New work

A special piece

A long while back my mum wrote out her favourite Leonardo da Vinci quote on nature, on the back of a blank postcard, and asked me to make her a piece around it.  Dutifully I filed it away in a work drawer, promptly forgetting about it for a number of years except when I had a spring clean and it resurfaced.  I transferred it to a text file – in 2013! – and the same pattern continued.

As her special birthday approached recently I was completely stuck for a gift, when I remembered the postcard…

Calligraphy + illustration + framing = appropriate present!

All the things we had seen in Italy were floating around in my mind, and after thinking through various ideas – more along the lines of illuminated manuscripts initially, but I discounted these as too fussy – I remembered an appliqué work we had literally come across round a corner, in the Santa Maria Novella museum in Florence.  Suffice to say we both thought it was glorious:

Giovanna Garzoni (1600 – 1670), Santa Maria Novella museum – no copyright breach intended

First steps for the piece were to work out the number of letters, a basic outline plan and size; this shows my workings before I had finalised the alphabet:

My calligraphy is just passable and I probably get away with it only because of the illustration, but fortunately I have a lot of resources and kit from my late Great Auntie Hilda who was a brilliant calligrapher and teacher.  After looking through the books I have of hers, I went with an uncial alphabet from The Craft of the Pen, by John R Biggs:

Copyright Blandford Press, John R Biggs, 1961 – no breach intended

It’s a great book for the illustrations and visual instruction in forming letters, but there are also pleasures to be had in the surrounding text: I prepared myself to ‘…guard against vulgar and ostentatious eccentricities’ and ‘inebriate showmanship’, whilst always bearing in mind that a P ‘looks vulgar if the bowl is made too wide’.  Lovely stuff.

I didn’t want to overthink the decoration too much, so I just got on with drawing up the text on heavyweight watercolour paper, and chose one of my auntie’s steel pens with a reservoir, using W&N sepia ink.  John R Biggs would have been horrified by my posture, but I got the job done without mistakes – for some reason I had a sudden difficulty with spelling the word ‘subtlety’ – and then had a cup of tea to calm down.

Here’s a section of my trial sheet, I always find it nice to look at afterwards and in this case the colour is more representative than in the final photo.

The flowers and foliage were drawn out roughly before using watercolour, and were sourced in most cases from a reference book.  I always tried to bear in mind the spirit of the Florence piece and the quotation itself, and to be honest what mum would actually like!  I really enjoyed and relaxed into this stage and hopefully this is reflected in the fluidity of the illustration.  Here is the final piece:

Watercolour and ink

I was rather worried about getting it to the framers on time, hence the dreadful photo above, but as time goes on I have come to realise more and more that pressure seems to be a good workmate for me.

I’m happy to say it was very well received!  Here it is framed and sitting in ‘present corner’ on the special day:

Characters and gestures

I’ve been a bit preoccupied with IT exams in my other life recently, but eager to get back on the graphic novel-case. I’ve been reading Scott McCloud’s excellent book Making Comics, and as a really, really green comics reader I need some steerage at this point.

I’ve realised my figure drawing is very ropey after many years not doing it! Inspired by Scott talking about comics artists working in silhouette for full figures, I’ve been playing in Photoshop trying to capture gestures and character in some background scenes. I’ve been using pencils and graphic pens for years on this story, so a fresh approach being less precious has been a bit of a relief!  They are very much of one perspective but I don’t mind that at this stage – I’m seeing it as more of an exercise.

I enjoyed putting some background in to see how effective the characters could be in context.  As I was working I found my brain filling in the three-dimensional figure, a bit like the way I find producing drawings on black paper in reverse to be.

I also love silhouettes and they are an 18thC speciality so it will be interesting to see what ideas come of this!

Gentleman
Laundry women
Two men arguing

Character sketches

I’ve been working on more detailed character studies for my graphic novel, in between refining the narrative and the storyboards. I feel like it is increasingly taking shape, but simultaneously have had the realisation that there is more work to do now as my ambition grows for it; I want the people and the world around them to feel believable.

Nothing like a challenge eh?!

Family portrait

The reason I’ve been a little quiet of late online, amongst other things, is that I’ve been working on a lovely new commission.

I was asked to produce a family portrait for a ‘landmark birthday’ (hey, it’s not my place to divulge!) and as the conversation continued, we discussed their love of Laos textiles, a recent discovery for the family on their travels.

