Illustration Friday: Tension

Illustration Friday: Tension

A little handwork for this week’s Illustration Friday – partly a test, making myself do all (save the biro sketch) from my phone, a task which combines brilliant ease with abject frustration.

Eclipse Online Illustrations – January 2013

Alas, Eclipse Online has closed, but the stories are still available online! And they are such very good stories. January’s illustrations were as follows:

First, The Advocate: a small-scale, lovely little story of interplanetary politics and the false privileges and real responsibilities of an unusual position of trust, by Genevieve Valentine.

I wanted to capture a little of the hopes and plans of the story, so went with the fourth sketch.

Genevieve Valentine Sketches

We tried a few colourways, but in the end decided on the red tone, to capture a little of the red Martian light which is so present in the story although it takes place on earth.


Genevieve Valentine Web
The second story for the month was F. Brett Cox’s The Amnesia Helmet – bitter nostalgia, part science fiction, part wish-fulfilment (and its consequences).

We went with the illustration involving helmet itself (constructed from a hair dryer), on the right, but I remain fond of the girl on the left, with her bobby socks and borrowed tools.

F Brett Cox illustration

The Large Amorphous Manuscript

Sketchy characters

Occasionally, I weep elsewhere about the Large Amorphous Manuscript. It is not a novel. It is, perhaps, an outline that is twice the length of what the final story should be. It is a tangled mass of threads, the back of an embroidery, knotted and tangled. And yet there are some shining colours there, in a dozen sentences of describing trees one will stand waving its branches. It is a dense, rough sketch which must be refined, have its composition straightened out, details lost and added, lines inked darker or faded out, textures flooded in.

Illustration is easier.

Sometimes I draw plot points.

Illustration Friday: Future

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

“Kindling” in Year’s Best Australian Fantasy and Horror

I’ve had a few weeks of coming over all writerly, and some of the latest news is that my short steampunk-ish story “Kindling” (which I wrote about here and here), originally published in Light Touch Paper, Stand Clear from Peggy Bright Books, has been selected to appear in the Year’s Best Australian Fantasy and Horror 2012, to be published by Ticonderoga Publications in June 2013. So I’m celebrating it with this little steampunk fairytale picture.

Steampunk Fairytale

In quite a cool little twist, I also illustrated the original publication of Faith Mudge’s “Oracle’s Tower”, and although the art won’t be in this book, I will exercise the illustrator’s prerogative to bask in a little reflected glory.

It is part of the following amazing line-up (with beautiful cover art by Yaroslav Gerzhedovich):


  • Joanne Anderton, “Tied To The Waste”, Tales Of Talisman
  • R.J. Astruc, “The Cook of Pearl House, A Malay Sailor by the Name of Maurice”, Dark Edifice 2
  • Lee Battersby, “Comfort Ghost”, Andromeda Spaceways Inflight Magazine 56
  • Alan Baxter, “Tiny Lives”, Daily Science Fiction
  • Jenny Blackford, “A Moveable Feast”, Bloodstones
  • Eddy Burger, “The Witch’s Wardrobe”, Dark Edifice 3
  • Isobelle Carmody, “The Stone Witch”, Under My Hat
  • Jay Caselberg, “Beautiful”, The Washington Pastime
  • Stephen Dedman, “The Fall”, Exotic Gothic 4, Postscripts
  • Felicity Dowker, “To Wish On A Clockwork Heart”, Bread And Circuses
  • Terry Dowling, “Nightside Eye”, Cemetary Dance
  • Tom Dullemond, “Population Management”, Danse Macabre
  • Thoraiya Dyer, “Sleeping Beauty”, Epilogue
  • Will Elliot, “Hungry Man”, The One That Got Away
  • Jason Fischer, “Pigroot Flat”, Midnight Echo 8
  • Dirk Flinthart, “The Bull In Winter”, Bloodstones
  • Lisa L. Hannett, “Sweet Subtleties”, Clarkesworld
  • Lisa L. Hannett & Angela Slatter, “Bella Beaufort Goes To War”, Midnight And Moonshine
  • Narrelle M. Harris, “Stalemate”, Showtime
  • Kathleen Jennings, “Kindling”, Light Touch Paper, Stand Clear
  • Gary Kemble, “Saturday Night at the Milkbar”, Midnight Echo 7
  • Margo Lanagan, “Crow And Caper, Caper And Crow”, Under My Hat
  • Martin Livings, “You Ain’t Heard Nothing Yet”, Living With The Dead
  • Penelope Love, “A Small Bad Thing”, Bloodstones
  • Andrew J. McKiernan, “Torch Song”, From Stage Door Shadows
  • Karen Maric, “Anvil Of The Sun”, Aurealis
  • Faith Mudge, “Oracle’s Tower”, To Spin A Darker Stair
  • Nicole Murphy, “The Black Star Killer”, Damnation And Dames
  • Jason Nahrung, “The Last Boat To Eden”, Surviving The End
  • Tansy Rayner Roberts, “What Books Survive”, Epilogue
  • Angela Slatter, “Jimmy Dean, Jimmy Dean”, This Is Horror Webzine
  • Anna Tambour, “The Dog Who Wished He’d Never Heard Of Lovecraft”, Lovecraft Zine
  • Kyla Ward, “The Loquacious Cadaver”, The Lion And The Aardvark: Aesop’s Modern Fables
  • Kaaron Warren, “River Of Memory”, Zombies Vs. Robots

