, and translated versions created a market on both continents for similar works.
A Max and Moritz cartoon from the 1860s.
In 1843, Töpffer formalised his thoughts on the picture story in his Essay on Physiognomics: “To construct a picture-story does not mean you must set yourself up as a master craftsman, to draw out every potential from your material—often down to the dregs! It does not mean you just devise caricatures with a pencil naturally frivolous. Nor is it simply to dramatize a proverb or illustrate a pun. You must actually invent some kind of play, where the parts are arranged by plan and form a satisfactory whole. You do not merely pen a joke or put a refrain in couplets. You make a book: good or bad, sober or silly, crazy or sound in sense.” In 1845, the satirical drawings, which regularly appeared in newspapers and magazines, gained a name: cartoons. (In art, a cartoon is a pencil or charcoal sketch to be overpainted.) The British magazine Punch, launched in 1841, referred to its ‘humorous pencilings’ as cartoons in a satirical reference to the Parliament of the day, who were themselves organizing an exhibition of cartoons, or preparatory drawings, at the time. This usage became common
parlance, lasting to the present day. Similar magazines containing cartoons in continental Europe included Fliegende Blätter and Le Charivari, while in the U.S. Judge and Puck were popular. 1865 saw the publication of Max and Moritz by Wilhelm Busch by a German newspaper. Busch refined the conventions of sequential art, and his work was a key influence within the form. The first weekly comic to feature a regular character was Ally Sloper’s Half Holiday, which debuted in the British humor magazine Judy in 1867 and was created by C. H. Ross and illustrated by his French wife Emilie de Tessier. In 1884 the then highly popular character was spun off into his own comic, Ally Sloper’s Half Holiday published by Dalziel Brothers, eight pages long and printed in black and white at tabloid size. The magazine was extremely popular with the working class and may have had a circulation as high as 350,000. In 1890, two more comic magazines debuted to the British public, Comic Cuts and Illustrated Chips, establishing the tradition of the British comic as an anthology periodical containing proto-comic strips.
The Glasgow Looking Glass, published in 1826.
Catalog The History of Comics
The History of Comics is a catalog designed for a supposed exhbition on comics in a museum-like setting (ie. MoCCa or the Billy Ireland Museum). The emphasis of the catalog is on InDesign techniques and strong typography skills.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
The Yellow Kid, whose full name was Mickey Dugan, first appeared in Joseph Pulitzer’s New York World in 1895, one of a cast of characters in a strip called Hogan’s Alley.
The Yellow Kid, drawn by Richard F. Outcault in The New York Journal on Sunday, January 9, 1898
A sample splash page
Catalog The History of Comics
A continuation of the catalog designed for a supposed exhbition on comics in a museum-like setting (ie. MoCCa or the Billy Ireland Museum). The emphasis of the catalog is on InDesign techniques and strong typography skills.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Museum Brochure
The Metropolitan Museum of Art Designed a brochure for a museum of my choosing and its imaginary exhibition. Coming March 2020 to the Metropolitan Museum of Art is From Da Vinci to Donatello: The Teenage Italian Artistic Prodigies.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Poster
Hamlet at the Barbican Theater Created a poster that captures the essence of the title character, which is no small feat. A revealed skull behind the facade alludes to Hamlet's own confrontation with death in his famous sililoquy and in Act V when he holds Yorrick's skull.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Photoshop & Illustrator Living Room
Created a living room with period furniture that showcases both Photoshop and Illustrator skills.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Photoshop & Illustrator Planets
Created a scene from outerspace that further exemplifies my skills with Photoshop and Illustrator. Spaceman Spiff makes an appearance.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Illustrator Humphrey Bogart
Demonstrating the full extent of Illustrator capabilities including effects, gradient mesh, and other commands.
DESIGNER AND ILLUSTRATOR www.ericsailer.com ||
[email protected] || 267-614-6074
Web Design Personal website
Shown here is a personal website to showcase not only illustrations, but also HTML5 and CSS3 animation. To the right and below are examples of CSS3 animation being utilized.
DESIGNER AND ILLUSTRATOR www.ericsailer.com
[email protected] 267-614-6074
