The Wall Street Bailout… a ‘how to’ guide

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Sarahi says:

November 9, 2015 at 7:37 pm

Oh this looks like fabulous fun, Preston. And you look so great!Congrats again on the book rlsaeee. How exciting!!! And the whirlwind trip around the world. Of course, as much R&R as I am sure you would like or could use, duty calls and you’re quickly back to designing grandiose designs and making brides’ dreams come true! Go at it!!Thanks for keeping all of us blog followers and PB fans up to date with the fascinating events of your life. So delightful to read your blog! Keep up the great work. Your designs and your words of business tips and inspiration are so very respected and appreciated.All the Best from Berlin,Savannah The French Bouquet

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“Lines of Attack” exhibition, Nasher Museum of Art at Duke University | Liz Lomax - Art + Illustration says:

February 4, 2010 at 11:33 am

[…] in this show amongst such great artists! A giclee print of the “Bailout” sculpted illustration I created last year for The Wall Street Journal hangs in the museum as […]

The Wall Street Bailout… a ‘how to’ guide

Posted: February 10, 2009
Filed under: Current Projects, Info
Tagged: 3D illustration, political, recent work, Work-In-Progress

This 3D Illustration I did for the Wall Street Journal was so much fun I thought I’d share a little of the process! I began with a sketch which was approved by my favorite art directors and editors at The Journal (with a few tiny changes which were to be made in the sculpting phase).

Then I started the figures with a wire armature, packed tinfoil on top to build up mass and rendered their likenesses in Super Sculpey using clay shapers. I constructed the sinking boat out of Insulation foam and used the same material for the base. I used blue reflective paper for the water rising in the boat and layered globs of joint compound outside the boat to make the choppy waves.

Once dried I painted the waves with acrylics. I baked the figures in a toaster oven for about 15 minutes and painted them with oil paint after they had cooled. Once painted, I placed the figures back into the scene and photographed them digitally. I shot a few of them separately and then manipulated the final image in Photoshop.

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