Exploring possible human knowledge


Paul Vjecsner



After about six years of work in Denver I went back to New York, for reasons I indicated somewhat in the autobiography here. On the whole, I felt unhappy at 32, trying to do something about my lone existence. In New York I landed a job as the "artist" at a printing house, and it was my last fulltime job in commercial art, lasting about four years.

For some reason I am not absolutely sure at which job I did the following drawings of land machinery, but it is more than likely it was at the last one. In any event, because of my uncertainty I am starting with these on this first page about work after Denver.

The styles resemble some in my former employ, by consisting of line drawings accented with heavier black areas, but this of course does not imply where I did these.

24 November 2005



PHOTOGRAPHY, continued1, 2, 3, 4

PORTRAITURE, continued1, 2, 3

COMMERCIAL ART, continued1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25


AUTOBIOGRAPHY, continued1, 2, 3, 4


In the preceding two-color drawings, which include a gray tint, I let, as in former cases, a color or tint define some edges, without using an outline, which can be superfluous. Those images are about half the printed size.

Those at left are close to the size of the drawings and use, as may be evident, the pen for middle-tones, some by often heard of crosshatching. 


Speaking of crosshatching, in the following are two uses of it, this time without question for my last employers, who did work for CARE, the advertiser in these cases.

25 November 2005


These are the covers of the advertising pieces, shown in full but reduced, too small for the details. Below are the drawings alone, in actual size.


The crosshatching above is mainly in the arm with the torch (part of the Statue of Liberty of course), and unlike usual, is done with a brush, along with the rest of the drawing. I liked again the challenge of drawing the people in bird's-eye view.

At left is a return to the pen, but the heavy black strokes are done with a brush. My VJ is noticeable under the palm, while in the preceding picture it is almost hidden in the bottom of the torch on the right.


The preceding is an indication that my employers did a lot of work for non-profit organizations, and the following is among them, likewise with international content. The first four images are actually varied layouts for the same brochure, the sketches done with gray pastels and some opaque white.

29 November 2005


As evident from the finished brochure at left, it was the last layout that was chosen. The shadowy clouds were made to enable both the black and the white letters.


This painting of the background was done upsize in opaque watercolor.

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