Monday, 28 October 2013

Stone Giant

The Giant has awoke!

Cover, US edition
Cover, Japanese edition

Stone Giant - Michelangelo's David and How He Came to Be, written by Jane Sutcliffe, has been my biggest illustration project of the last year. Although the book was commissioned from the US, the first version to hit the shops is in Japanese - in order to tie in with a major exhibition of Michelangelo's work at the National Museum of Western Art in Tokyo, Komine Shoten have fast released their edition of the book in advance, it's now on sale throughout Japan. The originally commissioned English language edition from Charlesbridge in the US will be out next spring (ISBN: 978-1-58089-295-7), but is already available for pre-order from your local independent bookshop, or Random House, Amazon, Foyles, Barnes and Noble and other online sites.

Anyway, I thought it was about time I started yelling about it! The images here are scans of artwork spreads before print, in the final book several have seperately drawn text boxes dropped over.

First spread, initial sketch. I originally envisaged the stoneyard close to the river, with a glimpse of the bridges behind.
Completed image. My editor pointed out that the yard was probably close to the cathedral rather than the river, so the background was changed.

As the title indicates, Stone Giant is a non-fiction picture book telling the story of how the statue of David was first commissioned and an enormous block of marble cut, but after some limited attempts by obscure artists the project was abandoned and the flawed stone left forgotten and abandoned in a stonemason's yard for over 40 years. Finally the young Michelangelo came along to carve the statue and create one of his greatest masterpieces.

The stone is worked on by inferior artists then abandoned, even Leonardo turns down the commission.

This was a really wonderful project to work on, the history, the subject, and the location all connected with me very much. It was a joy to research. I closely examined as many contemporary paintings and other references as I could and spent a long time accumulating material for costume and setting, involving many hours in the library and online. The more I delved into the era, the more I connected, the more I was compelled to instill the illustrations with a flavour of the period.


There were many sketches, numerous revisions, but slowly the book began to emerge, just like David himself emerging from the rough rock. I became completely absorbed in the world of Renaissance Italy and of Michelangelo. This is what I really love about illustrating books, you mentally inhabit the worlds you create.

One of two panels inspired by Renaissance designs

I incorporated a number of motifs and decorative devices inspired by Renaissance works. The aim was to make the book a fun, contemporary read for children, whilst connecting with the art of the period.

I wasn't afraid to use the ultimate device: line-for-line facsimiles of Michelangelo's sketches. Oh, the impertinence! I wanted to show his work of course, but it had to be in the same pen and watercolour as the rest of the spreads, so I tried my hand at reproducing his work with my own materials. These were drawn in homage to the master, I hope the ghost of the great man will rest easy!

Michelangelo? Erm, well ....

Another challenge was the depiction of Michelangelo at work on the statue. I based my stone cutters yard loosely on a painting by Canaletto, with a good dose of conjecture. It's known that Michelangelo built a wooden shed around the stone to protect it while he worked and keep out prying eyes, however experts don't entirely agree how the statue was carved - was it laid out at an angle or carved upright, or flat? I used my imagination to fill in the gaps and settled for the most striking visual appeal, this is how he may have worked, we'll probably never know the actual truth.


Not everything is exactly as reality, some things were designed purely for visual effect, for instance the wall of the Palazzo Vecchio isn't really blue!

the statue is revealed!
Then there is the town. I'm quite familiar with modern Florence, but one of the biggest challenges was depicting the city as it appeared at the beginning of the 16th Century.  This climatic spread was a particular conundrum, as I wanted to show a specific scene as Michelangelo would have known it, but virtually all of these buildings were demolished after Michelangelo's era, and there are very few references.


The statue in this illustration is elevated much higher than it actually stood - that's a deliberate compositional device I make no apologies for! But the rest of the image is an attempt to show the Piazza della Signoria as it was, facing away from the Palazzo Vecchio, with the cathedral in view. However virtually all contemporary depictions of the square are facing the opposite direction towards the Palazzo Vecchio and Loggia dei Lanzi, away from the more run-down west side. 

My main sources were later images by Giuseppe Zocchi showing an oblique view of the old Loggia dei Pisani, the wall of the merchants (demolished in the 19th Century), and another by Bernardo Bellotto showing a glimpse of the church of San Romolo, also long vanished, pulled down in 1769. Using these references and a few others I was able to plan out, turn around and draw in a series of sketches of the buildings from a completely different angle. This felt like real historical research, I hope the experts are satisfied!

preparatory sketch of the Loggia dei Pisani and buildings sourced from Zocchi's works and turned around.

Therein lies the problem of research using old paintings - they can never quite tell the whole story, only glimpses through the eyes and materials of the original artist. So when you're looking for authenticity, often the more you find, the deeper you have to look in order to "nail it", to reassure yourself that you've got it right. It's easy to spend entire days chasing references for some minor detail, at some point you have to stop searching and start drawing, so unless you're literally copying an image (not recommended, the facsimiles above are an exception!) then there will always be need to cross-reference, invent, re-interpret and imagine parts of a scene. The resulting illustration is therefore a matching of your imagination with that of the artists' you source.

