Double weird

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Two of the books whose covers I was working on late last year have been announced so here they are. This is more work for PS Publishing where wraparound covers are the standard, so once again I was able to work in a pictorial, landscape format. (PS also do their design in-house so I only did the art this time. Click on the pictures below for larger views.)

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Apostles of the Weird is a collection of contemporary weird fiction edited by ST Joshi:

Weird fiction is an incredibly rich and varied genre, running the gamut from supernatural horror to imaginary-world fantasy to psychological terror. This anthology seeks to exhibit the wide range of themes, motifs, and imagery that weird fiction allows, as embodied in the work of some of the leading contemporary writers in the field. (more)

“Weird” is indeed a very broad category so rather than try and create something that represented a single genre I opted for a weird view instead. The idea was to do something like Borges’s Library of Babel in a space that was a hybrid of Piranesi and MC Escher. I was hoping originally to make this more Escher-like, with a number of gravity-defying staircases, but the underlying drawing took so long that I didn’t have time.

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His Own Most Fantastic Creation: Stories About HP Lovecraft is also edited by ST Joshi:

HP Lovecraft (1890–1937), the pioneering writer of weird fiction, has himself become an icon in popular culture. Stories, novels, and other works featuring the gaunt, lantern-jawed gentleman from Providence, Rhode Island, have proliferated. These works have been triggered by the incredible amount of knowledge we have on the writer—his family, his friends, his idiosyncrasies and eccentricities—as found in his thousands of surviving letters. (more)

This was much easier to achieve since HP Lovecraft is familiar territory. The idea here was to do a portrait of Lovecraft situated in a Lovecraftian zone, a colossal idol of a type that might be found in some of his Cyclopean ruins. Lovecraft and his Weird Tales colleagues had a habit of referring to each other in their stories and letters as though they were ancient priests or sorcerers so portraying Lovecraft in this manner is fitting. The combination of perspective and lighting worked against creating an accurate likeness, however—it doesn’t help that Lovecraft’s features are weird in themselves—so the “HPL” icon is there to affirm the identity.

Both books will be published next month if Great Cthulhu hasn’t risen from the depths by then.

Elsewhere on { feuilleton }
The Lovecraft archive

Previously on { feuilleton }
Something from Below

Weekend links 506

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• The late David Roback was a musician who would have been called “enigmatic” for his refusal of the interview treadmill, preferring instead to let his music speak for itself. I wouldn’t label myself a “fan” (a word I dislike at the best of times) but over the years I’ve collected just about everything that Roback was involved in, from the early Rain Parade albums (he co-wrote my favourite song of theirs, No Easy Way Down), to Opal (his collaboration with Kendra Smith and others), and Mazzy Star (with Hope Sandoval), the group whose songs perfected the somnolent blend of blues, country and rock that Roback had been aiming at all along. Some concerts:

Mazzy Star, The Black Sessions, Maison De La Radio, Paris, October 25, 1993
Mazzy Star at the The Metro, Chicago, November 12, 1994
Mazzy Star, KROQ Radio, Los Angeles, December 10, 1994

• “Like other early-modern architects, Lequeu’s drawings explore analogies between bodies and buildings and the erotic, multisensory dimensions of architectural design. In his annotations, he often describes in compulsive detail not only how buildings look but also how they feel, smell, and even taste.” Meredith Martin on the architecture of Jean-Jacques Lequeu.

• “She talks avidly about using pigs’ heads, plastic doll parts, fake blood, and real blood, recollecting with relish a performance where she transformed into a Statue of Liberty that projectile-vomited gore onto the audience…” Geeta Dayal on the performance art of Johanna Went.

Schütte teases out the many ambiguities in these concepts: trains, autobahns, radioactivity, men-machines. All have distinct negative connotations within Germany in particular. Yet Kraftwerk proposed a positive view. Their rigorous determination to deny autobiography forced listeners to focus on the ideas and the music, where apparent contradictions—local/global,  human/machine, past/future—were resolved in a sparkling, crystal-clear sound-world. This was not submission but interaction: as they said, “we are playing the machines, the machines play us”.

Jon Savage reviews Kraftwerk by Uwe Schütte

• “…it was clear that Miles wasn’t sure what he wanted…but he knew what he didn’t want. He didn’t want anything like what he had done before.” John McLaughlin on the recording of Bitches Brew by Miles Davis.

• “His panels are littered with figures standing on the edge of crowds, watching.” Toby Ferris on the paintings of Pieter Bruegel.

Alex Barrett on 100 years of The Cabinet of Dr. Caligari.

A Boy Called Conjuror by Teleplasmiste.

• At Dennis Cooper’s: Fires.

