— Just a few publicly acknowledged non-comics-drawings —


These non-comics illustration pieces were based directly upon text and/or photographic/artistic reference that was authored by other people. Needing to match the source material, lest bad continuity were to result, the projects below allowed less freedom than Charles is accustomed to enjoying, in the art production process.







Technical Exercises: Fur Texture

— 2005 April —

Pen-and-ink drawings from photo reference of an Inuit and a pug puppy. You are left to determine which is which.


Original photo reference for the Inuit is credited to "NHPA / B&C Alexander."
Original photo reference for the pug puppy was, appropriately, from a calendar of pug puppies.




"Ring-Tailed Femur"

— 2017 August 11 —

Based on a couple of pieces which are buried in The Arcane Apocrypha, this drawing was made specifically for the cover of a lemur-themed sampler/catalog booklet which Charles was going to get printed; he decided, instead, to make booklets of entirely new artwork and prose, thus launching the series "Brevitous Accounts of Fictitional Incidents."






"Ozma of Oz"

— 2008 October —

Around the time of reading L. Frank Baum's 14 original "Oz" children's novels (the only Oz books which Charles personally considers to be canonical), Charles did this illustration for a friend who had previously read the books. Baum's Oz books contain various bafflements of continuity, retcons, and other inconsistencies, including Ozma's appearance: despite being an ageless immortal, she is sometimes described as looking like a child and sometimes as looking like a teenager, yet she was also once an infant. In artwork, Ozma was most famously depicted by John R. Neill, since Baum and the series' initial illustrator W. W. Denslow had parted ways before Ozma was introduced.




A Children's Book
(Redacted title — Fate unknown)

— 2013 July —

While living in South Korea, Charles was involved with illustrating an intended children's book. The images below are merely photographs (not proper scans) which he took for the sake of approval/commentary via e-mail with the book's writer, who lived in the United States. As a result of the writer's unconditional reneging on an agreement, while art production was in progress, Charles discontinued involvement with the project. He no longer possesses the original artwork (thus he can not scan/edit it properly), nor was he ever paid or compensated for his expense of time, labor, or materials. This experience partially explains his current policy toward freelance work.


The final book was intended to be wider than tall, with most of the pages having text along the bottom, underneath its illustration.
Charles was pleased with this particular drawing, which was also his warm-up for the rest of his involvement with the project.



The inconsistency of the ink and the dinginess of the paper are due to this being merely a photograph, rather than a proper scan.
Charles decided that the rocket ship would take off from Georgia, because he and the writer were both from there.
Also, Georgia is a great place to leave!



Provided with a script in the form of a rhyming poem, Charles divided the text into pages and did thumbnail sketches
as a mock-up which was roughly proportionate to the intended format of the book.
Original artwork is typically done larger than final print/publication size, because the reduction makes a neater appearance.



After Charles submitted photos of his thumbnails, he was requested to make the characters more "diverse."
Thus, some of the book's cast of children, such as in the example above, underwent genetic alteration.
Also, for more visual interest, this particular scene was changed to nighttime.




"Lucy the Dog"
(Abbreviated title — Delisted book)

— Initial prototype: 2006 December  —  Print version: 2007 October through 2008 July —

Charles's first paying work in art was a freelance illustration job for a book about a real-life therapy dog named Lucy, written and self-published by the dog's owner. Charles himself was not involved with the publishing process, nor did he have the means to scan and edit his drawings, at the time. All he could do was provide instructions as such... which were flat-out ignored: the artwork was handled with such incompetence and apathy by whomever was in charge, that Charles ended up delisting the book and no longer owns any copies of it.

It was nevertheless a valuable learning experience, and thankfully he had regained possession of the original artwork. Years later, once he had the means to scan and edit the old drawings, he prepared some of the more salvageable ones for presentation herein.


Based on the text (as it was first given to Charles), this drawing became unusable, once a new draft was written:
the scene was thenceforth set in a snowy winter, and needed to establish the presence of hunters in the wilderness.



Required depicting two different ages of the same dog, in one illustration.
Lucy was a "gentle giant" therapy dog, a mix of Great Pyrenees and wolf.



The composition of this piece has been adjusted, to improve upon that of the print version.
Charles never witnessed the real-life Lucy being so physically active, thus the drawing is purely speculative.



Charles has adjusted the composition of this piece, to improve upon that of the print version.
Astute viewers might notice, or imagine, that the above image contains several characters from
"Li'l Lynn: The Joy of Childhood and Other Myths," which was also in art production at the time.



The thumbnail sketches for the previous finished drawing.