Remembering Jack Unruh

The illustration world lost another superstar this week. Jack Unruh, one of the most talented men with a pen to ever grace the publishing world, left us and we are all the worse for his departure. He was an icon and a hero to all of us who wield a brush, pen or pencil. Sometimes in life you get to meet your heroes and I had the pleasure to interact with Jack on numerous occasions.

Rather than give a rundown of Jack's artistic accomplishments, which others have done so well in the posts that have flooded social media in the two days since he left us, I will just mention how Jack touched my life and career as a person. It seems many of the same posts are focusing on Jack Unruh the man more than the art anyway.

I first met Jack at a design conference in Park City, Utah in February of 1994. I almost didn't attend because of the cost but friend and organizer Don Weller allowed me the student rate even though I had graduated two years prior. The other reason to attend was that I would get to hear from and meet some of my heroes including C.F Payne, Braldt Bralds and of course, Jack Unruh. I was mesmerized by Jacks presentation and was equally charmed when he took a moment to look at my student portfolio and give some encouragement.

At the time, I was working full time at an educational software company creating clunky 16 bit illustrations and wishing I could figure out how to leave and begin my real illustration career. Little did I know that less than five months would pass before I would be laid off from that job and be thrown in with the sharks to sink or swim. In the back of my head I kept Jack's encouragement tucked in a safe spot for when I needed a boost. A few years passed and I had the chance to attend the very first ICON illustration conference in Santa Fe, New Mexico.

This was a watershed event for not only me, but for the entire industry. It was the first time in recent memory (or maybe ever to that point) that such a large group of illustrators were together in one place to discuss and celebrate the industry we all love. The very first evening, during the social hour, which by then had stretched past midnight, I found myself at the quieter edge of the lounge where I happened upon Chris Payne. I nervously reintroduced myself. He remembered me from the Park City conference and graciously agreed to look at my portfolio. My work had thankfully improved quite a bit from the previous years and we began to have a look. As we flipped the pages, I looked up and there was Gary Kelley who also joined in the perusal.

Each of them offered compliments and suggestions. I smiled and pinched myself. Two of my all time heroes were looking at my work! Just when I thought it could get no better, Chris looked up and saw Jack wandering the hall and called him over to join the critique. I could have died right there and been a happy man. Three of my favorite illustrators ever were looking at my work all at the same time! Better still, they had good things to say and offered much encouragement. I still remember Jack saying that he thought I was on a good track and that I just needed to keep working and I would make it. I ran into Jack again at the next ICON and he immediately remembered me. Jack had a wonderful way of remembering people and making you feel like a friend and that you mattered, even if years had passed since your last encounter.

The last time I got to be with Jack was in 2008 during a trip to Fort Worth, Texas. I was part of Murray Tinkelman's  University of Hartford Illustration MFA program and we were enjoying a week of remote contact in the Lone Star State. Of course, Jack was a local and Murray had asked him to come in and show his work to our group. As always, Jack knocked it out of the park showing his fantastic pen and ink and watercolor masterpieces. He Juxtaposed the visuals with tales of deadlines, nightmare projects, dream art directors and fishing. There was always fishing. I think Jack would admit that if he didn't love drawing so much, he would only do it to support his fishing habit.

One thing he said during the presentation that day that stuck with me was "If you aren't having fun with your art, then why do it?" I think he loved making art almost as much as he loved fishing. After his presentation, I weaseled my way into the lunch group with Murray, Jack and a couple of others. Jack of course, remembered me and we enjoyed a nice hour of good food and tales of the industry (and fishing). Jack always made you feel like you were important. He asked what I was working on and continued to give encouragement, adding that I probably didn't need it by now. Of course we can all use encouragement. I know I need it, even after twenty two years in the art business.

Jack Unruh was one in a million. He was prolific, diverse, unique, and a sense of humor that could biting at times.  He was a fantastic craftsman with a great sense of design a knack for brilliant use of negative space. We will not see anyone quite like Jack again, but I am grateful to have been a witness to his genius and to have rubbed shoulders at least a few times with this master of the pen. You will be missed Jack but take it easy on those trout in heaven. You've got eternity to wet that line.

Don Weller's Album Art

Don Weller- cover for Angel Records-circa 1970

A while back I did a pair of posts about the art of my friend Don Weller. This follow up post focuses on the art Don did for album covers in the 1960's and 1970's and mostly in Don's own words (which are more entertaining than mine anyway) taken from his email to me.

"In the late 1960s and 70s I did some album covers. I worked for a man named Bill Pate who was essentially a lettering man but had some music clients, most (of the covers) that I designed for him were photos with type on them. I did a bird painting for Bill Pate for an album whose name was "Little Bird", but I can't remember the artist (a piano player I think.) It was a two color job, green and black as I remember."

