Sorel is known specifically for his ability to tell stories through his pieces. He tells stories and makes social commentaries based on a more liberal mindset, often going so far as to critique the more right-wing politics and formed religion. He has worked for many of the big magazines, like The Atlantic and The New Yorker for which he has produced over 41 covers. Sorel helped found Push Pin Studios then after two years he quit. He felt guilty that “I was doing these cut-out pieces and not pulling my weight in the studio. Yet there I was, drawing the same $65 a week as Milton and Seymour.” Apparently leaving the same day as the new found studio moved from its beginning space in a cramped cold water flat to a more lavish space uptown.
While Sorel’s pieces do amazing jobs telling stories and showing scenes there something about his style i find slightly off. The use of such a loose hand and such abundance of ‘argle bargle’ in his works distracts my eye more then I would personally prefer. Because of this i much prefer his more fine art finished pieces to his illustrations. I find these more rendered images a more acceptable way for me to enjoy his style.