Categories
Illustration and Cartooning

THE SNOW GOOSE

THE PROJECT DESCRIBED…

In January of 2013, I took a course at George Brown College in Toronto on illustration for Children’s Books. This was the first formal studio courses I’d attended for marks since 1983. It was a great experience and I learned a lot in terms of composition and technique as a result. My work for this course led to a series of works related to Paul Gallico’s novella, THE SNOW GOOSE, first published in 1940 after the evacuation from Dunkirk. Subtitled “A Tale of Dunkirk,” it was a story about Philip Rhyadher, a reclusive artist, who while tending a lighthouse on the Essex coast in the last years before the outbreak of the Second World War, was approached by a girl of the marshlands who had found an injured snow goose that had been blown across the Atlantic from Canada. Rhyadher heals the bird and allows the girl, Fritha, into his life. A closeness between them develops as the years pass, with the snow goose being at the centre of their platonically loving relationship. Fritha becomes a woman who grows to love Philip, only to have the events of 1940 come between them.

No spoilers beyond that…

This story won awards when released in the U.S. in 1941 and helped Gallico establish himself as an author of note, creating later books like THOMASINA, and THE POSEIDON ADVENTURE. THE SNOW GOOSE itself was adapted into an award winning film for the Hallmark Hall of Fame in 1973 with Richard Harris and Jenny Agutter and while it does not appear to be available beyond the world of YouTube, audio books are more accessible to modern audiences.

I chose this book as the core work for my study in the class, developing several works around it and spending a lot of time researching the time, the location and extrapolating on ideas I was developing for the costumes. I even created a music mix to listen to while working on it, using music from JOYEUX NOEL by Philippe Rombi in a rearranged form intermixed with radio passages from Churchill and Chamberlain to add more weight to the work. Ironically, the music did so well in my mix, it was hard to remember it coming from that wonderful and so tragic film. It is available from Virgin Classics (0946 338279 2) and helped greatly in the creation of the final pieces below. I would also recommend you seek out the progressive rock group Camel’s album from 1975, THE SNOW GOOSE, inspired by the book. (Label: Decca – Universal Special Imports. ASIN: B00005V1B2)

I think the idea for doing this came from driving into Toronto one day for the class an seeing in the distance black oily smoke rising from a fire on the docks in Oshawa. It reminded me vividly of one of Peter Scott’s illustrations for the original edition of the book in 1941 and one thought jumped to another and the images below were the end result. I think my work on it in turn helped bring about the creation of MANNA later on.

SKETCH OF PROPOSED SETTING FOR STORY. 10×8″ graphite on acid free cardstock. Copyright C.A. Seaman, 2013.

THE LOST PRINCESS. 11X14 in., graphite on acid free paper. Copyright C.A. Seaman, 2013.

I had never drawn a goose in my life. I used the same techniques I employed creating a piece I never put in the aviation art show of a Bristol Monoplane. The clouds were blended graphite with a white eraser being used to bring up the details.

RHYADHER’S BOAT. 9×12 in. graphite pencil on acid free cardstock. Copyright C.A. Seaman, 2013.

This was a study of Philip’s boat, which figures prominently throughout the book. I made the sails a little transparent, as I had noticed in some of the photos of small sailing craft I studied, you could see the shadow of one of the sheets through another when the light was right.

FRITHA AND THE LOST PRINCESS- four different versions. 12w x 16h in. graphite pencil on vellum (60lb.) stock. Copyright C.A. Seaman, 2013. Other versions in watercolour, coloured pencil and mixed media and pen and ink on illustration board.

Here, after creating various thumbnails showing other compositional possibilities, was the first run at the final piece, sized the same as the hand-in work but done as a graphite tonal study. It remains one of my favourites. Fritha is as scruffy as Gallico describes her, with a dirty face. Mind you, if you saw the marshlands on the Essex coast, it would not be hard to imagine her this way. They look really wet. The overalls and top are all frayed and worn. Gallico never went into detail on her clothes, but I imagined one described as wild-looking as Fritha could look like this when she showed up on Rhyadher’s doorstep with this little bundle in her arms.

Categories
Illustration and Cartooning

THE ART OF REPRODUCTION

No, it’s not what you think!

In my courses at George Brown, a valuable part of the instructive process involved reproducing panels from existing cartoons, comic strips and graphic novels. It was a great way to learn the techniques of others, test one’s observation skills, and through the use of comparable media, broaden one’s range in terms of drawing and painting. In one case, reproducing a comic strip had us taking the last panel- which had been blanked out- and creating our own ending for it. Cheating by looking up the original strip was not encouraged. Tracing wasn’t an option either. These exercises were meant to give us something like an atelier experience, where students can spend years copying from plasters and the works of the old masters before venturing out to create their own pieces from scratch. It worked for us. I remember one of the most unusual things I had to sort out was a foot belonging to Dennis the Menace. Hank Ketchum’s rendering of it was stylized, to say the least. In among the other elements, it was unremarkable. Once you looked at it on its own, it became something otherworldly and very strange.

Categories
Fine Arts

AVIATION ART

I first became interested in aviation and naval art in high school, and still have some of the pieces I did then in my old portfolio. What is shown here is a collection of pieces done since 1990. Many are in private collections now and are not shown in public any more.

