|Poplars at dusk, a shrine for cows, oil 25 x 20cm|
Monday, 24 November 2014
First Editions: Redrawn will be a unique auction of re-illustrated and annotated first editions to raise money for the House of Illustration. Thirty-four acclaimed illustrators – and some authors – have returned to one of their classic books, adding extra illustrations, comments on existing drawings and personal insights about the motivation behind characters. You can find out more about this, as well as view the catalogue here:
I've contributed a first edition of The Bird King (as inscribed above) and a rare first edition of The Arrival. The auction takes place on Monday, December 8, 2014.
Thursday, 20 November 2014
|Chinese Room, scraperboard, 1998|
The philosophical concept of the Chinese Room, as explored in this intriguing story by Chris Lawson (Eidolon, 1998) involves a question of artificial intelligence: if something can respond to input (like questions coming through a slot in a room) according to a set of rules (a coded book in an unknown language, for example) does this constitute consciousness? The answer is not so clear, the more you think about it. The medium of this illustration is scraperboard (or scratchboard), a card with a chalky coating painted with indian ink and then scratched into using a scalpel-like tool, and a favourite of mine throughout my twenties, especially for b&w works.
Wednesday, 19 November 2014
|The Other Side of Paradise, ink, 1994|
The story by Andrew Whitmore, published in Eidolon in 1994. It's about the devil being tricked into a bottle, which it turns out is just what he wants, as a world without sin turns out to be unbearably dull (hence he looks happily incarcerated in the picture). The technique here is one I used a lot in my 20's to simulate woodcut printing. What you do is paint all the open areas with white gouache (which is soluble) and then cover the whole surface with indian ink (insoluble). When all dry, wash the paper with water: what you are left with is irregular lines where indian ink has filled the gaps not masked by gouache.
Monday, 17 November 2014
|Preliminary sketch for Never be late for a parade, pencil 2011|
I was recently invited to contribute to the excellent site Picturebook Makers which asks artists to write about their recent work, however they like. I chose to select one painting from Rules of Summer and follow its evolution from concept to the printed page, thinking this would be of particular interest to other illustrators, given that all of us have a different approach. I certainly recommend browsing the rest of this blog, it's very accessible and fascinating, and a great way to discover new work.
Sunday, 16 November 2014
|Gargoyle, pencil 1994|
This one was for Rough Trade by horror writer Robert Hood, published in Aurealis, which is the first magazine to publish my illustrations. Horror is a terrific genre when it comes to learning how to illustrate, as so much depends so much on perspective, light, and a balance between seen and unseen elements.
|Threnody, pen and ink, 1994|
Friday, 14 November 2014
|Chaff, pen and ink, 1995|
Another of my old SF illustrations, this one for a story by Greg Egan, the acclaimed SF writer who is also from Perth. A futuristic tale with parallels to Joseph Conrad's Heart of Darkness, Chaff is about a mercenary sent into a jungle that has become unpredictably transformed by genetic interference. I decided to represent the jungle as a brain-like mass to suggest something sinister and sentient at the journey's end. This illustration appeared in the collection Our Lady of Chernobyl.
The chaff (grain husks) of the title refers to a line in Conrad's novel: "No fear can stand up to hunger, no patience can wear it out, disgust simply does not exist where hunger is; and as to superstition, beliefs, and what you may call principles, they are less than chaff in a breeze."
Thursday, 13 November 2014
|The Kind Old Sun Will Know, pen & ink, 1996|
Another of my old illustrations from SF magazine days (and on a similar WWI theme), this one for a short story by Garth Nix, who has since become very well known for his terrific Old Kingdom and Keys To the Kingdom fantasy novels. Back in the '90s we were among many regular contributors to a non-profit small press magazine called Eidolon, based in Perth. All the illustrations needed to be black and white and easy to reproduce given budget limitations, and I took the opportunity to experiment with many different styles, particularly when I was also the art director of that magazine for a period.
Monday, 10 November 2014
|Return, pencil on torn paper patchwork, 1999|
|The Man Who Lost Red, pen & ink, A4, 1994|
I was recently cleaning up my image archives (ie. rearranging an ongoing mess) and recovered some old illustrations from twenty years previously, around the time when I began illustrating a lot of science fiction short stories for magazines (sending original drawings through the post), in between doing an Arts degree at uni, without much idea of any career path. It's an interesting mid-point, since I was 20 then, and am 40 now, and leads me to reflect on any stylistic differences... and some improvement I hope! Interestingly, I don't feel there's been a dramatic shift. A lot of the thematic preoccupations remain current: helmeted figures standing in fields for instance, as in this illustration for Terry Dowling's novelette, The Man Who Lost Red (above), which is not unlike my cover for Rules of Summer, and a painting in Tales from Outer Suburbia (below).
In case you're wondering, Dowling's intriguing story is partly about a man punished for a crime he can't remember, by the a loss of specific sensory perception. The picture does not illustrate the tale in any very literal sense, produced a time I began experimenting with more metaphorical imagery, that is, drawing things to one side of the text. That was an important conceptual step and more or less established my style as a narrative artist to this day. Credit is due to the many unusual and often difficult stories I was assigned to illustrate throughout the 90's for small press publications, which is also when I began to have an interest in picture books as an adult.
|Detail from Tales from Outer Suburbia, acrylic and oil on paper, 2006|
|Detail from Rules of Summer, oil on paper, 2012-13|
I suppose when people talk about style, it really comes down to this: not so much a certain signature of line, colour, facility with a medium, or even subject, but rather a recurring pattern of thinking, something the artist might not even be conscious of. I'm still not sure why I'm drawn to these images of occlusion, of figures with an artificial encasement over their heads, at once stuffy and opening up some new perception. I wonder if twenty years from now I'll end up painting the same thing, once I've forgotten about all these other ones! Check this blog on your iBrain implant to find out.
Saturday, 8 November 2014
|Mother and daughters, pastel, A2|