The Commission

It’s always great to hear about a new illustration commission… sorry, potential commission. Eggs, after all are not chickens so there is no point in counting them. Unless you want to make an omlette in which case counting eggs makes sense so go ahead but…ummmmm I don’t remember the illustration commission having much to do with eggs so I think I’ve become a little lost. Back to the point. I was informed of a potential commission from a well known publisher. The project sounded great and I wanted to do it but wait, what about the other projects? You mean the other 3 projects that I’m working on giving me no time to take on a fourth? Yes, that’s right. Those projects. Bum! It’s always the way. You stack up a bunch of projects and then a real dinger comes along and there is no room. What do you do? Say yes and slowly watch your life fall apart?Once I would have said a big NO to it due to a full schedule but I have since learned of the fickle nature of book publishing. Projects slide and slip and fall down holes never to be seen again. Somehow I would shoe-horn that project even if I had to beg, plead and blub to get those publishers to move some of their deadlines. A big YES and time to burn some graphite!90770_Boo_a_Bog_coverSo, the publisher wanted a sample for which they would pay. Yep, that’s the quality we are talking about here. None of those shifty, street corners Spivs asking for a free favour, “Won’t take you long mate, good for you portfolio.” This is the real deal. So the first thing I needed to ask was which of my work had inspired them to consider me? That would give me some idea of the look they are after. The Boo-a-bog character in the image above was what they had seen and liked. My main problem then was getting the Boo-a-bog out of my head so that I could draw a new monster. Plenty of scribbling ideas did the trick and I eventually produced the characters below. TheMonster

Unfortunetely, this commission didn’t happen for me. The schedule would have been a problem and instead of lamenting a lost project I would have been gibbering over how much sleep a human really needs.

So, did I learn anything from this experience?

Ummmm… no.

I have no idea why I didn’t get the project, that comes down to the editors and author and their preferences. If I had got the project then I may have leared something about the foolhardy scheduling of an optomistic idiot. However, since I didn’t learn that then I will be shoe-horning my shedule again.


Geeky freaky

Friday, 11 March 2016

It really is about time I actually posted stuff about what I am doing currently. I don’t usually post about the work that I am doing since I am usually too busy doing it. So now I have stopped being too busy working so that I might post about what I’m doing instead of doing it. Feel free to ask questions.

So, what am I doing.Well. among other projects I am working for a US publisher on a series of creepy freaky books. That’s not what they are called but I have no idea how much I am allowed to say pre-publication so I’ll remain enigmatic.

Shown here are the pencil roughs and the final ink versions.

This project is proving a particular favourite of mine. The freedom of the briefs allow my inner geek (some might say that it’s not very `inner’) to run wild. There are of course more illustrations in the books than I am showing here, otherwise they would be stupidly short books but trust me, my inner geek has stripped naked, screamed pathetically and run head-on into the full potential of this project.

Happy days.

The adventures of a pirate illustrator  

Living and working as a pirate illustrator is a fine thing indeed. There’s the life on the Spanish Main, the bags of cutlasses, the doubloons, drawing, painting. Some might timidly suggest that not everything about my career is entirely true. I do draw and paint so there is an end to it!

My cutlasses and pencils are sharp and my pistols and brushes loaded ready for whatever project I wish to pursue, cannonade and board. A recent project was a series of books that came under the collective title of Igor’s Lab of Fear.

Igor’s Lab of Fear is a series of books of which I was given the job of illustrating the final four. The previous illustrator was unavailable but had managed to illustrate the covers so my brief was to produce the internal illustrations. My contact at the Publisher was a lovely enthusiastic lady shipmate who was very encouraging and offered just the right amount of brief with plenty of freedom. It made a change to have a project where I was not warned against scaring the children but instead encouraged to do so. A fine thing for a pirate! The illustrations were all to be black and white and the creepier the better. I thoroughly enjoyed myself with evil creatures and disconcerting compositions but three books along and communication with the lady shipmate at the publisher went rather quiet. She had promised to send the manuscript for the fourth book but time passed and nothing came. It’s at times like this that a pirate illustrator has to think about tides and sailing times. Another project was looming and my porthole of opportunity getting smaller. Eventually I was contacted by someone from the publisher who was sending through the brief and asking when I would be able to complete. Well, time had run out and I was now sailing a different sea. I had to explain the situation and hopefully they understood that despite being a pirate it was none of my piratey escapades that was at fault here. But what happened to my lovely shipmate at the publishing house? Did she move on to new horizons or was she a victim of the stories? I figure that most stories in books are based on truth and those involved in the production of scary stories are going to be facing the dangers that those stories tell of. Being a fearsome pirate illustrator, I face these dangers and emerge with barely a scratch but some poor souls are lost. Perhaps people should stick to writing pleasant costume dramas with afternoon tea and doyleys. It’s much safer.