“it’s possible.” {your own personal fairy godmother.}

fairy godmothers can be working for the heroines or their conniving adversaries.

they can be evil, or hold a grudge and take it out on the child.

“fairy godmothers” may be fairies- but they aren’t necessary alluded to as having wings- they can pretty much appear at will- or arrive via chariot (decked out with fiery dragons, or butterflies, depending on the occasion.)

madame d’aulnoy is perhaps the earliest user of fairy godmothers in fairy tales.  charles perrault famously used a fairy godmother as a replacement for the traditional cinderella tales where cinderella’s deceased mother is replaced by a gift-giving tree or a kind-spirited animal.

the thirteen (or 8 fates if you read perrault’s telling instead of the brothers grimm’s) wise women of the sleeping beauty can technically be classified as fairy godmothers because they give gifts.  beyond toys and treasures, they bestow gifts of charm and loveliness.

the moral of charles perrault’s cendrillon, or the little glass slipper, possibly the most familiar telling of the cinderella tales, ends with:

Charm is the true gift of the fairies;

Without it you’ve nothing; with it, all.

i’ve perhaps taken a bit of liberty with my fairy godmother piece, as there is no SET character of the fairy godmother throughout fairy tales, folktales, storybooks, or otherwise.

let’s look at my process for creating this painting in the faerie tale feet series, and then below, i’ll share where i got each specific background icon!

fgm blog 1
once in a great while, i’ll take my research to the outside world. here, a nearly-too-pretty to drink latte from the fair ladies at the village grind on pendleton street in west greenville. i brought my trusty li’l notebook and a couple books full of fairy godmother versions and madame d’aulnoy’s fairy tales, the earliest mentions of fairy godmothers.
fgm blog 2
once i’ve done my research (see media pile in back corner of my drafting table!), i’ll start sketching the most obvious or recognizable icons that can help tell the story visually. so i’ll do thumbnails for layout, plus lots of versions of each shape until i find something that shall read clearly visually.
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here’s the final background pattern drawing!
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and once my drawing is done, i’ll tape it to my illustration board, put a bit of transfer paper in between, and retrace every line and shape…
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…. so the blue lines are what transferred when i retraced my drawing, so here i am painting with a teeny tiny brush around all the teeny tiny background shapes to fill in the background color– i have to do it in one sitting or it gets streaky. so that usually takes, oh, 5-7 hours at one go if i’m on a roll!
fgm blog 8
once the background colour is done, i’ll paint one color at a time… i started with the frogs, then a bit of the wings…
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and more and more colours get added….
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almost done! the keys were fun to paint, but oh such tiny details. i painted them once in a mustard golden hue, then went over them again with literal shiny gold gouache.
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here’s the final painting and a beautiful photo of one of the fifteen stunning galleries dedicated to the “Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia” that i used for color scheme reference. i wanted her to match my “cinderella’s escape” painting so you could hang them side by side, but definitely wanted to give this one its own distinct vibe!

i’ve included background icons from these various fairy tales:

“The White Doe” told by Andrew Lang, via Madame D’Aulnoy (the dragons, for pulling chariots; a white dove; and a doe)

“La Sendraoeula,” an italian cinderella tale (the acorn, which cinderella taps with a wand and “a lovely dress like stars with golden shoes” appears)

“The Blue Bird,” by Madame D’Aulnoy (big flying frogs; the beautiful bird, actually the prince King Charming under enchantment from his beloved Florine’s rival and wicked stepsister Truitoone’s god-mother Soussio, the fairy)

“Finette Cendron,” by Madame D’Aulnoy (the golden key to open the fairy casket full of gifts which the more you took from it, the more there was in it; also starry diamond bursts, as her dress was “a gown of blue satin covered with stars of diamonds”)

Quite possibly the earliest cinderella telling, by greek historian strabo, from the first century b.c., in which the egyptian courtesan rhodopis is bathing in the nile and an eagle carries her shoe to memphis and drops it in the king’s lap, prompting him to search for the shoe’s owner and marry her. (the egyptian sandal)

“Cendrillon, or, The Little Glass Slipper,” by Charles Perrault, 1697 (the pumpkin for the carriage; the clock about to strike midnight)

i also added wings, because i would want some if i were a fairy godmother.

fgm blog header
top left corner detail from “it’s possible.”

and for good measure, here are a few favourite fairy godmother quotes i came upon in my usual miles upon tomes of miles of my research:

  • “a folktale is not just the spoken equivalent of a literary short story.  it has no set text, but is endlessly re-created in the telling.” ~neil philip, the cinderella story, the origins and variations of the story known as ‘cinderella’ 
  • “oh!  i’ve lost one of the shoes off my feet,” said trembling.                                            “don’t mind that; don’t be vexed,” said the henwife; “maybe it’s the best thing that ever happened to you.”~from “fair, brown, and trembling,” an irish cinderella tale, 1890.
  • “and it is not difficult to imagine how happy they were after having known so many hardships.” ~from madame d’aulnoy’s “the blue bird,” circa 1895.
  • “everything that a baby could possibly wear or play with was there, and, besides, they had other and more precious gifts to give her, which only children who have fairies for godmothers can ever hope to possess.” ~from andrew lang’s telling of “the white doe,” by madame d’Aulnoy, 1906.
  • “the glass slipper is where i got the idea i might not be the best fairy godmother.  if you think about it, it’s completely impractical, uncomfortable, and un-walkable-in.  but i’m good at shoes.  the shoes are the only thing that last beyond midnight.  everything else turns back.”  ~helena bonham carter, on playing the fairy godmother in kenneth branagh’s cinderella, 2015.
  • “there’s a lot of power in godmothering.  it’s like being a part of history.”  ~from terry pratchett’s witches abroad, 1991.
  • “will she live happily ever after?” he said.                                                                              NOT FOREVER.  BUT PERHAPS FOR LONG ENOUGH.                                                            and so stories end.”           ~from terry pratchett’s witches abroad, 1991.
  • “The Authors, are in Eternity.”  ~william blake, 1803.
  • “The story is, after all, what matters.”  ~p. l. travers, about the sleeping beauty, 1975.

you can purchase the original 11 x 11″ gouache painting already framed for $425.  message me! ( halthegal @ hotmail . com )

you can also purchase the large matted print HERE on my etsy shoppe, the greeting card HERE on my etsy shoppe, and the small framed print HERE.

