This one contains a few of the final illustrations for the introduction and conclusion of Disorder, and preliminary work for (U)KA. (Timelapse video here!)
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| These were for the introduction of Disorder. |
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| Left: other notes glued in (I like to use the other side of the page). Right: see my process for creating the illustration of that specific group of boys here. |
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| Left hand page: redesigning Mr Walker and his family! I looked at my designs for William's associates and (me being a twit) was surprised to see that they were all white. I needed them to reflect more inclusive ideas about history (it's for everyone, not just people from one specific demographic) so I started redesigning a couple of them. (I still have a lot of work to do here, and this sort of work, learning about how to represent people, is never going to end - there will always be new things to learn, and that's a good thing.) |
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| Left: Mrs Walker. I have no idea (yet) if William Walker, looking-glass maker of Drury Lane, was married or not, but I'm assuming that, since he was a reference for a schoolmaster (our lad William Shaw) then presumably he had a wife and children. I have no idea what the Walkers looked like, anything about their family histories, or anything else - these are my interpretations, which I changed (see above caption) to be more inclusive. |
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| Left: John Wigginton, chandler - like the Walkers, I have no idea what he looked like or what his family history may have been. (I also don't know what he did. There's a few different things a chandler could have done: he might've made candles, or supplied equipment for ships, or ran a shop selling stuff more like groceries, like the bread and ham that Oliver Twist's new friend buys at the beginning of this extract.) Another one I redesigned! If you make visual representations of your interpretation of someone, rather than written ones, you have to think a lot harder about how you depict them. There's things that you can avoid very easily in writing, such as someone's skin colour, that are harder to avoid in drawing. (At least, I'd imagine that's the case - ask some writing-based historians what they think about it.) |
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| Extra illustrations for one image at the end of Disorder, showing how all the characters would appear in each others' visual languages. I also used it on this post to promote the book (well, free PDF download rather than a physical book, but you get the idea oh also GET IT HERE). |
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| Left: visual language test for (U)KA. Right: for that page at the end of Disorder. |
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| Left: notes on Danny Gregory's The Creative License (Hyperion Books, New York, 2006). Right: one of the final bits of Disorder, which is still comic but bleeds into the conclusion. Both: visual language tests for (U)KA. |
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| Left: rant on orange sticky notes about how access to history should not be restricted to the professionally trained, because people from outside the discipline can have valuable insights and fresh ideas and all sorts of other good stuff - interdisciplinarity is the future! |
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| (U)KA visual language tests. |
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| More playing with that woodcut-looking drawing style, this time with Ann and the ghost version of Charley. |
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| Right: using the faux-woodcut style for sequential narratives (comics!) |
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| Left: another visual language test for (U)KA. I decided not to include those weird marks in the finals - allow the audience to add their own if they want. Right: blackout not-quite-poetry using printouts of the Hull Packet's coverage of the ophthalmia trials (article titled 'Cruelty of a Schoolmaster', 10 November 1823). |
That's the penultimate A4 book - return to the sketchbook index to see something else.
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