I got excited and sent Memphis Magazine more work than they had room for in their illustrated feature on Burke's Books turning 150 this year. One was clearly a side quest on my part. I was both amazed and amused that the fancy Paris Opera is also 150 years old, and I love that building, so I did a painting of it too. I also sent them more dogs than they could use, since more dogs are always happy. They got Frankie with the heart-shaped nose on the website in their digital version but didn't have room in print. Maverick, with his owner's legs, made the magazine next to the editor's letter (a fellow dog lover) instead of with the feature itself, but that also made me happy.

This was such a joyful project to do that honestly I just didn't want it to end. It's been fun seeing it out and around town on new stands all month. I've had a slow year overall art-wise, so this has really been a thrill.

I'm a cover girl! Clearly not me, but my work. I spent several months working off and on illustrating the nooks and crannies of Burke's for the 150th anniversary. It's one of my truly special places, and I was thrilled that Memphis Magazine let me illustrate their feature. I was also thrilled it ended up being the cover story. These are still on the new stands through October, and you can also read the full story and see all my illustrations on their website.

I grabbed my small sketchbook on a slow weekend morning, and my Inktense pencils were on the coffee table, so I did a bit of sketching just for me. I'm doing a big illustration project that I can't show right now, and it was fun to do a bit of loose, no agenda sketching before diving back into that job. These are the water soluble pencils that get really deep and rich with some water, but I was happy with how it looked like this and didn't push for anything else.

I've been working to update my website lately, and I've added several book covers to my illustration page. A Troubling of Goldfish is new this summer, my second for Corey Mesler who also owns (with his wife Cheryl) Burke's Book Store which turns 150 this year (!) and has supported my own books since I started. I'm delighted his publishers wanted to use my work. The tree on the grey textured cover is from the Book of Common Worship for the Presbyterian Church, USA. That's my biggest illustration job to date, finished several years ago.

The newest cover is one I designed for my Dad's book, Poems of a Green and Pleasant Land. Dad wrote his way through most of British and Irish history back in the 70's to 90's, before self publishing was easily available. It's felt great to circle back to this project and be able to put it together for him and have a physical book in his hands. The hard copy proof came today, and I'll put the order in as soon as the Ingram website finishes its maintenance this week. Burke's is going to stock a few for the history nerds out there, and I'm so grateful to them for keeping all our family books.

Memphis Magazine let me illustrate their back page feature "The Last Stand" last month. I loved having an open ended invitation to tell a story. It was a quickish turnaround, and I didn't manage a full narration, but I went to two farmers markets after getting the assignment and had fun conversations as well as seeing the rich visual bounty of such places. I ended up doing a graphic feature called "Farmers Market chit-chat." I keep saying I'd like to do more visual storytelling, and it was lovely to get the invitation. See the whole spread here.

And of course Henry made an appearance.

I've gotten a little bogged down in my current three block print, so it was fun to do this small fast one over the last couple of days. I'm still working on laying out that book of my Dad's poems, and there was one lone poem near the middle, bracketed by two really good pairs before and after, and instead of disrupting one of the pairs, I decided to just do a small illustration. We're keeping the book of history poems in chronological order, so I couldn't just shuffle things around too much. This is Glastonbury Abbey, which I've visited twice over the years, and it will accompany a poem about the dissolution of the monasteries. I'm really happy with how it turned out, which feels especially nice as I struggle with the other print.

I've been really busy with family business lately and not getting much art time, but I am taking breaks to get out in the sunshine and enjoy spring. It refills the cup. Henry and I took a lovely afternoon hiding deep in the old forest so I could sketch and enjoy the wildflowers, and I decided to put him in the foreground of this first one. I did a number of sketches of Mr. Darcy leaning against my knees or sleeping on my feet, and the intimacy of those sketches makes me happy. Here I had looped Henry's leash over my boot while I made a mess of sketching some trillium. I did this second sketch after, which I was really pleased with. It much better captured the full joy of that afternoon.

The next day my sister Erin suggested an impromptu visit to the family farm to pick the daffodils that have naturalized over the 19th century home site out there (the house was gone before I was born). She and her boys met me out there. They all moved crazy fast, and I got Wesley (the smaller one bending over) too big, but it was fun to catch that moment on the fly. I stayed after and finished the background. Always draw the bits that are going to wander off first.

Yesterday I went back to the park after spending most of my day doing business-y things instead of making art. It felt lovely to walk and sketch. This tree has been calling my name for several weeks now, and I enjoyed settling in to sketch it.

Y'all, what a great week. Memphis Magazine published a truly glowing article about my book that meant so much. Jesse Davis saw what I was trying to do with my art and put it into words better than I ever could have. I'm so grateful. You can read it on their site here. My only regret is that I wasn't smart enough to think of the name Memphabetical for the book itself.

