Travelling to Mexico on the information highway.

It’s funny, as an illustrator, how many places I visit before I create a picture.  And by visit, I mean metaphorically travelling down a fast paced information highway, halting occasionally at random pitstops for a quick look around or perhaps, a longer stay. Throughout my career, I’ve visited many locations, hiking the snowy wastes of Greenland, schlepping through the deserts of the Middle East and wandering the streets of Beijing, all via a screen in my studio. This post is about approaching the internet with an explorer’s curiosity and how it can lead you to creative inspiration.

Back at the end of last year, I was commissioned to create the front cover and contents page of the May/June issue of Cricket Magazine, an illustrated publication for children in the States. The theme was ‘Hummingbirds’ and even for a small project like this, the journey was no different.

I have never seen a hummingbird in real life so I started the project with some rambling research, opening creaking digital doors and exploring little known cyber pathways. As usual, I was sucked down an internet vortex leading me to unfamiliar worlds. There were steamy jungles, brilliant blossoms and tiny hovering birds, far from the familiar wrens and robins of the English garden.
The lime greens of the feathers and the hot pink of the flowers reminded me very much of the colours found in folk embroidery, from Russia in the North to Latin America in the South. I set sail on more random research adventures and landed up on the warm shores of Mexico, home of an incredible textile culture.

Elvira Gomez. Photograph by Thelma Datter.

Mexican folk embroidery has been in existence from pre-hispanic days, developing centuries ago from its roots with the Mesoamerican Otami peoples into the form today known as Tenango. It features the flora and fauna of the region in unreal colours and geometric patterns. Broad flat stitches neatly cover the cloth and larger pieces can take years to complete.

Photograph by Thelma Datter.

Mexico is also the home of the white throated hummingbird.

It’s a beautiful thing when two paths converge. By exploring, allowing myself to travel without boundaries, I had found connections between two diverse subjects and a way to visualise and create something new.

White throated hummingbird by Dominic Sherony.

With Mexican embroidery as inspiration, my pages became filled with twirling blossoms, their distinct shapes, a useful foil for further patterned collage. The hummingbirds danced above them, drinking their nectar and making nests in their magenta petals. I wanted the whole image to become a riot of blooming decoration where botanics and birds took equal precedence in the pattern.

So it’s with the publication of this month’s Cricket Magazine that my short metaphorical stay in Mexico is done. I’ve come away with small souvenirs of understanding and a place to return should I ever need inspiration for beautiful bright birds and flowers. The internet is my ticket to travel. It allows me to reach places I have little knowledge of and, if fortune smiles, lets me leap across subjects and make creative connections. Despite all its faults, it’s a vital tool in the illustration suitcase.

 

As I look out on my very English garden today, relishing the May warmth, the sky is the palest of blues and the lilac tree, a delicate mauve. It’s certainly good-looking in a reserved, polite way but there’s a large part of me that would like to see the joyful pink of the hibiscus, the shocking blue of a hummingbird and the unapologetic azure of a Mexican sky, not just captured in pixels on a screen, but for real one day.

 

 

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Spring flowers.

The sun has finally come out, the primroses and windflowers are scattering palely across the green and my cherry tree is blossoming flamboyantly in the back garden. Work always gets put into perspective when the spring flowers arrive.
It’s been a busy month with multiple small projects: from educational commissions, to an outsized image of a wolf for an outsize book cover, to a couple of self promotional map projects of Barcelona and Lapland, to creating sample illustrations for a proposed book in time for London Book Fair. Hardly time to feel the spring warmth kiss my face and smell the first cut grass of the year.

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I adore painting plants and the recent blooming extravaganza has made me think how often they’re included in my illustrations. Perhaps, as the daughter of a botanist and botanical artist, that’s not surprising. It’s a truism that there will always be flowers in my mother’s house.