Let’s start with the Bristol Monoplane…

This piece was supposed to appear in an art show in 2012, but being the only black and white work, stood out as such an oddity that I left it home when it was time to hang the exhibition. Featuring the graceful and little known Bristol Monoplane of the Great War, it is a tribute to an aircraft that was ahead of its time and unfairly maligned by the powers in charge of the RFC during the war. Serving largely in the Middle East, it performed well and examples of it survived years after the fighting stopped in 1918.

BRISTOL MONOPLANE. Graphite on paper, 14x11in. Copyright C.A. Seaman, 2012

“REMEMBERING THE WAR IN THE AIR”- an exhibition in 2012

2012 was the year when aviation art returned in force to the studio. An invitation in early July to participate in a book talk at the Brampton Public Library on CANADA AT WAR, by Paul Keery, was based on the assumption that I would simply put old pieces lying around the house on display. However, the organizer of the book talk became concerned when I told her many of those pieces went into private collections and in some cases, were unaccountable in their whereabouts because the owners had moved, passed on the work or died. I proposed instead of hunting them down to create new works more reflective of my current style, rather than that of the 1990s when most of the original pieces were created. What follows is a catalogue of new works done in four months on a variety of British and Canadian subjects. For BOMBS GONE OVER BRUNSWICK, where the original is now in England and the process of its completion is documented below, I included a print of the image produced from photos I took of it before it left for its new home.

What also follows after that is an assortment of other pieces completed in a variety of media over the years leading up to the 2011-12 show. Where possible, I will include further information about those pieces, their composition and completion dates.

DEATH AT DUSK. Coloured pencil and watercolour media16x12in. Copyright C.A. Seaman, 2012.

COUNTERMEASURES- Electronic Warfare B-17 in Action. Coloured pencil and watercolour media, 16x12in. Copyright C.A. Seaman, 2012.

HALIFAX FORMATION. Coloured pencil and watercolour media, 16x12in. Copyright C.A. Seaman, 2012.

CANADIAN OVER COLOMBO. Coloured pencil and watercolour mixed media, 14x11in. Copyright C.A. Seaman, 2012.

CHARGING MUSTANGS- 442 SQUADRON LIBERATES THE CHANNEL ISLANDS. Coloured pencil and watercolour mixed media, 14x11in. Copyright C.A. Seaman, 2012.

TIP AND RUN- BOUNCING A BUZZ BOMB. Coloured pencil and watercolour mixed media, 16x12in. Copyright C.A. Seaman, 2012.

CLOSING THE GAP- TYPHOONS OVER FALAISE IN 1944. Coloured pencil and watercolour on paper, 14x11in. Copyright C.A. Seaman, 2012.

REAPING WHIRLWINDS- HUNTING E-BOATS IN THE CHANNEL. Coloured pencil and watercolour mixed media on paper, 14x11in. Copyright C.A. Seaman, 2012.

BOMBS GONE OVER BRUNSWICK- process to completion

In late 2010, I was invited to create an image of a Lancaster bomber for my aunt and uncle’s 50th wedding anniversary. The way in which the aircraft was created was left up to me. Not having completed a large scale aircraft piece in six years, I elected to use coloured pencil for my medium on 140lb. watercolour paper stock. Research took place early in March, after I had already decided on a composition. Admittedly, this was an odd way to compose the piece, but once I sorted out the aircraft, using Touchwood’s Lancaster computer generated model in Poser and my own photo reference material for the background, I hunted through books and the internet until I read of an account of a Lancaster in trouble while on a raid over Brunswick sometime in 1944. Satisfied the account matched the composition, I transferred the squadron codes to the aircraft- already drawn out on the board- to create the first stage of the work shown below, as completed on a Friday. Next, I washed in a kind of underpainting using watered down acrylics to establish a tone range for the background. Yes, it was messy and the paper wrinkled badly at this stage. I was not bothered, however. The coloured pencils- Prismacolour, to be precise- were to be used next, and the sheer pressure of the waxy ‘lead’ on the paper would be enough to flatten the image and shatter more than a few pencils in the process. Detailed images follow the process as the picture progressed.

The final piece, completed the following Thursday after some 22 hours in total, looked like this…

BOMBS GONE OVER BRUNSWICK. Coloured pencil and watercolour mixed media on paper. 20x14in. Copyright C.A. Seaman, 2011. (In private collection)

Some detail studies…

…and other aircraft, too!

LATE MODEL SPITFIRE. Coloured pencil and watercolour mixed media on paper. Copyright C.A. Seaman, 1999. (In private collection)

DeHAVILLAND DH 106 COMET AIRLINER. Coloured pencil and graphite on paper. 30x22in. Copyright C.A. Seaman, 2004.

HANDLEY-PAGE HALIFAX OF NO.87 SQUADRON, R.A.F. Aircraft flown by Len Broadhurst, who I had the pleasure of meeting many years ago, and who received the original of this work. Coloured pencil and watercolour mixed media on paper. Dimensions unknown. Copyright C.A. Seaman, originally 1998. (Posted 1999).

NOTE: Mr. Broadhurst passed away a few years ago. If anyone knows what happened to this piece, please contact me through this website.