The Jongobble and the Jingleroot Trees

‘Only a fool would dare to awaken the Jongobble’ they said… and a fool it was to be.

Next to the town, there stood a hill. ‘Beware of the hill with the Jingleroot trees’ the townspeople would often say, ‘for it is under that hill that a monster lies sleeping’ 

Many moons ago, so it was said, the Jongobble had been enchanted by the bells of the Jingleroot Trees, which played an irresistible melody, and lured him away from his terrible rampage, long after he had trampled the forest and gobbled up many of the townspeople. 

They say that he now lies sleeping under the ground, the shape of his body disguised under a beautiful green hill on which the Jingleroot Trees stand. 

The fool, (known by the townspeople as  the ‘joker’) passed through the town every year, and always ignored the warnings of the townsfolk. ‘Whoever heard of a Jongobble!’ he would laugh hysterically ‘it is but myth and legend!’ And with a careless kick of his heels he danced his foolish dance, to the bells of the Jingleroot trees, which now played an eerie but contagious lament.

He hopped and skipped, twirled and pirouetted, then stamped on the grass, causing a great shake, all the while laughing recklessly into the wind, unaware of the chaos his careless steps would bring…

The Jingleroot trees only grew in one place. At the top of the hill that overlooked the town. 

There had been a time when the Jingleroot trees were rich in colour… on each branch grew bells of crimson, yellow, vivid greens and luminescent blues. It was said that their bells played a melody so sweet that it would stop you in your tracks. But for years now all the townspeople had heard was a mournful lullaby that wafted eerily from the hill and the trees looked barely alive.

Everyone feared that hill and none would go near it. The childrens of the townspeople revelled in the stories of the Jongobble which their parents told each night before bed,

painting for their little ones a picture of a hideous monster with white fur, a rats tail and deadly spikes. 

Some say he was slain and would never rise again. Others thought he was merely sleeping, entranced into a deep slumber by the bells of the Jingleroot tree.

Little did anyone know that the as the Jongobble lay under that hill, the Jingleroot tree roots had reached out and blind themselves to him. Perhaps the roots were feeding him life, or he was sustaining the trees in their sinister trance … but it was a frightening and dark energy that played that eerie tune..

On the night of the brightest star, the ground beneath the Jingleroot trees rumbled and quivered. At the bottom of the hill, a blood curdling screech was heard by the townsfolk, then suddenly a great shadow loomed upon them…

And so it was that the Jongobble broke from his long slumber and entered into a new age of rage. 

On and on he ranted and raged, raged and ranted, stamping and stomping, gripping and ripping, tree after tree. Trunks and branches were trampled and flattened, forest animals fled, and the townsfolk below waited, their hearts beating so hard that the ground below them pulsed with their fear.

All the tales of the terrible Jongobble that had passed down through generations had one common thread. The Jongobble only feasted on human flesh. When it came to the animals of the woods he paid no attention. Wolves, foxes, rabbits and deer .. all were invisible to the Jongobble. Just the scent of them would send him the other way. It was human bones he wanted to crunch between those hideous teeth.

Armed with this myth, the townsfolk set to work piecing together their rough-hewn animal costumes. With trembling fingers they cut and  sewed through the night, covering themselves with animal scent, racing against time as the shadow of the Jongobble grew ever closer. 

Day was breaking and the Jongobble’s rampage seemed to have no end. 

Suddenly, over the brim of a hill he appeared… carving a vicious path through the trees, which seemed to recoil backwards as if in fright. 

All the townsfolk could do now was watch, and wait.. and hope.

Meanwhile, the Joker was full of remorse for his foolish dance and its terrible consequences. 

As soon as he heard the terrified cries of the townsfolk and saw the great chasm in the earth where the Jingleroot trees stood,  he realised that the Jongobble was not just myth and legend, but real and fiercer than he could have imagined.

He tore through the trampled forest to the apothecary at the edge of the town, and begged for a potion that could reverse his foolish deed. With haste the apothecary prepared him a potion. “Sprinkle the contents of this phial onto the trunks of the Jingleroot trees, and they will lure the Jongobble back to sleep” she told him.