“go!  with the promise of possibility!”

& have a magical day!

*halthegal.

“just as sane as luna.”

inspired by everyone’s favorite dreamy-eyed, wrackspurt-seeing ravenclaw luna lovegood, this faerie tale feet piece pays homage to all who live in their own clouds of wonder.  and all those who hold fiercely to their beliefs of what others may doubt, especially the unwavering power of friendship.

let’s take a peek through my process and then i’ll reveal all the hidden background icons you’ll find in your new art!

luna blog 1
i reread the entire HP series with the intention of painting ron’s feet first, but i couldn’t help but take copious notes on one gal who just hears the drums for herself and dances anyway. so my sketching icon ideas for luna began…
luna blog 2
once i narrowed down which shapes i wanted to use in the background, i created my patterned background drawing, here ready to transfer onto watercolor paper. (she’s the same size as my harry & hermione pieces.)
luna blog 3
i looooove how glassy and dreamy the soft glazes of purple turned out for the background color. i painted ArouND most of the icons, but a few i gave a light wash over so that the colors would be cohesive and not get too loud. (i always try, even if i do fail, not to make my paintings to garishly brite! i promise!)
luna blog 4
here’s just in-progress on the luna piece. as you’ll notice, in my original drawing, i was going to give her baby doll shoes (endemic to the hogwarts’ uniform shoes the girls wear) and was going to decorate them with sunflowers, as she wore a sunflower in her hair to fleur & bill’s wedding in book 7. however, loyal online fans pointed out how it might be a BIT more luna-esque if we gave her her signature hightop kicks. so we went back to the drawing board…
luna blog 5
my wonderful cuz-in-law was kind enough to come over on a sunshiny day and pose in her chucks for me. needless to say, if you’ve ever tried, converse (& all sneakers for that matter), are very hard to draw. it took quite a bit of effort and perpetual re-dos to get them just right. (a few iterations were a bit too ronald mcdonald-like. snorkacks forbid!!)
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so here are the NEW shoes, inked over the best i could erase the transfer lines from the original drawing… much better, methinks.
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and voila! here’s the right-hand corner of the finished luna piece.

 

so what all is in the background telling the luna’s story from the three books she appears in? here we go…

  • her necklace of butterbeer caps
  • ravenclaw shield (when harry & luna are looking for the now-horcrux diadem of rowena ravenclaw, we get a sneak peek into the mind of a ravenclaw.  instead of a password, they have to answer a question.  “which came first, the phoenix or the flame?”  luna’s reply, “…i think the answer is that a circle has no beginning.” – book 7; pg. 587. definitely my kind of people.)
  • thestrals [only she and harry can see them pulling the students’ carriages to hogwarts because they have both seen death firsthand (book 5; page 199, from where our painting title derives.)  thestrals definitely make hagrid’s care of magical (invisible?) creatures lesson all the more interesting.  they also make a spectacular appearance later when the brave DA members must get to the department of mysteries.]
  • her orange radish earrings (book 5; page 261)
  • her roaring gryffindor hat to show her support during quidditch
  • mistletoe (“it’s often infested with nargles.” book 5; pg. 453.)
  • spectrespecs (“…which gave her the look of a demented, multicolored owl.” book 6; pg. 138.)
  • gurdyroots (onion-like things given to ron to ward off gulping plimpies.)
  • her father’s golden deathly hallows symbol (he wore it as a necklace to bill & fleur’s wedding; it lead harry, ron, & hermione to xenophilius’ house in book 7.)
  • the explosive erumpet horn (which luna and xenophilius incorrectly believed to be a harmless crumple-horned snorkack horn)
  • the lovegood home (which looked like a rook- the castle chess piece in wizard’s chess.)
  • silver hare patronus (it’s only mentioned very late in book 7, but they show it in the fifth movie which i find amazing.)
  • her bright yellow robes worn to the weasley/delacour wedding; i’ve put a silver trim on the hem because of the silver robes she wore when harry took her (as friends) to slughorn’s Christmas party in book 6.
  • and of course her sneakers are all her own.

 

 

“just as sane as luna,” from the faerie tale feet series by hallie m. bertling.

gouache on watercolor paper, 6 x 14.”

the original painting is currently available for $450.  email me ( halthegal @ hotmail . com ) if you wish to claim her.  🙂

click through to follow the links to my etsy shoppe for…

large matted luna print

small framed luna print

luna greeting card

luna, harry, & hermione card set

 

 

 

 

“the language of a lady.”

inspired by bernard shaw’s pygmalion and alan jay lerner & frederick loewe’s my fair lady, my faerie tale feet pice “the language of a lady” just happens to be my new favorite.

shaw’s dialogue is quick and witty, and full of language puns and jokes and just all-around classic interactions between his characters.  he wrote the play in just three months back in 1912, the first english production of the play was in april of 1914, and not until march 15, 1956 did the musical version appear on broadway starring none other than a 21 year-old julie andrews and the indefatigable rex harrison.

