Illustration Friday: Future

A quick pen and ink drawing, with digital colour, to get back into Illustration Friday. We’ve had a few day-job conversations involving E. Nesbit’s The Story of the Treasure Seekers, (due to: Albert-next-door’s laconic uncle; the name-checking of the characters in the first line of C. S. Lewis’ The Magician’s Nephew; and a delightfully unreliable narrator)  so there’s a mildly Edwardian twist to this image.

There have also, however, been several recent discussions touching on Lovecraft, which may explain the sequel image below.

Illustration Friday: Future, now with ghouls

March header

Still alive! Still here! Still… a bit feverish, and meeting a deadline (like an adult), but Things to talk about once that is done, like a lovely screenprinting workshop with Milli & Fink, and more Eclipse and Lair pictures, &c…

In the meantime – there’s a new header (above) and a glimpse below of the sort of things that show up on my friends’ phones when they leave me alone with the flu and a project (the messages start at the bottom of the strip and work up, and the marginalised unicorn is a response to a comment by Gillian Polack on some marginal unicorns).

Fever/deadline sketchesAlso, it has been raining and raining and raining for months, and we could either have dry towels or clean towels, but never both at the same time (said the Red Queen) so now I have bought a dryer and am in love with the 21st century all over again.

 

Illustration Friday: Burst

Because it takes so much longer than just drawing a picture, this week I am still playing with repeating patterns. This time, it is a pattern of bursting seedpods. I like what I tried with it, but it isn’t quite as seamless a repeat as I want. Here is a close-up of the base pattern:

Illustration Friday: Burst (base pattern)

And here is a snippet of another pattern, just trees, which worked much as I wanted it to. If the Little Red Riding Hood fabric swatch I ordered arrives and works, I might try this one, too.

Into the woods

Illustration Friday: Imagination

A head full of wolves for this week’s Illustration Friday. Pen and ink with digital colour (the texture is that of the paper I drew on).

Naturally, I tried out a full Little Red Riding Hood repeating pattern for the background. I’m not unhappy with it – I’ve gone so far as ordering some of it as a Spoonflower swatch, so I will report back on that adventure. In the meantime, here is a section of it without reader:

Wolf pattern

And this is what the two blocks of drawing look like (because I was determined to work from first principles and not move bits around once they were drawn):

It is entirely possible I was avoiding thinking about recent developments in Queensland politics. Everyone copes with stress differently.

In other news: You can win a Dalek drawing of your very own by answering the question at the bottom of this interview: Rowena Cory Daniells: Meet Kathleen Jennings.

Oh, and the September blog header is from the pattern, too:

Illustration Friday: Bounce

As a distraction from everything else, I’ve been working on some repeating patterns. This one is pure digital scribbling, and memories of trampoline days (house rules: one at a time, no shoes, in the middle). Our trampoline was given to us when we lived in Brisbane by our piano teacher. Her neighbour’s children had jumped on it in football boots, so for a time it only had half a mat. This made it much easier to get back to the ground without being zapped by static electricity. It made a wonderful cubby house, shade in Brisbane summers, a cool place to all lie in a row and talk on country evenings, a startling one-legged descent when the mat finally perished and gave way.

I may upload the other pattern soon. The new header is an extract from it.

A trio of sirens for Illustration Friday. Trying a different approach, technique, style… Not an entirely successful experiment, particularly the central figure, but I like the face on the right. Pen and coloured inks – I think I’d use gold paint or gold leaf for the gold in future. And get a decent deep-red ink – this one has too much pink/blue to it.

Illustration Friday: Vocal

Birthday Dragon

This was for my oldest nephew (and godson) for his 12th birthday card. Pen and ink with watercolour.

The lovely Alex Adsett, of Alex Adsett Publishing Services, commissioned a set of drawings based on her family for her father’s 60th birthday. 

The drawings are in pen and ink with a touch of light watercolour, and a “little, insinuating” cat appearing in each. They sound like a most wonderful and energetic family, but I only agreed on condition I be allowed to include the Godzilla suit.