I realised that I cut the flowers in my illustrations from many different metaphorical gardens. First there’s the straight watercolour, more of a realistic botanical approach. I generally look at photographic reference material and keep colours naturalistic. I know from watching my mum work that using photos isn’t ideal but access to the real thing isn’t always possible. The following image shows details from a logo I did recently for a florist. It’s not gone live yet so I can’t show you the illustration in its entirety.

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Then there’s the more stylised approach. I often use designs from other times or cultures to inspire more graphic flowery renditions. The flowers in ‘Feathers for Peacock’, for example were informed by the punchy style of 1970’s patterns. They have a blocky feel and there are circle shapes and tear drops and squares with rounded corners. The clean spaces really lend themselves to using collage. I think we might have had something reminiscent on the old wallpaper in the kitchen as I was growing up…

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Here are some more details of stylised flowers, this time inspired by Mexican embroidery. I spent a lot of time researching Central American textiles and was blown away by the beautiful colours and compositions. These illustrations come from a cover of a forthcoming children’s magazine, due out in May.

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Sometimes I take a real-life plant but subtly adapt it by simplifying shapes and colours so it has an air of reality but is stylised… In this illustration, I researched pondside plants, all flowering around the same time, and used them as a base for those in the picture. This is from ‘In my Garden’.

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And then there’s the combination of the two approaches. Nobody said you had to stick to one style, did they? Why not combine a more naturalistic look, based on genuine botany alongside a created imaginary plant world? Here’s an image commisioned for Cricket Media’s Ladybug Magazine published last year. The buttercups on the right are naturalistic in comparison to the collaged blue flowers in the centre that are entirely imaginary.

(N.B. I like drawing frogs as much as I like drawing flowers…).country mouse with textcleaned up

And in this endpaper, also from ‘In my Garden’, I used painted stylised flowers alongside collaged stylised flowers cut from origami paper alongside more naturalistic depictions of animals, birds and butterflies.

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I think drawing and painting flowers will always be a love of mine and just like real flowers, they will clamber and climb and push their faces to find the light in my illustrations regardless of whether I choose them to be there or not.

And just like my mother, I hope there will always be flowers in my house.

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Book now for a place on my Hand Drawn Mapping workshop.

A very quick post to let you know that Wednesday is the last day you can book a place on my hand drawn mapping workshop at Ditchling Museum of Art + Craft on 10th March 2018. The workshop runs from 10.30 to 4 pm and includes refreshments and lunch. All materials will be provided.

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Hand drawn maps are a beautiful alchemy of form, function and artistry which express a view of a particular place at a particular time by a particular person. At the workshop you’ll learn :

– how to research your territory with notes and sketches
– simple gridding up techniques
– how to use negative space effectively with pattern, illustration or stories
– how to create decorative compass roses and cartouches
– how to design personalised feature icons and keys
– easy to draw but simply elegant hand lettering

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Date: 10th March
Time: 10.30-4 pm
Address: Ditchling Museum of Art + Craft, Lodge Hill Lane, Ditchling, E Sussex, BN6 8SP
Telephone: 01273 844744
Email: enquiries@ditchlingmuseumartcraft.org.uk
Cost; £70.00 plus £2.58 booking fee. £70.00 if booking by phone.

Tickets: here.

 

 

 

A short post about a film poster

It’s way too early for Christmas (is it??!!) but this is a short post about a poster I did for a little indie film, ‘Home for Christmas’ a few years ago that has now been bought up by Amazon Prime and trending as I speak…

home for christmas poster

The film – a Christmas romcom-  was made by Jump Start films based in Brighton on a very tight budget.  Much of the work was volunteered and it was made often using local actors in Brighton itself – my flat even starred as a location at a couple of points.

Any money was crowd funded through donations, events and raffles:

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Fundraising event poster

There was a premiere at the famous historic Brighton cinema – The Duke of Yorks – one of the oldest working cinemas in the UK.  The cinema plays an important part in the storyline and I happened to have a few shifts tearing tickets there at the time alongside the Director, DoP, and Sound.  It was fun to be involved in the making of a feature film and see behind the curtain of what it takes to pull something like this off.

