Puddletown Moleskine prelims

First Puddletown ideas 11 Feb 2009

(All pictures can be viewed at much larger size by right clicking your mouse)

Goodness Heavens! I was completely overwhelmed at the amazing response to my little book announcement - and so touched to read such kindness, from 'old' blog friends I feel I've known forever, to all of you who commented for the first time and new followers. Thank you does not seem enough, but thank you all so very much anyway!

First Puddletown ideas 11 Feb 2009

It has been a hard secret to keep; I had my first meeting at Templar in February 2009, where it was loosely proposed that together we should create this little world (it didn't even have a name then). And as it was a new approach to all of us, creating models which would fit in a pop up scenario, there was no definite book offer. I simply went away and did some brainstorming in a little Moleskine.

First Puddletown ideas 11 Feb 2009

All I was required to do initially was draw whatever I felt would be in the world, so I set to work First I did little craft ideas for possible scenery and props, (at that point we knew there would be needle felted toys, but not how much of the rest of the book would be physically 'made'). Here I drew several toadstool and fungi models, of which one was eventually chosen to be made for the first book.

First Puddletown ideas 11 Feb 2009

A good many trees and landscape bits were drawn. One tree made it to final production.

First Puddletown ideas 11 Feb 2009

To begin with, I only made a few small 'props' - we didn't even have the main characters then, though we were certain geese would be a main feature. These props and a few toys I lent to the Templar sales team, were packaged nicely as a proposal to show at various book fairs. If feedback was good, I would hopefully get commissioned. If not...

First Puddletown ideas 11 Feb 2009

I also had to design some 'backdrops' and scenery settings. I have to confess, this was the easiest and most enjoyable part for me, l could draw little, lonely landscapes - well for a long time! I only ended up painting one of these.

First Puddletown ideas 12 Feb 2009

Still not decided on story lines, we juggled various ideas - here we have Custard eating trifle at a party he was afraid to go to. Eventually elements of this ended up in the second book 'Peggy's Lost Pennies'.

First Puddletown ideas 12 Feb 2009

More unused landscapes - who knows if they will also make a later appearance?

First Puddletown ideas 16 Feb 2009

This is the first sketch for what would become a much larger and slightly changed artwork that does feature in 'Mrs Mouse's Cupcakes', the background of the first spread.

First Puddletown ideas 16 Feb 2009

I never did get to make this sun - I've always liked the idea of suns, moons and stars hanging tenuously from a thread. In fact, nearly everything I drew in this batch of sketches ended up 'on the cutting floor' and you just have to be thick skinned about it. People often refer to producing a children's book a being 'a dream', but the reality is that it is a business, it is a job, and ruthless editing is often necessary to create something saleable for the market place.

First Puddletown ideas 16 Feb 2009

Of course, these were just the start of a much larger body of work needed, once we had two stories figured out.

If Birds Could Fly

Back in the studio again with a huge sigh of relief. As the old year putters to an end, I realise I have sold almost all my available artworks, (three of them in the last couple of weeks), and have had enquiries from lovely people who have bought work in the past and want some more. It brought home to me how much I have neglected my painting, and how much I miss my little worlds. So I am starting my New Year's resolution early, and starting to fill my sketchbooks again (I have about four different ones on the go - can a girl have too many Moleskines? I think not).

I feel that 2008 is going to be a very productive year, painting-wise. I am rounding off 2007 with a rather grubby little rough.

Big wigs and hats

So, with a distinct lack of commercial work on and with the workhouse looming, I've taken off my sensible commercial hat and put my please-myself-indulgent-artist beret on. This one fits better. After a couple of years mainly doing other people's work, it's been odd getting back into my own little world, but once I'd dusted the shelves and aired the rooms, it was very nice to be home.

I find increasingly that sitting at the studio table doesn't do it for me as far as inspiration goes. Like many creatives I tend to get the best images as I'm drifting off to sleep or half dozing in the small hours which is bad news if I can't struggle awake to scribble a few notes. (Like, most of the time...). Now I have given up making myself sweat at the desk for hours and if it's not happening I take myself off with sketchbook in hand and go for a wander. I have a sweet little new Moleskine - like kittens, you can never have too many - and it has concertina pages. I love this: it's like a frieze, and in at the end will be a continuous sheaf of primary sketches. It was a present from Maya, so it was almost like taking her with me when I took it to the woods the other days and sat on a little bench under the birch trees. And look who emerged from the end of my pencil...

I seem to be having a Thing about 18th century wigs...they turned up in two of my latest paper cuts...

So, back to painting - for all those who have asked me about when I have anything for sale, I am now back in the driving seat and producing work to sell. The little Moleskine sketch was worked up and has now been sold through my Etsy shop. It's a bit larger than A4 in size, and sold without mount or frame (I figure people have their own ideas about how they like stuff presented on their walls). I am very taken with her boudoir wallpaper, and if I could have this in our bedroom I would. It's called 'The Invitation' and as usual, I'm sure there's a story in there, but it's for someone else to find. Oh yes, and it comes with a few free Red Flannel Elephant cards too. Bit like a Happy Meal but without the plastic toy.

