Posts Tagged ‘fantasy’

The Incredible Slowness of Patience

August 22, 2017

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As I worked to complete the final drawings and haiku for Codex Gastropoda: A Visual Meditation, I learned about Tim Pearce, Ph.D, the Assistant Curator of Molluscs at the Carnegie Museum of Natural History, here in Pittsburgh. When I contacted this walking encyclopedia of snail facts and lore, I was pleasantly surprised at his accessibility and eagerness to talk about the intricacies and nature of his favorite subjects. When I told him of my book in progress, we made arrangements to meet at his department for a private tour of the museum’s vast holdings of snails, shells, and other obscure, mysterious forms of life beneath the seas.

Here is a photo of the Snail Man himself wearing his favorite hat!

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And what a collection! Giant conch shells once used as trumpets by ancient island tribes to gather their people for special events or war:

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many varieties of cone shells that had contained carnivorous snails who project a tiny dart from their bodies that are loaded with a compound containing 50+ different toxic chemicals! Their shells are very attractive but don’t get too close,  Mr. Pearce warned.

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We think of snails as carrying their own houses, but this chitons’ shell reminded me of a knight’s armor or shield!

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Their names are a mouthful to pronounce but these Xenophoridae or carrier shells are worth a closer look for their ability to disguise themselves in the deep seas against predators by secreting a sticky substance which they use to glue many abandoned shells to themselves as camouflage! Below is the Xenophoridae spread from Codex Gastropoda which I’ve envisioned as a gathering place for a summit of snails:

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Finally, I was introduced to Tony (i), a snail whose name Tim spells with both an ‘i’ and a ‘y’ because this tiny creature is an hermaphrodite; it hosts both male and female gender characteristics. If you can be patient for the three minutes it takes for this little video clip, you can see tiny Tony (i) emerging from his/her shell! Just click on this link to view the video:

https://www.dropbox.com/s/7spialg7hn0fj8b/TimPearceSnail-Trimmed.mov?dl=0

I have a small edition of Codex Gastropoda: A Visual Meditation (Imaginarius Editions, 2017) available for preview and purchase with credit card or Paypal for $30.00 at my Magic Eye Galleryhttp://bit.ly/2vzsSTM or at my Etsy shop: etsy.com/shop/Imaginarius

You may find that the images and haiku that comprise Codex Gastropoda: A Visual Meditation are a fine antidote to turbulent times like ours for they encourage us to patiently look, listen and THINK beyond the obvious…

 

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Codex Gastropoda: A Visual Meditation

July 26, 2017

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You know the old adage, “Time passes quickly when you’re having fun” ? Well, this sentiment truly described the years between 2007 and the present when I began thinking about snails. Now, why on earth would anyone care about snails except as a purportedly (I say ‘purportedly’ because these creatures are among those forbidden to me by religious doctrine) tasty dish served with garlic butter?  Because I actually find them fascinating since I am able to look at them objectively for their natural beauty and metaphoric value without planning how to cook them.

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These musings slowly inspired a series of eighteen drawings on several species of snail (a.k.a mollusca/gastropoda). Some of them appeared along with my thoughts/poems about them over those years in several blog posts here.* Later, during this project’s development, a friend loaned me an eye-opening book that proved very inspiring and that I now recommend to you: The Sound of a Wild Snail Eating by Elizabeth Tova Bailey (2010). http://amzn.to/2w18Zpc

My drawings are not strictly scientific but an amalgam of fact and fancy. Each tells its own story, inviting questions and second glances. At first, not knowing whether these drawings should become a book or simply a portfolio collection, I put out a query on social media.  Though enthusiastic early feedback suggested a book, I still liked the idea of a portfolio collection and decided to publish a ‘bookfolio’ (a portfolio in book form) as a sort of compromise.

