Laura J Martin: Part 1

This week I've done two very different illustrations of Laura J Martin for Amelia's Magazine, and had a range of stuff I wanted to mention with both of them. So in my sporadic series of 'Process and Frustration' blogs, here's what happened and why. The two articles are HERE (live review) and HERE (album review).

I got involved with illustrating Laura J Martin after seeing a callout for illustrators on Twitter. Normally I'm a bit wary of taking on illustrations of musicians, becasue if I don't particularly like the music I find it really hard to build up any enthusiasm for the project. But I took a look at Laura's soundcloud and she had a collab with Buck 65 on there, and he's one of my heroes which made it difficult to say no. And then when I heard the two tracks on there I was really, really impressed and immeidately got in contact with Richard Pearmain, the writer. And from there I was off, desperately eager to impress.

After listening to the tracks on soundcloud and videos on YouTube, I had an idea of drawing LJM (that's what I'll be calling Laura from here-on-in, LJM. It's just shorter, and avoids the chance that I'm getting unduly overfamiliar with 'Laura' or ridiculously formal with 'Ms. Martin') in a forest, playing flute to woodland creatures. I smashed together a pencil sketch of that, during which the 'woodland creatures' turned into 'imaginary woodland creatures'.

  

Then I inked it, during which I weirded-up the rabbits, added a bit of details to the birds and accidentally gave the big bear/cat thing a beard. I was stymied throughout the inking process by my pens giving up the ghost and the fact that I might have rushed it a little bit.

 

Then came the colouring. I was without my paints or pencils or anythnig like that, so I scanned it and coloured digitally. After a few false starts I decided to give each element it's own gradiated colour, and ended up with the final image. To be brutally honest with myself, if I'd used paint I'd have been happier with this. As it is, it has a certain charm, but I can't help being reminded of Arabic textbooks from the 90's (maybe a slightly odd point of reference, but an accurate one.)

Turned out that this illustration was to be used in a review of a live performacne, becasue as I sent this image off to Richard, another callout appeared. Eager to exploit the chance to do something I was happier with, as well as use the chance to do two very different illos of the same subject, I jumped for that one. Which I'll detail in PART 2.

On Page 51. Some process.

I've just posted Page 51 to The Intercorstal blog. It's very chicken based, and that's only really half on purpose.

I was flicking through the sketchbook I'm currently using for pages of The Intercorstal and found some sketches I did of the Stepney City Farm's animals as prep for the Paul Foot Jigsaw Madness flyer a few months ago. There was a page with three sketchy chicken heads on there, all faulty in one way or another (the drawings were faulty, not the chickens) and I thought it would be interesting to use my own sketches as a base for a page, considering I've used so much else recently (P&O brochures and postcards in particular). This is what it look like to start with:

Then I drew a grid over the top of it and set to work. When I was working on the grid I used some smaller, square frames having been really impressed with the layouts in P. Craig Russel's adaptation of The Sandman: Dream Hunters which anxietydescending got me as an early Christmas present. It's pages like this one, courtesy of Comic Book Resources, that I was thinking of:

http://www.comicbookresources.com/news/preview2.php?image=previews/dccomics/vertigo/dreamhunters/SNDDH-2.24.proof.jpg

And then, yeah, I laid into it. Normally I'd work on The Intercorstal while watching TV or a film, but since moving house I've now got a desk to work at, which is much more comfortable, but there's no TV. As background I put on Alan Moore's reading of Unearthing which helped a lot, but there came points when I naturally needed to take breaks to free up some ideas. These ideas came from stuff I had lying around, and their influence is much clearer in this page than in others (which is why I thought it might be interesting).

 
Here's a run through of what's in there, other than the chickens, that didn't come directly out of my brain:

Top-right panel: There's an eye-shape near the inner border which I took from a Sandman toy that Anxietydecending bought me a while ago.
Centre-left: In the top-left corner of the frame there's a hand holding a box (you can only see the bottom of the box) which I copied from a photo I had of a Communist Chinese statue of a worker -- the dimensions are true to the sculpture.
Bottom-left: A set of lips copied from a photo of a Chinese statue of Marilyn Monroe.
Middle two on the bottom row: Details from the aforementioned Sandman toy.
Bottow row, right-hand side: A line drawing based on a photo of the view through my mum's patio windows. This was the last frame I completed, and I thought the relative simplicity made a nice contrast to the rest of the page while still being full of Intercorstally shapes.

This is the first time I've gone into this much detail of my process on an Intercorstal page -- if you've got this far I'd appreciate any feedback on whether this is something you'd like to see more of? There are still patterns and shapes and characters in this page that I could wang on about, as there are in all the Intercorstal pages, so if there's any interest whatsoever I'll try it again for Page 52.

Portrait series - sole

Now that the Chelmsford Arts Trail is in full effect and I've got my display at Man About Town is set up (photos to come as ssoon as I find the camera cable...) I've decided to do a series of portraits of artists/people I admire. The first is sole, a rapper I've been a fan of for a long time now (about 10 years... goddamit I'm old).

I've posted my first attempt, which will probably act as a sketch and a lesson on how not to go wrong. For one, when I 'finished' it he still had he whites of his eyes, but without pupils looked a bit like a zombie. So I added pupils and any intensity in the portrait vanished. So, I filled in the whole of each eye and now it looks worse -- for one thing, there's a shape underneath the eye on the left of the frame that is eye shaped, so it looks like I've put  the eye lower down than I actually did. I'll probably do some work on the shirt, hair and beard next time too.

Anyway, thought I'd share. It's kind of what this blog's for, right?