Serial: The inspiration for our art

Look out for the snakes in the grass! 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I’m the senior producer of “Serial.” Each season, we commission original artwork. For [Season 4](~/AAAAAQA~/RgRn-8b3P0ToaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vaW50ZXJhY3RpdmUvMjAyNC9wb2RjYXN0cy9zZXJpYWwtc2Vhc29uLWZvdXItZ3VhbnRhbmFtby5odG1sP2NhbXBhaWduX2lkPTI5MyZlbWM9ZWRpdF9zZV8yMDI0MDQxMiZpbnN0YW5jZV9pZD0xMTk5OTYmbmw9c2VyaWFsJnJlZ2lfaWQ9MjA4NDEwNTg5JnNlZ21lbnRfaWQ9MTYzMjk2JnRlPTEmdXNlcl9pZD0zYTUwN2ZmNWZmMzc1YmEzY2FlOTIxZDM1MzEzYjdjZFcDbnl0QgpmEPdBGWZVCHA_Uht0cmlzdHJhbWJhbGR3aW44OEBnbWFpbC5jb21YBAAAAAM~), the art is designed almost like a jigsaw puzzle. There are nine distinct scenes, each representing an episode, and they fit together into one cohesive image. [An illustration of various people engaging in different activities, standing close to a shoreline and surrounded by lots of vegetation. ] The New York Times This week’s newsletter is a conversation with Serial’s art director, Pablo Delcan, and the illustrator Max Guther about the making of this season’s artwork. This interview has been edited and condensed for clarity. Pablo, could you explain what you do for Serial and why you recommended Max for this project? Pablo: I’ve been art directing the last few podcasts produced by Serial Productions with The New York Times. It mostly involves figuring out the right visuals and ideas with the team. Max was perfect for this project on so many levels. Max can build entire worlds that feel both real and conceptual. Max: The vision was to create a tableau of scenes from different episodes that would paint one large rosy picture at first glance. But when you looked closer, the details would tell a different, brute story. I was immediately hooked. Early on, we all talked about [Hieronymous Bosch](~/AAAAAQA~/RgRn-8b3P0TwaHR0cHM6Ly93d3cuYXJ0bmV3cy5jb20vZmVhdHVyZS9oaWVyb255bXVzLWJvc2NoLWxpZmUtZWFybHktd29ya3MtYmVzdC1wYWludGluZ3MtMTIwMjY4NTEzNC8_Y2FtcGFpZ25faWQ9MjkzJmVtYz1lZGl0X3NlXzIwMjQwNDEyJmluc3RhbmNlX2lkPTExOTk5NiZubD1zZXJpYWwmcmVnaV9pZD0yMDg0MTA1ODkmc2VnbWVudF9pZD0xNjMyOTYmdGU9MSZ1c2VyX2lkPTNhNTA3ZmY1ZmYzNzViYTNjYWU5MjFkMzUzMTNiN2NkVwNueXRCCmYQ90EZZlUIcD9SG3RyaXN0cmFtYmFsZHdpbjg4QGdtYWlsLmNvbVgEAAAAAw~~) as inspiration for the illustration. Can you both talk about that? Max: There was one painting that we talked about a lot: “[The Garden of Earthly Delights](~/AAAAAQA~/RgRn-8b3P4QYAWh0dHBzOi8vd3d3Lm11c2VvZGVscHJhZG8uZXMvZW4vdGhlLWNvbGxlY3Rpb24vYXJ0LXdvcmsvdGhlLWdhcmRlbi1vZi1lYXJ0aGx5LWRlbGlnaHRzLXRyaXB0eWNoLzAyMzg4MjQyLTZkNmEtNGU5ZS1hOTkyLWUxMzExZWFiMzYwOT9jYW1wYWlnbl9pZD0yOTMmZW1jPWVkaXRfc2VfMjAyNDA0MTImaW5zdGFuY2VfaWQ9MTE5OTk2Jm5sPXNlcmlhbCZyZWdpX2lkPTIwODQxMDU4OSZzZWdtZW50X2lkPTE2MzI5NiZ0ZT0xJnVzZXJfaWQ9M2E1MDdmZjVmZjM3NWJhM2NhZTkyMWQzNTMxM2I3Y2RXA255dEIKZhD3QRlmVQhwP1IbdHJpc3RyYW1iYWxkd2luODhAZ21haWwuY29tWAQAAAAD).” It shows a vibrant scene of nude men and women, animals, plants and fruits. What appears to be a cheerful, exuberant and slightly kinky gathering seems, on closer inspection, to be a nightmarish congregation. Pablo: Yeah, the Bosch image is definitely eerie in a utopia-gone-wrong kind of way. The idea behind referencing it came from a list that was sent to me of images that look very beautiful and pretty initially, but are warped on a closer look. Out of all of these references there was something that connected the painting of “The Garden of Earthly Delights” to Max’s work — the view of it, as if you’re looking down on it from somewhere else. The image that Max created also had that feeling of viewing something