novdecpreview2011

TIM JESSELL

by Anne Telford

ART ON THE WING N

painted Charles Barkley wrestling Godzilla, and ot every illustrator has a walk-in cage in the backyard populated by two falcons, his Oklahoma State University Spirit Rider but for the past two decades the art of astride a rearing stallion exemplifies the heroic falconry has been as much a part of Tim Jessell’s nature with which he imbues his characters. life as the art he creates. The sport brought him “Tim comprehends the broader context of the to Stillwater, Oklahoma, where he frequently flew project. He understands that we are creating somehis tiercel imprint Gyr/Peale’s hybrid falcon, Spike. thing together, and he comes along as a partner Considering it a good place to raise a family, he striving for excellence and the overall commuand his wife Ragan and their three children nication of the message. Every project we’ve done Abby, 16, Ben, 14, Molly, 11, two Shiba-Inus and together has won design awards,” says Dwayne a Shiba-Inu/Miniature Husky mix settled there, in Cogdill, creative director at Saint Dwayne a comfortable home a short distance outside town, Associates in Charlotte, North Carolina. down a gravel road, surrounded by green fields.

It’s clear that Jessell has abiding affection for his Inside a warm, paneled room off the living room animals, although he is also pragmatic about of his home, he works at a computer station, nature and its often-cruel devices. His art is meticulously painting—pixel by pixel—complex infused with a sly sense of humor, an awareness of images of sports, animals and people, for a variety the pecking order of those on whom he has focused of clients including Miller Brewing, Dr. Pepper, his attention. Given his background, it’s no surSeattle’s Best Coffee, Nike, at&t, Lands’ End, prise that he paints extraordinary birds although he Hasbro Games, Time, Texas Monthly, Scholastic, appears able to paint just about any creature.

Random House and Penguin Books, among others.

He grew up in Terre Haute, Indiana, a fragrant His realistic “with a twist” style has been used in Rust Belt town redolent with the odors of editorial, advertising, book and institutional industrial solvents, railroad ties soaked in creosote categories and has won awards in all of them. and a paper factory. “One of those places you have His illustrations are highly detailed and contain humorous elements—small insights into his often- to live in to love it,” he says with a wry smile. anthropomorphic characters and their actions.

He also creates really scary dragons. For Nike he

Jessell, 46, was drawn to art, and to the love of nature early on. “In first grade, I remember I had

Right: “Opening spread for Falcon, a picture book about a boy imagining he is a falcon: ‘I would ride the north wind to faraway places.’” Jan Gerardi, art director; Tim Jessell, writer; Random House Publishing, client.

“Smart Money magazine article on protecting one’s investments in a ‘bull’ market.” Sue Ng, art director; Smart Money magazine, client.

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Consumer Print Ads 1 (newspaper) Jorge Pomareda, art director Carlos Bretel, writer Maria Bernal/Pablo Ferrari, associate creative directors Laurence Klinger, creative director/chief creative officer Glen Gyssler, photographer Harry Archer, production designer Alethya Luiselli, agency producer Lápiz (Chicago, IL), ad agency Procter & Gamble, Bounty, client 2 (newspaper) Camilo Ruano, art director Julian Gutierrez, writer John Raul Forero, executive creative director Juan Jose Posada, chief creative officer Javier Crespo/Dario Mora, photographers Ogilvy & Mather Bogotá (Bogotá, Colombia), ad agency Carulla Knives, client “This ad from the campaign was published in real classified ads using the spaces between columns to demonstrate the accurate cut of our knives.”

3 (newspaper series) Stephanie Simpson, art director David Schermer, writer Dave Derrick, associate creative director Mylene Pollock/Derek Sherman, creative directors Susan Credle, chief creative officer Jason McKean/Alisa Wolfson, designers Jessica Hische, typographer Kimberly Cyrille, agency producer Leo Burnett Chicago (Chicago, IL), ad agency Kellogg’s Corn Flakes, client

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TV Commercials

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1 “American Family” :60 (Clips from past popular family TV shows. Actors wear digitally-altered Super Bowl garb as they gather in anticipation of the big game) Richie: All right, it’s party time. I got three different kinds of pretzels. I got six different kinds of soda.

Brenda: Chocolate ice cream, vanilla ice cream…

(Cut to Jerry and Kramer) Jerry: Forty-eight pack of waffles? A gallon of barbeque sauce?

Andy: Twenty seconds to go time.

Dwight: Got it. Carb up.

SFX: Doorbell.

Paulie: I’ll get it.

Jerry: Hello, Newman.

Bar: Norm!

Mike: Hi there, how are my girls?

Rose: We’re ready to serve the appetizers.