HIGGINS     Remember that you are a human being with a soul and the divine gift of articulate speech:  that your native language is the language of Shakespear and Milton and The Bible; and don’t sit there crooning like a bilious pigeon.

i’ll show you a few pictures of my research and painting process, and then below i’ll share what all of the background icons allude to from the text!  enJOY!

my-fair-lady-1
so i do a lot of my research at my husband’s studio at taylor’s mill. here’s a view from where i sit at his reading desk reading, taking notes, and doodling ideas in my sketchbook. (he’s a realistic oil painter and portrait draftsman as you can tell from some of the work on the walls. check him out at nathanbertling.com!)
my-fair-lady-sketches
after i take lots of notes from the original text, i seek out reference materials to inspire posture, poses, and costume choices. early on, i knew the bow was going to be spectacular. and the shoes i used, instead of slippers as they appear in the film and stage versions, are inspired by a fancy pair of ballenciaga pumps i found in vogue last year or so…
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here’s the pattern drawing created from icon sketches in my sketchbook!
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i went with a beautiful subtle pink wash for the background of this piece. the first step is transferring down the drawing, and then painting around all of the shapes with the same background colour…
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i used a heavier watercolour paper than usual for this piece, and it was super*absorbant… so needless to say, it took lots and lots and lots of layers of colour to build up any contrast and vibrancy…
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i paint at home, surrounded by my books. so here’s my little corner of the world, you can see my paper paint palettes (great for re-using spots of color), my tins full of gouache, and the original pattern drawing on tracing paper.
my-fair-lady-5
i always save the feet and shoes for last when working on a piece. it just seems fitting for the whole “faerie tale feet” concept. so here’s a mostly finished background painting while about to nervously begin the leg and fancy shoe of miss eliza doolittle….
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ta*da! the magnifying lamp i use to paint gives me seemingly endless potential for painting tiny tiny spaces. so the jewels on her shoe turned out rawther well, i dare say… but the bow is still my favourite part of this piece, i think! 🙂

so here are what the shapes in the background represent…

  • the sailor hat of black straw (eliza doolittle as a flower girl selling violets in covent garden, where our story begins)
  • her flower basket
  • violets spewing out of the phonograph (she was selling violets, and as she tells henry higgins later in act V, “…the difference between a lady and a flower girl is not how she behaves, but how she’s treated.”)
  • the birdcage (one of two possessions she sent for from her own flat once she moved in as the grand experiment of henry higgins to make good on his bet to “make a duchess of this draggletailed guttersnipe.”)
  • the phonograph (in henry higgins’ study, for listening to records of dialect, and for eliza to practice repeating sounds as she developed proper english speech patterns)
  • the tuning fork (again, another instrument found in the stage and set directions for higgins’ study)
  • the 3 ostrich feathers of orange, sky blue, & red (what eliza doolittle had on her hat when she came to ask for lessons from professor higgins; her best attire, which he had burned.)
  • the bathtub (poor flower girl eliza thought she would drown if she ever washed more than her face.)
  • the tan men’s hat (for professor higgins, a “confirmed old bachelor”)
  • the red slippers (what eliza threw at professor higgins after he refused to give her credit for all her hard work passing as a lady out in society, but also the last line of the 1964 film where he says merely at eliza’s return “where the devil are my slippers?”)
  • the piece of sanskrit (to represent colonel pickering, returned from india to meet henry higgins, author of ‘higgins’ universal alphabet’; as higgins claimed he was going to india to meet pickering, the author of ‘spoken sanskrit.’)
  • the mustache (nepommuck, a former pupil of higgins’ who at the ball claimed eliza was a fraud, believing her to be of hungarian royal blood as her english was too good.)
  • the tophat (for alfred doolittle, eliza’s father, who sings both “with a little bit of luck,” and once higgins has turned him into an unfortunate member of the middle class for his philosophical ramblings on morality, in his tux sings “get me to the church on time” on his nite out before his wedding.)
  • the racehorse, dover, for eliza nearly giving herself away with everyone’s favorite movie line, “come on, dover!!!  move your bloomin’ arse!!!”(the race wasn’t in the stage version, they merely had tea; i think the “ascot gavotte” number is just delightful and i’m glad they added it to the film.)
  • on the front of the phonograph, i painted eliza’s opera fan she carried to the ball
  • the suitcase (another favorite number of an empowered woman, eliza sings “show me” to her pining suitor freddy eynsford-hill as she storms out of higgins’ flat after the ball.  shaw was adamant that higgins and eliza do NOT end up together romantically, but that she does indeed marry freddy and open a flower shop and they are content to be poor and lead a simple life.  hollywood changed the ending to an implied relationship between higgins & eliza, which i think could have worked on a friendship level, but he was too boorish to deserve her is what i say.)
  • and last, but not least, i put a penguin in there.  why?  well, a favorite piece of trivia i discovered while researching these works was that rex harrison (who played henry higgins in both the stage & film versions) would cry out “where’s my penguin?!” during rehearsals when he wanted to compare his broadway lines and lyrics to shaw’s original text.  as a true englishman, someone would have to bring him his penguin classic edition of the 1912 text to ensure lerner was remaining faithful to the artistic truth of shaw’s words.  well, rex did this all the time, so the producers finally got him a taxidermied penguin!  he got the joke, never asked for his book again, and kept the penguin in his dressing room for the run of the show.  (three years on broadway before the cast took it to london!)

