Since my original intent was to write about creating artwork, it suddenly seems odd to me now that the art creation is done that I still need to write about the whole process that led me here and that I am still pursuing, even though the way is not clear.
But it’s the task I set for myself, to document the whole process, warts and all. So I will tell you about buying stamps.
Continue reading “Buying stamps”As you may know if you have visited my blog before, I’ve now completed a five-year project: illustrating Charles Dickens’ epic novel, BLEAK HOUSE. It was a task of love and devotion, heartbreak, missed connections, long nights, big dreams…and I think that may have been the easy part.
Finding a publisher (which mainly means finding an agent) is no easy task under the best circumstances. Agents have specialized areas of interest and it’s easy but arduous to look them up in the extremely helpful Writers Market. As far as I understand, agents break down into two main areas: literary agents, who assist in matching authors and publishers, and illustrator’s agents, who, due to the present genres in publishing, specialize mainly in children’s books, children’s book illustrators, graphic novels, matching up writers and artists, and putting them together with publishers.
Continue reading “…And that was the easy part!”Hi folks, I know it’s been awhile since I’ve posted, and the last post was about a rare but serious creative block. The thing about blocks is, eventually, they just go away and you start plowing back into it.
I’ve been working on this BLEAK HOUSE illustration project non-stop since Spring of 2019. Enormous and all-consuming as it is, I’ve never lost the spark that has moved me so in this sprawling work.
Continue reading “A “making of” video in the works”SCIENTIFIC AMERICAN called it “[the] famous poster by Gerry Mooney”. It’s been referenced everywhere from Encyclopedia Britannica to The Simpsons. I’ve sold over 5,000, to teachers, lawyers, pilots and even regular people. A parole officer in Florida ordered six for his clients.
As work proceeds at what sometimes seems like a glacial pace, I would like to present these four recently-completed small illustrations. I’ve strived to provide some context for each with excerpts from the book.
It may seem like there are some spoilers here, but BLEAK HOUSE is so jam-packed with catastrophic plot twists that you’ll forget all about these once you’re reading the book!
Here, Lord Dedlock’s flighty cousin Volumnia, a fairly minor character, stumbles upon his prostrate body in the dark.
The Dedlock town house changes not externally, and hours pass before its exalted dullness is disturbed within. But Volumnia the fair, being subject to the prevalent complaint of boredom and finding that disorder attacking her spirits with some virulence, ventures at length to repair to the library for change of scene. Her gentle tapping at the door producing no response, she opens it and peeps in; seeing no one there, takes possession.
In researching and reading about the art and business of woodcut illustration in the 19th Century, it is almost inevitable to end up with Gustave Doré. More than a master draftsman or illustrator, he possessed a practically supernatural ability to simply draw. He was recognized as a prodigy at age five, was carving in stone at twelve, and by fifteen he was supporting his family by drawing caricatures for French magazine Le journal pour rire.
Although Dickens and Doré never met as far as I can determine, their lifespans overlapped, Dickens being born in 1812 and Doré in 1832. And while Dickens labored in the world of British popular fiction and monthly magazines, the French Doré was producing high-quality illustrated art volumes of what we would call “The Great Books”, e.g., Voltaire, Rabelais, Cervantes, the Bible, Paradise Lost, The Rime of the Ancient Mariner, and many, many others, much of it for a British audience.
You may know that I was extremely honored earlier this year to be asked to write a blog post for the prestigious Dickens Society in London. It was well-received and there is a standing invitation to write more for them in the future.
The Dickens Society is an academic group dedicated to exploring all facets of Charles Dickens’s* life and work, but it is not an exclusive club at all. In fact I was surprised to learn how easy it is to join: by subscribing to their journal The Dickens Quarterly, you are automatically enrolled as a member.
It is The Dickens Quarterly that I would like to write about. I’ve been a member for a year now, and I am by no means either a Dickens completist, or an academic of any kind. Some of the material is a little over my head, but I’m comfortable with that. What is great is the breadth of subject matter, and how it makes you think differently not only about Dickens but also about nineteenth-century fiction, Victorian England, and much more.
Continue reading “Charles Dickens and Race”As an artist I’m always looking for ways to keep my skills sharp, and regular life-drawing classes are a must if you’re drawing the human figure. Nude models, of every size, shape and age, are the rule, but let’s face it, in the practice of our art we’re almost never drawing naked people, we’re drawing people with clothes on.
Continue reading “Online Drawing Class“So in doing magazine and book illustration for a few decades, I picked up a couple of technical terms. For example, an illustration is called an “illo”, a sketch is called a “ruff”, and a deadline is called a “#!!@! deadline”.
Illos done for print are termed by their size, and from biggest to smallest are called a spread, full-page, half-page, quarter page, and spot. Spots are fun because they are usually simple, a quick visual read, and they don’t necessarily have to carry as much narrative weight as a full-page does.
Continue reading ““Spot Illos””
I’m extremely happy to announce the completion of the next step in this monumental project: A free, no-strings-attached ebook download of the first seven chapters of Charles Dickens’ great BLEAK HOUSE.
This is intended primarily as a calling card and proof-of-concept for my ultimate goal, a hard cover print edition of the entire illustrated novel.
As you may have discovered, I am smitten with this book. I began work on it in the Spring of 2019 and have been working on it nonstop since. With the completion of this sample, I will be continuing work on the monumental, 57-chapter novel, as well as continuing to post here on a regular basis.
This ebook in pdf format can be read on any computer, device or reader. There’s no sign-up, no email harvesting, no obligation of any kind. I hope you enjoy it.