And so the Joker ran to the hill where the Jingleroot trees stood, crying with remorse all the way, so much so that his tears mixed with the potion which he clutched tight. 

Sprinkling the potion onto the diseased tree trunks he waited with a desperate heart. After what seemed an eternity, the eerie lament of the Jingleroot bells ceased, and the dull lifeless colour of the trees faded. Then, quite suddenly the trees were ablaze with rich colour. Never had the joker seen such beauty. 

And that’s then the magic happened…

Before the Joker’s baffled eyes, the chasm in the hill mended itself, and the grass once again grew. A quiet breeze blew the branches of the Jingleroot trees, now pulsing with vibrant colour. The bells of their branches shook, and then, through the air came a melody so heartfelt and beautiful it struck everything still. Ears pricked, heads turned and souls were touched to their very core. 

The Jingleroot trees now played a melody of love, full of feeling, abundant in empathy from the tears that had mixed with the potion, the Joker’s heartfelt tears of remorse. It resonated through the air across the hills and through the forests.

The Jongobble, set on his destructive path, had almost reached the townsfolk when suddenly he stopped, unable to move. The melody circled around him and through him, and then found something inside him. 

He looked at the townsfolk, quivering and vulnerable in front of him, and instead of thriving on his own power, he saw straight into their eyes and felt their fear. He felt that he stood where they did. The Jongobble saw reflected in their terrified faces his own fear, felt many moons ago. Fear of being ‘the other’, fear of being different and not accepted. Fear of being drive away, underground. 

He sunk to his knees, his face softening, and claws retreating. He looked suddenly quite vulnerable, and peace seemed to flow through him.

From that day the Jongobble lived amongst the townsfolk as their friend and equal. The stories of the terrible beast who lived under the hill were still told each night, some might say with even more flare and embellishments than before, but now there was a firm and beautiful ending to the tale. A tale of empathy, acceptance and love. 

So, perhaps next time you take a walk over a hill, you might decide to pause and consider what lies beneath your feet..

Corvello and the Bird Queen ~ How my Folktale came to be

This year I knew I wanted to participate in the Folktale Week illustration challenge, which ran from the 23rd to 29th November, and consisted of a set of seven word prompts which participating illustrators then interpret and put their unique spin on. Having seen so many captivating illustrations popping into my feed when I first discovered it last year, I felt instantly drawn to the idea of weaving aspects of old folktales into my own illustrations.

The dark, mystical and magical nature of folktales has enthralled me since childhood. I remember, as a young child, having a huge anthology of the Brothers Grimm stories, which I would pour over for hours alone in my bedroom, and repeatedly watching the wonderful Jim Henson “Storyteller” series (on a tired old VHS tape!) which recreated folktales from around the world using puppetry and the magic of TV (yes, I was an eighties kid!) Those hooded characters and magical beasts have always been part of my inner storytelling landscape and so Folktale Week seemed like the perfect vehicle to bring them to life through my own visual vocabulary.

So, I made my announcement post…

Eek, well there’s nothing like an announcement to seal your commitment, no going back now! I fell in love with these darling fairy mice, and so they featured throughout my Folktale illustrations as little auxiliary do-gooders.

Eek, well there’s nothing like an announcement to seal your commitment, no going back now! I fell in love with these darling fairy mice, and so they featured throughout my Folktale illustrations as little auxiliary do-gooders.

The prompts are released one month in advance and then participating illustrators have that month to create seven illustrations responding to those prompts. This year they were: Birth, Ritual, Courtship, Solstice, Death, Harvest, Dance.

Somehow the days passed, November was already upon me and I realised how much work this was all going to be! Although so desperate to get started I had a terrible block once I saw the prompts. Oh no! What to do? I researched and researched (great to rediscover the Jim Henson storyteller series!) , but found little to go on that would do justice to the prompts in the way I had hoped or imagined. So, after some thought, more block, plus a little bit of panic, my ‘thrive under pressure’ self came to the rescue and came up with the idea of using the prompts to craft my own story.