After some research the geometric design of many textile examples lent itself to the framing and linking of little portraits, showing the other family members.  Working through the roughs you can see it took me a few iterations to fix on the simplest idea, of one larger overall frame for the main portrait:

40th birthday - roughs01

40th birthday - roughs02

Print

Working from family photos, I started with the portraits in brown coloured pencil:

Progress before colour
Prior to applying colour
Rough colour overlay on final drawing
Digital colour

 

 

 

 

 

 

 

 

 

 

 

 

After some tests I abandoned my original intention of using inked patterns – in a different piece it would have been great, but the way things had transpired I felt it would overwhelm the delicate pencil portraits. I reckon I made the right choice. See what you think!

Family portrait - coloured pencil
Family portrait – coloured pencil

CloseUp01

CloseUp02

Detail2

It’s all I have to bring today

This is a recently completed private commission – a lovely piece to have been asked to do, and to have worked on.  The poem seems immediately quite simple and light, but of course speaks volumes.  As it followed on from ‘Silver’ I was in more of a calligraphy-based mindset, but I had to try and come up with something that had a timeless quality, and retained the lightness; and I thought a more modern, illustrative interpretation.  I decided the poem text should be overlaid, but this was after some wrangling over a purely text-based piece, or some kind of hybrid.  I had a fairly clear idea of what I wanted to get to, but as ever the challenge is articulating that…

Sketchbook concept rough
Sketchbook concept rough
Sketchbook coloured pencil rough
Sketchbook coloured pencil rough

The client wanted an ‘English’ landscape, something like a South Downs view – essentially the landscape is mythical but based in reality, and hopefully feels expansive.  As I progressed through the coloured pencil drawing I started adding text about halfway through as seen below, attempting to layout the poem lines in a tracing paper overlay to gain some sense of where words might ‘hit’ the landscape elements and details, which was probably the most challenging aspect as any kind of significant rubbing-out wasn’t really an option.  I needed to revisit the strength of the text a few times, firstly making sure that it didn’t get lost and secondly that the colours of the letters were essentially stronger and darker versions of those underneath.  There was a LOT of pencil sharpening going on.

Halfway, text in the planning
Halfway, text in the planning

As the personal context for the poem was a spring event, I incorporated March flowers and plants into the foreground. I must cite a wonderful reference by Keith Jones, Seasonal Wild Flowers, for this information.   The Caslon Old Face alphabet was sourced from one of my great Aunt’s books, co-authored by none other than the inimitable Quentin Crisp:

© Frederick Warne & Co Ltd, 1976. No breach intended.
© Frederick Warne & Co Ltd, 1976. No breach intended.

This is the finished piece, with details – excuse the slightly rough-around-the-edges photos!

Finished piece - coloured pencil
Finished piece – coloured pencil
Detail
Detail
Detail
Detail

IMG_4098

Silver

Recently I was lucky to be given a commission to illustrate a Walter de la Mare poem, ‘Silver’.  After some thought I wanted to produce a piece along fairly traditional lines, calligraphy surrounded by an illustrated border.  The poem naturally suggests something very decorative and using silver ink to enhance this seemed like an obvious choice!

It look me a little while to get back into calligraphy (as seen in an earlier post!) but it was a great challenge, reacquainting myself with line spacing, pen strokes and fonts.  And it has made me want to do more, especially as I have such wonderful materials and texts from my great aunt’s collection.  Also I barely scraped the surface as it such a complex discipline, and like many things, if it is all working correctly should look much more effortless than I can probably make it appear!

Here’s my initial roughs, which aren’t so far off the finished piece:

Notebook rough
Notebook rough
Rough idea using silver pencil
Rough idea using silver pencil

Having found some lovely W&N silver calligraphy ink in the LGC I got to work with practising a traditional italic font, and planning out the line spacing and margins.

Here’s my plan!  As you can see I really tried to ensure the flourished letters had some rhythm and didn’t interfere with other characters on surrounding lines.  I went with a standard margin layout, but which allowed plenty of room for the surrounding illustration:

Layout planning
Layout planning

Following this and some more tests with the pen and brush, I just got stuck in!  This is the finished piece – I tried using a pen for the illustration but it felt too tight – I always love using a brush with ink, and watered down the ink at times.  I started by giving it some depth with black ink, using the blue paper as a mid-tone and finishing with the silver.   As often with these things the brushwork was fairly quick (as my other half exclaimed when he turned round to find it finished!) but I think it maintains some fluidity and a lighter touch.

Any comments most welcome!

Finished piece - pen and ink
Finished piece – pen and ink