In this light, I considered writing more thought/poems like those in earlier posts. However, I soon determined that haiku (seventeen-syllable non-rhyming Japanese poems), with their economy of language would better complement the nature of my drawings.  Slyme-TextGrid-8x10.jpg

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Now, I am happy to announce the release of Codex Gastropoda: A Visual Meditation. This 44-page ‘bookfolio‘ includes an introduction and has just been released from Imaginarius Editions in an initial small press run.

You can preview and purchase it (US$30) at my online gallery: http://bit.ly/2vzsSTM

Codex Gastropoda will soon be available at Amazon but for now you can also find it at my Etsy Shop: etsy.com/shop/Imaginarius

Given the experiences that inspired it, my goal for Codex Gastropoda: A Visual Meditation became to raise awareness of the wondrous details that inform Creation and their consequences for our world. I hope this visual journey and spare prose will also inspire you to appreciate our complex existence and perhaps add your own words and ideas to the continuum of human creativity.  

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* https://wordpress.com/post/imaginarius13.wordpress.com/754 https://imaginarius13.wordpress.com/2011/03/17/the-snail-queens-soliloquy/  

*https://imaginarius13.wordpress.com/2010/12/30/postscript-for-the-new-year-a-divination-of-snails/ 

*https://imaginarius13.wordpress.com/2010/12/26/codex-gastropoda-4athe-time-snails/ 

*https://imaginarius13.wordpress.com/2010/10/21/codex-gastropoda-2-the-snails-song/ 

On The Shoulders of Giants…

May 5, 2016

Imagination, though we all possess it, is usually perceived as the defining quality and exclusive territory of creative individuals, particularly when we marvel at the art, music, literature, science and philosophy it inspires. But the analyst Carl Jung may have been onto something with his theories of our ‘collective unconscious’ which he claimed is the vast, virtual repository of all human thought, endeavor and possibility. In that light, imagination may be the ‘tool’ within all of us for unlocking virtual doors into this realm; enabling us to discover more about who we are and what we are capable of but also to teach us humility as we begin to comprehend all that came before us.

This engraving by the French writer and astronomer Nicholas Flammarion for his 1888 book, L’Atmosphère : Météorologie Populaire seems an apt illustration of the above comments:

A recent TED talk* on the theme of originality validated my instinctive understanding that originality is less about magic than it is about the speed and extent to which we are able to access and use our imaginations productively. With dedicated observation, listening and the use of our senses, aided by technology, we discover that the majority of human accomplishments are the results of ‘sampling’. They are based in sum or in part on the works of others.

Both the 12th century philosopher Bernard of Chartres and 17th century polymath Isaac Newton understood the concept of building on previous discoveries or ‘standing on the shoulders of giants’ in order to uncover their own truths. Accordingly, relatively little of what we have produced can be called ‘original’ by the strictest definition of the word.

So even though I always feel slightly uncomfortable creating a piece of art knowing that other versions of it already exist in different forms elsewhere, I usually persist in finishing the piece simply because I wish to contribute to that body of work in my own way. The theme might not be unique, but perhaps my rendering of it might be.

These thoughts are now driving my current drawing project, an alphabetical bestiary. Yes, bestiaries have been around for hundreds of years as have alphabet books; so this idea is far from original. Examples below are from the Aberdeen Bestiary(1200AD), the Tudor Bestiary (1520AD), ‘Adam Naming The Animals‘ from the Northumberland Bestiary(1250-1260AD), Jungle-Jangle by Peter Newell(1909)and from the 1968 Bestiario Moderno by Domenico Gnoli.

Phoenix-AberdeenBestiary.jpg"Jungle Jangle" - Lion - Peter Newell, New York: Harper, 1909.: Detail from 'Rinocerante al XV piano,' pen & ink drawing by Domenico Gnoli, 1968.

Yet the myriad artistic and imaginative combinations of letterforms and animals (both real and imagined)** continue to fascinate us. Could the mystery of our own animal natures combined with our gifts of speech, writing and comprehension be the reason? Maybe it’s a mystery best left unsolved giving us all the more reason to enjoy new additions to the rich body of works that ask the same question but answer it in their own ways.