I knew the things that inspired me and that I would love to draw, including wolves, giants, mice, cats and birds, oh yes… birds! I have recently been unable to draw anything but birds! This seemed like a great way to really immerse myself in their world. I started researching any folktales that involved birds, and investigating which kinds of birds featured in folktales and the symbolism behind them. Interestingly the birds which seem to prevail in most folktales worldwide were: Ravens, Magpies, Swans, Geese, Owls, Doves, Cranes, Eagles, Wrens and Nightingales.

I rediscovered a folktale, the Seven Crows, which has been reinvented time and again in different guises, that tells of a jealous stepmother turning her stepchildren into ravens (or in another version, wild swans). This triggered something for me. An early memory of a dark hallway in the town house where I grew up, in which hung a sinister framed print of a beast who was half-man, half-bird (I used to rush past it every night with my eyes half-closed to get to my bedroom!) My mother was also an artist with the most fervent imagination, and I suddenly recalled her own fascination with these kinds of hybrids, and how her own beautifully illustrative paintings and drawings would often feature such beaked people, or humans with slightly animalistic qualities. I felt that wonderful surge that tells you an idea is starting to unfold, the tingling that tells you you are onto something. Now I just needed to find a way into my own tale and how to structure it.

If I could just come up with a strong idea for the first prompt ‘Birth’, I felt I would be up and running. I skimmed through the folktales I had at my fingertips looking for anything involving birth. I wasn’t sure if I was going to be very obvious and depict the birth of a baby, or think more metaphorically about birth, but then I remembered another old favourite tale, Hans My Hedgehog, which tells of a peasant couple so desperate for a baby that they wished for even a hedgehog, and then, guess what, gave birth to a half human-half hedgehog. Could I somehow incorporate this idea with my bird theme? Getting closer now…

The final source of inspiration that helped bring my folktale to life wasn’t actually a folktale at all, but a line in a poem by the wonderful late Irish poet, Seamus Heaney. I felt somehow that my subconscious must have been finding ways to connect with my beautiful Mum (who passed away last year) as Seamus Heaney was her very favourite poet. I recalled beautiful sun-filled drives through the countryside near her home in the North of France when we would play the cassette tape of Heaney’s poetry on repeat. The lines: “What did Thought do? Stuck a feather in the ground and thought it would grow a hen” (From Heaney’s poem “Sweetpea”) came floating back to me and there I had it. The idea was born! My tale would start with a peasant woman who longed for a child, and in her desperation she takes advice from an old pedlar, who tells her to plant raven feathers in the ground for seven nights, and then she will have her child …Yes! Now I had something concrete to work with, and the rest was just fleshing out the story!

It all flowed out fairly quickly from that point. I thought through each prompt in my head then roughly jotted my tale down. Very soon the idea of the Bird Queen was born. I always loved the idea of the evil sorcerer incognito when I was a child, and so decided that the pedlar would be the Bird Queen in disguise. Although I liked the idea of playing with a ‘modern folktale concept’, I knew that this tale was ultimately going to have quite a traditional feel to it.

Once I had the story roughed out I did some very simple thumbnail sketches to think through how the illustrations would take shape compositionally. From a portfolio-building viewpoint, I wanted to make sure that over the course of seven illustrations, I would try out a range of perspectives, such as close ups, aerial views, and definitely one that would be on a more ‘epic’ scale (which my ‘Death’ illustration definitely became).

You can scroll through this little gallery to see some of my rough sketches and scribbled notes. You’ll see how very rough the sketches usually are, but they are an integral part of my process. I cannot imagine not putting pencil to paper and scribbling, before refining the illustrations on my drawing tablet, through Photoshop.


By the time Folktale Week arrived I had about three illustrations completed. I really had no idea how or if I would get all seven done (but also had a feeling, knowing me, that I would probably push myself and do them anyway!) In the few months leading up to folktale week, my work had naturally started taking on a more pencil-line, textured look, in parts super detailed, but in others, quite loose and scribbly. This way of working up an illustration had now really set in and so enabled me to find a rhythm in building up each piece fairly quickly, although the details would then become something of a labour of love, and knowing when to stop… oh, the biggest of all conundrums! I already knew roughly the colour palette I wanted to work with, which didn’t stray too far from my typical palette which is usually limited to around 6-7 colours so that helped a great deal. I knew I wanted the colours to start off quite dark and moody until the tale reached it’s peak (the Death of the Bird Queen scene) and then to become lighter and more joy-filled as the story reached its ending.

