Unposted Publication Project Graphics
Once upon a time there was a fanfic trilogy.
It was very popular. It had hundreds, possibly thousands of followers.
Unfortunately, rather a lot of it was written while the author was at home feeling unwell. Two-thirds of the way through the last volume, she was diagnosed with a serious illness.
To the best of my knowledge, this portion of the story has a happy ending. She received medical attention, recovered, changed jobs, and found a number of projects with which to occupy her time.
And, unfortunately, she no longer had a lot of inclination to stay home and write. The final volume remains unfinished, and is long abandoned. I would not be astonished to learn that in retrospect, the whole period she was writing it is associated with a rather frightening period of her life. But that is neither here nor there.
I had already requested, and been given permission to produce Red Hen editions of the trilogy. The first two volumes were completed, pending editing and corrections, and a fair degree of work had been done on the third when the project was abandoned by the author.
I do not post projects on my site without the author’s approval of the final versions. We never got to the edit stage of these projects (timeline glitches and continuity errors for the most part) and I do not have the author’s permission to post them.
This remains a disappointment. I had put a great deal of work into them.
The stories themselves are readily found online in .html format. The graphics, however, I finally decided to extract and post separately. It would have been better to get them all in situ, but, frankly, I doubt that is ever going to happen. These documents contain only the illustrations/decorations used in each volume with, at most, a snippet of the text, or a capsule description of where they occur. There are Afterwords included with my own comments on what I was attempting to do with each individual volume.
At the point that these were built, all of my illustrations were based upon commercial clip art. Most of it heavily modified, but some of the incidental decorations were merely dropped in with their colors adjusted. I probably shouldn't have included those in the documents, but this way you get at least some of the idea of the whole effect.
These are .pdf documents. As is standard on this site they are posted in both uncompressed form for online viewing, and compressed form for download. These examples are only available in screen resolution, since a full resolution version of the actual project was never made available.
Indeed, were I to be given the author’s permission to post these projects, I would take these versions down. But, like I say, I doubt that is going to happen.
The Travelog Trilogy, vol I: Roman Holiday by “Anna”
This project was the very first in which I used the “virtual book” layout with the faux 2-page spreads which is now standard for the Publications posted on the site. That layout was originally developed for this volume of this trilogy, which was produced over the autumn and early winter of 2003.
I was going for a “contemporary” look, with fairly straightforward illustrations. As stated above, all of the art was modified from commercial clip art, apart from the cover photo of the Trevvi fountain, which had been shot by a friend some years earlier.
The Travelogue Trilogy, vol II: Jewel of the Nile
This volume was produced over the summer-winter of 2004. It took a while to complete.
The layout here heavily utilizes the work of the incomparable Marwan Aridi of Aridi Computer Graphics, in addition to my usual sources.
The layout turned out to abhor white space, so there are any number of extra decorations dropped in to plug the gaps.
The Travelog Trilogy, vol III: Last Tango in Paris
This one, as far as it goes, was produced in early 2005. After ‘Jewel of the Nile’ I wanted to attempt something a “little” less gaudy, somewhat more restrained, and more elegant, if I could manage it. But certainly not plain.
I finally went with a sort-of Art Nouveau look (Paris being largely associated with that particular design movement) and adopted a duotone treatment in the illustrations.
I had also undertaken a couple of special additions as a surprise for the author.