Helllp! Perspective!

I'm working now on the next book under contract with Boyds Mills Press, Job Site. Hopefully, it can be released for their Fall 2010 catalog, but there are no promises on a schedule until they have it in hand (May 1, 2010 is my deadline).

Because this is a detailed story about a construction site with a lot of machinery, and beca

use I am all about odd angles and perspectives, I have to get the

perspective right. I was struggling with this particular frame. Where does the horizon go? Do both the crane and tower have the same vanishing points?

Enter, the blogosphere. I actually found a great soul who blogs about art, art lessons and even perspective: Julie Duell. I asked for help. She was more than happy, and posted th

ese thoughts for me. Very helpful. I will maintain a permanent link for Julie on the right.

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for online lessons.

Alone in the Topiary Garden Begins to Take Shape (pun intended)

I've finished the drawing for this illustration. I've tried to solve as many problems as possible at this stage rather than leaving it for the painting stage: light, perspective, objects in the background.

If this were going to become real published artwork, I see it as a full-page opposite a page of text. Probably not a cover, since I didn't leave any room for a title.

On to painting now. I'm going to try to project it onto my painting surface. We'll see....

Everything behind the girl (I'm calling her Cecelia) is actually a topiary form including the hedge wall with a scroll top and urn. Everything, except the Sinister Gardener (no offense JMH, the eternal mulcher), that is. I think I also want to add a real bird poking out of that pointy bush.

Before leaving this, I'll give you one of my problem-solving techniques: we are viewing this scene from below, which means a very low horizon line—like at Cecelia's waist. This makes us see the underneath side of the elements that are taller than she is and creates a sense of largeness and even foreboding. Also, the horizon is tipped, which seems to befuddle me while I'm drawing. So, I produced this guide which I taped behind my drawing to remind myself where the vanishing point for all these lines should be headed.

Illustration Underdrawing of Old King Cole at Final Charcoal Stage

When last we left OKC, he was just line work. I think after today, I'll say the black and white work is done.

   Next, I'll apply oil tints. The grasshopper and 2 crickets are not very visible at this point, but I'll bring them back out in opaque color. The background colonnade will drop way back after it gets it oil washes.

   Now, for some candlelight.