Tag Archives: image composition

"While simple and small, I really love this image. The horse is staring straight at the viewer and his pitch-black eyes, while lacking a highlight, seem to stare straight at you." ~ Danny Garrett, restoration artist

Page 39 – To this Princess April Morning-Glory said nothing (Artists & Illustrators)

by Danny Garrett
Austin, Texas

Another lovely illustration tops the page. This time it is a shot of Princess April on the back of the beautiful bird as it soars toward the castle of Prince Chivalry. Continue reading

Page 37: "King Thunderdum" The second is King Thunderdum and he gets the proper British regent version of a crown – the Imperial State Crown. Now, that's a crown! ' Thunderdum' also gets a powerful illumination, and the two together are more than impressive..." ~ Danny Garrett, Restoration artist

Page 37 – the song and so enchanted (Artists and Illustrators)

by Danny Garrett
Austin, Texas

This week’s page sees Princess April appears along with her coronet as does the blue butterfly with its iconic image. Continue reading

The cave's walls are made of an indeterminate substance although the group of stalagmites behind the books on his desk suggest that the substance just may be limestone.

Page 25 – Plate V: The Wise Wizard (Artists & Illustrators perspective)

by Danny Garrett
Austin, Texas

Here we see the Wizard in his cave. In and of itself this is a classic image of one-point perspective; we see the depth of the image as the cave recedes into the distance. Continue reading

Page 21, Plate II: The Pussy Cat, a study of white-on-white

Page 21 – Plate IV: Princess April Morning-Glory soon was fast asleep in the pussy-cat’s ear (Artists & Illustrators)

Danny Garrett
Austin, Texas

This is my favorite color plate. It is so subtle in the rendering and so soft in the pastel colors and light brush strokes. Continue reading

Page 17: the word - butterfly: ...a blue butterfly that looks for all the world like a set of staring eyes.

Page 17 – Immediately Princess April realized that she had been tricked (Artists and Illustrators perspective)

by Danny Garrett, Austin, Texas

The plot thickens and the narrative moves forward. To celebrate this fact in a big way, we have a big illustration kicking off this page. Letitia has crafted a nice little profile shot of our heroine on a grasshopper. Continue reading

Sandro Botticelli, The Temptation of Christ - detail

Page 15 – Plate III: the butterfly, the Princess, and the spider

by Kelley Smoot Garrett, Austin, Texas

Letitia’s artistic and drawing abilities were recognized and cultivated early in her life by her parents, Uncle Doug and Aunt Mary, all of whom ensured Letitia was enrolled in art classes at an early age, continuing through her education at Marlborough High School for young ladies, with formal training at Madame Collot’s completed during her nineteenth and twentieth years, whilst being presented abroad in Paris. Continue reading

Composition made from Letitia Fairbanks' illuminations on this page introducing Fairy Misery, and associated negative imagery

Page 12 – to whisper among themselves (A&I perspective)

by Danny Garrett, Austin, Texas

Here is the first example of a page where Letitia has the text sharing space equally with a prime illustration. And what Letitia chose to introduce in this highlighted manner is a portrait of Princess April’s nemesis, Fairy Misery. Continue reading

As a teacher though, my favorites are the book and arithmetic slate.

Page 10 – And then Princess April would skip off to Fairy School (A&I perspective)

by Danny Garrett, Austin, Texas

This is a typical ‘body’ page in the narrative. When I was cleaning up the ink bleed-through on Letitia’s pages, these were the easiest of all to fix. Continue reading

The word - laughter - with a court jester laughing as the illumination

Page 8 – he touched the fairy baby with his magic wand

By Kelley Smoot Garrett, Hollywood, California

This second page completes the stage-setting that began with the first page, and Letitia illustrating what will become the main motif for Princess April Morning-Glory’s name. Continue reading

Enchanted Forest

Page 7 – Once Upon A Time (the A&I’s perspective)

By Danny Garrett, Hollywood, California

And so the story begins. Much illumination on the page, starting with the illuminated initial, the “O” in “Once upon a time…” The term itself is derived from the Latin initialis, or standing at the beginning. When, as in this case, the initial is nested in an ornate space, and with images inside them, they are known as historiated initials. This is exactly what we have here with butterflies, plants – including a grinning countenance, and a custom border. Continue reading

Plate II: Page 6 – Frontispiece: The Finding of the Baby Princess (Artists’ and Illustrators’)

By Danny Garrett, Albuquerque, New Mexico

Bordered by the fine red line that frames not only the plates, but the narrative pages themselves, the first plate reveals itself. Here we see the Fairy Queen discovering the baby Princess April within a vibrant pink tulip. The dandelion, butterfly and ant immediately provide scale for the scene, with another tulip and various plants rounding out the scene. Everything is alive here. Continue reading