from the perspective of a security camera up above. Max: The funny thing is that I have an art print of the Bosch piece hanging over my bed but it’s at a place where you can’t get close enough to see the details, so it always gave a good spirit. Now, that we’ve been talking about it for quite some time and comparing it with Guantánamo, I may have to take it down. Ha. Pablo, what I responded to when you showed us Max’s work was that there was something slyly humorous about it. Max, can you talk about the humor in your work? Also, how do you approach a subject that’s not so humorous — like Guantánamo? [Continue reading the main story](#a11y-skip-universal-0) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRn-8b3P0SRaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9OTE2NjgwJmxpPVNFJm09M2E1MDdmZjVmZjM3NWJhM2NhZTkyMWQzNTMxM2I3Y2QmcD1TRV8yMDI0MDQxMiZ0ZT0xJm5sPXNlcmlhbCZlbWM9ZWRpdF9zZV8yMDI0MDQxMlcDbnl0QgpmEPdBGWZVCHA_Uht0cmlzdHJhbWJhbGR3aW44OEBnbWFpbC5jb21YBAAAAAM~) Max: My work sometimes feels brutally realistic and the distanced perspective can be read as somewhat reserved and a little sterile. This is the reason why I try to tell fun stories within the bigger picture, show interesting details or use quirky characters to thwart the seriousness a little. We not only tried to achieve this by showing Guantánamo’s beautiful nature, its colorful flowers and dreamlike beaches, but also through details that create a contrast — leftover snorkeling gear next to a fish skeleton, or a BBQ with just a few too many beers. Pablo’s comment about Max being able to “build entire worlds” resonated with me. Our show team talks a lot about how Guantánamo is its own world — its own island, with its own rules, its own culture. Max, how do you approach creating a world? Max: When I approach a project like this, I start by looking at endless reference images to become familiar with the place. Of course, I was provided with piles of reference images from you, but I also kept searching for certain buzzwords in Google over and over again. The images popping up would show unknown plants and flowers, a wide range of different animal species. But I also tried to find out more about what the local infrastructure might look like, how these are weathered and what you could possibly find on Guantánamo’s shores. As you mentioned, the artwork is a tapestry of different scenes. Are there any that you’re especially proud of or that were particularly difficult? Any Easter eggs people should look out for? 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[[Article Image] The New York Times](~/AAAAAQA~/RgRn-8b3P0ToaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vaW50ZXJhY3RpdmUvMjAyNC9wb2RjYXN0cy9zZXJpYWwtc2Vhc29uLWZvdXItZ3VhbnRhbmFtby5odG1sP2NhbXBhaWduX2lkPTI5MyZlbWM9ZWRpdF9zZV8yMDI0MDQxMiZpbnN0YW5jZV9pZD0xMTk5OTYmbmw9c2VyaWFsJnJlZ2lfaWQ9MjA4NDEwNTg5JnNlZ21lbnRfaWQ9MTYzMjk2JnRlPTEmdXNlcl9pZD0zYTUwN2ZmNWZmMzc1YmEzY2FlOTIxZDM1MzEzYjdjZFcDbnl0QgpmEPdBGWZVCHA_Uht0cmlzdHJhbWJhbGR3aW44OEBnbWFpbC5jb21YBAAAAAM~) [Can you tell which scene in the art corresponds to Episode 4? →](~/AAAAAQA~/RgRn-8b3P0ToaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vaW50ZXJhY3RpdmUvMjAyNC9wb2RjYXN0cy9zZXJpYWwtc2Vhc29uLWZvdXItZ3VhbnRhbmFtby5odG1sP2NhbXBhaWduX2lkPTI5MyZlbWM9ZWRpdF9zZV8yMDI0MDQxMiZpbnN0YW5jZV9pZD0xMTk5OTYmbmw9c2VyaWFsJnJlZ2lfaWQ9MjA4NDEwNTg5JnNlZ21lbnRfaWQ9MTYzMjk2JnRlPTEmdXNlcl9pZD0zYTUwN2ZmNWZmMzc1YmEzY2FlOTIxZDM1MzEzYjdjZFcDbnl0QgpmEPdBGWZVCHA_Uht0cmlzdHJhbWJhbGR3aW44OEBnbWFpbC5jb21YBAAAAAM~) Don’t have the New York Times Audio app? 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