Lindsay Francis Brambles
Coloured Pencil & Other Media
Saturn Girl, colour pencil on sketch paper. 43cm X 34cm, circa 2017.
Harley Quinn, colour pencil on sketch paper. 40cm X 34cm, circa 2016.
My six year old niece is very into Wonder Woman these days and commissioned me to do this for her. It's colour pencil on textured, coloured paper. I was going for a somewhat painterly look while retaining the comic book feel. Of course, as this was for a six year old, I didn't want anything that looked violent. 2015.
Reese. Coloured pencil on coloured, textured paper. 2009.
McKee. Coloured pencil on coloured, textured paper. 2013.
Just your everyday, patriotic superhero. Colour pencil on bristolboard. 1991.
This is a large, poster-sized pastel picture. It took a few hours to render and it remains a favourite of mine -- mostly because I lived in Tanzania for a while and Africa has never really gotten out of my blood ever since. And what could be more quintessentially African than an elephant? 2005.
This is one of the oldest pieces I have. Done in the mid-seventies, it's a chalk-crayon sketch on black construction paper. It's creased and a bit faded; and as you can see, it's from before I started signing my art Linzi.
This one's called The Moment of Creation. It's a mosiac constructed of broken tile pieces. It's the size of a coffee table and the wood frame is part of the art, having been crafted from an old picnic table. 2003.
This is a stained glass piece. It doesn't show up too well in this photo, but the image is a stylized representation of Kilimanjaro. 1997.
This was a commissioned piece for a local volleyball team's t-shirts. It's a riff on the old ads in comic books that featured sea-monkeys (which I believe were only some sort of krill) cavorting about in underwater castles and the like.
Mediterranean Seaside. This is sort of a fresco, painted directly onto a wall in acrylics. The image was then framed to look like a window, using cardboard overlaid with plaster. 2003
Summer Feeling. Another fresco-like installation, set over the front door of a house to give the impression of a transom through which one can see trees. It's meant to give a summery feel to the hallway -- especially during the long winter months in Canada. Acrylic, 2003.
The first of two posters for my novel, Becoming Darkness, this version reflects more of the first half of the book. It is a digitally drawn piece -- using a Wacom Bamboo tablet and Autodesk Sketchbook. Circa 2015.
The second of the two digitally produced (but hand drawn) posters, this version reflects the second half of the novel Becoming Darkness.
