Showing posts with label Sepia Art. Show all posts
Showing posts with label Sepia Art. Show all posts

The Last Ones to Leave


In our last post we saw a happy village scene centered around Wynonah's home life in Shamokin, Pennsylvania (present day Sunbury).

Today's image shows its counterpoint. Wynonah, her mother, and Shshash are leaving their home in Shamokin (along with the rest of the family) and re-locating to the Kuskuskies in western Pennsylvania.

It is a rainy day. Wynonah's dog is somewhat confused as to where they are going. Every belonging that the family can carry is packed up on their backs. Shshash uses arm straps. Wynonah uses a tumpline.


Full width art will span two pages

This small band, to my mind, has a somewhat sentimental attachment to the little wigwam and village. As such they are the last ones to leave. This has been possibly my favorite picture to draw so far.


Lenape Village Scene: Shamokin


This has been one of my favorite drawings to do so far-- an American Indian village in the summer of 1749.

Specifically it is Shamokin, Pennsylvania, along the Susquehanna River (now Sunbury, and not to be confused with present-day Shamokin). Shamokin was a village of American Indians from various displaced tribes, including Lenape.

This image represents a high point in Wynonah's young life. She is newly married, and her husband Shshash has built them a wigwam near the longhouse where Wynonah's parents live. Wynonah's first child-- a daughter-- is swaddled on a cradle board and held by Wynonah's mother. A second child is on the way.

We see that Wynonah's mother has come over to help with the cooking and babysitting, and has paused in her task to get Wynonah from the garden to welcome Shshash, just returning from a successful fishing trip. Some fish are already drying on racks.

The full width artwork. Text will appear along the top

Wynonah's dog does not appear in the text but I have invented her for several of the pictures-- she greets Shshash with a happy wag. In my research I learned that the Lenape dogs, now extinct, could howl like wolves; also sometimes they are found buried alongside their masters. I came across a Lenape story, too, called something like "How the Dog Was Allowed to Come into the House."

Based on these facts I surmised that Wynonah might have a dog and that the relationship between human and canine would be a warm one.

BONUS: Preview this art together with the story text right here.

Shingas the Terrible / Kittanning


Buttons & Beads is a story about friendship and shared goals, although it does also chronicle the troubling events leading up to the French and Indian War.

"Miles Fell Behind"


Detail of illustration (nearly done) for pages 28-29
Details of their journey blurred in George’s memory.
Changes of exhausted horses . . . Maehhumund emerging from dense forests with supply-laden natives . . . warming fires, prepared food . . . travel through water and wind gaps. George, at times in stuporous slumber, progressed northeast day and night. By his side rode the erect Lenape squaw, black hair rolled at her nape, a sacred bundle of bones across her saddleless horse. [Excerpt from "Buttons & Beads" -- text by Gretchen E. Hardy]

The full panoramic image will span two pages. Finished art is 28 inches wide

This early thumbnail sketch is only about two inches wide


The Value of Light


In art terms, value refers to the relationship of light to dark.

Taking this burning barn illustration as an example, a drawing goes through these stages: thumbnail (conceiving the idea in small scribble form as seen left and below); developmental sketches (fleshing out and enlarging upon the small thumbnail); research (finding the correct barn type for the era and location); draft sketch (learning exactly how to draw the barn); and value studies.

The drawing at the top of this post is a value study. It is not a final drawing but rather one which explores the relationship between the lights and darks of the image. The challenge is to make white paper appear to be glowing by applying pencil.

Stepping off from here, the image moves ever-closer to the finished stage. This particular drawing will not be a full color one but rather a sepia-toned image.

The finished piece will be done larger than the final reproduction size of about 8 by 9 inches. Black pencil will be applied to a sheet of 14 by 17-inch, bright white Bristol paper, and then digitally toned to a warmer, sepia appearance.

Draft sketch specifying details of the barn's shape and type.

Storyline Sketches

Gouache and Conté crayon

Buttons & Beads will be unusual in that the main storyline will have parallel sidebars containing information about Lenape ways of life. The sidebar art will be full color, while the story art will be in tones of browns and sepia. The experimental sketches here show possible approaches to the story artwork.

Conté crayon

Colored Pencil