I aimed for a believably authentic feel, inputting accurate research for those spreads that required it. How did I do?


The Japanese edition, 石の巨人 (Ishi no Kyojin) is available now from Komine Shoten publishers.
English language US Edition of Stone Giant with Jane Sutcliffe's wonderful text is published on 8th April 2014 from Charlesbridge/Random House, available for pre-order now, ISBN: 978-1-58089-295-7.

Tuesday, 22 October 2013

News Without Words

 Last Sunday the biggest daily newspaper in Japan, Mainichi Shinbun, included a special pull-out poster feature - Moji no Nai News "News Without Words",  consisting of a large map of the world showing current events, local features and so on. I created the whole poster map, with direction from Tokyo Planet Design. 
 
the published map

There is a lot of detail to see, the best way to view it is with the zoom-in online version here! (click on the image to bring up the zoomable version).

Sunday was "Grandparents Day" in Japan, the idea behind the map was to present news visually in a way that could be shared between grandparents and grandchildren. This turned out to be a tremendous amount of work, as I was required to create the artwork at very large size, and, as it needed to include current news events, would probably require redraw edits right up until the press day. I was given a number of key news items to include, but for several big regions I had no briefing, so ended up doing a lot of my own research for things to fill in.   

Australia, (original colouring before final edit)
I was also asked to render it in the same style as a small watercolour from one of my exhibitions, a very different kind of picture, which led to a lot of head scratching! I estimated the project would take around 3 weeks; in fact it stretched to almost 6 weeks of intensive activity.

I first drew the background land map and wave texture for the sea in pen and ink on 16 sheets of A3 layout paper, which were scanned and matched together in Photoshop. I scanned in my own large watercolour textures for the sea and land to provide a rich coloured background. If I were to put the sheets together, the picture at actual size would be around 1.5 by 1 metres. 

The background world
The figures and other details were then drawn individually in pen and ink and scanned in, one by one, positioned and flattened into another layer - there were many separate drawings, not all of which made it to the final illustration, and much repositioning. This is the standard way I work with computers nowadays, scanning in hand drawn linework and textures, arranging and colouring, however this was on a rather grand scale. It felt very much like illustration by jigsaw puzzle. 
Some of the sheets for the figures
 When everything was assembled on screen the file came to 1.5 gigabytes, largely due to the heavy data watercolour backgrounds! The last touch was to add extra landscape features drawn directly on the computer with a Wacom pen. 

The Amazon (original colouring as delivered)
As anticipated, there were many editorial changes right up to the last minute,  even after I delivered the finished artwork, figures were taken out or replaced, enlarged or reduced (especially Japan - I was sad to see my Ainu man was removed from Hokkaido!). Also, at the very last minute the client decided to greatly lighten the colours, my original watercolour textures were smoothed out to a much flatter finish. Hmm, I personally prefer the deeper colours you see here, but this was a commissioned piece and my job is to provide what the client requires - in these instances, the client is always right!

The colour scheme as I delivered it. Compare to the one above or the online version. Which do you prefer?
Although I was given a number of news items to include, there are many other details and large tracts of land which I had no brief for and so researched and filled in myself. I aimed for a balance between news, gentle humour and regional ecology.

East Coast North America (original colouring as delivered)
The Middle East (original colouring as delivered)
Self portraits? Of course! 

With daughter in England. Squeezed north by the Royal Baby. Ayup!
Did you know "sable" watercolour brushes are actually from Siberian weasels?

The online zoomable version is still accessible here!

Saturday, 12 October 2013

Catching up!

New studio, open for business!

Ah, back at last!! I've been avoiding social media for a time, chiefly due to a series of hurdles following our big house move, volunteer commitments, and recently more than anything just catching up with illustration deadlines. These last three weeks in particular have seen the studio candles burning very late into the night on my latest job, in fact through the night on a couple of occasions, all for a single newspaper job. I'll talk about this in full once it's gone to press, but here's some sneaky details, it's a large map of the world...

land of sables, cold vodka and horse wrestlers

...yes, self portraits sneaked in!

Blimey, so much has happened over the summer - new book, new poster, a bunch of other illustrations, so much to talk about.

With the pressure mounting then, I deliberately stepped back from social media until much of this was sorted, so I was on hiatus from mail groups, Facebook, Twitter and other cyber distractions including blogs, at least until things were more settled.

But now, finally, I'm on top of deadlines, daughter and I are comfortably moved into our new home, with new studio, and a new assistant.....


Our little Pixie is not much help with achieving deadlines, but she's learning, never under estimate fairy folk. I'm confident she'll be wielding a paint brush soon enough!