My favorite part of doing any kind of historical or genre art is researching the appropriate costumes. In my magazine illustration days it didn’t come up much; mostly I was drawing doctors, nurses, businessmen and contemporary kids and grownups of all kinds.
With subject matter like Dickens, costuming the characters not only correctly, but in a way that tells us about their personalities, is part of the job description!
As I mentioned in the post on Miss Flite’s birds, I had a bit of an epiphany when I started laying out a sample eBook: I discovered that as a reader I wasn’t as interested in the detailed, heavily-researched full page illustrations I’d been slaving away on, as much as wanting to see smaller, spot illustrations tucked into the text.
London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snowflakes–gone into mourning, one might imagine, for the death of the sun.
She partly drew aside the curtain of the long, low garret window and called our attention to a number of bird-cages hanging there, some containing several birds. There were larks, linnets, and goldfinches–I should think at least twenty.
“I began to keep the little creatures,” she said, “with an object that the wards will readily comprehend. With the intention of restoring them to liberty. When my judgment should be given. Ye-es! They die in prison, though. Their lives, poor silly things, are so short in comparison with Chancery proceedings that, one by one, the whole collection has died over and over again. I doubt, do you know, whether one of these, though they are all young, will live to be free! Ve-ry mortifying, is it not?”
Charles Dickens is probably one of the most photographed men of the mid-19th century. There are also tons of portraits, etching and paintings. I knew at some point that I would be doing a portrait of him myself. It was sort of a given. With hundreds of photos available, good reference material was not a problem. The thing is though, in those days, photography didn’t allow people to smile!
The weather had been all the week extremely sultry, but the storm broke so suddenly—upon us, at least, in that sheltered spot—that before we reached the outskirts of the wood the thunder and lightning were frequent and the rain came plunging through the leaves as if every drop were a great leaden bead. As it was not a time for standing among trees, we ran out of the wood, and up and down the moss-grown steps which crossed the plantation-fence like two broad-staved ladders placed back to back, and made for a keeper’s lodge which was close at hand. We had often noticed the dark beauty of this lodge standing in a deep twilight of trees, and how the ivy clustered over it, and how there was a steep hollow near, where we had once seen the keeper’s dog dive down into the fern as if it were water.
She seats herself in a large chair by the fast-darkening window and tells them: “In the wicked days, my dears, of King Charles the First–I mean, of course, in the wicked days of the rebels who leagued themselves against that excellent king–Sir Morbury Dedlock was the owner of Chesney Wold. Whether there was any account of a ghost in the family before those days, I can’t say. I should think it very likely indeed.”
Mrs. Rouncewell holds this opinion because she considers that a family of such antiquity and importance has a right to a ghost. She regards a ghost as one of the privileges of the upper classes, a genteel distinction to which the common people have no claim.
As it was still foggy and dark, and as the shop was blinded besides by the wall of Lincoln’s Inn, intercepting the light within a couple of yards, we should not have seen so much but for a lighted lantern that an old man in spectacles and a hairy cap was carrying about in the shop. Turning towards the door, he now caught sight of us.
‘Hi, hi!’ said the old man, coming to the door. ‘Have you anything to sell?’
I haven’t seen this method of proofing on any other linocut websites (and there are quite a few!) but it may be because I’m always trying to squeeze more detail out of a fairly “coarse” medium.
This video goes into the process of proofing with a rubbing, in order to see what is actually cut. Since the process is to do a black line drawing on the lino, then cut away everything else, it’s often difficult to “see” the cut areas clearly as work progresses. The rubbing reveals all this easily.
Mr. Guppy sitting on the window-sill, nodding his head and balancing all these possibilities in his mind, continues thoughtfully to tap it, and clasp it, and measure it with his hand, until he hastily draws his hand away.
‘What, in the devil’s name,’ he says, ‘is this! Look at my fingers!’