“Doing fashion illustrations is part of my work, but for me it’s all about women,” Lorenzo Mattotti, the artist behind this week’s cover, says. Read more about his inspiration and look through a selection of his work.
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Archive for the ‘Comic & Book Covers’ Category
The New Yorker
Posted: 18th September 2014 by socomic in Comic & Book CoversTags: covers, The New Yorker, thenewyorker, fashion, Lorenzo Mattotti
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The New Yorker
Posted: 26th August 2014 by socomic in Comic & Book CoversTags: Ferguson, The New Yorker, cover, Eric Drooker
” Ferguson, Missouri” by Eric Drooker
“The police shooting of Michael Brown resonates on a personal level with me,” Eric Drooker says about next week’s cover, which was inspired by images from the scene.* (One of the most iconic was by Scott Olson, a Getty photographer, who was detained by police there.) “An artist friend of mine was killed by a cop in lower Manhattan, back in 1991. He happened to be black, and the police officer was never indicted.” Drooker continues, “As a resident of Manhattan’s Lower East Side, I witnessed the blurring distinctions between the police and military during the Tompkins Square riots of the eighties. I’ll never forget the day the N.Y.P.D. showed up in a military tank to evict nonviolent squatter friends from buildings on Avenue B and Thirteenth Street, where I grew up. This incident triggered a vivid childhood memory of the police driving a similar armored tank on East Fourteenth street, in 1968, to quell possible ‘disturbances’ after Martin Luther King was assassinated.
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The New Yorker
Posted: 20th August 2014 by socomic in Comic & Book CoversTags: The New Yorker, ocean, Beach, Danny Shanahan, Trunk Show, covers
Danny Shanahan discusses the inspiration behind his cover of this week’s issue.
“I used to always go in the ocean, but the last few times I’ve been to the beach, I’ve done exactly what those guys are doing,” Danny Shanahan says about this week’s cover. Shanahan didn’t tell us how he wears his trunks, but he explained why he now stays close to the shore. “The last three consecutive times I went in at the Cape, I ended up with a scratched cornea and in the urgent-care center there. Three times in a row, and it was just incredible pain. I couldn’t open my eyes, I couldn’t close my eyes, all because I had opened them underwater and got sand in there. It was just unbearable. So now I tend to either go to the mountains or play golf. The last vacation I had, I went to Scotland and played golf, and I didn’t even think about going in the water. I didn’t have to—with all the rain, the water comes to you.”
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The New Yorker
Posted: 5th August 2014 by socomic in Comic & Book CoversTags: The New Yorker, Lorenzo Mattotti, Siesta
“Siesta” by Lorenzo Mattotti
“I like to be here in Tuscany with Rina and Pulce,” says the Italian artist Lorenzo Mattotti, referring to his wife and their dog. Mattotti, who lives in Paris the rest of the year, continues, “Here in the country, we don’t see other houses around us—there aren’t really any. We’re on a hill and we see the sea in the distance. It’s a place where I like to pass the whole summer, a place where I can relax but also work. I don’t like to do nothing.”
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The New Yorker
Posted: 31st July 2014 by socomic in Comic & Book CoversTags: sea, Beach, Roz Chast, Venus on the Beach, venus, The New Yorker
“Venus on the Beach” by Roz Chast
“For me, seeing the ocean is just very primal,” Roz Chast says about her “Venus on the Beach” cover. We reached Chast in Narragansett, where she’s vacationing with her family. “We’ve been coming up here for about twenty-five years,” she continues “I feel like I have to go back every summer. I don’t know. I need to see the ocean again—to make sure it’s still there, I guess. And I go in eventually, no matter what the weather. Maybe this has something to do with growing up in Brooklyn and always going to the beach when I was a kid. First to Brighton, and then to Manhattan Beach. Now going to the beach is a very important part of my life, and of our kids’ lives—at least in the summer.”
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The New Yorker
Posted: 28th July 2014 by socomic in Comic & Book CoversTags: The New Yorker, city, cover, Eric Drooker, εξώφυλλο, Fifty-ninth Street Bridge, bridge
“Fifty-ninth Street Bridge,” by Eric Drooker via:newyorker
” Outside of New York, people are utterly dependent on cars to get anywhere at all,” Eric Drooker, the artist behind this week’s cover, “Fifty-ninth Street Bridge,” says. “No doubt the romantic lives of Americans are totally wrapped up in automobiles,” he adds. “But, as a native New Yorker, my experience has always been gloriously different. Instead of making out in the back seats of cars, I came of age making out on fire escapes, down in the subway, up on rooftops, and on bridges.”
The New Yorker
Posted: 23rd July 2014 by socomic in Comic & Book CoversTags: The New Yorker, cover, Mark Ulriksen, Coney Island
Coney Island by Mark Ulriksen
” Around here, one rarely goes to the beach in the summer because it’s so foggy, windy, and cold. You’d never go in the water unless you’re wearing a wet suit. Even though I ride my bike there all of the time, the beach is not a summer destination—it’s more of an end-of-the-line type of destination, better suited for flying a kite or walking a dog than catching rays. But, if you live in New York, Coney Island is the place to go when the weather is hot.”
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The New Yorker
Posted: 1st July 2014 by socomic in Comic & Book CoversTags: emotions, new york museum, 9/11, museum 9/11, Memorial Plaza, new york, The New Yorker, Tourists, adrian tomine, cover
“Memorial Plaza,” by Adrian Tomine
“When I heard that the 9/11 memorial and museum were going to be the top tourist attractions in New York this summer,” Adrian Tomine says about this week’s cover, “I first sketched only tourists going about their usual happy activities, with the memorial in the background. But when I got to the site, I instantly realized that there was a lot more to be captured—specifically, a much, much wider range of emotions and reactions, all unfolding in shockingly close proximity. I guess that’s the nature of any public space, but when you add in an element of such extreme grief and horror, the parameters shift.”