Lately I’ve been looking though past blog posts to see how things were once. I haven’t ever done much for the children’s book market but I did try to promote myself in that area. This is a self-promotional piece in acrylics from 2006. I enjoyed the painting and also making up the little rhyme to go with it. I don’t think I’d do it this way now and would be far more likely to work digitally:
Once for the Childer. From 2006
My good rep in Toronto Three In A Box., produces a themed promotional book every year aimed at certain segments of the market. These books are branded as ‘Box Lunches’ and the current one is the fourth. Anyhuff, the theme this time is ‘Childhood’ and the attached pic is my contribution. I never saw myself as a children’s book illustrator so when I told Denis Goodbody of Adept Advertising he expressed surprise. He’s right, of course. Certainly what I do engages with the child inside of the reader -even at the level of the business/financial work that I do. Furthermore, my own lovely wife consistently points out my childish behaviour. Consider that we all grew up in our pre-school years with picture-books being our chief means of getting the sense out of print. We all have these absurd self-images and it’s about time we burst them. Perhaps we can meet up and burst each other’s absurd self-images. Say, next Wednesday? Good. see you then.
I enjoyed this project immensely. Obviously, you can’t have too many robots.
Kevin the Magnificent,
King of all the ‘bots,
He has multitude of them
(that means lots and lots)
They spring out of his picture-books,
And from amongst the toys,
To do their monarch’s bidding,
(That means lots of noise).
Who knows; it may go on to form part of a book itself…hmmm…
(It never did…)
|A digital vector illustration artwork for a book cover. Moggles & The Ninth Life.
Yes, yes, I know. I’m late for my flight. There are a couple of reasons why I’ve taken so long to enter the world of digital illustration. For one thing, I love to paint and get my hands dirty and smell the paint and feel the brush in my hand. I became an illustrator to be a painter who gets paid properly from time to time.
Another thing is, I did already try some years ago. For a while I used a program called Painter which promised to give painterly results but I struggled with it before giving up on it as I just couldn’t get the results I wanted.
Then, Adobe introduced their subscription by the month, which is fair enough but it banjaxed my chances of using it. That’s when I discovered the Affinity suite of products: The software company, Serif, obviously saw an opportunity provided by Adobe’s move to subscription and the resultant flight of irritated users. They’ve introduced two extremely comprehensive and professional applications that are developing apace. It’s true that neither of the programs have the complete set of bells and whistles provided by the standard-setting Adobe products but if you know what you want to achieve in your work, there’s almost nothing that a photographer or illustrator can’t do. Add to that, Serif’s Affinity Publisher, which is due for release in about a year’s time to compete with Adobe’s InDesign, and it will be possible to move away from Adobe and still produce industry-standard results.
|A digital vector illustration artwork for a book cover in Outline Mode. Moggles & The Ninth Life.
So, illustrating this little ode to Affinity, is a cover illustration I did for a non-existent (as yet) children’s book. It’s made entirely in Affinity Designer and is a vector image. You can see something of how a vector image is made up in the above screenshot. I won’t go into the details of what that means except that I can reach into any part of this image and refine it, change it or remove it at will. Imagine trying to do that with a hand-painted illustration! This is the way things work with today’s illustration clients who have become used to making ‘after the fact’ changes, and I must change my way of working accordingly. Over and out.