Illustrators Journal Spring 2016

S P R I N G I S S U E
INTERVIEWS WITH
Illustrator
Bob McMahon
MASTER OF LIGHT
Bruce Munro
INSIDE: THE FIRST
EDITION OF LPIK
INTERVIEWS WITH
James Vaughan
Justin Rosenberg
Tony Donaldson
Cover illustration by
LON LEVIN
A LOOK AT CHRISTY MARX
AUTHOR OF:“Writing for Animation”& “Write Your Way Into Animation And Games”
Tapping Into Your
Brain’s Originality
The editor’s take

table of
contents
Illustrators Journal/Spring
“Change
is the one
thing inlife
wecan
depend on“..”.
It rings to announce endings
and beginnings. And it rings
because there is fresh promise
and wonder in the skies.
Its clear tones resound in the
placid silence of the winter day,
and echo long into the silver-blue
serenity of night.
The bell can only be seen at the
turning of the year, when the days
wind down into nothing, and get
ready to march out again.
When you hear the bell, you feel
a tug at your heart. It is your
immortal inspiration.”
― Vera Nazarian, The Perpetual
Calendar of Inspiration
“The great
miraculous
bell of translucent
ice is suspended
in mid-air.
MASTER OF LIGHTS
BOBTOONS
CHRISTY MARX
An interview with visual lights master artist Bruce
Munro
Children’s illustrator Bob McMahon reveals his
inner child
Writer and developer of some of the most opular
games and comics answers a few questions
All the work depicted in this magazine are the expressed
property pf the artist who created the work and cannot be
used in any way without the expressed written permission of
the artists.
TAPPING INTO YOUR CREATIVITY
GALLERY
LPIK PHOTO MAGAZINE
THE PHOTOGRAPHY OF JAMES VAUGHAN
JUSTIN ROSENBERG: PHOTOGRAPHER
TONY DONALDSON: ACTION PHOTOGRAPHER
Editor Lon Levin discusses the art you always
wanted to do.
The editor’s commercial work
The first edition of IJ’s photo magazine
The first part of our interview with this unique artist
Making the most of his second chance
Athlete turned photographer excels
under pressure

It seems to me we can
never give up
longing and wishing
while we are thoroughly
alive. There are certain
things we feel to be
beautiful and good, and
we must hunger
after them.
George Eliot

“Growing up, I was lucky to have a lot
of encouragement to pursue art (aside from
when I drew on my bedroom wall of course.)
My parents, teachers, and peers often en-
couraged me to continue drawing.”
“My parents really encouraged my art.
They were very open minded and loved
to see their kids happy and inspired”.

master
0f lightBritish artist Bruce Munro is best known
for immersive large-scale light-based
installations inspired largely by his interest
in shared human experience. Recording
ideas and images in sketchbooks has
been his practice for over 30 years. By this
means he has captured his responses to
stimuli such as music, literature, science,
and the world around him for reference,
reflection, and subject matter. This ten-
dency has been combined with a liking
for components and an inventive urge
for reuse, coupled with career training in
manufacture of light. As a result Munro
produces both monumental temporary
experiential artworks as well as intimate
story-pieces.
As a kid were you interested in art? Were
you encouraged to pursue it by parents,
siblings, friends?
I loved it from a very early age. I can
remember painting a picture of the
sea and hoping that moving the paint
around the paper in a similar way to wa-
ter crashing on the rocks it would look
like the sea. It did not but I recognised I
had captured an essence of the sea. My
parents really encouraged my art. They
were very open minded and loved to
see their kids happy and inspired.
When did the aspect of light and illumi-
nation as art come to you? What were
your first attempts at “lighting as art”
like?
Experimenting with Light formally started
in Sydney when I was 24. My first con-
scious pieces were started at art school
where I created irregular 2D window
hangings from white layered paper.
These were in part inspired by a
Disney film The Castaways that I had
seen as a child. A sequence in the film
involved traveling through a glacier on
an iceberg. I remember the beauty and
colours of the ice.
How did art school shape your work? Did
you have any teachers that helped you
or inspired you. What other professional
influences did you have.
My first art teacher (at eight) was a lady
who wore no nickers . That inspired me!
My next art teacher (sixteen) taught me
to love drawing and keep skech books
(that inspired me). At art school I learnt
that I could not live happily without
art (that inspired me) at twenty four in
Sydney an advertising man called me a
butterfly. That angered me but led to me
focusing on light. (that inspired me).
How did you come to splitting your com-
pany into commercial lighting installa-
tions , lighting sculptures and lighting
art?
I wanted to make art from the beginning
but I realised I must wait until I found the
truth of what I wanted to do. Meanwhile
I set out to learn about light , and raise a
family. At forty just after my father died
I felt I had enough experience to give it
a go. I also discovered that I wanted to
express those fleeting precious moments
of clarity where one becomes almost
invisible from the ego.
What process or processes did you
use to promote yourself? As an artist,
commercial lighting firm and as a light
sculptor?
Initially it was simply word of mouth. I
have been lucky and had many lovely
clients. Eventually I decided to look into
PR because I live and work in the coun-
tryside. Fortune has favoured me again.
I found a company who is as passionate
as me in what they do. Claude
Communications have been brilliant!

