WIP: With Sketchy People

I was out of town last week, but now I’m back and here’s what I was working on today. You’ll recognize the same scene from my last post, but I’ve added a bit of highlights and shading and I sketched in all the characters.

This scene is to be an illustration of Claudette Colvin’s March 2, 1955 refusal to give up her seat to a white woman on a segregated bus. You can see Miss Colvin there in the middle, with her schoolbooks and her righteous defiance.

I’ll post more as I work on it.

A work in progress illustration of Claudette Colvin refusing to yield her seat on a Montgomery Alabama bus in 1955.  The interior of the bus is mostly complete, but the characters are only sketches on white backgrounds.

WIP: Bus Interior

Here’s something I’m working on just now. It’s a work in progress, so it’s not intended to be finished yet. I have the lines and base colors in, but that’s about it.

It’s the interior of a Montgomery, AL bus CIRCA 1955. It will be the background for an illustration of Claudette Colvin’s March 2, 1955 refusal to give up her seat to a white woman on a segregated bus.

I found quite a few pictures of buses of that period and I did my best to get it accurate.

I’ll post more as I continue to work on it.

A work in progress illustration of the interior of a Montgomery, AL bus, CIRCA 1955.

Bass Reeves

Here’s an illustration of Deputy US Marshal Bass Reeves riding out of Fort Smith, Arkansas with a warrant in hand. Bass Reeves was the first black Deputy US Marshal west of the Mississippi. He is thought to be the real-life inspiration for The Lone Ranger. He did not have an Indian sidekick named Tonto (which is offensive on a couple of levels) but he did have friends among the indigenous tribes living in the Oklahoma and Indian Territories. The story is that he fled to Oklahoma Territory after he learned about his emancipation from slavery after the Civil War. There he learned several native languages and how to shoot and track. Those skills and contacts, along with his own ingenuity, later helped him track down the outlaws he was charged with capturing as a Deputy US Marshal. Upon his retirement, he had over 3,000 arrests of felons on his record and had killed 14 outlaws, an impressive tally which inspired many stories.

I used some artistic license to give him a white horse, like The Lone Ranger, and the traditional white hat of the western hero. The Fort Smith courthouse is drawn how it looked sometime in the 1870s. I used several reference photos for both the courthouse and Bass Reeves himself.

The font I used on the bottom is named Nashville and designed by Disturbed Type. I like the eroded look to it. I hand drew the letters for his name using the font Tagwood by Intellecta Design as a guide.

The Neighborhood’s Night – Page 15

Page 14 doesn’t have an image, so we skip on to page 15 from The Neighborhood’s Night by Juliana Catherine. This is the last illustration and the end of the book.

It’s not a completely happy ending because, even though Leena’s back in her own home, Amaya’s family lost their house. This is supposed to be a “tough subjects” series, so a not entirely happy ending is appropriate. But it’s not all bad because Amaya has sent Leena a letter saying how they found a place to live and are doing okay. They even sent pictures.

I made sure it’s the same couch and wall as page 4 so it’s definitely the same house. It comes full circle.

An illustration for page 15 of The Neighborhood's Night by Juliana Catherine.  A girl curled up on her couch leans back against her mother who is sitting beside her.  The girl is reading a letter and the mother is looking at some photo prints.  They are both smiling.