This observation journal page features a little exercise in thinking through some thematically appropriate in-world surface patterns for fairy tales.
I’d been making notes, on and off, reminding myself to pay attention to the surfaces of things (in writing as much as drawing), not to forget the human urge to ornament surfaces, the narrative usefulness of surface ornament, and had played some sketching and writing games varying surface detail in stories. (It ties a bit to thoughts on staginess and strong aesthetics too, of course.)
On this page, I picked a couple of fairy tales, and just leaned into what might be story-appropriate ornaments.
First, for Cinderella: pumpkin-coloured brocade, silks hand-painted with vines and doves with beaks the colour of blood, jacquard in gilt & grey like the scales of a lizard, wigs fantastically styled into bowers and coaches, or featuring a real clock that struck the hour.
The second half shifts through several stories:
A deep blue overdress stitched with a full of snowflakes, thickening towards the hem so that no blue remains visible. A bed carved by a master-carver with castles and briars and a girl going off sturdily on some adventure. The back of a rocking-chair carved with a comfortable-looking wolf.
It is all self-referential, but to an extent that adds to the depth and concentration of a small world — and the details could be swapped out where breathing room is needed.
I discovered my default mode was direct references to the story, or foreshadowing. But as I pushed it further, it became wider references to the shape of the world (the importance of glass to fashion at that moment, the tales told within the world). And that of course lets you push further to ask: Who makes these things? What fashions prevail? Who is responsible for the glass, with or without enchantments? Who put these stories in the carvings?
- Pick a fairy tale (or another story you know well), and a key (or favourite) scene from it.
- Make a list of important objects and colours and themes from the story as a whole. (Pumpkins and glass and lizards? Newspapers and bicycles and dogs?)
- Consider that key scene. Where could you add surface ornament? Wallpaper and clothing? Graffiti and paint jobs? Jewellery? T-shirt logos?
- Make a quick sketch (drawn or written) filling those surfaces with story-appropriate designs, as thematic or literal as you like.
- Where do they add to the story? Where do they raise questions about the world? Where do they overcomplicate things, or make the world too small or self-aware? Do you like that artificiality, or want to open the world up? (There’s not a wrong answer here, but it’s interesting to feel out the edges of your preferences.)