Pony Contest!

I did this little Shetland pony pic as a sample illustration. It's done in watercolour and coloured pencil.The trouble with doing 'hard art' (that's on actual paper as opposed to digital art) is that it takes up space in your drawer.  You are unable to bin it (because you like it) and it's (hopefully) an awfully long time until you die and your children profit from selling your artwork on Trademe. That's assuming you got famous enough in your lifetime like Maurice Sendak (who had no children) for your art to be worth something.  This little picture has no intrinsic value to me except to show a client that I can a) draw a pony and b) am keen for some work.

It has some worth thought to someone who likes horses and /or wants something to frame and give to a friend or put up in a kids room. Or maybe they would just like a piece of my artwork because who knows when I'll hit the big time? Like Bill Nighy.

So in the spirit of someone who just likes her artwork out there in the world, I'm offering this little illustration to the person who most entertains me with their horse story. When you were 12 did you ride one called Bubbles and were devoted to it like Nat in my junior fiction novel Glory? Did you have an incident involving a forward catapult over the neck of a stubborn mount? Go to my facebook page and comment on the post with this picture on it. Or comment on this blog. I'll send it anywhere in the world for free and seal it with a loving kiss (I'll wipe my lipstick off first!) You'll need email me with your address (mine is on the sidebar). Robots, spammers and Nigerian scammers need not apply- what use would you have for a pony picture anyway?

Happy horsing around!

AND THE WINNER IS!
Stan Yee for his fab tale of horse-manly pride coming before and embarrassing fall! Thanks Stan, the pony is on it's way to you :)

Stan Yee Well, there was a time more than 30 years ago, when I was with the church group and we took turns to ride at Kiwi Ranch. The guy asked who was experienced enough to handle a 12 year old ex-pacer - me of course. They were all watching as I galloped away about half a km and turned and headed back. I was showing off, naturally. I dug my heels in, hung onto its mane and reins with both hands and put my head down. I think it had one of those old well worn leather saddles. It was so cool, galloping so fast that I could hardly feel the hoofs touching the ground. I saw the crowd in the distance and I just keep going ... until I ran out of room that is, and suddenly pulled the reins down, somersaulted over the horse and landed flat on my back, still with the reins in one hand. Very red faced I tell you ...

Far Far From Home

Far Far From Home- a tiny little bug!

I’ve been quiet on the blog front because I’ve been using what beloved NZ writer for children and teens Fleur Beale calls ‘bum glue’. This is what you need as a freelancer to keep you stuck at your desk until the job is done. And the job in question has been illustrations for a new picture book by Elizabeth Pulford, called ‘Far, Far from Home’published by Scholastic. It’s a delightful story about a very tired little bug trying to get home to his family. And the glue worked- I’ve finished the body of the book (just the cover to go).

For this project I’ve tried a new approach- one I learned largely from my time as a costume illustrator on The Hobbit movie. I have drawn the line work with pencil on tracing paper. It gives a nice quality to the sketches I’ve found, then scanned them and imported them into Photoshop. Then I created textures using paper and paint and scanned them in too- plus a few nice handmade papers I found at Gordon Harris my favourite art supply store. The next step was to digitally clip the textures into the sketches. This takes much time using many layers. Think of it as collage, but on screen. Instead of cutting out bits of paper, you cut out bits of scanned paper and ‘glue’ them down with pixels. Digital illustration is no faster than traditional ‘hard’ media (unless you are using oil paint which takes some time to dry!) But it’s so much fun and allows for lots of depth and luminosity that I knew I couldn’t achieve in wet media (paint). Plus if you don’t like where you put a tree- you can move it!

In my next post I’ll tell you how I created the character for the little bug. Those who follow me on facebook, you’ll have seen a little of this process. But this time I’ll show my early working drawings as well.

The illustrations are now with Vida Kelly the book designer who gave me invaluable art direction. Once again, as with The Red Poppy, I have had the fabulous experience of working closely with the designer to create something really gorgeous.The pic I've posted here is just little taster of the book to come, but to see the whole thing...well...you'll just have to go to a bookshop when it's out!

Fifi who?

There are sometimes great benefits for having an unusual first name. Fifi is not really my given name; I was christened Fiona in a grand Scottish tradition, but have been known as Fifi ever since I tried pronouncing the former as a toddler. I was convinced that I was the only Fifi who was a children’s book illustrator…that is up until a week ago, when Dianne from Nelson contacted me, because of, simply, my name.

“I have a painting by a Fifi Wynn-Williams. It came from my husband's aunt Meg Everton and I even have the bowl to go with it.  I am pretty sure it was painted before 1970 but how much before I don't know.

There is also a children's book called 'Mr Moa' by F Wynn-William given to Meg's mother with the author's complements in 1946. There is also a manuscript for a book called 'The Wonderland of Mr Moa' but I don't know who wrote or illustrated it.  Meg may have written it but it's in child's handwriting so must have been a long time ago as she just died aged 90.  Meg was a well known teacher and Ardmore Training College lecturer in Auckland. 

The manuscript and book are accompanied by a letter from Heinemann Educational Books (NZ) Ltd dated 1976 saying they are sorry they can't publish the manuscript or republish the book (ah…does nothing change 70 years later?)

The Mr Moa book has an article from the NZ Woman's Weekly stuck to the inside cover from 1946  written by a Count Etienne Micard.  He is agreeing with 2 men who protested about the V&A museum in London showing Picasso's "crazy-guying of Mankind".  He says "all the praise and clatter around Picasso's 'surrealism'  can only be explained by the Western world's decadence." (!)

There is also a sentence that has been underlined and 'Fifi' written in the margin:  

 "I wonder if the man in the street would hesitate between the odd naked bodies of Maoris on the wall of the Public Library in Auckland , for instance, and the charming faces of the children in a Shortland Street studio which remind one of Raphael's Jesus?"

Well, we are burning up to know who this other fabulous Fifi is. Can anyone elucidate?