It was overwhelming and very humbling to see the lovely responses to my illustrations as the week went on. I was truly amazed to wake up halfway through the week and see that I had suddenly gained a flurry of interest on instagram after one or two of my illustrations had been shared not only on the official Folktale account, but also the wonderful Storycamp Disco, (behind which is the truly one-of-a-kind inspiring Deborah Stein). The most rewarding and heart-warming part of it all was not gaining followers or likes, but the fact that so many people truly were invested in my story and following it along it all the way until the end. I could sense people hoping for a happy ending, or redemption where redemption was due, and it was an overwhelming and beautiful feeling of collectiveness and connectedness.

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So, what do you do after putting your heart and soul into this whole illustration challenge experience? Well, you let the fairy dust settle, regather your strength, claw back lost sleep, and a sense of normality, then look back over all the immensely talented illustrators’ interpretations of the prompts that you didn’t have time to absorb in the moment, and reflect happily on the whole intense, magical, exhausting and wondrous experience that is Folktale Week.

And, mayhaps, you can’t help but look at everyday folk in a slightly different way. Was that man on the train today hiding a beak underneath his facemask? Was that lady I walked behind in the tunnel today tucking her feathers carefully out of sight?

If you have read this far, you are amazing and I thank you! And now, without further ado, please enjoy “Corvello and the Bird Queen”

Corvello and the Bird Queen

A folktale written and illustrated by Imogen joy

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There was once a young peasant woman who longed for a child. One day an old pedlar who was passing through her village told the woman to plant 100 raven feathers in the ground at the foot of an old oak tree for seven nights, and she would have her child.

The peasant woman, so desperate was she, completed the arduous task and finally gave birth to a baby. As soon as the baby was born, she saw that although he was human in form, he possessed bird-like features, and small feathered wings grew from his back. The peasant woman cared not, and loved the child, who she named “Corvello” with all her heart.

Unbeknown to her, the pedlar was actually the Bird Queen, a powerful sorceress who bewitched newborns and turned them into bird folk...
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All was happiness for the peasant woman and her newborn. But then came the fateful day when the Bird Queen took the raven boy under her servitude and stole him away in the black of night. The peasant woman was heartbroken. By day she roamed the land calling his name in vain, and by night she lay under the oak tree on a bed of the raven feathers she had planted, longing to see her Corvello again, or else be swallowed up by the ground below her.
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Years passed by, and the Bird Queen amassed an army of bewitched birdfolk. At times they occupied their human form, but at the Bird Queen’s command they metamorphosed into their bird selves to carry out her wicked deeds.

Over time, Corvello fell in love with an elegant swan named Luna, a bird-person just like him, bewitched under the sorceress’s spell. Together, Corvello and Luna would dream of their return to the human world and their families. Eventually, a plan was formed..
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Corvello and Luna gradually spread news of their plan to end the Bird Queen’s reign, amongst the bird folk. The day would soon come when the powerful sorceress would fall and the bewitched bird folk would return to their homes and families. But until that day the helpless flock would remain at her mercy.

The Bird Queen’s hunger for power was all consuming and she took great pleasure in tormenting the people of the land. On the day of the summer solstice celebrations, the most joyous day of the year for so many, she plotted to bathe the land in darkness. From village to village she flew with her enchanted flock, screeching wickedly, and tormenting the villagers. The sky was filled with birds, blocking out the sun. Black menacing shadows fell across the land and its people. All was darkness. Their crops failed, and hope vanished..
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And so the Bird Queen went on, tormenting village after village until the whole land was bathed in darkness. Then she gleefully ordered her bewitched flock to fly to the last village, the one in which Corvello’s bereft mother lived. The flock flew towards the village. Just as they had almost reached its edge, suddenly with an almighty surge, every single bird in the flock soared higher and higher into the sky... further and further away from the village, and the land, until they were high above the ocean.

