I used to have all the "Hot Seat" portraits I did up on my namtab.com site, but now that I trimmed that page down to a manageable size, I figured it would be fun to dig out some of the older and (IMO) better ones and put 'em up here!
This portrait of Martin Short--who was promoting a one-man show on Broadway at the time--was one of the first Hot Seats I did for Time Out New York after they had redesigned the page and changed the orientation of the portraits from vertical to horizontal.
Feeling creatively invigorated, I really tried to give these portraits my all, making them more complete illustrations all around--giving the magazine more bang for its buck, so to speak.
So I thought the name "Marty" all up in metaphorical lights was a really neat desig element. Plus, it tied in visually to the picture, and sort of commented on Martin Short's on screen/stage persona, which was kind of an attention hog, the kind of guy who chased after the spotlight. Nothing would make that Marty happier than seeing his name in giant, twenty foot glowing letters.
But...for whatever reason, the magazine had some weird rule about no text ever being in these portraits, so they asked me to take it out. I kinda thought that ripped the guts out of the piece, but by that point I knew not to argue. Even if I had, they would have gone ahead and taken it out themselves, so I said sure, got rid of it, and the resulting printed version was okay, but not as good as what I had.
Some days, the bear gets you.
This portrait of Martin Short--who was promoting a one-man show on Broadway at the time--was one of the first Hot Seats I did for Time Out New York after they had redesigned the page and changed the orientation of the portraits from vertical to horizontal.
Feeling creatively invigorated, I really tried to give these portraits my all, making them more complete illustrations all around--giving the magazine more bang for its buck, so to speak.
So I thought the name "Marty" all up in metaphorical lights was a really neat desig element. Plus, it tied in visually to the picture, and sort of commented on Martin Short's on screen/stage persona, which was kind of an attention hog, the kind of guy who chased after the spotlight. Nothing would make that Marty happier than seeing his name in giant, twenty foot glowing letters.
But...for whatever reason, the magazine had some weird rule about no text ever being in these portraits, so they asked me to take it out. I kinda thought that ripped the guts out of the piece, but by that point I knew not to argue. Even if I had, they would have gone ahead and taken it out themselves, so I said sure, got rid of it, and the resulting printed version was okay, but not as good as what I had.
Some days, the bear gets you.
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