Here are two pages from my own imaginary menagerie that I hope you will enjoy. To date, I have completed 11 of 26 letters so your comments, questions and suggestions for other letters are welcome!

FarthingaleOnAFerretRGB.jpgGryphonWithAGrimoire.jpg*http://www.npr.org/programs/ted-radio-hour/321797073/what-is-original

 

Publish Or Perish? Yes and Never!

January 13, 2011

This month, with the release of Stitchburgh from my imprints, Imaginarius Editions and TatterTale Press, I’ve brought an old dream to life. While the majority of my posts here have highlighted individual images, I’ve often been asked the eternal question: where do you get your ideas? The short answer is from everyone and everywhere. But today, I thought you might like to know the story behind Stitchburgh which in itself is a clue:

One day in 1979, when my children were young, I attended an exhibition of handmade quilts. Created by a Pittsburgh craft guild called The Quilter’s Triangle, their intricate colors and narrative quality moved me to research the history of this unique and personal form of expression. As a mother and an illustrator, I was inspired to create a work of art for my children. It would reflect my new interest in quilts as it enriched awareness of our neighborhood and daily lives. So I created an illustrated alphabet that I decided to make into a quilted wall hanging. First, I drew and painted everything onto a large canvas. Then, I chose the stuffing and fabric backing materials that would be needed. Since my skills do not include needlework (except for the occasional darned sock), Mrs. Fava, an elderly Italian seamstress in my neighborhood helped me put it all together. At bedtime the next evening, I told my children the first of many stories about Stitchburgh, an imaginary world where everything is made from the colorful patches of an old quilt. In this original tale about a little blue goose named Fanny Featherbottom and her beloved Aunt Madras Goose, a writer, Madras’ stitchwriter suddenly breaks. Her story, now tangled into knots, is lost. You are invited to follow the writer and her niece as they adventure around Stitchburgh in search for it and discover where good ideas are really found!

After that quilting exhibition, it would be eighteen months before I finished the first illustrated version of Stitchburgh in 1980, but this version would be far from the last. After countless submissions and revisions of the illustrated manuscript by editors who were probably wondering what it would take to make me go away, I was sitting on a thick stack of rejection form letters from dozens of mainstream publishers and had reached the bottom of my proverbial barrel. Suddenly it hit me. Why waste my energy staying mad when I could put it to better use?

You see, I remembered a story about Beatrix Potter, the renowned children’s author. Though she came from a comfortably wealthy English family, she was harboring stories that begged to be let out to play. She too experienced rejection from several publishers at the time. So, she gathered up her pluck and determination, printed a small edition of them privately and simply distributed them as gifts to friends and family. The printer whom she retained for her project was Frederick Warne & Co. who soon came to understand the potential value of her work. In time, they went on to turn Peter Rabbit into an international media and merchandising star for generations to come. On the tail of this memory, I asked myself, ‘why accept rejection as the last word?’

So with renewed hope, I gathered up one of my illustrated manuscripts and made an appointment with a local commercial printer to see what was involved in publishing my ‘masterpiece’ on my own. When I explained to the print salesman what I wanted, he looked at me incredulously. ‘Just a small run of a full-color, 32-page children’s book? You have to be kidding; are you aware of the costs? I was beginning to get nervous as he listed everything necessary to publishing a book, from layouts to finished art, from films to plates and paper, to press time and bindery charges. I was sinking into my chair when he gave me the final figure. At the time, the minimum press run for a picture book was 5000 printed, bound copies of my book: $18,500. The huge quantity was necessary in order justify setting up the gigantic four color press and to establish a fair market price for each copy sold.

