It was a dark rainy night in 1989. Tanks were rolling into Tiananmen Square. I dodged flaming cars returning to our residence from the hotel near the airport to rescue my design portfolio. I figured I was going to need it. I was right. In two weeks I was working in L.A.
I got a job with a design firm in the old Helms building on Venice Boulevard. An old friend scooped me up right away. In those days I really had chops.
Yeah, we had some accounts in the entertainment sector. Our specialty was creating airbrush illustrations for the front of video boxes, often using disparate scenes from the movie to create whole new scenes that do not even actually appear. But that was only part of our ruse. You see, even if the movie was B&W—as most classics are—the covers would always be in color. And if that wasn’t enough, the finished product would then be used in all subsequent advertising and promotion for the movie, all over the world. Okay, I’m not proud of it, but that’s the way it was back then.
We got the gig designing packaging for Harvey, a Henry Koster movie about a man (played by James Stewart) whose imaginary friend is a human-sized rabbit named Harvey.
Watch a scene from Harvey:
My task was to examine hundreds of stills from the movie and do several compositions. Continue reading