master
0f lightDo you create your own fixtures exclu-
sively or do you mix them in with avail-
able components?
The sculptural components we make
them from scratch . But I purchase off the
shelf and specialist luminaries .
When you get a project what is your ap-
proach or process in coming up with the
optimum design and usage?
It varies. Installations are often site
specific so one is responding to the
environment . I keep sketch books and
have lists and doodles of things I must
create so many of these are introduced
into projects when I feel they are
appropriate.
Can you tell me about Longwood and
how that came about? Also some of the
challenges in lighting such a spectacu-
lar area?
Longwood came about because they
originally saw my work at The Eden
Project, which was very well publicised
by Claude Communications. Longwood
invited me to see the gardens and I
was gob-smacked by it on my first visit.
It was a challenge but did not feel like
that. I felt like I had won a Willy
Wonka bar!
Do you test your design and fixtures
before you install them or do you install
then test?
When I was younger I was much more
Cavalier... But these days we test
thoroughly . But there are still a few
surprises . Thank goodness real life is
always different to theory.
What is your favorite installation or piece
of art you’ve created?
They all remind me of special moments
of my life so in that respect I do not have
a favourite . I love the whole process
from inspiration , idea, execution,and
installation. By the end I am ready to
move on. I often think I could have done
things better . I see this more as a way to
be rather than producing finite things.
Do you work in any other mediums to
create art?
I love painting but am pretty bad at it. I
am light based but i have many projects
in other media that I want to bring to
fruition ....if any of your readers are
interested give me call!
Do you have any hobbies or interests
away from lighting?
My family and friends. Not much time for
anything else.
Advice to young emerging artists?
Love it!
continued

Our greatest weakness
lies in giving up.
The most certain way
to succeed is always
to try just one
more time.
“
”––– Thomas A. Edison

Interview answers Bob McMahon
Humorist&Kidlit
book artist
The art of Bob McMahon is
funny, endearing and ador-
able.
Bobtoons
Interview with
Bob McMahon
by
Lon Levin

How did your parents influence you as a young creative ? Were they encourag-
ing? Who discovered or encouraged your talents?
I don’t think my parents actively influenced me, they just left me alone to find out what
interested me and when I started drawing they never fawned over my art or anything but
they always made sure I was well supplied with paper and ends and stuff. They also took
me to the used book store on weekends so I could root through the boxes to find old Mad
Magazines to add to my collection. As I look back I admire their self-restraint in not project-
ing their hopes and ambitions on me. There wasn’t anyone who had that really discovered
me. There’s plenty of people who encouraged me though, from my parents, teachers in
school to the fellow artists who worked with me at the art supply store after I graduated.
In college I loved doing political cartoons for the school paper and won a few state awards
for those and after I left the art supply store an animator named Phil Mendez really helped
me try to get started by paying my salary so I could work at a local newspaper drawing
political cartoons. Great artist and a great guy, Don’t know what happened to him though.
2. Did you have any major influences as a boy that motivated you to become
an illustrator? Any incidents that fueled your desire?
I was greatly influenced by Mad Magazine growing up. Jack Davis, Wally Wood, Will Elder,
Sergio Aragones, Mort Drucker, Al Jaffee, Don Martin and the whole Mad gang. While other
kids were into superhero comics, DC and Marvel, I was all about Mad Magazine and the art-
ists in Mad. My friends and I all drew comic books as kids. Theirs were superhero types and
mine were superhero parodies.
3. What was your schooling like for illustration? How did that form you as
an artist? Teacher influence?
In college there were only two ways to go as an artist- either you were a graphic artist and
designed publications and advertising graphics or you were a fine art painter. There really
wasn’t anything in between. I loved doing political cartoons and comic strips for the college
paper! I thought I got pretty good at it too but unfortunately it’s hard to find a newspaper
outside of college that will pay you to be a staff cartoonist.