The illustration for the poster was hand drawn in black ink and shows some characters from the film and elements from the cinema, almost a character in itself. Colour was added digitally at a later date.

It’s taken a few years for this little film to get to this point and I’ll look forward to seeing where it goes next.

A BIG talk about illustration (and life).

The following is adapted from a 10 minute talk I gave to Brighton Illustrators Group (BIG) in July alongside 5 other illustrators and designers. I was asked to talk about something inspirational or what inspired me. BIG was established 22 years ago and exists to support and advise illustrators living and working in the Brighton area. It aims to promote the work of member illustrators, share professional advice and create a space to network. It’s a brilliant Brighton institution so it was an honour to be asked to speak. 

I’ve been illustrating for over 10 years now and work almost exclusively by hand in the field of children’s books and map making plus I have a developing hand lettering practice too. I occasionally use photoshop to clean up or remedy mistakes but in general have made a choice not to work digitally as a whole. I just prefer ‘slow illustration’ – the physicality of painting and drawing, getting messy, the jeopardy of making raw marks that might not be easily erased with the click of a button. And the mental discipline of planning and committing to colour before you put it on paper; you certainly need to be confident in your mark and colour choices.  And I like the feeling of having a physical object at the end of a project. Something tactile that changes subtly depending on the angle and lighting of your viewpoint.

This way of working isn’t fashionable, and doesn’t make it easier or faster but I’d prefer to make a living working by hand rather than a lifetime spent in front of a screen.

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A double page spread from ‘Seasons of Wonder’ by Julia Key.

Building draughtsmanship confidence has meant practising regularly. I go to life drawing sessions…

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… and also meet ups, drawing in pubs – observing and documenting the punters and barmen where stillness is no prerequisite and your subject can move at any moment. This has trained me to capture likenesses quickly and without self consciousness in a public place. I chose the next illustration to say how important it is to focus on your strengths and understand how they can be adapted for your business.

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I often post drawings on social media and, supported by my images on Twitter, I was contacted by a designer working for the prop department at the BBC. They needed some life drawings and also someone to act as a hand double for a costume drama. One of the actors played an artist and footage was needed of her hand sketching – which was where I came into it. My ability to draw portraits quickly in crowded places (in pubs or on set) was very useful. Privately, this commission became known as ‘The BBC Hand Job’….
This image was one of the results – a portrait of Anna Chancellor, well known for playing the character of ‘Duckface’ in the film ‘Four Weddings and a Funeral’ starring here in the drama ‘Mapp and Lucia’.

Since then, I have been asked to provide more drawings for the BBC’s adaptation of ‘Howard’s End’ which will be aired later in the year.

Another way to use drawing is lettering. I love typography of all kinds, especially if it’s been done by hand. The personality of the artist can be caught in the tiny imperfections and quirks of each letter, unfiltered by a font package. It really doesn’t matter if it’s not perfect.

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This envelope was made as part of a mail shot campaign sending promotional work to children’s book publishers. I’ve done this a few years running now – every envelope is different, takes some time and there’s not much room for error. But  I learn something new from each one and it allows me to be creative while doing a fairly mundane task. It’s important to keep broadening my skills and working out ways to make my strengths an advantage.  I’ve just finished creating another prop – a map – this time for a high profile Hollywood film. Unfortunately I’m not able to talk about it yet but it screens in the Summer of 2018. Notably, the designer specifically wanted something hand lettered and had looked at the lettering on my website before briefing.

Which leads me to the ultimate in hand lettering – signwriting. As I said, I try to keep adding to my skill set and recently went on a course in traditional signwriting in London. Although not strictly illustration, an understanding of graphic design is necessary. You need a good eye, a steady hand and it’s a very physical job. But it’s the physicality I love – the smell of the paint, the feel of brush on surface, the satisfaction of creating a beautiful straight line or perfect curve by the downward swoop of an arm. And again it provides a hint of risk, in that you can’t just nuke it with Photoshop if it goes wrong.