Uncle Jesse: Great, we’ll be down there.

Luke: We got ya, Uncle Jesse.

Peter: You’re already here? No way! Ahhh!

Ernie: Hey, come on in guys.

Karl: No…don’t…don’t, Steve!

(Football crashes through a window) Marsha: Ow, my nose!

Steve: Did I do that?

Barney: Everyone, everyone. If I may direct your attention to the television…

TV Anncr. 1: It feels great to have you all here for Super Bowl forty-five.

TV Anncr. 2: The air is electric here in Dallas.

Gloria: This is my favorite day in America.

Homer: (Trying to find a place to sit) Excuse me. Pardon me.

Fonzie: It’s a beautiful day for anything and everything, right?

Super: Best. Fans. Ever.

Stan: Hurry, we can’t miss the commercials!

Cartman: Ah! Ahhh!

Martin Peters, writer Lars Jorgensen/Eric Segal, creative directors Tor Myhren, chief creative officer Alison Horn, agency producer The Mill, production company Grey New York (New York, NY), ad agency National Football League, client 2 (series) “Goat Milk Machine” :30 (Open on a shepherd from biblical times—Abraham— working the concession stand at a movie theater. A man from modern times approaches to buy a drink) Employee: May I help you?

Customer: Yeah, I’ll take one medium soda please.

Employee: One medium goat’s milk, coming right up.

Customer: Uh, no. Um...

(There’s a goat on the countertop instead of a fountain pop machine. The employee places a medium cup under the goat’s belly and begins to milk it. After a few squirts of milk the tap runs dry. He tries flicking the udder, but it doesn’t help) Employee: Sorry, but I have to change the goat. Changing the goat!

(He picks up the goat and puts it behind the counter and lifts up another one and resumes milking) Employee: She brings milk.

(Cut to black) Super: The Chosen Festival. The Toronto Jewish Film Festival logo. TJFF May 7–15.

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“Parting of The Cola” :30 (Open inside a movie theater lobby. Suddenly, a man walking with his girlfriend drops his big gulp of soda on the lobby floor. The festival janitor—Moses—approaches.

He pushes a mop bucket with a staff-like mop and stands beside the puddle. Raising his arms, mop staff in hand, he summons the power of God) Moses: Wind, earth, fire, cola! I command thee!

(Wind blows through his hair and beard. The lights flicker, as the sound of thunder rumbles through the theater when all of a sudden, the little puddle of soda begins to part. The whole scene is anticlimactic as the woman, unimpressed, walks through the parted puddle. Moses holds his pose and nods) Moses: My lady.

(He turns his head, checking her out) Moses: The land of milk and honey.

(As she walks through the parted cola, her boyfriend tries to follow. Moses drops his mop staff and releases the soda onto the boyfriend’s loafers) Moses: Loser.

(Cut to black) Super: The Chosen Festival. The Toronto Jewish Film Festival logo. TJFF May 7–15.

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Shawn James/Greg Kouts, art directors Anthony Atkinson/Sean Atkinson, writers Pete Breton/Dave Douglass, creative directors Dylan McLeod, director of photography Aaron Dark, editor Eggplant, sound design Craig Brownrigg, director Elvira Labate, agency producer Miriana DiQuinzio, executive producer Radke Films, production company School Editing, post production company Dare (Toronto, Canada), ad agency Debbie Werner, Toronto Jewish Film Festival/Helen Zukerman, Toronto Jewish Film Festival, clients 3 “Comeback” :60 Music: Thoughtful piano music starts and continues throughout.

(Cut to a string of failures: a knocked-down boxer; a failed rocket launch; Popeye falling limp-armed into the ocean; a dejected Jim Belushi from Animal House; Evel Knievel falling off his bike. A shift in the music comes as the picture fades. Cut to Evel Knievel getting up with the help of his crew; Jim Belushi crying out, “Not me! I’m not gonna take this!”; Popeye getting a second wind from his trusted can of spinach; Truman triumphantly holding up a paper with the headline “DEWEY DEFEATS TRUMAN”; a rocket soaring into the atmosphere; a boxer, weak and bloodied, getting up off the mat…and the picture fades) Camera Card: We all fall down. Thank you for helping us get back up. GM logo.

Jamie Barrett, writer Rick Condos/Jeff Goodby/Hunter Hindman, executive creative directors Norman Bonney, director of photography Kevin Bagley/Dave Becker/Erik Johnson, editors He Ain’t Heavy, He’s My Brother, music Bob Russell/Bobby Scott, music composers Dave Baker, sound engineer Rob Sondik, agency producer eFilms, production company SpyPost, post production company Goodby, Silverstein & Partners (San Francisco, CA), ad agency General Motors, client

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