Interview answers Bob McMahon
Your style is so distinctive, how did that come about? Or did it just happen? Who
are your art heroes? Mine are all the artists of Mad magazine, Charles Bragg,
Tenniel and Daumier among others. I think we have most of the same influences! To add
to that list I would put political cartoonists Jeff McNelly, Pat Oliphant, Paul Conrad.
You’ve work in many areas of the commercial world, any you like best?
Back when I was doing advertising work I liked doing movie posters and I also did art for a
number of corporate publications too. Met some great people there. The posters I did were for
some really, really small straight to video type movies but it was fun anyway. I remember the
deadlines for advertising work were just insane! They would have you do a full color artwork
from sketch to finish in like three days but they did pay good money back then.
finally responded.

You and I have had the same agent. Has she helped your career? Do you rec-
ommend having an agent? How did you get an agent to begin with?
An agent like Ronnie Herman, who is well connected in the publishing industry, can be
a great help but that doesn’t mean you can stop sending out postcards and promoting
yourself. Only you are responsible for the success of your career. You have to keep getting
your artwork out there and do good work. For me an agent is invaluable for negotiating
contracts and trying to get you the best deal. They know the ins and outs of the publishing
industry and they know what to can be changed in a contract and what can’t.
I got an agent by sending out lots of postcards to all the representatives that I thought would
be a good fit for my style. It took a while but Ronnie Herman was the one who finally
responded
How has the shift to digital affected you, your business and your work?
I used to work with pen and inks and then I slowly worked my way toward being all digital.
I started off scanning my original ink drawings and then coloring them in the computer but
then I got experienced enough with the Wacom pen that I started doing the whole thing in
the computer and never looked back. I do miss the tactile part of doing art with pen and
inks though and I use to love to go to the art store and pick out papers and see what new art
toys they had.
Are there any areas of the business that have heated up for you and why don’t
we see more Bob McMahon children’s books?
Early last year I was asked by a NY PR agency to illustrate and e-book for kids about a child-
hood disease to help kids who had it understand it better and not be afraid. It was the first
e-book I ever did and the first for the PR company too so we learned together. I think the
growth in e-books in the future is going to be explosive and they’re going to need illustrators
so hopefully this means more work for us all. I’m working on projects now but it takes at
least a year before they hit the stores. In September I have a book coming out that I illustrat-
ed called Apple Days.

Article written by Lon Levin
I caught up with her and asked her two questions (which is all I
could squeeze out of this brilliant and very busy creator)
But first a little background...in her own words.
MAKING HER MARX...
BIGTIMEOne of the best game and animation scriptwriters is Christy Marx. In a
world dominated by males with heroic dreams in their minds she has
thrived. Christy Marx grew up in Danville, Illinois and is an American writer and a
photographer. She has written scripts for various episodes of TV-series, mainly for kids’
shows, including Jem,Teenage Mutant Ninja Turtles, Conan the Adventurer, G.I. Joe,
Hypernauts, Captain Power and others. She is known for her original comic book series
Sisterhood of Steel as well as work on Conan, Red Sonja, and Elfquest.

Who am I? Who wants to know?
Why do you care? Well, since
you’re here, I may as well give
you the tour.
I’m a writer. What’s even more
unusual is that I’ve been able
to earn my living as a writer
and sometimes it’s a very good
living. Of course, other times
it’s a famine, but that’s typical
of the scriptwriting trade. Feast
and famine.
Did I set out to be a writer?
Yes and no. I was born with
the innate desire and talent
to tell stories, but I was about
twenty-six before the little light
bulb went off in my head, the
one that said, “You’re a writer,
stupid! Do something about it.”
EARLY DAYS
I grew up in the midwest, in
Danville, Illinois, a small city or
big town, depending on how
you look at these things. From
as early as I can remember,
I’ve loved books. I love to read.
I was especially attracted to
visual sequential storytelling in
the form of newspaper comic
strips and comic books.
I recall a four-panel story I drew
as a young child, when I could
do nothing more than stick
figures. In the four panels, I
established the heroine, heroine
is kidnapped by villain and tied
up in cave, heroine escapes
and runs into arms of man.

