Today I have been working on the mid section of roughs for Leonard Doesn’t Dance. It’s a difficult time for poor Leonard.
As I was drawing, in search of the right feeling in his posture and expression, I thought it might be interesting to picture book enthusiasts to see some of the thought that go into each illustration. So here we go.
I’m not sure if you’ll be able to read my notes on the page. Leonard is feeling sorrow, resignation, defeat, regret, longing. Expressions I want to avoid include alarm, fear, guilt, anxiety or furtiveness.
Those who draw will know how a tiny variation in the curve of an eye or eyebrow, or the tilt of a head may change an intended sorrow into an accidental horror.
No.3. The heavy line at 10 o’clock on the eye gives the expression wretchedness. Otherwise the large, round eye looking backwards might have indicated a fear of pursuit.
No.4. This is my preferred facial expression. It says best what I think Leonard is feeling.
No. 1. The expression seems a mix between extreme mortification and horror, with a bit of disgust thrown in. The up-curving neck shows too much energy. I want Leonard to look a little defeated.
No. 6 Although I like the body posture with raised wings, the face here is not quite as good as that of No.4. The head tilt is less submissive, more head-butt. The crest is more raised, the eye less miserable.
No.2. Utter dejection with 1920s silent movie era eye makeup! Leonard is not even looking back, just downwards. I think I’d rather he looks wistfully backwards as it indicates a suppressed longing to join in. I don’t want our boy to be completely bereft of spirit. Poor lad.
Sometimes a thing like this can be positively excruciating if you can’t get it right. But today I enjoyed it. Leonard is very accommodating.
In Leonard’s case, I have the eye to work with and also the caruncle (a patch of coloured skin) around his eye, which acts as an eyebrow or an underscore for the expression in his eye. And living with a flock of chickens has taught me what a sick or miserable chicken looks like; the hunch, the fluffed up feathers, and sometimes the dropped wings.
But with Leonard’s crest I depart from the nature of birds. A fluffed up crest in the real world might indicate bird misery, but I’m using Leonard’s crest more in the way of ears like a dog, that drop when miserable, raise when interest is sparked. That is probably a language more readily identifiable to children, since more have dogs than chickens… in Australia at least.
So that covers the face. What about the body?
He’s retreating, so he’s best drawn partly from behind. The fluffed up hunched shoulders, I mentioned earlier. He should look clumsy, so I experimented with leg postures. He has just alighted so I need to suggest the flight just finished. And he’s walking away and downwards, so I have to suggest the forward downwards movement as well.
One challenge is the wings. Raised wings (6) could suggest a certain lifting of spirits. Spread wings look nicely clumsy (5) but tend to get in the way of the main subject (his lowered face). Lowered wings (2, 4) may be best for misery but are not so good for movement and flight. (In 2 he looks positively beaten. It’s a bit much.)
Today as I was working on this, I once again remembered my fabulous school art teacher Cecily Osborn. I remember her explaining how artists can seek to depict movement in a motionless work of art. She used the ancient Greek sculpture of a discus thrower Discobolus by Myron as an example. The sculpture doesn’t depict any real life movement employed by an athlete whilst throwing a discus, but instead attempts to creatively suggest the movement that came before as well as hinting at the movement to follow the instant in time depicted by the sculpture. The sculptor borrows our imagination to evoke a movement that he can’t create in reality.
“The potential energy expressed in this sculpture’s tightly wound pose, expressing the moment of stasis just before the release, is an example of the advancement of Classical sculpture from Archaic.” (says Wikipedia)
I’m very serious today, aren’t I? Do you think I am overthinking this?
I don’t think so. These thoughts take longer to describe than they do to think. All this and more goes through an illustrator’s head as he or she is drawing. And a lot of it is subconscious too. But it’s part of what makes the pictures work, it’s part of observing our world, and how the experiences of life feed into an artist’s work. I love that about my job.
But here are a couple of over-excited woodpeckers, because I wasn’t just drawing misery today.
Love this post, Judy, it’s brilliant!
Thank you, Jen. Nice to see you here. :-)
Your sketches and thoughts have created an understanding. Thankyou
My pleasure Leonie. Maybe I should explain things more often. :)
Judy I really enjoyed the tips here. One of the hardest things for someone like me who sketches animal portraits is to stylise and create children’s book characters with expression and movement. Your illustrations are wonderful, you have a unique gift I have always noticed how much movement and expression you create in all of your work. Inspires me deeply to keep at it. A long work in progress for me.
Thank you Kath. It is ridiculously difficult isn’t it? I certainly don’t always get it right. But I know that if I don’t get it right, I will always cringe over the illustration that I’m not happy with. It can spoil my experience of my published work. This may be part of why I now take so long to illustrate things. I need to be happy with each bit before it goes to print and then it’s so much more rewarding for me. Whether this is worth the anxiety and the way each book takes over my life for so many months… Hmm not sure. It’s a grey area. However, I do think some people do it more easily than others. The characterisation. And it must surely be easier if you have one single style which comes as naturally as your own handwriting. (I have noticed that my handwriting varies quite a bit too!) Anyway, nothing for it but to just keep at it Kath! :-)
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Thanks Judy will do.