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These are some circus style letters I painted on mdf as practice.

I recently created a window installation using hand painted and lettered signs for an exhibition. On the strength of the window display, I was contacted by the brand manager of a well known chain of restaurants asking to quote for some similar signs. Nothing came of it in the end but it’s serves as an example of how working to your strengths and thinking outside the box has the potential to lead to multiple diverse streams of work.

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I find challenges inspiring. When I first left university, I got a job in an antique print shop. I was a disaster and lasted about 3 weeks before I got sacked. But I came away totally inspired by early 17th century road maps – beautifully hand drawn and engraved with personality and soul. Fast forward some years later and during the last recession, I had a period of unemployment. I started to make my own maps to fill the time. They were never printed – just a vehicle for self expression which I saw as fine art and started to show in galleries. Each map was filled with notes about the place and sometimes line illustrations. They were all done by hand, sometimes directly onto the surface in ink.

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This map is part of a triptych I made as a result of going on an artist’s residency on a ship. I sailed for the best part of a month as part of the crew 1300 miles across the North Atlantic documenting whale sightings. This was certainly challenging for me because I thought I was going to die. Genuinely.

However, the challenge sparked creative ideas.  I couldn’t draw much due to the motion of the ship so I collected overheard stories and travellers’ tales. They became the basis for the maps alongside notes and drawings on how whales have been seen historically and how they have been mythologised and hunted.

As a result of my fine art mapping practice, I was commissioned to write a book on how to draw hand drawn maps, published in June by Thames and Hudson. The challenge here was whether I could both write and illustrate a 17,000 word book for adults within an super tight timeframe of 4 months. I loved every minute – especially the writing – but it did mean no social life over that time. At all. I had to write 500 words a day, every day, and complete an illustration every day and a half.  So much for ‘slow’ illustration.

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In summing up, I think it’s important to understand and cherish your strongest skills. Even if fashion dictates something else.  I believe in thinking outside the box in how you put those skills to use.  Learning and adding to your skill set, focussing on your strengths, is vital.  Accept challenges too and get out of your comfort zone, realising that they can be truly inspirational. Doing all these things can demonstrably lead to new work.

But most important of all, figure out what it is that gives you joy and is creatively stimulating in your work. Then find as many different ways as possible to keep doing it. It’s as simple as that.

I guess that counts for life in general.

 

 

Adjust and Deliver. The story of the front cover for ‘Hand Drawn Maps’.

Adjust and deliver was the catch phrase for completing the front cover for ‘Hand Drawn Maps – a guide for creatives’.  Front covers are never easy to nail and this one was no different.

Cover #1 was the cover I had initially drawn out for the first proposal.  It wasn’t clear whether, as it was a book about drawing, the image would be a line drawing or fully coloured in.  The designer liked my idea of reversing the image with Photoshop so that the original pencil rough became white – its negative –  giving it the look of a chalkboard.

By the time the book was finished, views had changed.  Covers are tricky things as they need to encapsulate the contents of the publication with one single image, be aesthetically pleasing, commercially bold, swimming strongly in a competitive sea of other books.  I needed to revamp the original cover idea to take all these points into account. I was asked to create a couple of thumbnail images as proposals for the cover.  The main design team would discuss and feed back.  These were the thumbnails I came up with.

After some deliberation, the response was that actually the design team quite liked the very first cover with the compass rose that I had drawn.  I was asked to create a full scale pencil rough with an indication of colour.  The cover was to be full colour because it needed to stand out in a competitive market.  It was also very important to include my name as author and the subtitle – ‘a guide for creatives’.  The publisher additionally asked for a busy detailed map in the background.  For this, I chose an axonometric urban map which could feature some of the very random symbols from the interior of the book.  Lighthouses, pagodas, building size beer bottles and hipster coffee cups all started popping up in this fantastic city.

Cover two. The original.

Cover two. The original.