Furiously their wings flapped, bewildering the sorceress who screeched “You are my servants! Do as I command you!” ... then through the deafening flap of wings came Corvello’s calm and commanding voice “Too long have we been at your mercy. Now you must feel what it is to be powerless” and beating their wings ever more furiously the flock dropped the Bird Queen into the sea below. Her screeching faded to silence as she and her darkness were swallowed by the hungry crashing waves.
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As soon as the Bird Queen fell, light and colour, so much colour, returned to the land. The bird folk happily returned to their human form, albeit for a few feathers which remained. Crops grew and the harvest was abundant. As if by magic, each time a crop was harvested it would replenish itself to the delight of the hungry villagers.

Corvello and Luna travelled throughout the land in search of Corvello’s mother. So long had he been parted from her that he had no memory of the village where he came from. As they passed through each village, Corvello and Luna would stay a day or two to help reap the plentiful crops. They rejoiced in seeing the happiness in the faces of each of the peasant folk. Yet Corvello’s heart was heavy. Would he ever find his mother?
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Exhausted and with heavy hearts, Corvello and Luna reached the last village at the edge of the land. They had travelled the country far and wide to find Corvello’s mother, but with no fortune. Summer had turned to Autumn, and a chill was settling upon the land.

As they entered the village, a crowd gathered round them with intrigue. The bird folk were somewhat revered throughout the land and some even thought them bearers of good fortune. A weary peasant woman was collecting wood nearby. Upon hearing the whispers of intrigue she looked up. Through the crowd she saw him. A young man, with chestnut brown hair and rosy cheeks just like hers. A young man, with feathered wings!

“Corvello! My Corvello!” she cried in disbelief, dropping to her knees. Corvello ran to embrace the woman, whom he instantly knew to be his mother.

There was much rejoicing in the village that evening. Corvello and Luna were welcomed into people’s hearts and lives. Music played and the dancing and merriment began. To their astonishment, the bird folk saw that, as they danced, the last remaining feathers fell from their bodies and caught in the gentle evening breeze. And so they danced on, shaking off the trauma of their past and embracing the hope that was now their future.

*THE END*

The hosts and co-founders of Folktale Week are all amazing illustrators. Please be sure to check out their beautiful accounts here: Jennifer Potter, Sofia Moore, Deborah Stein, Nicola Allen, Laure Allain, Tanja Stephani, Rachael Schafer, Debra Styer, Louise Anjou, Mateja Lukežič , Margaux Kent, Chelsea Larssen

The Ultimate Portfolio Building Experience

Last November I completed the ‘Ultimate Portfolio Builder’ course with the amazing ‘Make it in Design’ school (you can find out more about their courses here). What a wise decision it was. It truly helped me to consolidate and hone my style and direction in Surface Pattern Design.

The course was absolutely packed with incredible content from beginning to end, all designed to help step outside your comfort zone, and find your unique voice, through a process of experimentation.

One exercise that proved so invaluable to me was the simple process of keeping up a daily sketchbook practice. Thanks to this exercise, I built up a rich bank of motifs which I can call on for years to come in future patterns. The exercise wasn’t simply to draw the things you love (oh yes, we’d all like it to be THAT simple!) but included drawing things you don’t usually draw (for me this was household objects, kitchen utensils and aliens!) and things you find challenging to draw (hands.. and faces). It really taught me that as artists, we cannot simply expect to develop a style without putting in the drawing hours. It is through the process of observation, and sketching that we inevitably build the confidence and muscle memory to eventually stylise and find our voice. Also, it is so much fun to see how many different ways you can draw a dog, a car or … a cup. Here you can find some of my sketchbook pages:

There were so many other priceless exercises that really helped us to push our boundaries and get into unknown territory to find out after all, if that territory might become a place where we could actually surprise ourselves and flourish. I loved the card picking activities where a set of prompt cards would be provided for the weeks theme (such as nature, or animals) of which we would cut out and randomly select 2 -3 to make a pattern from. It was from this exercise that I produced one of my kids patterns collections that I am most happiest with to date, called ‘Lion Fiesta’. The cards I picked were ‘lions’ and ‘people’ (it took a while to think how I could combine the two in a meaningful way but the process of getting there was so enjoyable):

'Lion Fiesta' Children's Decor Collection

We walked through different styles and genres of patterns , dipping our toes in each one to find out what really excited us. I ended up feeling most energised by the retro/vintage crossover.

