August 31, 2015
August 24, 2015
Scritch scritch scritch.
I am having an !August!, but for the very excellent reason that I am working on the illustrations for Flight, a story by Angela Slatter scheduled to be published by Tiny Owl Workshop at a date rapidly drawing near.
Here is a sneak-peek.
August 3, 2015
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A tiny cut-paper Daphne, prompted by a recent reading of Mary Robinette Kowal’s Shades of Milk and Honey, and the magical tableaux therein.
The original silhouette is all one piece, then scanned, taken apart and coloured on the computer.
July 30, 2015
Tyger Tyger, burning bright
In the forests of the night…
-William Blake, “The Tyger”
A little cut-paper piece, made while listening to a Stuff You Missed In History Class episode on Calamity Jane (sometimes what I was listening to associates itself lingeringly with a piece).
RedBubble has recently introduced hardcover journals (lined, blank or grid pages), so I have uploaded this design there: Tyger, Tyger. I’m waiting for my first order to arrive so I can see how they look – very excited.
July 24, 2015
I have a new design out for Litographs! This time, it is for Jane Austen’s Sense and Sensibility. I thoroughly enjoyed sketching up the thumbnails for this. I love how gentle the contrast between the sisters is in this novel (as compared to, for example, Pride and Prejudice). Neither course of action is only fraught with danger or guaranteed to bring happiness. And Edward is just so decent and nice. And also I hope Margaret grew up to be an explorer.
Here is the cut-out design. I’m glad Litographs went with this one – it is very easy to concentrate on just Marianne and Elinor, but they are almost the median point of the story. Everyone else takes sense and sensibility to greater extremes: Mrs Dashwood, who can’t grasp the idea of economy, Mrs John Dashwood who grasps it too well (the gradual bargaining-down of her husband’s proposed generosity is just awful and masterful). Willoughby, who feels too much. Edward and Colonel Brandon who are similarly governed by good sense, but with rather different impacts on the people they love. Margaret who is marvellous. Anyway, back to the art.
The clouds would not be in the final (I would invert the birds), but I like to keep the pieces together where possible, to create a single picture, in case someone would like to frame it.
Please buy lots. I don’t get a cut, but I do have a wish list of classics I’d like to illustrate, so if you buy these they might get me to do some more.
July 23, 2015
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- Cherith Baldry, “Star Bright”
- Jenny Blackford, “The Sorrow”
- Kay Chronister, “Dustbowl”
- Stephanie Gunn, “Broken Glass”
- Kathryn Hore, “Generation Zero”
- Kathleen Jennings, “A Hedge of Yellow Roses”
- Faith Mudge, “Blueblood”
- T R Napper, “The Silica Key”
- Rivqa Rafael, “Function A:save(target.Dawn)”
- Alter S. Reiss, “Catalysis”
- Jane Routley, “Barista”
- Cat Sparks, “Veteran’s Day”
- Kyla Ward, “Cursebreaker: The Mutalibeen and the Memphite Mummies”
- Marlee Jane Ward, “Clara’s”
- Susan Wardle, “A Truck Called Remembrance”
- Janeen Webb, “A Wondrous Necessary Woman”
- Eleanor R Wood, “The Fruits of Revolution”
My story, “A Hedge of Yellow Roses”, is about what happens to fairytale curses which are given too late, and what becomes of enchanted girls when there are no princes left. It begins:
Vagabonds leave signs in the road for those who know how to read them. Royalists also have their secret language of warnings and betrayals. This story too, in its fashion, is a sign to mark the way I went.
July 16, 2015