I waited for a response. Cover #3. The sales team were involved. They wanted the cover to sum up the wide scoping subject matter of the book which ranges from picture maps, to word maps, underground metro maps to platform game maps, palmistry and phrenology charts, architectural and mind maps. A border with chapter titles was called for. There was also a question about where the logo should sit. Could I provide another rough?

The cover with the chapter titles and logo added.

The cover with the chapter titles positioning and logo added.

Cover #4.  Another meeting had happened and it was suggested that perhaps the compass should be made smaller to give the background map more room to breathe.  It was decided that the logo could actually go on the back of the book but the subtitle didn’t look very prominent.  The subtitle ‘ A guide for creatives’ was very important in reaching out to potential buyers.  Could I come up with a way of making it more eyecatching? The adjustment was made by adding a banner with the subtitle to the image.

The cover with a smaller compass rose and a banner with the subtitle added.

The cover with a smaller compass rose and a banner with the subtitle added.

Finally, I was given approval but was first asked to provide a colour rough.  In my experience this is a fairly unusual practice.  As I work by hand,  providing a colour rough would be time consuming at a moment when the deadline was already well in sight.  I can only imagine that the design team were more used to working with illustrators who generally used digital tools to colour.  A click of the button can infill space in less than a second. For me, painting the colour rough, even at 25% of the full dimensions, took a few hours.

Colour rough

Colour rough

Cover #5.  The design feedback on the colour rough was that the subtitle still wasn’t visible enough.  Apparently, although Westerners read from left to right, the eye lingers on the bottom right corner.  I could go to full colour but was asked to swap the subtitle to the other side (the bottom right corner) with my name which should be made smaller.

Map cover - mid painting.

Map cover – mid painting.

The adjustment was made. Done, dusted and delivered.  I just had to wait for final approval.  It didn’t come.

The design and sales teams were still not happy.  The subtitle still wasn’t prominent enough.  Could I make it cross the entire banner at the bottom and move my name to a smaller banner crossing the compass points at some place aesthetically convenient? The only way to do this, other than repainting entirely was to add using Photoshop, collaging in the repainted wording over the top of the original.  Painting by hand really doesn’t lend itself to making easy and fast adjustments unfortunately and this was becoming increasingly clear.

Cover #6.  With the print deadline acting like some kind of guillotine the final change was made.  Once more, Photoshop was the only thing that made it possible in time without having to repaint.  I was asked to change the central compass rose from the originally agreed red to a blue.  This made the main book title popout against the contrasting oranges of the compass points.  Again, very much a sales decision based on how well the book would stand out visually on a physical book shop shelf and how well it would stand out as a thumbnail image online in virtual stores like Amazon.

The final artwork.

The final artwork.

This entire process took about a month to complete.  I’m not used to artwork being tweaked quite so often and over such a long drawn out period.  In my experience, usually all teams come together after the rough stage and then to discuss and approve on artwork delivery but here it was clear that there were multiple voices involved in the decisions being made, on multiple occasions and with multiple sales and design boxes that needed to be ticked.  I wonder whether the increasingly anachronistic nature of my working practice – working by hand and taking time – is becoming a hindrance in meeting the demands of a fast paced sales driven publishing economy more than ever before.  It was expected that I could adjust artwork easily and deliver changes immediately, probably with the click of a mouse. Ironic if you take the title of the book into account.  However, although the experience felt fairly stressful for me, I did learn a lot about the process of creating a truly commercial cover for a large publisher specialising in design led books.  I hope the thought and hard work that went into it, really does make ‘Hand Drawn maps’ stand out from the crowd and sell many many copies

I wrote my first book!

I have illustrated many books before but a few weeks ago I delivered the first book I have both written and illustrated to the publishers. Not only was writing it a first, but it was also about maps and for adults – another couple of firsts.  It was a total unknown for me and what a ride/learning curve/marathon it has been… To say I hit the road with only a very basic map to my final destination would be an understatement.

The deadline was an incredibly tight one – so tight that when I planned it out I knew there would be no weekends off or much of a social life for a couple of months.  I would need to write 500 words a day and complete 5 illustrations by hand every week.  Almost one picture every 24 hours. Usually I’d expect a couple of days for an illustration….