“I’ve had a lifelong love for
comic books.”
I would ride my bicycle for miles and knew
the location of every single spinner rack
in town in order to track down the latest
BATMAN or X-MEN. My parents forbade me
to buy more comics at one point, but it didn’t
stop me. I’d smuggle them inside under my
clothes, or shove them under the screen of
my bedroom window. They finally gave up.
My mother was a frustrated artist. I had the
barest modicum of artistic talent, enough
for her to encourage. Unfortunately, this
sent me down the wrong path for many
years when I went into arts at the University
of Illinois.
Around that time, I met Robert Kanes and
moved to California with him. He came
to L.A. to pursue Scientology. We got
marriedanddidScientologytogether,though
I have to admit I was unable to turn off my
skepticism meter. I got divorced and quit
Scientology at the same time. Rob is a dear,
sweet man and we remain friends.
I had no idea what to do with myself when
we first arrived in L.A. I had no skills or
training. I quickly discovered that my
artistic skills were utterly inadequate.
Call me slow, but I decided this was
not what I wanted to do with my life. I
finally realized I was a writer and need-
ed to do something about it. I had a life-
time’s filing cabinet full of folders, packed
with things I meant to write “someday”.
“Someday” never comes. If you mean to do
something, you need to do it now.
I managed to get a job as a production sec-
retary for a TV production company, then
became a script reader for several movie
companies.

“As Peter loved to say, Life is
too short to drink bad wine.”
One night, at a gathering of comic book
professionals, I met an Australian artist
named Peter Ledger. We were wildly at-
tracted from the minute we met, but he
was on his way back to Oz via L.A. A year
and half later, he returned. We met again.
A month later, we were living together and
a year after that we were married.
Peter was an amazing man. A gentleman
barbarian, a man of vast talent, a man of
“gigantic melancholies and gigantic mirths”
(as Robert E. Howard described Conan).
We had many adventurous and some-
times turbulent years together before he
was killed in a car accident. I’ve written a
biography and included many examples of
his artwork in a special website. Please visit
the Peter Ledger Memorial pages to learn
more about him.
During those years, my career progressed.
Peter and I did a number of comic book
projects together. I wrote lots of animation
and did development work on series. I did
live-action shows, and development in
that area. I particularly enjoy development
work because I love creating whole new
worlds.
By a total fluke, Peter and I ended up in
Oakhurst, California to create a computer
game for Sierra On-Line. He hated it and
quit after the first game, but I’ve remained
active in the field. I enjoy the challenge of
the interactive media, the non-linear vs.
linear demands of interactive writing. I’ve
worked on PC adventures games, console
games, and MMOGs (massively multi-play-
er on-line games) and enjoyed all of them.
I see great potential for MMOGs and hope
to work on more of those in the future.

Article written by Lon Levin
tapping into
your brain
originality?
LONFELLOW’S CORNER
Lon Levin, the magazine’s editor is a work-
ing designer, illustrator, photograher and
writer. He worked in the entertainment
business for 25 years on hundreds of
movie and TV campaigns. He has 33
published published books to his credit.
His book “Treehouses” published by Globe
Pequot Press in 2010 features his writing,
illustration and photography
How original are you?
I ask myself this question quite
often. I’m constantly in search of
who I really am as an artist. When I
started working on the “Devolving
Earth” series I had no idea what I’d
come up with. I made some
simple rules for myself and started
drawing. The results of my work
took at darker, tone than normal
and somehow started to evolve into
some core beliefs and views I have on
life itself. This wasn’t planned. It was
something that sprung to life on it’s own.
I realized I had tapped into what I really
wanted to say artistically. I also realized
it was original though the influences of
artists I have studied and seen clearly
were there.
Illustrations from the “Devolving Earth” series

I started to post some of these
sketches and later on the painted work.
The response I got was favorable and
surprising.
The interesting part to me was I could
clearly see in what I had created a point
of view, hence the word “devolving”
popped into my head. In all I drew the
theme of pollution as a physical and
a mental process seem to dominate
my thinking. I realized my bent on this
subject is the earth and it’s key
inhabitant, humans, have a tenuous
relationship. The actions of most
humans clearly state we don’t care
much about our earth.
Illustration from “Art For Barks” website
My art tells me that despite all the
good intentions of some the efforts
seemed doomed, so why not add
some black comedy to the work.
Perhaps it’s my cynical, satirical way
of dealing with a problem that is over-
whelming at best.
On the face of my work I think it is
unsalable, but that is only my jaded
uber commercial brain talking. The
other side argues this is truly good
work and it deserves recognition.
The point is I am satisfied with the
look and the message and it clearly
is not (knowingly) derivative. It has
opebned me up to other possibilities
as well.

