THE ILLUSTRATION GALLERIES
Several books have been written or are in the design process on this project. Almost fifty drawings at the time of this posting have been generated, including a small number of purely computer generated images like some of the silhouettes that are found on some of the pages. Most of the illustrations are created as drawings, like the ones below. I will add more information about them as time allows. For now, please simply enjoy the work. If this inspires you to want to buy the books, type in "Sargasso" (without the quotes) on the search cue at the main page of www.blurb.com and look for books by me.
GALLERY ONE- SAMPLE CHARACTER DRAWINGS
ARIANA GREETS PRINCESS NONNIE- from Book Two
MAXIE AND MITSY- cover illustration from Book Three
This is a portrait from Book Three of Ariana using the early Sadie base model I used for her in Book One. This model will be used for reference in any scene that takes place earlier in her life or in the pre-Sargasso stage. The Victoria model base will be used in scenes taking place in the present day, symbolizing Ariana's transition from innocence to experience.
LITTLE ARIANA IN THE LAB
An illustration from Book Four when the past of Ariana is revealed to the reader and a rather big surprise lies in wait for our characters. Poser provided the setup for the drawing, but all the details were done on the fly. This was not an image I wanted to do twice!
ARIANA AND MORGAN WITH CASTLE OUTSIDE CELESTIA
This was part of a composite image, featuring the park in the background and these figures superimposed on it. I was not sure I would be able to handle the piece in one go and opted for this approach instead in case there was a problem. As you can see, Ariana and Morgan appear taller than Castle, which in the story is not the case. That is why compositing works! The texture on Castle's overcoat, (an acurate reproduction of period fashions from the Sears Roebuck catalogue), was created by embosssing the paper with a sharp pencil and lightly shading soft pencil over top to create the herring bone look. I learned that by accident in high school when having to draw a firbous rope on Mayfair.
CELESTIA AT NIGHT
This is the background image behind our characters in the above composite elements. I drew the park with no shading, inverted the image and added all those lights by hand. The same with the stars.
MORGAN AND THE ELEPHANTS- from Book Two
These were the first elephants I had ever drawn. I had models in Poser and set up the scene with Morgan for scale. The one with the trunk around her is Fluffy, a very young calf.
ARIANA AND MORGAN IN THE SWIMMING BATHS
The original is 22 inches long, composed of these sections which were place one on each page for a spread in Book Two. The slight misalignment does not show because of the gutter in the layout. I had a such a tight horizon line and oblique converging lines that I had to tape down the sheets on a huge desk and measure out the lines for the perspective over three feet away from the paper.
ARIANA COLLAPSES IN THE SHOP
Ariana was almost killed in Book One and at this point early in Book Two, still has moments where she is a little weak in the head. We are inside the toy emporium she owns in Celestia with Princess Nonnie looking over her and Mitsy with a doctor's bag ready to lend medical assistance, oh yes. Book Two was rotten with low angle shots featuring two point perspective. Poser was not much help here beyond some basic compositional elements as shown in the preview image below. I also realized after doing this composition that I had forgotten to scale Nonnie to Ariana. The whole thing was corrected in the final drawing after a lot of cussing about being too clever with characters for my own good. Next story I write will have them all the same height!
... and a few more scenes follow.
NONNIE SINGS- originally designed for Book Two, but deleted. I will use it later, probably in Book Five.
COVER ART FROM BOOK TWO
ARIANA AWAKES IN CELESTIA- illustration from Book Two
Ariana stands by the window while she describes the empty park to Poppy. Her back and arms still bear many of the scars she acquired in her attack from Book One, which precipitated her being sent to the planet where SARGASSO is set.
RUNAWAYS MEET- ARIANA AND MORGAN from Book Two
This is one of my favourite illustrations from the whole series. Poser models gave me the perfect set up and I just went to work with a 7B pencil on the rest in the black part of the background.
MALLORY VIVIAN TODD
A piece done for Book Four but left out to save space. It will likely be used in Book Five or beyond. The big hair is, by the way, no exaggeration. It is really built up and layered. The model it came from was called Bechet Braids from DAZ3D and looked lovely on the screen. If you looked at her in the first character design gallery you might agree. Now... try drawing it!
