The Brisbane Writers Festival and the University of Queensland present the annual schools’ microfiction competition, open to Queensland-based schools students. The 2022 prompt is this illustration by me!
Students are invited to respond to the image in no more than 120 words, using any written format (verse/ prose). Shortlisted entrants will be invited to present a reading of their microfiction at the awards ceremony during the Festival.
The winner will receive a cash prize of $1000 thanks to UQ, and a book pack featuring every Word Play 2022 title for their school.
This post is a non-exhaustive round-up of this year’s art — projects published, projects completed, things I can’t show or can only discuss indirectly, and so on. Images link to posts, where they exist. (For writing, see 2021 Writing Update.)
It’s quite long, because of the images, so if you’re reading on the blog, the rest is below this cut:
More TV sketching! As ever, the rule is I can’t pause the show while drawing.
These are for “The Murder of Sherlock Holmes”, the first two episodes of Murder, She Wrote, which is FINALLY available to watch online. The first season at least. (9Now, if you’re in Australia.)
It has a lot more fast closeups on faces — particularly Jessica Fletcher’s — than some of the other shows I’ve sketched, and I don’t have a shorthand for her yet. This is no speed at which to try likenesses!
I’d known of Juliet, and loved her historical fantasies and her enchanting fairy-tale novels, for a long time before I met her at the very first Aurealis Awards I attended (when they were still hosted in Brisbane). We were both at the back of the room being quiet, because I was very shy and she’d just got off a long flight. She’s a delightful author and person, and so I was utterly delighted to have this (first!) opportunity I had to work with her on a project.
The first step was, as usual, to read through Juliet’s manuscript and sketch possible images for the four stories — moments, poses, incidental creatures. This serves as reference for the cover and internal sketches.
Based on those thinking-sketches, I proposed a few cover treatments. We were always talking in terms of silhouettes, but I included some alternative line-and-wash options. At this point we hadn’t definitely decided on what the internals would look like, so it was possible that a drawn cover might be more suitable.
After discussions with Juliet and Serenity, we were pretty sure we were going with either A or D — or maybe both, for different editions. Or possibly one for a title page.
We were hoping to use foil on the cover, in some way (in the end, it’s on the special edition hardback). I’ve posted before about working through different ways to play with the foil for this cover: 20 Ways With Gold Foil.
I then cut out a test silhouette so that we could compare approaches to colour (this design also turned into printable stationery for patrons).
I also did some test treatments with the sketch for cover D (this silhouette ended up as a title page).
Here are some more test patches, to see how I wanted to approach certain leaves.
At about this point, I refined Sketch A into these almost-final pencils, ready to be approved and adjusted.
Then I flipped the design, traced it down with white graphite paper, and started cutting it out.
Bonus process shots of cover B, including silhouette lettering.
Next came the really fiddly bit. I scanned in the art, then selected the main colour areas. I had to make sure they overlapped, and put them on separate layers (top left). Then I vectorised each layer (in Inkscape) for a clean strong edge, and stacked the layers again in Photoshop (top right).
This made it easy to select each layer, adjust the colour, and then add shading, texture and detail digitally without interfering with the other areas.
Here is a comparison of the raw scanned silhouette (left) and the colour version (right). The yellow box at the bottom right appears on every layer, and let me quickly line the layers up. I deleted them later.
In the end, we used yellow on the coloured cover, instead of foil, and printed the whole silhouette in foil for the special edition.
Note: If you’d like to support art and writing and posts like this about it, I have a Patreon account (patreon.com/tanaudel) and patrons there get behind-the-scenes process and sneak-peeks, starting from US$1, or you could buy me a (virtual) coffee at ko-fi.com/tanaudel (and I get through quite a bit of coffee).And/or check out prints and products available at Redbubble and Spoonflower.
Here is some more TV sketching — the first episode of Mystery 101 this time. The usual TV sketching rule applied: no pausing the show while drawing.
American hair, great coats.
I am hoping to get back to some Midsomer Murders, but my housemate and I have to work out which seasons we’ve seen least recently. I would sketch other shows, but we’ve but watching creepier ones and I need to keep my eyes on the screen.
More Midsomer Murders sketches! These are from episodes 1, 2 and 3 of Season 22.
I’m really enjoying these speed-sketches. I started them mostly to get/keep in practice using the Procreate app (I’m sticking with a traditional media base for my art, but there’s always some digital editing). TV sketching, however, does require faster reflexes than actual cafe sketching, because while the models viewed from a cafe do walk out of view, the scene is rarely actually cut mid-stride, and there’s no fancy camera work. On a show, however, the views and clothing are more varied, and occasionally the camera angle and lighting are dramatic. Also, it’s cool to look back at a few pages from a single episode and see if there are patterns or colour themes.
(And of course it remains a useful way to draw when excursions are limited.)
The rule continues to be that I am not allowed to pause the show while sketching.
I’m practicing with the Procreate app by sketching during shows. Usually I draw people (see: Beyond the Main Event and Sketching Mysteries), but this time wanted to shake myself up and test my (very low) tolerance for drawing backgrounds by sketching sets and buildings instead. The rule for TV sketching is that I can’t pause the show, which makes this mostly painless.
Also my visual memory is indifferent, so I can’t tinker with the drawing for very long after the scene changes. But sometimes it also means I only capture the telling details. Sometimes. (See also: Lots of little bad drawings.)
As with most sketches, I find a little colour can do a lot of work — explaining, unifying, contextualising. Colour, more than line alone, is a great aid to memory — both for recalling what I was looking at, and for remembering (or wanting) to look at that particular page of sketches.
It’s also been illuminating to work out which bits of architecture I can and can’t extrapolate. Dormers I can work out from first principles, but windows are a more chaotic proposition.
Try to capture a range of settings from a TV show without pausing the show.
This can be in pictures, as above, or in a few jotted sentences — the things that leap out at you, the way you’d capture and describe that place.
It’s an interesting little workout, and a pleasant way to keep my hands busy when I don’t want to completely zone out during a show. Also, even if it’s a show set in places I like, I still find it makes me draw (or describe) places I wouldn’t ordinarily choose, and adds them to my mental thesaurus. (So far, I find murder mysteries particularly good at rolling through a range of interesting sets in an episode.)
(This is kind of what Travelogues is, of course, if you replace a TV screen with a train window.)
Bonus step: Make a note of what was easy and what was difficult (architectural terminology trips me up), and what you enjoyed and resisted.
I find this part of exercises occasionally surprising, sometimes affirming (I don’t want to spend my life drawing horizontal blinds), and frequently a checklist for deliberate research.