Keep thinking.
We do and that’s what
you want in an agency.

gallery
Illustrations by Lon Levin
lonfellow@gmail.com
(818)268-9953

More than once
I had art directors tell me my style
was way too ‘European’. Of course
that proves the fallacy. I’ve never
even visited Europe.
“ “

vaughan
james
“I never wanted to be a rebel. I don’t
like attracting gruff frowns. But I just
do not comprehend the concept of
‘you can’t do that!’.
I noticed James Vaughan’s work on the
internet and I was compelled to contact
hi. I liked about James work is the story
telling aspect of the photos and the
artistry. He was kind enough to answer
some questions I asked of him.
How did your parents influence you as a
young creative ? Were they encouraging?
They were both encouraging- in differ-
ent ways. My mother, who was an artist,
was very enthusiastic. She got me into art
classes at a very early age. Took me to
museums etc. My mother had a kind and
sensitive soul drawn to that which was
beautiful and noble and I’m proud to say
some of that rubbed off on me. My big
sister is also an artist and teacher. She was
a role model and inspiration. When I was
a little kid she was this cool ‘artsy’ beatnik
type. My father was a scientist, a chemist.
The director of research at Goodyear.
Later he started his own company and
was a very successful pioneer of mod-
ern plastics. He was himself very creative.
But I think that art, with a capital ‘A’,
intimidated and confused him.
It’s a regretful separation that is all too
prevalent in the modern world. Today-
working with business clients- I think of
my father and try extra hard to keep my
process transparent and my ego in the
backseat. Looking back, I see that my
father was much more supportive, and tol-
erant ... than I gave him credit for.
Do you have any pet projects you’re doing
for yourself that you could let me in on?
I have a wildly successful website about
imagery in pop-culture and history. It has
INTERVIEW PART ONE

vaughan
james
When I was a kid the big picture
magazines were going strong. Every week
I looked forward to LIFE and LOOK. I would
cut out pages and put them up on the
bulletin board in my room. It seems like I
just sucked in everything visual. Television,
magazines, movies.
My family took long car trips and I stared
out the window hour after hour like my
brain was a movie camera. Three events
stand out; and they are a credit to the
‘adults’ in my life.
When I was five my big sister took me
to a revial showing of Walt Disney’s
‘Fantasia’. My mother took me to ‘
Expo-67’ - the world’s fair in Montreal. And
my big brother, on a whim, took me and a
buddy to see Kubrick’s ‘2001’.
But it was my interest in politics and social
causes that actually directly led me into
photography. Being a photo-journalist
seemed like a noble cause. That was my
major at Columbia College of Chicago.
I ran around shooting a bunch of free-
lance photo-stories. It was exciting and
romantic. Wearing an old field jacket
with a couple of beat up Nikons around
your neck makes you feel a kindred soul
to Hemingway. It was all a product of the
times... the 1960’s. And those years staring
at LIFE and LOOK.
I am a romantic and an idealist.My interest
in photo-journalism was a way to utilize my
naturalartistictalentstocrusadeforabetter
world.Usingimagestoconveyanidea,totell
a story, is the essence of photo-journalism.
What motivated you to become a
photographer?
You studied photography and Journalism.
How did that form you as an artist?
END:PART ONE

“Tony Donaldson will do anything to grab that electrifying moment.
Watching him in action has a magic all it’s own.”
– Steve Kmetko, Television Personality

TONY DONALDSON
Tony Donaldson got his start as an athlete,
racing BMX then starting his own BMX free-
style team. His freestyle team toured the
Midwest doing shows at fairs, festivals and
events. He started his first business when he
was only 15.
Associated Press photographer and friend
Seth Perlman took Tony under his wing and
taught him the basics of photography, within
months he was working as a stringer for AP
then earned himself a staff position at a BMX
magazine he had grown up reading.
After working for several years on several
magazines, he went out on his own. Tony’s
clients include magazines like ESPN, Time,
Millimeter, Golf, and the New York Times,