GALLERY TWO- SETTINGS, PROPS & ACTION
MINIATURE TRAIN STATION IN CELESTIA
A tribute to Disney and his love of miniature railways. Also a practical way of delivering Princess Nonnie, her entourage, Preston Castle and Gordon Gladwell to Ariana's front door. The style of architecture I chose in designing these buildings was a mixture of classical and Art Nouveau styles, heavy on ornamentation and crazy with curves. I love curves...
SARGASSO ISLANDS POLICE TANK
Tanks were first created in the Great War, so it was not out of place for heavy armour like this to be rolling over the snow drifts. However, the huge exhuast funnel on the roof and the use of boxy panels and a crazy number of rivets is just imagination gone mad. Also, the fact it is the police using this machine and that all of the members of the force are 'little people' just leaves most people looking at this image saying "Cooolll."
THE SARGASSO ISLANDS- illustration from Book One
SARGASSO NIGHT- inside the park at Celestia from Book One
Did I mention Art Nouveau influences? I read that Fred Thompson, chief architect and co-founder of Luna Park in Coney Island, did not exactly believe in the classical traditions that dominated building design at the time, believing the park should be a cross between the Arabian Nights and anything else he could think of. If you ever look at photos of Luna Park, you would see what was the result. My view on Celestia was 'why stop there?'
From Book Three, this is actually the background in another composite, featuring Maxie in front of the car becoming orgasmic. It took some research to get this basic vehicle right. The grill was embossed, like Castle's coat. Some post work in Photopaint added the sky, the headlights and specular parts to the piece. I did make one change, removing the hood ornament from the vehicle. This is, afterall, an alternate reality.
Ariana inherited this little fixer-upper unknowingly when she landed in the islands. Even though she and the dolls live over their toyshop, this location, which will be first seen properly in Book Four, is meant to be their real home, complete with a secret underground lab. Hey, I like BATMAN, okay?
CAVE ENTRANCE NEAR SHEARWATER CASTLE
Recalling the Batman comment, here is one entrance to the cave/laboratory that features in the books. There are other entrances- underwater and through a secret door in the castle itself. This picture became part of a two page spread in the book.
MAXIE AND NATTY RACE TO SHEARWATER CASTLE
This is how you get to that secret entrance by the beach. Maxie built this motorcycle herself- not to the style of the era. The period cycles that give chase to her in Book Four don't stand a chance against this machine or its doll-driver.
MAXIE CONFRONTS WILLIS
In the glare of headlights from the surviving police bikes and her own, Maxie confronts the diminuitive Chief Willis near the cave entrance before embarking on the next stage of the adventure in Book Four. The glare and specular effects were added in Corel Photopaint after the drawing itself was done.
MALLORY CHECKS ON MITSY
The adventure is over and our new lead character, Mallory Vivian Todd, checks on Mitsy's condition. Scaling down the bed was an interesting process and how it got there is something of a mystery to me. I'm sure I'll come up with a convenient explanation for the readers at some point. Poses like this are definitely better when modeled first in Poser. Doing so freed me up to work more on details in the image, like the rug beside the bed or the headboard, the latter being viewed from a different angle in the following image set earlier in the story.
ARIANA, MORGAN AND MITSY
The best I can figure is the bed is the same height as a full size one, but shorter and about the same width as a single. Looking back on these images so many months after I created them, I find myself obsessing on trying to make logical sense out of the whole thing. I do remember deciding not to 'Cousin It' scale the rooms in the apartment, as done in THE ADDAMS FAMILY television series, although it would have meant some laughs for Ariana, Morgan and the others if I did so. But as Shearwater is undegoing a massive renovation for Book Five, new accomodations may change that.
MORGAN'S NEW TOP
Morgan's clothes are all second hand. This t-shirt inherited from her guardian is a case in point. Made of 'screencloth', (hopefully this is not a real name for a real product!), it projects an image that changes according to the mood of the person wearing it like the mood rings that were so popular years ago. According to my history of the future, the creators of a certain science fiction series will be happy that fan tributes of a certain roving robot eye will still be popular in 200 years' time.
Please... keep returning to this page as I add more galleries to the mix.
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All images copyrighted C.A. Seaman 2008-2012 and may not be reproduced in any way by print or electronic processes without permission.