"This was probably my first actual illustration on an album cover, about that time I did some others I would rather forget: a Strawberry Alarm Clock album cover and a series of Broadway musicals for Frank Sinatra. I can't remember what they looked like, thank goodness. I think there were four in the series and sold together in a card board box like sleeve. I'm pretty sure they were rather ugly but I saved a nice letter I received from Mister Sinatra thanking me and saying how much he liked them.

During that period I did a lot of music posters for Warner Bros Records. They were for many different artists and some for Dionne Warwick, Seals and Crofts, and Gordon Lightfoot, and were winners in art directors shows, design shows and Illustration shows. And I did many more."

Don Weller-Cover for Angel Records

"The art director at Warner Bros would call and I'd drive over the hill to Burbank, meet and pick up any photos he might have. When I got back to my office in Hollywood, I'd call and explain whatever idea I'd come up with. He'd say "Fine, go ahead." I'd do the finish and take him the art by his deadline, usually a few days but often the very next day. He'd approve it and and the first time the musician would see his (or her) poster would be in the record stores (unlike the album covers that had to please everyone). So the first time Dionne saw her poster it was in the stores. I later heard she hated it."

 "I did my best album covers for Marv Schwartz at Angel Records (the Classical Music Division at Capital Records). He was the art director there, and a fine gentleman with the ability to assign illustrators, approve the result, with no one else in the loop. It was terrific to work for him, unlimited freedom. And he had long deadlines, there were a few artists he liked and used often. If you were one of those, and you were not busy you could call him and he'd find an upcoming album for you to do. There were several of us in this situation and we all tried to do our best for him.

Thanks Don!
My post on Don Weller"s Early Work
My post on Don Weller Current Work

Don Weller Part 2

Gerald Young's Gather, Rest Area- Watercolor, 20" x 16"

By Don Weller

Don Weller always wanted to paint cowboys and horses, and be a cowboy. He spent plenty of time growing up roping cows in the rodeo, but by college, he had figured out that you either inherited your Dad's ranch or you did something else. Don's father was an architect, so the whole cowboy-by-inheritance scenario was pretty much shot. Don sold his horses and trailer, gave away his saddle and moved to Los Angeles with the aforementioned portfolio full of Abstract Expressionist paintings.

Three Cows- Watercolor, 20" x 16" by Don Weller

Don worked the dual careers of graphic design and illustration for years before helping launch The Design Conference That Just Happens To Be In Park City. TDCTJHTBIPC was always known for it's mix of quality guests and skiing fun. I was privileged to attend in 1994, when C.F. Payne, Braldt Bralds, Rafal Oblinski and Jack Unruh were all guest illustrators.

Deseret Crew- Watercolor 20" x 14" by Don Weller

This annual pilgrimage to the mountains, the skiing and the wide open spaces lured Don and Cha Cha to contemplate a move. The concrete jungle of Los Angeles soon gave way to alpine views as Don and Cha Cha relocated to Park City and the prospect of returning to the saddle.

Basically Alone- Watercolor, 26" x 15.5" by Don Weller

Since summertime offered no skiing Don soon sniffed out the local horse culture and was introduced to the art of cutting horses. It would not be long before Don was riding these horses himself and competing alongside the best cutting horse riders in the West and winning a few cuts himself.

Parking Lot Near Onion Creek - Watercolor,  20" x 22" by Don Weller

Summers now find a small herd of cattle grazing in the pastures that surround the three building estate that he and Cha Cha built on his Oakley ranch. Don designed the house, the garage with studio attic, and the horse barn. The five stall barn is where Don keeps his teammates.

Dancing Cheek to Cheek- Watercolor, 17" x 20" by Don Weller

Don trains with them in their very own cutting ring where he frequently invites friends to join in the action. Cutting horse riders depend on complete cooperation from their equine partner as the subtlest of hints direct their actions. Then there is the moment when the horse takes over and separates the cow on it's own. This symbiotic relationship between horse and rider mirrors the relationship Weller feels between his riding and his art. One feeds the other and each provides a necessary component to the whole, and if all goes right, at some point the art takes on a life of it's own.

Rope Tricks Too- Watercolor, 18" x 16" by Don Weller

"A good painting does not aspire to be a photograph. A painting is a composition with things included and eliminated to enhance an idea. The elements are staged to set the scene and move the eye. And for me a good painting allows the viewer into the process. Brush strokes show" says Weller.