In high demand for his knowledge of the
business, creative and technical sides
of photography, he’s written product and
software reviews, an editorial column,
consults with government and aerospace
contractors and lectures at conventions
around the country on photography. You
can find the two books he’s written, both
on BMX, on Amazon.com. He’s currently
working on another book or two.
Clients love him for the power of his
images and the ease of working with
him. He can work within extreme time
limits, Tony has a gift of developing instant
rapport with his subjects, drawing out
interesting and sometimes rare sides of them.
From a quick editorial portrait to a large
layout, Tony and his crew bring out the best
in people.
“Tony is the
real deal. A
photographer
who both
understands
the artistic
value of the
“right look”

rosenberg
JUSTIN
“After shooting for many
years in South Florida, I
decided to pack up and
head west . . . way west,
to Los Angeles. I have fallen
completely head-over-heels
for this city, and after living
here for a few years, I feel I
have a greater understanding
of Dr. Dre and Tupac’s
“California Love.”
“My name is Justin Rosenberg and
contrary to popular mythology, I was not born with a camera in my hands.”
>W R I T T E N B Y L O N L E V I N
Two years ago I walked into my new
position as president of a design firm
called BTS Communications. I inherited 14
people who would work for me and the
first one I got to know was photographer
Justin Rosenberg. Within a hour he had
given me all the information I needed to
knowaboutthefirm.Iwasskepticalofhimat
first but I came to realize that somehow this
bigbearofayoungmanwasdeadon.Aside
from that he was enormusly talented and
I was determined to mine his talent and
encourage him to break out.
I’d like to claim I had something to do with
his growth as an artist but that’d be a lie.
It’s all him. He is always searching for a
different way to do things or trying to
discover a bit of information that will
increase his abilities. He lives and breathes
photography. Late nights trolling down-
town LA or early jaunts to the LA River
are not uncommon for Justin. He and I
have spent time together shooting at
different shoots and I have l;earned so
much from him noy only technically but
artistically. He is an artist’s artist.

rosenberg
JUSTIN
>
My name is Justin Rosenberg and
contrary to popular mythology, I was
not born with a camera in my hands. I
was born a normal birth, in a hospital, in
Plainview, NY . . . and unless my parents lied
to me, I popped out cold and hungry, sans
camera. Fortunately, the trauma of enter-
ing a new and scary world didn’t phase
me all that much and I eventually picked
up my first camera (in the odd chance
you’re dying to know, it was a 1978 Canon
A1 that my father still owns).
After shooting for many years in South
Florida, I decided to pack up and head
west . . . way west, to Los Angeles. I have
fallen completely head-over-heels for this
city, and after living here for a few years, I
feel I have a greater understanding of Dr.
Dre and Tupac’s “California Love.”
My main-stay is photographing humans–
editorial, commercial, music and family
Sometimes I professionally photograph
non-human entities such as dogs and cars.
I’ve had the lucky fortune of photograph-
ing magazine covers (WeMerge Magazine,
Beit T’Shuvah Magazine, The Vista View)
as well many other national and interna-
tional publications (Jewish Journal, Oc-
tane Magazine, Thoroughbred and Classic
Cars, Jewish Week, CSQ, and more)
Random Facts:
• I have a full-on obsession with Sushi.
I might even consider bartering my
services for copious amounts of good raw
salmon.
• I once was suspended on the back of an
ATV while photographing a $1 million+ car
(with less than stellar brakes) barreling after
me on a steep hill. I survived, and my got
first double page spread.
•I believe in transparency and authentici-
ty, something I’ve learned since I decided
to get sober from drugs and alcohol in
January of 2011. - I do not have a large
intestine. Long story short, I have battled
Crohn’s Disease since 2001 and subse-
quently lost my large intestine in 2011. I
only put that here, because as I men-
tioned above, I believe in authenticity and
Crohn’s Disease is a major part of my “sto-
ry”. I am currently working on some photo-
graphic projects geared towards spread-
ing awareness of a disease I have dubbed,
“The Little C”. Incidentally, If anyone finds
my large intestine, hit me up on Facebook,
Instagram or Twitter.

levin
photography
lon
(818) 268-9953

Illustrators Journal Spring 2016

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Illustrators Journal Spring 2016