Smithsonian Open Access

• Picture P. Brueghel “Winter” / Solaris (1972) by Edward Artemyev | The Dream Dance Of Jane And The Somnambulist (1981) by Bill Nelson | St. Elmo’s Fire (1998) by Uilab

Édifices Anciens: Fragments et Détails, Anvers

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Édifices Anciens: Fragments et Détails, Anvers is a surprise for being an example of early book by the Belgian artist and author, Jean de Bosschère, which is devoid of the idiosyncratic features of the artist’s later style, a style whose curious figures, human or otherwise, make de Bosschère a Belgian equivalent of Sidney Sime. Édifices Anciens was published in 1907, and if the illustrations lack the artist’s invention the architectural details that the drawings depict are inventive in their own way, being examples of the baroque style common to the old buildings of Belgium and the Netherlands.

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Anvers is the French name for Antwerp, a city with many facades that peak into those wonderful ogee flourishes, corner finials and crow-step gables that look (to English eyes) typically Belgian and very un-English. One of the few places you’ll see facades like these in England is the city of Hull whose status as a port meant traffic with the Low Countries in architectural styles as well as in goods. (Crow-step gables are a common feature of buildings in Scotland, however, a nation whose architectural idioms are the first signal to a visitor from the south that you’re in a different country.)

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Édifices Anciens may be browsed here or downloaded here. For more typical examples of Jean de Bosschère’s drawing style see the links below.

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Continue reading “Édifices Anciens: Fragments et Détails, Anvers”

Weekend links 502

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The Byrds (1967) by Wes Wilson.

• RIP Wes Wilson, one of the first of the San Francisco psychedelic poster artists of the 1960s, and also one of the more visible thanks to the popularity of his compressed type designs, some of which were derived from a style developed by Alfred Roller for the Vienna Secession circa 1900. When Playboy magazine wanted a cover that reflected the psychedelic art trend in late 1967 it was Wilson they called. Related: Wes Wilson’s posters at Wolfgang’s.

• “In the ’70s, New Age music offered listeners, trapped in the urban rat-race, audio capsules of pastoral peace to transform their homes into havens. Today the Internet and social media form a kind of post-geographic urban space, an immaterial city of information whose hustle ‘n bustle is even more wearing and deleterious to our equilibrium.” 2010–19: Back To The Garden: The Return Of Ambient And New Age by Simon Reynolds.

• “This pointed-finger symbol goes by many names: mutton fist, printer’s fist, bishop’s fist, pointer, hand director, indicule, or most unimaginatively as ‘a hand’. Scholarly consensus has pretty much settled on the word ‘manicule’, from the Latin maniculum, meaning ‘little hand’.” John Boardley on the typographic history of the pointing hand.

Tales Of Purple Sally (1973) by Alex. All instruments by Alex Wiska apart from bass by Holger Czukay, and drums by Jaki Liebzeit. The latter pair also produced the album. Related: Jah Wobble talking to Duncan Seaman about working with Czukay and Liebeziet.

• “On Jan 25, 2020, tired of negative film lists on Twitter, I asked people for ‘obscure [or] underseen films you adore and think more people should know about.’ This was the result.”

Flash Of The Spirit by Jon Hassell & Farafina “hails from a time when the possibilities of music seemed less well-defined, and borders felt more open,” says Geeta Dayal.

The Art Of Computer Designing: A Black and White Approach (1993) by Osamu Sato. There’s more of Sato’s print work at the Internet Archive.

• At the Morgan Library: Jean-Jacques Lequeu: Visionary Architect. Drawings from the Bibliothèque nationale de France.

• New from Strange Attractor: Inferno: The Trash Project: Volume One by Ken Hollings.

• At Dennis Cooper’s: Storm de Hirsch Day.

Celeste by Roger Eno & Brian Eno.

Ben Watt‘s favourite music.

The Inferno (1968) by The Inferno | Inferno (1990) by Jah Wobble’s Invaders Of The Heart | Inferno (1993) by Miranda Sex Garden

Weekend links 501

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Cover art by Michael Ashman, 1979.

• RIP Terry Jones, not only a writer, actor and director but also a presenter of the BBC’s short-lived Paperbacks series in 1981, a programme that included Angela Carter among its guests. Related: The Box (1981), a short film directed by Micky Dolenz, based on a play by Terry Jones and Michael Palin.

• “[David] Lynch in a suit and tie that echoes the formal dress of Twin Peaks’ FBI Agent Cooper, presses a small capuchin monkey, called Jack Cruz, to confess to the murder of Max.” What Did Jack Do?

• The week in Ghost Box: Flying Lotus and Julian House collaborate on a promo for the Moog Subsequent 25 synthesizer, while at Grave Goods Jim Jupp answers questions from beyond.

Bruce Sterling: “This is an essay about lists of moral principles for the creators of Artificial Intelligence. I collect these lists, and I have to confess that I find them funny.”

• A campaign to protect and maintain Derek Jarman’s Prospect Cottage.

• Winners of the Wiki Loves Monuments 2019 photo competition.

• Mix of the week: Sehnsucht by The Ephemeral Man.

• Susan Schulten on Emma Willard’s Maps of Time.

• At Dennis Cooper’s: Roland Topor’s Brains.

• At Strange Flowers: 20 books for 2020.

Beat Box (1984) by Art Of Noise | Glory Box (1994) by Portishead | Black Box (1995) by Scorn