Drawn slowly,on purpose.
I am Odile Marsh, an illustrator in Porto. Ink, watercolour and a lot of tea go into every page, and every page here is a real one from my sketchbook.
On the desk now: a book jacket for a salt-marsh essay three tea tins and one teapot a poster for a night tram a wren, four seconds long
- 11years in print
- 140+commissions
- Jannext open slot
Drag the lens over the drawing, or focus it and use the arrow keys.
Under the loupe
Look a little closer.
The big picture is only half of it. Odile builds texture from thousands of small marks, and they are all here at full resolution.
Selected commissions
Work for people who like paper.
Twelve monthly covers, one botanical study each, painted from cuttings left on the editor's desk.
About
Slow hands, short deadlines kept.
I draw at a table by a north-facing window, mostly in the morning, mostly with a dip pen. A job starts with a week of small ugly sketches, moves to a clean pencil layout you approve, and only then gets inked and washed. You see every stage, and nothing is a surprise.
On the table
- Walnut ink and a steel nib
- Cold-press paper, 300 gsm
- Six pans of watercolour
- A bone folder, a lot of tape
How a job runs
- A call and a brief
- Thumbnails in a week
- Pencil layout, one round of notes
- Final ink and wash, scanned at 1200 dpi
Say hello
Tell me what you are making.
A paragraph is plenty. I reply to every message within three working days.