Family Portraits

(You should have the option to view a larger version if you click on the picture and go to its Flickr page, or go here).

Illustration Friday: Scary

Pen and ink. The shading is added digitally, but next time I would do it with watercolour – I enjoy the fluidity of it for single-colour work.

I enjoy stories where someone (character or audience) is shrunk to doll-size – whether Diana Wynne Jones’ Magicians of Caprona or Doctor Who’s “Night Terrors”, E. Nesbit’s “The Town in the Library in the Town in the Library”, the opening scenes of Babe or any number of others. They are usually intended to be scary, but I don’t find them so. I enjoy the fantasy – a fascination with small details, the coffee cans full of beads and the plaster ham in Beatrix Potter’s A Tale of Two Bad Mice, the giant Oreo in Honey, I Shrunk the Kids. However, the best of them capture that dollshouse disproportion, where the scale of everything is always slightly off. Although it doesn’t scare me I find it beautifully unsettling.

After recently reading some M.R.James and watching Paranormal Activity 3, I am realising it is that gradual discomfort, the perpetual off-kilter sensation that I like best about horror. Sustained eeriness, rather than fright. The eternal unspoken whispering, the phenomenon which hints at but never fully grants an explanation. The serious scary stories which I like best are those which gradually and casually build to some subtle fright, and then never resolve it fully: I like the stories of the characters to be finished, for good or ill, but I do not want all questions to be answered – one reason that I don’t care for strong occult overtones in books I read in order to make myself scared of the sound of the wind. If all ghosts are identified, diagnosed and laid to rest, then that is as bad as ending a fantasy with “it was all a dream”. No, a little wonder and thrilling fear should stay in the world.

In other news: Delia Sherman’s Freedom Maze is loose on the world, and I did the cover and it has Delia’s words inside and Gregory Maguire’s words on top of it, and I am possibly a little excited.

Illustration Friday: Fuel

Pen and ink, with a background of old paper added in, for Illustration Friday. My little sister and I gathering firewood while camping (I am the unstylish child in front, and the frilly things around my ankles are denim sock-protectors, although we never called them that – “ratwalls” was the term at our house, while our neighbours called them “dollies’ petticoats”).  My mother always refused to go camping, saying it was primitive enough at the house.

 When I was little, my mother would sometimes find photos in old National Geographics of ancient rural women standing next to woodpiles as large as their houses, and she would tell my father, “There! That is what I want! Please don’t just chop two days’ worth of logs before you go away for a week!”

The woodpile was at the back of the house yard, under the silky oaks and behind the tall narrow white wooden building surrounded by four-o-clocks which was the outdoor toilet. There was a cradle of starpickets to hold logs while the chainsaw was used, a huge stump which was the chopping block proper, an axe, a mallet and wedges for splitting timber down to a size that would fit in our stove. The cut wood sat in a box on the front doorstep, beside a bucket of kindling.

I remember waking up early in the mornings and hearing my father rattling the stove and emptying the ash box before setting and lighting the fire. He would sit with it and have a cup of tea with a cat on his knee, or smoke his pipe, and wake up before bringing tea up to the rest of the family, and threatening to let the dogs into the bedrooms if we did not open our eyes.

We had to adjust the temperature by opening and closing doors, sliding plates and spinning wheels. Pans dried on the rack above the stove, along with a tin of eggshells waiting to be dried and crushed into calcium supplement for the chooks. Behind the stove was a window, and pardelots nesting in the warmth of the eaves would flutter down and peck bugs (or, my father insisted, ground glass) off the window. Once a cat recovering on my father’s knee (after being rescued from a fall into the watertank) launched itself at the birds and landed four-square on the stovetop.

And from time to time the copper hot-water box in the back of the stove would explode and flood the kitchen with sooty water, in which case my mother, on entering the room, would turn around and leave again until all had been put to rights.

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