I wasn’t totally sure it was doable but the only way to find out was to get pedalling and see.

Marvin the cat did his best to advise...

Marvin the cat helped with quality control…

It turned out that I loved writing although I had never really done any professionally before. I’d wake up and while I was still in bed, over toast and coffee, I’d start. The 500 word per day limit seemed daunting but actually I found I was writing more and having to heavily edit and cut back. My tendency was to go for wordiness and the struggle was to remember this was a fun ‘how to’ book about hand drawn cartography and not a scholarly treatise. I also had to find the balance between writing about me and my personal experience and writing for the reader. A tricky one realising how loud your ego can shout.

The research was heavy because the plan was to include writings about both historical and contemporary maps.   My PC was jammed with a row of open sites and my reading list similarly stuffed with links.  Pinterest became overloaded with a library of images I’d obsessively collected, finally divided into chapter headings after the sprawl got too much. The book will eventually run to a couple of hundred pages but I can’t imagine what it must be like to write a novel or anything academic requiring way more research. I learnt so much though and it felt like a crash course in cartography.

Creating the illustrations was fun and meant I got to be particularly playful in my work. I’d planned out the design of the book initially so that each page looked different from the others with a variety of media. I got to incorporate the methods I used in my fine art practice and hand lettering (drawing in pen and ink) with the more painterly side of watercolour and gouache that you see in my picture book illustrations.

It started to become a very personal book;  Friends and family became inspiration for any representations of people; maps were based on places I had visited like New York, Reykjavik and Tokyo.

My nieces became the inspiration for these two characters....

My nieces were the inspiration for these two characters….

Regularly working 10 hour days, I stopped when the light dimmed or my eyes started complaining. But somehow, because it was so enjoyable, that lovely combination of resentment, boredom and exhaustion never really came knocking.

And now I have delivered the final package to the publishers with a weird selection of envelopes of mock-ups for the photographer, covered drawings, paintings, digital scans and instructions written to an embarrassing level of control freakery.  The say I have over the book may be small and my copious planning is perhaps slightly redundant, but this is all part of the learning curve.  In the end, I am purely creating work (rather than a Nobel-Prize-winning life-time’s worth of research) for a client who has his own remit and understanding of his market. Both my words and images may be changed to fit into this and it’s good, if hard, to be accepting of that.

We will just have to see what comes of it all, won’t we? However the final publication looks, the adrenaline fuelled insomniac scribbling, hours spent painting that just flew by and wonder-filled map discoveries will have been totally worth it. It’s been some adventure.

And next time, if there is a chance to both write and illustrate another book, I’ll be able to take a more detailed map with me for sure. In the meantime, a celebration is definitely in order.

Marvin and fizz.

Marv agrees….

 

 

 

A Pewter Plate Award

Well, I didn’t expect this in the post!

A lovely boxed-up and wrapped-in-tissue-paper surprise arrived for me at the beginning of the week. I am the very proud recipient of a pewter plate award from Highlights Magazine for illustration of the month (September) for ‘Hippos Hippos’… See the post a few months back about it in the article –  illustrating for magazines.

Highlights have been a stalwart feature in the American children’s magazine market since 1946 and have sold over a billion copies. Its motto ‘fun with purpose’ is reflected in the well loved collection of stories, characters, jokes and puzzles appearing every month.  I’ve tried to find out the back story of the pewter plate award but without luck.  Regardless of this, whether it’s a publisher tradition or a new innovation, it takes some effort to honour a different illustrator 12 times a year in this way. Magazine illustrations are inherently ephemera so, although I would expect to be treated professionally, I wouldn’t expect too much from the publisher/illustrator relationship in general. Which is why this is so lovely and has made me feel appreciated even more so.

I have won a number of awards before (for my illustration for books) but it’s also a very rare occasion that I receive something tangible so it will, no doubt, hold pride of place on a bookshelf in the studio!