 

another piece of trivia you may be wondering about is why if the broadway and london stage production was such a hit, why julie andrews wasn’t used in the film.  well, the hollywood producers didn’t think her name had enough marquee punch to it, so they cast a well-known actress instead, a miss audrey hepburn (whose singing voice was dubbed).  which, i will forgive them, because in 1964 (the same year), a mr. walt disney made a super star out of julie andrews with a little film called “mary poppins.”  i’m glad we have both even if i do wish there was a recording of julie andrews in this role outside of just the cast album.

(a great book i thoroughly enjoyed if you’re a fan of the film was loverly:  the life and times of my fair lady by dominic mchugh, oxford university press, (c) 2012.  i am fascinated by the creative process and recommend it for a further look behind the scenes of stage & film versions!)

okay, if you’ve made it this far, you may be interested to know that you CAN indeed purchase prints and cards of this piece on the halthetal etsy shoppe.  (coming soon!)

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cards available here:  http://etsy.me/2kVnlFY

and the original painting is available framed for $585.  email me!

 

 

“stages of blue.” pinocchio’s blue fairy.

carlo collodi’s “pinocchio” is a well-beloved tale, i suppose.  but the book is shockingly more disturbing than the “pinocchio” movie that i grew up with.  pinocchio is not a sympathetic character.  you too repeatedly want to throw him in with the kindling.  he’s just awful.  and gullible.  and ill-behaved.  which makes me all the MORE grateful for the geniuses at the walt disney story department who brought this great tale to life (story pun!) in a memorable, and palatable, way.  (there’s a rumor the character was inspired by one of colloid’s more obnoxious students… teachers, i sympathize with you, anyway.)

“be careful, pinocchio.  these bad companions will, sooner or later, make you lose your love of books, and may even bring some misfortune upon you.”  ~the good (blue) fairy

i’ll show you the process of painting this faerie tale feet piece, and then below share with you all the shapes hidden in the background from the original stories/book.

blue-fairy-1
because we all know pinocchio as a marionette who was forced to perform with no strings for the puppet show, i wanted for the first time to create a 3-d shadowbox piece imitating the theatre stage. so here’s the beginnings of the proscenium with the blue fairy’s feet featured in the center.
blue-fairy-2
here are 4 of the 5 layers to the original piece. the stage curtains and proscenium, the stage lights, the stage, and monstro and the waves trying to once again engulf the fleeing pinocchio, gepetto, cat, and goldfish.
blue-fairy-3
once the layers were done, i needed to paint the background pattern. so this is how i transfer it- with my pattern drawing on a piece of tracing paper taped to my illustration board… and then pressing down with my ink-less hello kitty pen with transfer paper in between to leave grey lines i can paint around.
blue-fairy-4
because i use gouache as an opaque medium, i have to paint the background color in one sitting. thankfully i have a magnifying lamp that helps me see around all those tiny shapes as i paint around each icon for literally hours on end… so here are the first few minutes, beginning in the top left corner of my board!
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here’s the background painted in and some of the shapes painted in, too…
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more colors are added one at a time across the board until the background is complete… paint paint paint.. patience paint and patience…
blue-fairy-7
here’s zoomed out for a bit of scale. the orange square (background pattern painting) is 11″ square. and yes, i mix my paints on paper plates. 🙂
blue-fairy-8
here’s a view of my tins full of gouache tubes and the pieces all painted and read to be framed together in 3d…!
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here’s a detail shot of the blue fairy flying over the background!
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and here is the final pieces of the painting all framed together. it’s so beautiful in real life, i wish you were in my living room/studio to see it…!

so what’s hiding in the background from carlo collodi’s original tale?

here we go… (with a few bonus trivia facts thrown in for good measure.)

  • the talking/kicking stick of wood that gepetto carved into pinocchio the puppet (there’s a fight with his friend antonio about it when he calls gepetto “polenta,” the color of his hair that he’s teased for)
  • the talking cricket
  • ^which pinocchio smashed with a mallet when he tried to give him good advice (the ghost cricket reappears in later chapters)
  • the puppet show manager, known as “Fire-Eater” who had a long black beard
  • the gold coins that the fox and cat convinced pinocchio to bury so a tree would grow with more coins on it- i painted italy on the gold coins and marked the town of “collodi” with a tiny dot- collodi was the village in tuscany where the author’s mother was from, not his real name.
  • feathers from the black bird eaten by the cat
  • the cat who pretended to be a blind beggar
  • the devious fox who repeatedly tricked pinocchio and lead him to do naughty things and even hung him at one point.  and tried to get him eaten by a giant serpent… i tell ya, the book is just awful!
  • the snail with a lamp on his head at the blue fairy’s house that sloooooooooooowly took all night to come downstairs and let pinocchio out of the rain after he’d been chained up like a dog and bribed by the fox to steal the chickens (so complicated; and such a long story for such a short book; which was actually originally just published chapter by chapter in an italian children’s journal)
  • the dog-fish (in the disney movie, thankfully, it’s a giant whale.  in the book, depending on the multiple english translations i read, monstro is a dog-fish or a shark… regardless, i don’t want to be swallowed by one, so i painted him as cutely as possible.)
  • a headband of donkey ears for Playtime Land (or Pleasure Island) where the boys are turned into donkey slaves and sold at auction.
  • the golden locket pinocchio sees on the blue fairy (who’s really a dead ghost girl with blue hair) at the circus where he’s been performing tricks as a donkey.

i think that’s all i got in there!  🙂

i recommend the film over the book.  but curiosity would well be quenched with this crazy piece of children’s literature.

original framed piece available for $575.  email me at halthegal @ hotmail. com to inquire!

greeting cards and limited edition prints shall be availably shortly on my etsy site.  stay tuned!

here are a few memorable blue fairy quotes from the original text:

  • “yes, i promised it. now all depends on you.”
  • “be careful, pinocchio. these bad companions will, sooner or later, make you lose your love of books, and may even bring some misfortune upon you.”
  • “boys are quick to make promises, but are sometimes slow about keeping them.”
  • “in this world, one must be courteous to all, if one would expect courtesy in the hour of need.”

your own personal fairy godmother

you’ll notice the fairy godmother isn’t colored yet.

that’s because as of right now, the ONLY way you can see her is in the golden wing luxe box- a surprise box filled with handmade and artsy treasures that you can get in time for Christmas right HERE on my etsy shoppe.

i’ll probably paint her next year, but as for now, here’s a bit about this exclusive coloring page…

fairy godmothers can be working for the heroines or their conniving adversaries.

they can be evil, or hold a grudge and take it out on the child.

