Yuggoth details

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Yuggoth Cultures (1994) by John Coulthart.

Earlier this week I spent a day scanning this painting—which I’m now surprised to find is 21 years old—so I might at last have a good quality digital copy. There’s been a copy on the website for years but that was a print made at a high-street copy shop that did nothing for the detail and range of colour. It’s quite a large piece—49.54 x 71.39 cm (19.5 x 28.1 inches)—done with acrylics on board. Since 2003 the painting has been used (in another poor reproduction) on the cover of The Starry Wisdom, the controversial collection of Lovecraftian fiction from Creation Books. The painting wasn’t originally intended for that collection, however, and doesn’t quite fit since a number of the portraits don’t feature in the book at all.

Yuggoth Cultures would have been an earlier collection of Lovecraftian fiction and non-fiction that Alan Moore had begun writing for Creation in 1993. Alan’s idea was to take Lovecraft’s Fungi from Yuggoth sonnet sequence as the basis for a collection that would explore Lovecraft’s fictional world and also draw together a variety of figures from the same era: fellow writers, occultists like Aleister Crowley and Austin Spare, and Harry Houdini for whom Lovecraft ghost-wrote Imprisoned with the Pharaohs in 1924. Unfortunately the stars were not right on this occasion; Alan took the sole copy of the half-written manuscript to London in order to read selections at an event in Soho but left the papers in a cab. Some pieces survived, having been copied and stored elsewhere—The Courtyard in The Starry Wisdom is one of these—and there was talk for a while of the lost pieces being rewritten but enthusiasm for the project flagged.

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This is Alan’s sketch for the cover, the idea being to have a Lovecraft head made of fungal growths rather like an Arcimboldo painting. The head would be sprouting tendrils whose loops would contain pictures of some of the people featured in the book. Alan’s quick sketch is actually a better approximation of Lovecraft’s strange features than my painted version which isn’t narrow enough. For the record (and because people always ask), the other people on the cover are Alan himself, Austin Osman Spare, Aleister Crowley, Harry Houdini, Robert E Howard (not Al Capone as people often think) and Clark Ashton Smith.

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While searching through the archives I discovered these lettering designs although they’re probably not bold enough to read very well on such a busy painting. Before I started using a computer, designs like this had to be drawn at large size then scaled down using a photocopier.

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Jo Daemen’s The Sacred Flame

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Johanna Maria Hendrika Daemen (1891–1944), credited here as “Jo”, wrote and illustrated The Sacred Flame: The Fairy-Tale of Stefan Pártos (1927), a tribute to a Hungarian violinist who died young. Daemen was a Dutch illustrator, graphic designer and glass artist who one suspects would be better known if she’d been British or American. The detail and composition of these illustrations is exceptional, falling somewhere between Kay Nielsen’s meticulous detailing and Harry Clarke’s stained-glass designs. This is another volume currently for sale at silver-gryph’s eBay pages where larger views of the drawings may be seen. (Thanks again to Nick for the tip!)

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John Yunge-Bateman’s King Lear

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When Majesty turns to folly!

John Yunge-Bateman (1897–1971), aka “Yunge”, is another British illustrator whose work I’d not noticed until now, possibly because this 1930 edition of King Lear is an early creation in a derivative style the artist abandoned. The ten black-and-white drawings are closer to Harry Clarke than Aubrey Beardsley, and a couple of them even try to match Clarke’s more grotesque inventions albeit with variable results. Some of the faces are rather dopey for my taste but I like the use of solid blacks. These samples are taken from a scarce copy currently up for auction at silver-gryph’s eBay pages should anyone be interested. (Thanks again to Nick for the tip!)

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Than doth, within a dull, stale, tired bed, go to the creating a whole tribe of fops.

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If you come slack of former services you shall do well.

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The Singular & Extraordinary Tale of Mirror & Goliath

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In yesterday’s post I mentioned having recently finished a cover design featuring silhouettes, not expecting the design in question to be revealed on the Barnes & Noble SF & Fantasy blog a few hours later. So here it is. The Singular & Extraordinary Tale of Mirror & Goliath is the first of two novels by Ishbelle Bee from publisher Angry Robot. Rather than attempt a précis it’s easier to swipe one from the B&N post:

1888. A little girl called Mirror and her extraordinary shape-shifting guardian Goliath Honeyflower are washed up on the shores of Victorian England. Something has been wrong with Mirror since the day her grandfather locked her inside a mysterious clock that was painted all over with ladybirds. Mirror does not know what she is, but she knows she is no longer human.

John Loveheart, meanwhile, was not born wicked. But after the sinister death of his parents, he was taken by Mr Fingers, the demon lord of the underworld. Some say he is mad. John would be inclined to agree.

Now Mr Fingers is determined to find the little girl called Mirror, whose flesh he intends to eat, and whose soul is the key to his eternal reign. And John Loveheart has been called by his otherworldly father to help him track Mirror down…

An extraordinary dark fairytale for adults, for fans of Catherynne M. Valente and Neil Gaiman.

Having spent the past few years scrutinising Victorian graphic design this was a very enjoyable assignment that didn’t feel like work at all. The title design took some time to put together, the challenge with these things being to pour on the decoration while maintaining legibility. You also need to choose the typefaces carefully. The capitals in “Mirror” and “Goliath” were drawings based on period cover designs, while the author typeface isn’t a font but is letterforms scanned from a Symbolist art book from the 1970s. Revival fonts continue to proliferate but I’ve yet to see one in that exact style. The Singular & Extraordinary Tale of Mirror & Goliath is out in June with a sequel, The Contrary Tale of the Butterfly Girl, following in August.

Les Theatres d’Ombres Chinoises

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Ombres Chinoises—”Chinese shadows”—were the specialty of Alber, prestidigitateur, according to this French volume from 1896. The diagrams show examples of Alber’s tableaux, and also the technical aspects of his articulated figures, some of which seem caught midway between Javanese shadow puppets and Lotte Reiniger’s animated silhouettes. One of the commissions I’ve been working recently features silhouette figures; more about that later.

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