Karen: I'm thrilled to have author Richard Due on the blog today with this fascinating guest post; From Sketch to Chapter Art, an Illustrator at Work. Richard interviews Moon Coin illustrator Carolyn Arcabascio about the process of turning his words into works of art.
Gibbering Gnome Press Presents a Tale of Epic Fantasy - The Moon Coin
For Lily and Jasper Winter, the Moon Realm began with a single secret bedtime tale. As the children grew older, Uncle Ebb enthralled them with thrilling tales of the Dragondain riding horse-sized, catlike Rinn; mysterious tales of peerin-wielding lunamancers manipulating the magic that lies just beneath the surface of reality; exciting tales of flying dragons, swimming merfolk, stomping giants, and troublesome faeries. But as the magic of their childhood faded, so too did the tales. Eventually, they were just . . . good stories.
Or were they?
Now, nine years after it all began, Uncle Ebb is missing.
Lily and Jasper search for clues, but their uncle's mansion is full of distractions. A Tesla generator thrums in the basement. Prismatic electrimals flit around walls resembling underwater reefs. Then a most unexpected friend comes to their aid, leading them to a hidden room where they find a mysterious coin—the moon coin. Before the night is out, Lily is transported to the real Moon Realm. But the moons are in trouble. The Rinn of Barreth are under siege, and the lunamancers of Dain are beset by the very dragons they once loved. Most horrifying of all, the moon Darwyth has fallen to a villain named Wrengfoul, whose creeping evil now threatens to overshadow all the Realm.
Are Lily and Jasper too late to save the Moon Realm, or will they have enough time to write an ending of their own?
Featuring twenty-two stunning full-color illustrations by Carolyn Arcabascio. Volume One of the young adult fantasy adventure series The Moon Realm.
From Sketch to Chapter Art, an Illustrator at Work
by Richard Due
For me, getting to work with Carolyn Arcabascio was a dream come true. On The Moon Coin, we worked from a master list of scene options, with Carolyn picking out scenes she liked and making sketches. For the prologue, Carolyn drafted three options. All three were great, but two in particular were spectacular. I first went with option 3 (one of my scene suggestions). I think we spent more time on this sketch and subsequent color drawing than on any other piece. But it never seemed right. At the eleventh hour, I asked Carolyn how hard she’d hit me if I suggested scrapping the thing and instead going with the pinky promise scene you see below (one of her scene suggestions). Carolyn responded: "There would be no hitting involved!" and told me it wouldn't be a problem. You sure can't ask for better than that.
From the Prologue: Bedtime Tales.
Richard: Did you make all these sketches in the same location, Carolyn?
Carolyn: Yes, I do all of my work at a drafting table that's situated in a little nook of my apartment in Acton, Massachusetts. There's a bookshelf to my right and a wall of "inspiration" to my left, where I hang prints of other artists' and illustrators' work. On either side of my drafting table are drawers of supplies, and stacks of sketchbooks and old paintings. The drafting table faces a window overlooking a quiet street and the woods beyond it.
From Chapter Two: A Coin of the Realm.
Richard: Do you use models when you're sketching?
Carolyn: I use a combination of models and photo references. If I need to work out the nuances of a character's posture and really understand the perspective of it, I'll ask whatever friend or family member is handy to pose for a sketch. Often, I'll get into the position myself or mimic the facial expression I want to portray in order to get the feel of it. And sometimes, if there's a character being portrayed multiple times across scenes, I'll make a rough model of their head out of clay so I'll have it to refer to.
From Chapter Four: To Barreth.
Richard: When drawing fantastical creatures, do you use bits and pieces of real animals for inspiration, or have you actually seen a wirtle and you're just not telling us? ;)
Carolyn: No wirtles native to Massachusetts, fortunately! When figuring out the look of fantastical creatures, I use photo references of different animals to understand the way the anatomy might work, and then combine features as I see fit and as the story calls for. To understand the wirtle's legs and paws, for example, I referred to a series of photographs of show dogs leaping over hurdles. The severely arched, scruffy back was influenced by photos of hyenas on the prowl. The bone-structure of the face ended up being something of a cross between a cow and a warthog, and I wanted the snout to be bare—kind of gross and raw-looking. Add it all up and, voila! We have a wirtle.
The Moon Coin, by Richard Due, is available at Amazon, Barnes & Noble, and the iBookstore for $2.99.
Copyright © 2011 by Richard Due. All rights reserved.
Gibbering Gnome Press, A Division of Ingenious Inventions Run Amok, Ink™
The Moon Realm™