“fairy godmothers” may be fairies- but they aren’t necessary alluded to as having wings- they can pretty much appear at will- or arrive via chariot (decked out with fiery dragons, or butterflies, depending on the occasion.)

madame d’aulnoy is perhaps the earliest user of fairy godmothers in fairy tales.  charles perrault famously used a fairy godmother as a replacement for the traditional cinderella tales where cinderella’s deceased mother is replaced by a gift-giving tree or a kind-spirited animal.

the thirteen (or 8 fates if you read perrault’s telling instead of the brothers grimm’s) wise women of the sleeping beauty can technically be classified as fairy godmothers because they give gifts.  beyond toys and treasures, they bestow gifts of charm and loveliness.

the moral of charles perrault’s cendrillon, or the little glass slipper, possibly the most familiar telling of the cinderella tales, ends with:

Charm is the true gift of the fairies;

Without it you’ve nothing; with it, all.

i’ve perhaps taken a bit of liberty with my fairy godmother piece, as there is no SET character of the fairy godmother throughout fairy tales, folktales, storybooks, or otherwise.

i’ve included background icons from these various fairy tales:

“The White Doe” told by Andrew Lang, via Madame D’Aulnoy (the dragons, for pulling chariots; a white dove; and a doe)

“La Sendraoeula,” an italian cinderella tale (the acorn, which cinderella taps with a wand and “a lovely dress like stars with golden shoes” appears)

“The Blue Bird,” by Madame D’Aulnoy (big flying frogs; the beautiful bird, actually the prince King Charming under enchantment from his beloved Florine’s rival and wicked stepsister Truitoone’s god-mother Soussio, the fairy)

“Finette Cendron,” by Madame D’Aulnoy (the golden key to open the fairy casket full of gifts which the more you took from it, the more there was in it; also starry diamond bursts, as her dress was “a gown of blue satin covered with stars of diamonds”)

Quite possibly the earliest cinderella telling, by greek historian strabo, from the first century b.c., in which the egyptian courtesan rhodopis is bathing in the nile and an eagle carries her shoe to memphis and drops it in the king’s lap, prompting him to search for the shoe’s owner and marry her. (the egyptian sandal)

“Cendrillon, or, The Little Glass Slipper,” by Charles Perrault, 1697 (the pumpkin for the carriage; the clock about to strike midnight)

i also added wings, because i would want some if i were a fairy godmother.

take a look at my process for creating this piece, and then enjoy a few quotes on fairies, fairy tales, and from fairy godmothers below…

fairy-godmother-halthegal-1
my stack of reference books, and a few great movies to inspire me while i sketch out ideas and shapes for this final piece.
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after i reduce down all of my ideas from reading all the fairy tales that included fairy godmothers, i decide on the shapes i want to use and i trace them to fill in the background pattern.
fairy-godmother-halthegal-3
using an 02 micron pen, the background starts to fill up!
fairy-godmother-halthegal-4
i just had to share this page, images i’d never seen before of the miraculous dress transformation animation by master animator marc davis. with special effects animation overlay on the right. just mind-blowing.
fairy-godmother-halthegal-5
i highly recommend this book which was released when disney put out their live action version of cinderella. of course the classic animated one is an all-time favorite movie, but this book had lots of great anecdotes on the making-of the animated one, the creation of the new movie directed by kenneth branagh, and lots of great background information on traditional cinderella tellings.
  • “a folktale is not just the spoken equivalent of a literary short story.  it has no set text, but is endlessly re-created in the telling.” ~neil philip, the cinderella story, the origins and variations of the story known as ‘cinderella’ 
  • “oh!  i’ve lost one of the shoes off my feet,” said trembling.                                            “don’t mind that; don’t be vexed,” said the henwife; “maybe it’s the best thing that ever happened to you.”~from “fair, brown, and trembling,” an irish cinderella tale, 1890.
  • “and it is not difficult to imagine how happy they were after having known so many hardships.” ~from madame d’aulnoy’s “the blue bird,” circa 1895.
  • “everything that a baby could possibly wear or play with was there, and, besides, they had other and more precious gifts to give her, which only children who have fairies for godmothers can ever hope to possess.” ~from andrew lang’s telling of “the white doe,” by madame d’Aulnoy, 1906.
  • “why i do what i do for a living is really because of those moments walt did for me as a kid in the audience.  what he did for audiences all over the world:  blending story and art and animation and music and color and everything together to craft these incredible emotions.  happiness and hope and joy; good over evil.”  ~john lasseter
  • “the glass slipper is where i got the idea i might not be the best fairy godmother.  if you think about it, it’s completely impractical, uncomfortable, and un-walkable-in.  but i’m good at shoes.  the shoes are the only thing that last beyond midnight.  everything else turns back.”  ~helena bonham carter, on playing the fairy godmother in kenneth branagh’s cinderella, 2015.
  • “there’s a lot of power in godmothering.  it’s like being a part of history.”  ~from terry pratchett’s witches abroad, 1991.
  • “will she live happily ever after?” he said.                                                                              NOT FOREVER.  BUT PERHAPS FOR LONG ENOUGH.                                                            and so stories end.”           ~from terry pratchett’s witches abroad, 1991.
  • “The Authors, are in Eternity.”  ~william blake, 1803.
  • “The story is, after all, what matters.”  ~p. l. travers, about the sleeping beauty, 1975.