In 1980, this was equivalent to a down payment on a modest home! ‘And,’ he added ominously, ‘that’s only the tip of the iceberg; what about the costs of marketing and distribution? How are you going to handle that? Stunned into silence, I imagined myself buried under a mountain of 5,000 books and quietly thanked him for his time. I slunk out of the office, feeling like a complete idiot.
Never mind pursuing other bids on the job; they were all in the same ballpark. As I packed away my dreams and resumed my life as wife, mother, teacher and freelance illustrator, I was again discouraged, but still hoped that I could somehow, someday make it happen.

Myriad other projects kept me busy over the years and in time, even as I illustrated other writer’s books for mainstream publishers, I cooked up some new ones of my own. During these years, print technology was advancing so that my early self-publishing experience would become an anachronism. While there had always been small private publishers snootily referred to as ‘vanity presses’ or ‘subsidy publishers’, authors who retained their services were not taken seriously. Rather, it became a stigma as their work was presumed to be substandard by the mainstream industry and therefore unpublishable.

However, early in 2000, as I began to explore the growing self-publishing industry, the mystique associated with mainstream publishing became more transparent. With major changes in the tax laws and the decline of the world economy, authors were no longer treated as celebrities unless they were entertainment media stars or prominent political figures. We could no longer depend on publishers to cover the expenses of heavily promoting our books. With a few exceptions, it looked as though mainstream publishers were not much more than glorified printers with the presumed aura of ‘marketing caché. To make matters worse, the giant bookstore chains on whom they depended for their marketing and distribution venues were struggling financially. These began to close many of their brick and mortar establishments and not surprisingly, corporate mainstream publishing is quaking in its boots. In addition, self-publishing, with ‘print-on-demand’ technology at its core is a rapidly growing industry that, partnered with the vast online merchant network is proving to be their formidable competition.

Happily, the vanity press stigma was being obliterated by the developing print technology because authors who became literate in its techniques could now publish their work with the newly emerging “print on demand’ industry. Though it would take me years to feel comfortable with the tools of computer aided design and sophisticated graphics software, I was fascinated to observe how these were driving a paradigm shift in the way books are produced, marketed and distributed.

Last year alone (2010), 764,448 self-published titles appeared – an increase of 181 percent from 2008. That compares with 289,729 titles from traditional publishing houses. These numbers come from the R.R. Bowker Co., the agency that grants ISBN numbers and compiles the bibliographic data that must appear in your book before you can release it for distribution. Such information is necessary for booksellers and libraries to catalogue and identify your book in the vast publishing marketplace.

Online companies such as CreateSpace, AuthorHouse, Blurb, Lulu, iUniverse and XLibris have made it relatively easy and affordable to put your ‘masterpiece’ out in the market. There are gigabytes of information out there comparing profit and loss to authors in both self and mainstream publishing, and you might want to look at these as you decide whether to self-publish or continue to submit your manuscripts to mainstream publishers. But numbers can be overwhelming and can do much to squelch your desire to venture into this market as an author.

As a typical artist and writer consumed by their art, I gave these figures a cursory nod, shrugged my shoulders and became absorbed in my fantasy of self-publishing. I worked to enhance my technological skills and happily imagined the fame and fortune my efforts would generate. I published my first effort, The Alchymical Zoodiac: A Celestial Bestiary in 2009 under my own imprint, Imaginarius Editions.

Though my sales of The Alchymical Zoodiac to date have just covered my expenses, I decided that after 31 years, Stitchburgh was still begging to become a reality. Paraphrasing the immortal words of Star Trek’s Captain Jean Luc Picard, I decided to “Make it sew!” Maybe at some point, if they still exist, a mainstream publisher will become interested in what I have done and consider producing a subsidiary edition and ancillary products. Maybe even, some bright star at Pixar might see animation film potential in it. You never know. But most encouraging are the kind words and support from all of you! Both Stitchburgh and The Alchymical Zoodiac may be purchased @my webfolio via PayPal: http://www.winnlederer.com