Conflux9 – Speculative Art and Bookcovers, also a unicorn and a dragon

So, a few days before the Natcon in Canberra, the doctor tried to diagnose me with pneumonia. The x-rays came up clear, but I had several days of  alternately lying around only being stopped from climbing the walls because of not being able to breathe (I’m a terribly twitchy patient), and trying to frame art which usually makes me feverish if I didn’t start that way. I was recovering by the time I reached Canberra, but was still quite unwell and spent most of the convention propped up in corners conversing with people who stayed still long enough, and losing my breath whenever I got excited about something. Yet I still managed to Meet People, and Meet People Again, and Pass People in the Distance, and Plan Plans, and Have Plans Planned At Me (thanks all, quite sincerely), and create an impromptu conversation pit and find out that Lewis Morley has a laser, which is awesome and giving me Ideas. Also, to win two Ditmars (Artwork, for the Midnight & Moonshine cover, Fan Artist, and the EG Harvey Award for my piece “Once” in the art show), but fortunately all that required me to do on the day was negotiate the seating plan at the ceremony.

Here is the art hanging at the show – “Ex Libris” at the top and “Once” below. Both went to very good homes:


I took part in two panels – the first on speculative art and the second on whether cover art sells books. Both were very well attended (thanks everyone!).

Speculative Art: Shauna O’Meara, Les Petersen, Lewis Morley, Marilyn Pride and Mik Bennett

A lot of the conversation in this turned on the dynamics of paid work, and how that has or hasn’t changed – demands and expectations, the move to lower pay, faster turnaround and so forth. Whether it’s possible to make a living, and how, and whether you can choose and follow and succeed in and live off a single career path. But there is still a lot to be excited about (case in point: LEWIS HAS A LASER and the world cannot fail to be awesome and full of potential while that is the case), and I got to (rather more breathlessly than the topic merited) talk about the chances for people to create new things and put them out in the world (hello Kinds of Blue!) and the generosity of artists (the brilliant resource that is Gurney Journey). I know you can’t always eat ideas, and artists should be paid, but sometimes, brilliantly, serendipitously or due to industry or innovation or kindness the two coincide. And it’s art, and speculative art after all, we get paid to draw dragons, and while the first part is good and right and necessary, the second half is incredible and sometimes it’s healthy just to get excited about the possibilities. I may have begun hallucinating slightly at this point but everyone was very patient.

Does Cover Art Sell Books? Mark Gascoigne, Rowena Cory Daniells, Cat Sparks, Shauna O’Meara

Rowena led this off with a slide show on how she puts together a “resonance file” for her novels, even including photo shoots (much more professional than my lounge-room reference photos of people in cloaks and pyjamas), and Mark supported this approach with reference to authors who put together Pinterest pages of reference which helps a lot in bringing together ideas for covers. I do this a bit myself – it’s a handy way to corral links and ideas which people sent me and also to build up the feel of a world or idea (for some reason, with my own stories, it works better for me in reinforcing ideas after a story is already written). Mark also discussed cover trends and how it is necessary to be ahead but not too far ahead of the trend – that something too far ahead can confuse readers (and bookstore buyers). Also, thumbnailing (how a cover will appear online/in ebooks) and the “blokes in cloaks” trend.

Cat sprung the “what lets self-published/small press covers down” on me, so I talked about how useful an art director is as a mediator of ideas and personalities, and let loose on the trio of typography, dimensions and paper quality which are usually the biggest giveaway, and talked about a short story I once adored and how I looked out for ages for a novel by the same author, and when it came out it had the poorest imaginable cover and in spite of several attempts I couldn’t read the book. I also believe good typography can save bad art, but nothing can save bad typography.

We talked about the template approach which uses for its short stories (uniform, professional layout and typography) which unifies and complements the gorgeous art they commission, and the potential for this to be used by small press and self-publishers to create a brand and allow them freedom in tailoring the art while still looking professional.