“i wish…”

everybody wishes for something.  and as sondheim & lapine’s brilliant musical teaches us, “be careful what you wish for.  wishes come true.”

i have to confess, the first time i learned of this musical was a quip from the gilmore girls.  brad returns from a stint on broadway as jack and paris, of course, torments him with his solo from the play.  so i dashed to barnes & noble, bought the two-disc original broadway cast recording, and my dreams of seeing it were realized when disney produced its lavish film just last Christmas.

like most sondheim works, the characters sing over each other occasionally.  but it’s still a lovely sound.  and reading the original book that was published from the 1988 broadway script put all the characters into perspective.

have a look at the process for painting this piece, i’ll try to stop rambling, and then i’ll let you know all the icons i hid in the background to reflect the tale in this faerie tale feet piece entitled, “i wish…”  (both the first & last lines of this piece of musical theatre!)

into the woods 1
after i did all my research (reading the original script, watching the filmed original broadway production, watching the disney version over and over with commentary, etc.), i created by background pattern.
into the woods 2
once all the icons were decided upon and the giant’s boots were drawn, i traced them onto tracing paper- and taped it on top of my watercolour paper.
into the woods 3
using my handy magnifying lamp, i put transfer paper between my patterned tracing paper and my watercolour paper so i can retrace all the icons so i know where to paint.
into the woods 4
once my pattern drawing has been transferred to the watercolour paper, i start adding colour! my favourite part!! i paint around all the icons and used a bit of frisket mask liquid to paint in milky white (jack’s cow) to keep her nice & clean & the color of the paper below. (i think i need a new bottle of it, though. mine went on pretty chunky.)
into the woods 5
oh la la! first layer of colour is down! now we keep adding details and shading and adjusting washes and colours- and those boots have a ways to go before they’re done!
into the woods 6
every time i exercise in my local park, i feel like leslie knope would be proud of me. i would like to think i earned another pawnee goddess badge for using my local park trees for reference.
into the woods 7
painting landscapes aren’t my strongest suit. but i had to add some WOODS for a piece inspired by “into the WOODS.” so i did my best, painting trees on top of my finished background painting.
into the woods 8
here’s a better detail of the giant’s boots & pants. i’m quite pleased. and i know the giant’s wife didn’t step ON the baker’s wife, but i did put her scarf below his left foot. because: symbolism. drama.

 

okay.  details hidden in the background include:

the items needed to break the curse on the baker’s house (& family tree):

one:  the cow as white as milk

two:  the cape as red as blood

three:  the hair as yellow as corn

four:  the slipper as pure as gold

also included:

cabbage/rampion- there’s a long linguistic history, but “rapunzel,” the baker’s sister he didn’t know he had & his neighbor the witch’s captive/adopted daughter- “rapunzel” is a type of cabbage which is why one of the princes comments what a ridiculous name his brother’s beloved obsession has.

cinderella (the golden slipper) wishes to go to the king’s festival, so there’s a royal purple banner with the king’s crown atop it.

there’s red’s basket she carries to granny’s house.

there’s the wolf.

there’s the five magic beans the baker & his wife pay jack for his cow, milky white.

there’s jack’s milk pail.

there’s the baker’s loaf of bread.

there’s golden eggs from the hen and the golden harp that jack brought down from the giant’s house in the sky.

there’s a lantern for traveling through the woods at all hours.

the baker’s hat.

three babies (rapunzel’s twins, plus the baker’s son once the curse is lifted)

the black glasses (cinderella’s birds blind her two meanie stepsisters)

the silver goblet the witch drinks the potion out of to lift the curse/spell once all the items are fed to the cow.

cinderella’s birds (who also help her pick the lentils out of the ashes, even though her stepmother still won’t let her go to the festival)

two crowns (the princes)

vines around the giant’s boots (the beanstalk)

red’s knife (she gets pretty feisty after she gets eaten by the wolf & rescued)

the scissors the witch used to cut rapunzel’s hair to keep the prince from ever visiting again

campanula paunculus- rampion- a purple bellflower in the witch’s garden, another derivative for “rapunzel”when you go back to the latin.  and the wolf sings to red about missing all the flowers by staying on the path to grandmother’s house.  tempting.

i think that’s it… oh!  three moons over the woods because the baker & his wife only had three midnights to collect all the objects the witch required to break the spell– the curse on their family tree and the curse of old age & ugliness her mother placed on her for losing the magic beans that the baker’s father stole out of her garden.

it’s a magically inter-woven plot and musical.  i’m a sucker for a good fairy tale mash up.  and set to music?  all the better.  even if act II isn’t quite as happy as act I.  plot twist!

as cinderella’s mother/tree sings:

“are you certain what you wish

is what you want?

if you know what you want,

then make a wish.”