Careful! - Watercolor 14" x 17" by Don Weller

"I have found some tricks that help me improve the odds of success, but the most important thing for me is to spend more time planning and less time painting"  Don says. "First there is the idea. Then I try to have a pretty solid image in mind before I start, and a solid drawing before I paint. Washes are thought out carefully. Spontaneous looking strokes are practiced on another sheet before being put down on the painting."

Trio- Watercolor, 8.5" x 9" by Don Weller

Looking at Don's current work it is obvious that the years of training in design and the countless illustrations created are the foundation for his success. I am blown away by his immaculate sense of composition, the balance, the color and above all the compelling nature of the way he draws his subjects. It is not an ability to be developed overnight, or even over a decade. The reverence he lends to his craft is obvious. "The painters I respect treat painting like it was the most important job on earth. For us it is."

Down to the Colorado- Watercolor, 19" x 14" by Don Weller

In the forward to his book "Watercolor Cowboys" Don says "I have been searching my earliest memories and although I can't find a time I ever believed in Santa Claus, I'm sure I've always believed in cowboys."

I believe in cowboys too.

Like this post? Please comment, it helps me plan future posts

Don Weller Website
Part one of this interview with Don Weller

Don Weller

Cover for Communication Arts Illustration 30- by Don Weller

A few weeks ago, I saw a posting on Today's Inspiration that included the work of friend and fellow Utah based artist Don Weller. The initial posting identified the work as "unknown", but I immediately deciphered the signature as well as the style.

Don with dog Buster in the barn tack room

This prompted me to approach Don about an interview, though my request was as much an excuse to travel to rural Oakley, Utah for lunch and a visit. Don and wife Cha Cha live on a ten acre ranch property that they share with two dogs, a cat some horses and several cows. Don always liked to draw as a kid, inspired by the work of Charlie Russell and Will James. A cowboy at heart, Weller arguably stumbled into illustration as a career. Growing up in rural Washington, Don studied art Washington State and left there with a portfolio filled with Abstract  Expressionist paintings and a handful of figure drawings. This apparently was the extent of what was taught there and Don insists it was "a terrible background for someone who wants to illustrate".

Cover art for Angel Records

From Washington, Weller ended up in Los Angeles in a position doing fashion paste up for the May Co. By 1961, Don had managed to find a position at UCLA doing brochure design for the campus colleges. He says he got the job mainly because the hiring agent was being fired and wanted to saddle the college with the worst possible employee ever (remember that Expressionist portfolio?).

Westways magazine cover

Well, fellow employees Mits Kataoka and Bill Brown eventually took him under their wing and Don spent all his energy and extra hours learning the craft of graphic design while honing his own illustration skills. The brochures he was designing needed illustration and he had the luxury of complete autonomy in how to fill the visual space. At the time, Milton Glaser, Seymour Chwast and the rest of the Pushpin Group in New York were doing groundbreaking design that incorporated their own illustration as imagery.

Illustration for Simpson Paper Company

The logical solution for Don was to follow suit and illustrate these projects himself, which he did. The UCLA job led to more and bigger opportunities in both graphic design and illustration including work for Rexall Drug, Schick Razors, T.V. Guide, Boys' Life, Warner Brothers, Continental Airlines, Sports Illustrated, and even Time Magazine covers.

For Weller, illustration has always been about the idea and how to communicate that idea. He remembers a couple of Time Magazine projects he worked on in the early 1970's One was a cover featuring Elton John in which he was competing against fellow illustrator Wilson McLean.

Time's typical practice was to commission two illustrated and one photographic solution for each cover subject, all of which were paid for. One cover would be chosen to run unless some current event pushed the cover story aside. Wilson's version neglected to include the piano, which the editors felt was key to conveying the idea. Don's version of course had a piano, so he won the cover battle.

Later, Don was asked to do a cover featuring Bruce Springsteen, whose "Born To Run" album had just exploded on the charts. This time, Don was the one who forgot the key element, the guitar. Much to Weller's chagrin the magazine ran a version painted by Kim Whitesides which included the guitar. Time and the other news magazines would routinely leave commissioned artwork unused. One time, Don created a cover for a story on Mel Brooks' "Silent Movie". The release coincided with the 1976 Summer Olympics and was bumped in favor of teenage gymnastic darling Nadia Comenici.

By the time Don and wife Cha Cha left the congestion of Los Angeles for the mountain vistas of Park City, Utah in 1984, Don was the recipient of a Lifetime Achievement award from the Los Angeles Society of Illustrators. Don felt that this was a bit strange if not premature since he was still going strong in both illustration and graphic design.

Logos designed by Don and Cha Cha Weller

Upon arriving in Park City, Don rediscovered his passion for horses, particularly cutting horses. I'll post an overview of the beautiful western themed work Don is currently creating tomorrow.

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Don Weller's website