Iain M. Banks's Consider Phlebas poster

Only read on if you want to see stages of development, there are no plot spoilers.

I looked at these covers which gave me an idea of what to develop. All I knew was I wanted to include the orbital.

I set out to do my version of the book cover, as you can see a wraparound design in the sketch.

From the sketch above I upscaled the right page to some heavyweight A3. Organising flightpaths of shuttles, vapor trails and improving detail.

I realized the mistake of adding text to the artwork, at the top this worked into the artwork.

At the bottom the text was erased as I would later stitch two A3 drawings in photoshop.

Like in other work of late objects in the mid and foreground have a strong black outline. Since the Iain M. Banks tribute piece I have used techniques from Piranesi etchings. Objects you want highlighted are drawn out exactly as if you were designing a tattoo, keep it simple and bold. Up close it can seem crude and basic but it lifts objects crisply from the background.

As I worked on it I opted instead for a longer vertical composition with the intention of including hovercraft in the mid-ground with visible passengers to give a sense of scale. So much for the book cover! A poster then. 

I had a chance to include fluid dynamics in the circlesea in the wake of the hovercraft. The swirls and eddies give the composition a bit of interest and mood and came from Da Vinci's studies of water movement.

Finally this included Perosteck Balveda in the foreground pondering the scene. In terms of the narrative this is a made up event during the evacuation of a megaship, Balveda has just arrived at Vavatch orbital and perhaps it's at the point that Kraiklyn's crew are en route to Vavatch. Without giving anything away it seems Balveda really struck me, which is why I included her and not a gun toting Horza.

Books that left me changed completely

A while ago I was moved to do some illustrations for two popular books that left an indelible mark on my outlook of the world. Orwell's '1984' and Samuel Beckett's 'Molloy', in different ways excited me to draw, yet I abandoned both projects...

...I felt I wasn't getting the necessary steel of 1984, which appears almost pastoral in my approach. I was thinking about Winston and Julia's place of escape, but was finding the brutal parts of the story harder to visualize in any original way. The film version with Richard Burton seemed to get a lot of things right, and the Radio 4 version with Christopher Ecclestone has a good sense of dread.

The way the book is punctuated with the regime propaganda in newspeak serves to begin to grate on the reader, making you feel Winston's rebellion. I felt the same way when reading Bret Easton Ellis's American Psycho, the way Patrick Bateman's internal monologue of jealous hate in the endless lists of his tastes and brand names eventually leaves you sure as much of the authors politics as of the condition of Bateman's mind. I suppose the fact that B.E.E. was still a young man as he wrote American Psycho accounts for the humour and light touches that are drained from Orwell's book.

With Orwell dying as he wrote 1984 in solitude, what moves me is the transparently autobiographical heartbreak of a man who had been so let down by socialism's failures in Russia. Sadly my drawings could sustain none of that tension, so all there is are these sketches of the book that haunted me for years.

Carrington

Syme

Four Minutes hate

Beckett's 'Molloy' was a lesson to me on old age, almost as much as spending six months as a care assistant. The confusion and then bursts of lucidity, as old Molloy rambles around had me grasping for a way to convey it in drawing. 

It was clear this had to reflect in the marks made, so there was a freedom from defining shapes. I enjoyed this so much I made a painting in which I tried to get a sense of Molloy's sensory frustrations. 

I felt liberated from my usual stylistic and technical concerns!