 

“i wish…”

original gouache painting on watercolour paper, 6×14″

from the faerie tale feet series by hallie m. bertling

inspired by stephen sondheim & james alpine’s “into the woods”

original framed painting available for $525.  message me.

limited edition signed and numbered archival prints available at halthegal.etsy.com:

http://etsy.me/2c9Fbxw

“a tempered heart.”

tempered heart feature image“a tempered heart.”

original gouache painting by hallie m. bertling

a part of the faerie tale feet series, available at halthegal.etsy.com

i have always loved “alice’s adventures in wonderland” as a terrific piece of absurdist literature.  and what inspired this piece?  a medieval painting i saw at the met this january on my husband’s birthday trip.  so here’s a peak into the process (& my absurd book collection) for lewis carroll’s classic!

click through the slideshow below for a bit of my process, my inspiration, and some fun facts on lewis carroll’s work.  some people read way too far into the text, but he was a mathematician, so i bet some of it was actually intentional.  it’s amazing how deep the levels in meanings are in artists’ work, n’est pas?  always more to discover…

tempered heart 1
i found that i have more than 17 editions of lewis carroll’s alice stories. they range from comics to modern art, antique editions, the gorgeous new french edition by benjamin lacombe, and animation concept art by my beloved mary blair. artists have obviously found the text visually inspiring for its 150 years of existence. i’m sure the fun’s not over!
tempered heart 2
here’s the medieval painting i found in the met this january that inspired the unique layout of this piece. i immediately thought of her bangs as the big hips of her skirts and thought since she’s always yelling “off with their heads!” the picture could be in the shape of her head.
tempered heart 3
here’s my little quick sketch while i was in the museum. i usually doodle sculptures in oceana and the mayan rooms for their fantastic shapes, but there was something so graphic and modern about this piece that i had to capture the funky collar and that remarkable crown.
tempered heart 1a
i got home and started doodling- ball gowns and shoes- and deciding what posture would BEST indicate she was HOPPING MAD!
tempered heart 1b
i take lots of little notes in my moleskin. and my countless alice books are riddled with sticky tabs for phrases or illustrations i want to reference.
tempered heart 4
once i had my final sketch, i transferred it to watercolor paper and started painting in layers of green foliage for the hedges.
tempered heart 5
the croquet match was the perfect opportunity to hide icons from the story in the topiary hedges. and i couldn’t resist putting in a startled flamingo croquet mallet!
tempered heart 6
paint paint paint… oh, how i love to paint!
tempered heart 7
here’s the final painting- complete with sparkly crown.
tempered heart 8
just a few of my alice editions. “alice adventures underground” was really interesting as it’s a printing of the original manuscript carroll gave to alice liddell, not how he edited it when people told him he should publish it. (he had to pay for his first print run, by the way. and tenniel was so unhappy with the plates from his etchings (the first and last children’s book the editorial cartoonist ever illustrated!) that he demanded a reprint. so they stamped them defective and shipped them to america. if you have that FIRST edition, oh how i envy you!!
tempered heart a-1
this box set of alice was the START of my antique/unique book collection habits. dad would always drag me to antique stores in watervliet, michigan to shop for tin soldiers, and lo and behold i fell in LOVE with beautiful OLD books. the adventures obviously continue…

i’m in love with this piece and hope you adore it, too!

“the queen of hearts, she made some tarts,

all on a summer day.

the knave of hearts, he stole those tarts,

and took them quite away.”

if it was anything like cherry pie, i don’t blame the knave one bit.  but it did throw the queen into quite the tantrum.

here are the icons you’ll find hiding in the topiary hedges:

*painting the roses red

*two spades [her card escorts were categorized into the spades (gardeners), diamonds (courtiers), hearts (her children), and clubs (the guards).  so clever.]

*the king’s crown on a velvet pillow

*the duchess’ invitation to the croquet match

*the golden key (the victorian book lovers’ symbol for unlocking faerie land, according to george macdonald, a family friend of carroll’s.)

*the white rabbit with red eyes

*the tiny white gloves & golden pocketwatch of said white rabbit

*one of the juror’s slate and pencil

*the number 42, a predominant number in this book with all sorts of meanings to abstract mathematicians

*the queen’s tarts

*the gryphon (who lead alice to the mock turtle for a very depressing and slow-moving song)

*alice’s iconic shoes (“why, what are your shoes done with?” said the gryphon.  “i mean, what makes them so shiny?”… and the gryphon’s shoes were made of “soles and eels, of course.. any shrimp could have told you that.”)

*the pepper that made everyone at the duchess’ house in a sneezing tizzy

*the mad hatter’s hat

*bill the lizard

*the cheshire cat’s grin, with disappearing body, of course

*the queen’s heart-shaped spectacles

and of course, instead of showing “off with their heads,” i did a round head*shaped hole in the hedge instead.  long live the queen and all the cards and critters the king of hearts spared.

bon appétit!

peace, love, & colour to you,

*halthegal.

 

“bookishly brave hermione.”

hermione one
sometimes the best model is you; & sometimes the best model is your husband.  great thing one can edit with a pencil & paintbrush!
hermione two b
after getting to read all the books again & take notes about what pertains to our beloved & brave hermione, we start sketching the best shape for the icons relevant to HER story in the books.

 

hermione 2
here we start making the final background drawing and pattern out of the icons– tracing the final drawn shapes to fill the background.
hermione three
lots and lots of light layers of paint on both the background and crookshanks, of course.  he was obviously thrilled.
hermione five
as in my harry potter piece, i recycle multiple plates of gouache from previous paintings.  sometimes i’ll mix a new colour, but because i’m using layers and layers, i can usually make it up from what i’ve already got.
hermione four
more in progress layers of colour & paint!
hermione seven
hermione isn’t the only bookworm we know.  here’s a peek at the wall of books that watches me when i paint.
hermione eight
here’s the final hermione print!  available on my halthegal etsy shoppe!