'The Invitation' - SOLD

I cannot tell you how it is good to let my imagination go again - I somehow feel - more me. If that makes any sense.

The Travelling Sketchbook

I used to be an illustrator you know...I am trying to kick myself back into gear, but it's difficult after the luxury of having various art directors whipping me on. I made a start with completing my entry in the Travelling Sketchbook, a project instigated on an illustration forum I belong to. Without these good people I would be climbing the walls and inviting the spiders down to take tea. The full entry can be read here, for those interested. And for busy-bods in a hurry, here's the first 'own' artwork created since September. Possibly a bit enigmatic, but one can't always control these things.

'We travel by night, because the Sun burns the unicorn'

If any artist/illustrator would like to be included in the TSB project, please contact the Head-Address-Co-ordinator Lorna.

Autumn in Springtime

If someone could tell me where the time went could they please tell me? Spring cleaning used some of it - four days in fact...I had to get out this afternoon; it wasn't a particularly bright day, but my legs took control and marched me off to the fields. The hedgerows are just beginning to foam with blossom - mainly Hawthorn and Blackthorn. It is quite easy to tell the difference between the two, which usually grow side by side along the country roads. The Hawthorn has larger leaves, and the green mingles prettily in the whiteness of the flowers...




Whereas the Blackthorn is a creamy spattering on a dark chocolate backdrop...the Milky Way of the roadside.


Furthur along, Granny Crab Apple is showing her Spring petticoats. When these furbiloes are gone, she will disappear into the woods again, until Autumn, when we will know her whereabouts by the pretty golden apples she drops - sour little balls which make the sweetest jelly.



Heading back to the village...and spotting a sketch opportunity...



The frame of the Hawthorn to the right gave me an idea for another lino-cut....



Isolating the tree and using the curve of the lane to mould the bottom. I added the horizon line, but it felt overcrowded - I preferred the original with its spaciousness of a mysterious 'beyond - the beckoning of a pathway...



...which, thanks to the magic of Photoshop, I can show here. I will eventually have to invest in some lino, as I am building up quite a backlog of primary drawings.



Returning to my studio...I have just finished a whole chapter of 'woodland creatures' - where it has been Autumn. Which feels a bit unsettling. However I'm about to move onto a 'Springier' set of pictures.


I have been offered another quick job, which has to be finished by roughs stage May 2/3. I've been a bit leisurely with my work rate recently, so it will do me good to have to think quickly and put my nose to the grindstone. The next job is always forefront of my mind, and I've had no replies yet about my two book submissions.

I hope they can breathe at the bottom of the slush pile...

Full circle

My first memory of artworking was drawing endless circles in a jotter. My mother was a great letter writer and in order to keep a restless toddler quiet, she would give me a cheap lined notepad in which I would write my own 'letters'; row after endless row of biro'ed noughts. In the end I had a whole book of them. I can still recall how absorbing I found this activity, and looking up from the floor to see mum writing away at the table. I remembered this today, when I attempted my first outdoors sketch for - a long time. I've gotten far too reliant on the digital camera, and have started taking my trusty Moleskine and a few scribbling instruments out on my wanders. Andy and I had a discussion the other day (another walk) about how artists interpret the landscape. Neither of us have done much real life drawing recently, and I was wondering how one gets over the hurdle of not drawing precisely what is in front of you, (which is what one instinctively does) but instead describing your personal experience of the landscape. Anyone who loves the countryside must feel this and each person has a different vision. My beloved Cotswolds. How do I depict the tanglewoods, the gently rolling fields, winding lanes and wide open horizons, without producing a pretty picture postcard? How far do I allow myself to go with mark making, without going too far into fantasy land? I stand in awe before such artists such a Samuel Palmer, Paul Nash and John Minton who were able to bridge this gap with such depth of feeling, capturing the unique and ancient atmosphere of our small island. There is only one way to find out, and that is to stumble in their footsteps. Here I started with what I thought was going to be a bodged sketch, drawing directly with pen - unusual for me - but I stuck at it, and after 10 minutes had come out with what could be the start of something. And I found myself filling in the foreground with - noughts. Coming full circle from my first drawings. A hurdle gotten over.

It's a start...I'm looking forward to finishing the book job I"m in the middle of, so that I can get stuck into doing some big landscape lino cuts. Andy's already ahead of me - woodcut, not lino - and the bedroom yesterday was turned into a print studio...

He's had a bit of artistic angst recently (hence no blog) , but - no pain, no gain, and I think this is the best thing he's done since leaving college. He's got his art mojo back. And about time too. Watch this space to see how the Hare turns out.

'Can you see what it is yet?'