Two slightly different watercolour techniques on different papers, with the same palette. These pieces are available in my webstore.
This week, I am showing my latest completed drawing called Harbinger. I started this piece on October 2 and finished it on December 6. I hope you enjoy checking out the detail shots below. I will be making a limited giclee print of Harbinger in the New Year. The best way to stay on top of my print drops and other new is to subscribe to my monthly newsletter through my website. It just takes a second. There will be some fun extras for newsletter subscribers in 2021 (special offers, sketch giveaways etc.). This work is available for sale. Please use the contact form below to inquire.
A reminder that my 20% off studio sale is active until the end of December.
Thanks for dropping by. Moving forward, I will be updating this blog every Sunday. That seems to work well with my routine and will remove the guesswork for regular readers.
Now, without further ado — Harbinger
It’s been a busy week. I’ve been working steadily on Harbinger (see previous post), and on this series of oils (below). These are rough and ready iPhone images off my drawing table and once they are properly finished I’ll put some better shots on my website. Birds and flight seem to be the central theme. I hope you like these in-progress views. I’m really enjoying interspersing my other work with these color pieces. The largest, Cardinal, was actually started the summer of 2019 and had to sit in the studio for a while while I attended to other things. It’s great to finally get back to it. These works will be available for purchase once they are finished, dried and varnished.
Late this week I received the copy edit of Tailor of Echoes from PS Publishing. It doesn’t look too onerous, so I’ll be working though that in the coming weeks, as I also begin work on the illustrations. Progress on the new novel is slow but steady. I have a great sense of my protagonist and the story is unfolding nicely.
What else, oh yes, this week I need to get back to my book blog Amnesiac’s Library. It has been badly overlooked in the past few weeks.
Finally, if you aren’t listening to The Dark Art Podcast, hosted by Chet Zar, get on it. I’ve been listening to some of the recent interviews while I work in the studio. The most recent is Chet’s interview with Kris Kuksi! I had the pleasure of showing with Kris a number of years ago when we were both with Strychnin Gallery in Berlin. Kris’s interview is fascinating. The interviews with David Stoupakis, Matt Levin, Erwin Tschofen, Cris Velasco, Dos Diablos and EGO are also highly recommended.
Truly, finally, if you have a few minutes, please check out my studio sale on Big Cartel. If you use the code ECHO on checkout, you can get a 20% discount on your order.
One might be forgiven for thinking this piece a surrealist response to Aubrey Beardsley’s illustration, The Examination of the Herald from Lysistrata, but it is in fact a meditation on vision (see previous posts). I hope you have enjoyed watching this process. This work is available for purchase. Please message me with any questions.
Last night I finished Mysterious Garden Ex.1 a new silverpoint drawing. As the name implies, I plan to do a few more of these imaginary plants. This work is available on my Big Cartel webstore.
On another note entirely, I have re-booted my book blog, Amnesiac’s Library. It’s a place where I talk about my book projects and post various bits of ephemera about book related stuff I like. I hope you’ll check it out and give it a “follow”.
I’ve been working on some silverpoint miniatures over the last few days. These are done with silver wire on a plate finish archival illustration board. I worked them directly on the ground with no under-drawing. I hope you enjoy them. If you are interested, they are posted on my webstore for sale.
Most of this week was spent editing my novel Tailor of Echoes before it goes back to the publisher for copy editing, but today, I needed to break out the technical pens and draw this vignette piece called Rumour. It’s a playful reflection of everything going on in the world right now. The piece is available on my webstore.
Speaking of the webstore, my summer sale has now ended. Thanks to everyone who took advantage of the 25% off deal to pick up a print or original. It’s much appreciated. Please keep checking back as I will be adding new things from time to time.
Finally today, I just wanted to remind you that copies of my illustrated short story collection Magpie’s Ladder are still available on the PS Publications website. If you missed the trailer I made for the book, you can see it on Vimeo. My novels Necessary Monsters and The Lost Machine are now available on Audible in audiobook format from Ecyclopocalypse
This piece is called Twist. It was drawn for my other blog, And Ink in Unfailing Supplies, where I do a monthly drawing challenge with another artist based on a prompt phrase. For the rendering, I used a pen & nib, something I’ve been going back to lately – I find it more interesting to work with than the technical pens that have been my mainstay for the past 20 years.
Maybe it’s comparable to the analog/ digital debate in musical circles. I love the way the nib is a little bit unpredictable. Not all of the dots are the same. Lines are more varied. The flow of the ink is a little more “dangerous.” Sometimes it’s sublime, sometimes it’s like working with venom on the end of a snake’s fang, when the nib bites into the paper fiber – fuk. Still and all, working with nibs is overall more fun.
There will always be a place in my work for the trusted Rapidograph. I actually started drawing with steel nibs in high-school. It was exposure to the work of Moebius (Jean Giraud) through Heavy Metal magazine that set me on a search for the Rapidograph. I wanted to emulate that incredible clean style. Later, I met this guy called John. John was a painter, but he encouraged me to develop my stippling style – he knew a guy that used stippling to render mining scenes in northern Ontario. John taught me a lot about work ethic: produce, produce, produce! That was back in the 1980s. I fell in love with meticulous, tightly rendered drawings. It became my thing.
I never lost that original love for the nib though.
Of course, I have one aim, the grotesque. If I am not grotesque I am nothing.In an interview with The Idler (1896), as quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 309
I took advantage of a very rainy May weekend to finish this new piece called Atropa. It was done with .13 & .18 Rotring Rapidograph pens. I hope you enjoy it. The work is available. If you are interested, drop me a line.