Pewter plate award

 

 

The City Mouse and the Country Mouse

Another double page spread illustrating a poem – The City Mouse and the Country Mouse – for Ladybug, a ‘literary children’s magazine’, was commissioned during the spring, just as I was crawling out of my winter ‘Call of the Wild’ fug.  Ladybug is designed for children between 3-6 years old as an arts and culture magazine for the very young and as a precurser to Cricket – the original publication founded in the 1970’s as a ‘New Yorker’ for young adults. In addition to original stories and poems, there are lots of articles on the natural and cultural world, as well as songs, games, and activities introducing children to language.

The weather was veering between unseasonably warm sunshine and monsoon rains making the air smell green and the earth tumble forth wild flowers and happy weeds. This commission by Cricket Media illustrating the classic Christina Rossetti poem describing the lives of two mice, was the perfect project for those April times.

Working with Cricket Media was a smooth experience and the commission was very straight forward from the beginning.  The brief simply asked me to ‘illustrate the poem’ – interesting to see the different approach to the previous commission earlier in the year from Highlights Magazine (see previous blog post) which was more heavily art directed.  I was also encouraged to be anthropomorphic – something that isn’t so common at the moment but surprisingly enjoyable on the creative front.   I’ve pasted the rough pencil drawing below which was accepted without changes.

town and country mouse

Then I created the finished painting which was also accepted without changes. It really couldn’t have been easier…

The city mouse and the country mouseThe poem tells of the contentment of the country mouse, the beautiful simplicity of nature and the value of his friends in comparison to the sophisticated, but lonely life of the metropolitan mouse.  It’s a sentimental take on nature, perhaps very Victorian in it’s idealised view of country living, but, regardless, this warm and fuzzy commission was the perfect antedote to the raw brutality of nature and the fighting, emaciated huskies found in ‘Call of the Wild’ in December.

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Can you hear the Call of the Wild?

September  has come round quickly and finally, finally ‘Call of the Wild’ is officially published by UK based children’s book publisher, Miles Kelly and is calling to you from all good book shops…

Wolf illustration

A rip-roaring adventure, perhaps inspired by the author Jack London’s own experiences in the Klondike gold rush, was first published in 1903 as a series of installments in the Saturday Evening Post. I love the use of composition and white space in the illustration below by Charles Livingstone Bull.

Saturday Evening Post cover.

 

It found its way into book form a month later becoming an immediate success with ten colour tipped illustrations by Charles Livingstone Bull and Philip R. Goodwin and with a colour frontispiece by Charles Edward Hooper.  Since then, it has been translated into 47 languages and made into 3 films.

The novel examines ‘the law of the club and the fang’, echoing Darwin’s theory of the survival of the fittest – apparently Jack London had been reading this before he started writing.  Only the strong survive and in this book, usually the ‘strong’ are those who are in tune with the wilderness and far from the softness and stupidity of city life. The canine hero, Buck, has to hear the call of the wild and listen to the true heart of the wolf inside.  Eventually he triumphs becoming the leader of the wolf pack at the end.

‘Brown Wolf’, the short story set to finish the Miles Kelly edition, also shares this sentiment.  Brown Wolf chooses the harsh, wild but honest world of the pack dog, ever loyal to his first owner and rejects the easy life of ready food and country walks that he finds himself in.

‘Call of the Wild’ joins Miles Kelly’s collection of mini classics adapted for children: ‘The Jungle Book’, ‘The Wonderful Wizard of Oz’, ‘The Wind in the Willows’ and ‘Alice’s Adventures in Wonderland’.  Each book has the feel of a traditional classic but with a contemporary edge – 25 colour plate illustrations, spreads with illustrated borders throughout, illustrated oval chapter openers and finally full notes about the author, illustrator and themes of the book all presented in a beautiful card slipcase.

And each book is called a mini classic for good reason as they are small enough to fit neatly into the size of your hand, despite the weight of their literary credentials.

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‘Call of the Wild’ can be bought from all good bookshops!