And I mean... "And what beautiful pages they are — Kelly’s paintbrush seems to capture Memphis on those rare and perfect spring days. The Southern sun shines off the glass storefront of A. Schwab on Beale Street and the stained-glass windows in the historic Clayborn Temple. Deep-green shadows pool beneath magnolias at Elmwood Cemetery, seeming to suggest quiet contemplation. Kelly’s artwork is dazzling, and she has trained her eye to look beyond the first thing she notices. In her hands, Memphis is seen lovingly and honestly."

Also this, so exactly what I hoped people to feel, but again, in better words: "The book does not set out to tell some imagined definitive “true story” of Memphis; rather it reads like a series of postcards sent to a close friend. It’s Kelly’s attempt to show the reader Memphis as she sees it, to show what she loves about this multifaceted city by the mighty Mississippi."

So many thanks to Willy Bearden for taking the photo at the top JUST before Memphis Magazine asked for one to use. I didn't have a current one I was happy with and was thrilled to get this one. It's from the Burke's Books signing party back in December. They even did the chalk board specially for me! Here are a couple of less high quality snaps, including one of me and my dad, but I'm in good memories mode this week with the article coming out.

Also this week Channel 5 news saw my book at Dabbles (shout out to Debbie for my best hair cuts, dog love, and her unstinting support of my work) and asked for a feature interview. I met Taylor Tucker at Crosstown and had a lovely chat, which she boiled down into this feature on last night's news:

It's been a weird Christmas around here, and I haven't sketched or posted as much as I had planned. Winter Arts took a good bit out of me since I was low ebb anyway, and then I got the stomach flu last week. But I recovered enough to enjoy a low key Christmas and do at least a little sketching. I did get a smallish tree up, a Charlie Brown sort of cedar from my family farm, and I've really enjoyed it. It's the kind of tree my family has always had, lucky that we still have a farm to cut one on. I did a sketch of it before the bug got me. And coming back out of it, I managed (at the very last minute) to do this map of the same family farm for my dad for Christmas, putting in all our nicknames for specific places and tucking in several of our dogs and my favorite trees. That felt so good to do, and it's made me think about doing a bit more family sketching as a sort of scrap book.

Then today, still tired from the bug but upright and back on solid foods, I decided a good low key activity would be a little car sketching. I had been eyeing the Bartlett Wine & Spirits with Santa on the rooftop and the canary yellow building as I've been driving to and from the farm this past month. I was afraid Santa would disappear any day, so I drove out and sketched from my car and bought a bottle of wine for the new year. A very satisfying outing. I'm ready to get back to more regular sketching.

I spent a ton of time this year drawing individual letters, coloring them by hand, and scanning them in and then having to clean up the scanner noise. I had done one experiment years ago to put lettering over a background, and it occurred to me yesterday that I could paint strips of color and scan in black and white text and fill in with my prepared strips instead of doing each letter separately. So these images....

became these:

In order to make the image/logo image background transparent in Photoshop try the following:

1.Right click the image layer in Photosho or use the dropdown layer menu to select ‘Layer From Background’.

2.Select the Magic Wand Tool from the left panel and select the image area you want to be transparent using the Magic Wand Tool. Once selected, click ‘Delete’ on your keyboard. With that done you should see the transparent background (a checkerboard pattern) around the image.If some background areas remained non-transparent, repeat the magic wand for each of those areas.

3. Drag in the background image you want to use and size it behind your main image (or just use the paint bucket to drop a solid color there).

4. Use the paint bucket outside your image (in this case around the letters) to drop white or whatever background color you choose. If your color is digital, it will be one smooth transition. The variations and grainiess in the watercolor meant I had to use the paint bucket on numerous areas and then clean up small bits with the eraser tool, but it's worth it for the paint-on-paper look I want.

Finally I drug that whole block of text into the bookmark I've designed to hand out at the book party Burke's is giving me on Thursday, December 5th from 5-8pm. It's part of Cooper Young Night Out, so stores will be open late and Santa will be in the pavilion. I've never had a book party before, and I'm super excited, which is why I'm diving in with this extra bit of fun. Here's the back of my bookmark to go with my new book:

I got fired up about the possibilities for this last night, and I decided to make a digital font of these bubble letters that I can just type into Photoshop (once I download my font) and then fill with my paint samples. I got iFontmaker from the Apple store a couple of years ago and have been playing with making my own handwriting font. It's a super easy to use, draw with your finger on a phone or (recommended) a tablet kind of program. The web addresses on the bookmark are in a font I made called Memoir (which is a free download if anyone wants it just for fun). I've drawn out half of this new alphabet. I did all these letters for P is for Possum, for the cover of Memoir of a House and for Portal, and then all the letters in M is for Memphis. I think I'll use it enough for it to be worth the trouble. This is the fun kind of rabbit hole you can go down with your main show (Rowan Oak, up into January at least) up on the walls already and your book in hand for the holidays. I always enjoy some extra play after a big push.