A wonderful exercise that highlighted the power of colour, was to make over an old pattern with a new palette from a particular style. I chose a design I had created back in 2017 on Module 2 of the ‘Art and Business of Surface Pattern Design’ course called “Those Magnificent Flying Machines'“ and gave it a new lease of life with a more retro/vintage inspired colour palette. It was so nice to revisit the design after 2 years and see how far I had progressed with honing colour palettes and understanding more about the impact and importance of colour in a pattern. I could clearly see that when I had first started out my designs were quite ‘washy and pale’ and colour had been more of an afterthought than a starting point, whereas now I feel my patterns more considered in terms of colour choices. Here you can see the ‘before (left) and after (right)’ :

The part of ‘Ultimate Portfolio Builder’ that got me producing patterns at a speed that surprised even myself, was the live briefs, provided by wonderful companies such as arts and crafts magazines, or greetings cards companies. Working to briefs for actual companies with ‘real’ deadlines was almost like having an apprenticeship in your own home! I feel this really prepared me well for the reality of working to tight deadlines and more specific criteria and strangely, I quite enjoyed having the pressure valve pushed!

'Underwater Symphony' Collection designed for one of the Live Briefs on UPB

There is just so much more to effuse about this course and its value in really preparing you for launching into a surface pattern design career, I could write for hours! Instead, I will leave you with my video testimonial where you can find out more reasons why this course is so worth investing your time in. Thank you to Rachael Taylor and her incredible support team at Make it in Design. They have helped countless designers break into making a living from doing what they love and I truly hope the next one can be me!

Eyes and Ears and Mouth and Nose ..

 

Just a couple of months ago, I decided to take one of the amazing Make Art that Sells courses which was a little self-paced course called ‘Drawing Faces’ (Part of “Lilla’s Art Recipes”) put together by the amazing Lilla Rogers.

I am so pleased I did it! As a child, all I used to draw was people and strange caricatures, often with contorted features, like gargoyles. I loved nothing more than drawing a good face.

But as time passed, my obsession with drawing towers, piers and other such forms took a strong hold and I stopped drawing people altogether … for years (apart from in Life Drawing classes taken during my Masters Degree).

With the renewed resolution to follow my heart into children’s book illustration I am now returning to that rusty domain and overcoming the fear, of lips, eyes, noses, head shapes .. time to embrace it all!

The course was perfect for just losing the fear and experimenting with different styles too, as Lilla suggested a range of material and techniques. Thanks to her materials suggestion I rediscovered my love of the charcoal pencil for creating those lovely tapering lines.

We started off with tracing faces, just to get a feel of how features and their placement can vary so much from one individual to another. I traced Oprah Winfrey, then Ian McKellan and David Bowie. Wow, who knew ears could sit so high up one person’s face, and so low on another’s!

Then there were experiments with face shapes, eye shapes, mouth shapes and also varying the scale and distance between features. Finally came the very exciting style mash-up which involved picking random features and putting them all together on one face (such as bushy eyebrows, long curly eyelashes, a pierced nose, stubble, and cupid bow lips!)

It was a great way to loosen up and stop seeking perfection when drawing faces. I have put less pressure on myself to find my ‘perfect style’ for drawing faces and just let all sorts of different styles emerge. I learned so much and feel much braver to tackle faces head on, in all their messy imperfect glory!

The section on children’s faces was so helpful, especially as I am looking to do more children’s book illustration.

There was also a whole set of daily prompts provided which provided practice with all sorts of different angles, emotions and scenarios.

Below you will find lots of my exercises completed during class, and the final animated GIF I created based on one of these sketches, which I developed further using digital media.

I highly recommend taking the ‘Drawing Faces’ course and indeed any of the Make Art that Sells courses to anyone wanting to build up their illustration portfolio. Go check them out here!

Below is a face I decided to develop further, from my initial rough sketch. She started as a quite intensely staring lady whose hair started flowing, so I decided to add fishes to it, and as she developed she almost became a bit of a Sea Goddess. I decided to animate her, as I love playing with animation. She eventually ended up becoming my announcement image for “Our Planet Week” (Stay tuned as there will be a whole post all about that coming very soon!)