Sepia ink and gouache on grey toned Strathmore paper, 108 x 143mm.
‘Emus… are like a fluffy pair of legs and neck’, according to my friend, Marc. Both his comment and my drawing were inspired by this brilliant video, Emu Tango.
I’d fluffed (pun fully intended) the inking somewhat: a combination of being under the weather, unfocussed, and using a brush which was quite on its last legs. I consequently spent some time trying to salvage the drawing, so that, once again, I ended up taking far longer than the result should have warranted. Heigh ho.
Sepia ink (over blue pencil sketch) and gouache on grey toned Strathmore paper, 110 x 143mm.
A pirate Saltasaurus, as prompted by this post on Love in the Time of Chasmosaurs by my friend, Marc. The idea of the many swords stuck in the sash was shamelessly purloined from an illustration by Andrej Dugin and Olga Dugina, two of my favourite contemporary illustrators, though the hilts of archosaur heads are an attempt at my own personal touch.
Ink and gouache on recycled paper, 107mm diameter.
My friend Lea, an art historian at the Mauritshuis in The Hague, the Netherlands, initially wanted to commission me for this geboortekaartje to announce the arrival of her baby boy, Arent (‘eagle’ in Dutch; the older spelling was deliberately chosen instead of the modern Arend). In the event, I decided to make her a gift of it.
Little Arent arrived into this world on the 12th November. I’m awaiting my own copy of the card and will share a picture of it here too.
I suddenly find myself quite ill. My feet and hands feel icy though my face and breath feel hot. Too many all-nighters of late, it seems.
Which reminds me that I’ve yet to post my report on the last Pictura events in Newcastle. Oh, dear.
The closest fiery-themed piece I have for Bonfire Night, this was the jacket illustration I did for the first hardback edition of Salman Rushdie’s Luka and the Fire of Life back in 2010, published by Random House US.
The full jacket, including flaps.
The original artwork in ink and gouache.
The final jacket omits parts of the original artwork, including the otter on the spine, to make more room for the title and the Random House logo. It also uses a fine textured gold which has a very pleasing, subtle effect and recalls the gold of the original.
A photograph of the original artwork during its progress, which gives a better idea of the gold gouache’s effect.
Interestingly, the cover of the most recent reprint edition features a much more narrative illustration and in many ways makes me think of the very first rough which I came up with.
The designers preferred a more graphic/design-based image, however, which eventually became what we have now.
I live in a flat in which the roof leaks, the windows are draughty, the heating malfunctions, and things rattle and bang in high winds and blustery weather.
Sepia ink, tinted charcoal, sepia powder, and gouache on recycled paper, 106mm diameter.
So this was very much what I felt like when St. Jude’s Storm struck in the small hours of Sunday and throughout Monday morning.
Two final Pictura events for me, once again together with Helen Ward, both at the Laing Art Gallery in Newcastle. Evening Ink & Drink on Friday 1st November, and two daytime illustration workshops on Saturday 2nd.
Pictura: Faeries, detail from panel 5.
Pencil on Arches hot pressed.
See you there!