“bookishly brave hermione,”

original gouache painting by hallie m. bertling

gouache and ink on watercolour paper; 14 x 6″

we love hermione.  she’s tough.  she’s smart.  she’s the brightest witch of her age.  she reads.  she saves harry and ron more times than they deserve.  she’s fierce and loyal, kind and loving.  she feels compassion and takes action.  she rescues the helpless, she fights for the rights of the house elves because she can’t help but see injustice righted.

here are some of the icons you’ll find in the background:

a tooth (she’s got dentists for parents, after all.  even if they don’t remember.)

polyjuice potion (with a cat on the bottle, because, well, it kind of backfired once)

the gryffindor shield

the escape dragon from gringott’s

feather quill pen & ink (not just wingardium leviosa, but you know how she loves to fill scrolls for homework)

her otter patronus

her time-turner necklace

her cauldron

the mirror that saved her from the basilisk

the sorting hat (with raven; her almost-sorted-into house)

knitted hats left around the common room

the jar of blue flame to sneak into the library and get in some extra reading

anything else you can find? 🙂

(hint:  nosy reporter.)

prints available on my etsy site:

http://etsy.me/1SNcb0K

individual greeting card with hermione on the front available here:

http://etsy.me/1Tsoeiu

original painting has SOLD.

be brave!

go read books!

faerie tale feet: the coloring book vol. i

this is gonna be good!

i’ve had requests.  i’ve seen the shelves.  i’ve seen the social media posts.  i understand the joy of coloring!

halthegal’s first faerie tale feet coloring book COULD be yours!  you have until black friday to help kickstart this project– i really can’t wait to share it with you!

pitch in if you can.  incentives include a first edition, or one of the original drawings used to create the book, or for the uber*generous, an original faerie tale feet painting, too!

please join the party here:

thanks for your support!

peace, love, & colour to you,

*halthegal.

“a cobbler’s dozen.”

cobbler 2
there are SO many beautiful illustrated books by a wide range of illustrators interpreting “the twelve dancing princesses.” it took a LONG time to widdle down my ideas to a composition that told the whole story.
cobbler 3
after a lot of chats with faerie-tale minded friends, i landed on a long-format layout with a dozen pairs of shoes and two side panels to tell the story.
cobbler 4
there’s the final outline sketch on tracing paper so that i can transfer it to the watercolour paper.
cobbler 5
once i’d transferred and filled in the drawing, i started by painting the first layers of colour on the tulip border.
cobbler 6
there’s a mauve-y background to the whole thing… but the colours still went a wide range of brite and wild.
cobbler 7
i did a crayon color comp… but you know how that evolves once you put a brush and an unlimited palette in my hand.
cobbler 8
i could have spent a caboodle of months adding layers of colour and detail to the shoes and ribbons. but i eventually had to call it a day or a few…
cobbler 9
on the left panel, the soldier in the invisibility cloak is stepping on the hem of the youngest sister’s (& last in line’s) hem as they journey down to the enchanted kingdom. the drapes represent the bedroom and the secret passage that opens under the eldest sister’s bed when it’s time for the nightly ball…
cobbler 10
in the right hand panel is the kingdom, and silhouettes of the princesses being rowed to the shore by their twelve princes. in the sky are the silver, gold, and diamond branches of the forest that they walk through on the way to the boats.
cobbler 11
here’s a vision of the whole design, waiting for the final painting of the “big feet” of the eldest princess.
cobbler 12
i reaaaaaaalllly love how the castle turned out. it makes me happy. 🙂
cobbler 13
and here’s the (almost) final shoes. i think i added a few more stitching and shadow details in the morning….
cobbler 1
and here’s what the final greeting card looks like- the painting wraps from back to front!

“a cobbler’s dozen.”

original gouache painting on watercolour paper by hallie m. gillett bertling.

based on the brothers grimm’s “the twelve dancing princesses,” my painting takes me back to my very favourite faerie tale classic theatre episode of the same tale.

depending on the version you read, the king may have banished dancing in the kingdom after the death of his beloved wife, or perhaps the princesses are under a spell. whichever way, the king locks them in their room at night, and still EVERY morning without fail, their slippers are worn out and a dozen new pairs of shoes are demanded of the kingdom cobbler every day.
the king sends out a proclamation that anyone who solves the mystery of the worn-out dancing slippers gets to marry the princess of his choice and become king.
prince after prince fails (for they drink the wine at dinner that has been dosed with a lil’ extra sleeping potion by the princesses), until finally a humble soldier, returned home from the wars, decides why not him?

he meets with a peasant woman in the woods, and in gratitude for his sharing his bread and cheese with an old beggar woman, she gives him two things: one piece of advice (don’t drink the wine!), and two– a cloak to make him invisible so he can follow the princesses and find where they go at night.
i’ll spare you all the EXCITING details because of course you ought to read it for yourself, but he does indeed follow them to an enchanted kingdom below the palace where they dance the night away with twelve princes (possibly also cursed) who row them to the shore of a palace where they dance and dance until their shoes are positively worn out. they venture through forests of silver, gold, and diamond (hence the branches above the palace in the right hand panel), and the soldier’s final piece of proof he brings back to the king after the third night of watching the princesses dance is a golden jeweled goblet unlike any the king’s kingdom has ever seen.
last spoiler: it has a happy ending. 😉

(andrew lang’s version has the *spoiler* garden boy falling in love with the youngest princess; i like the grimms’ version better.  but they’re both lovely.)

you can purchase the limited edition print here on my etsy site:  http://etsy.me/1OMK537

or the greeting card here:  http://etsy.me/1OMKsdL

card reads “I should like to discover where those princesses go to dance their shoes to pieces.”  wouldn’t we all?  😀

original painting (6×14″ + mat & frame) is also available for $395.  contact me via etsy!