Interview with Artist Luke Spooner


Spooner 1.jpg

Carrion House is the online domain of England artist and illustrator Luke Spooner, whose work has appeared in projects featuring stories by horror masters Neil Gaiman, Clive Barker, and Stephen King.

“I have a First Class degree in illustration from the University of Portsmouth,” Spooner says on his website. “My current projects and commissions include illustrations and covers for books, magazines, graphic novels, books aimed at children, conceptual design and business branding.”

Spooner’s projects include the interior artwork for Crystal Lake Publishing anthology “Gutted: Beautiful Horror Stories” and the interior artwork for Bram Stoker Award-winning Crystal Lake Publishing anthology “Behold: Oddities, Curiosities and Undefinable Wonders.” Both feature stories by horror masters Neil Gaiman, Clive Barker, and Ramsey Campbell.

Spooner’s illustrations are also featured in the anthology “You, Human,” which includes the short story “I Am the Doorway” by Stephen King, and in “The Dead Song Legend Dodecology” by Jay Wilburn.

 

In an exclusive interview with HorrorAddicts.net, Spooner discusses his career.

 


THE INTERVIEW

Spooner 4.jpg

HORROR ADDICTS: Where did your artistic eye and talent originate? Any artists, books, or movies inspire your style?

SPOONER: I was doodling from the moment I discovered pencils and things to scribble on. In those early formative years, it was just a way of emulating what I loved; I used to draw my favourite characters from television shows, books – even imaginary characters that I’d make up and try to explain to others and write stories about. In hindsight; the desire to communicate ideas through visual means actually developed earlier than my attempts at communicating through spoken language. I’m not saying I was any good at it – I’m just saying it was my first port of call once I realized there were things I needed to get out of my head, but gradually, over time, it became a tap – a leaky faucet that you really had to put your back into if you were to have any hope of turning off. It never occurred to me that some people just didn’t do it. It seemed so important and instinctive but as with most things in life; once you arrive at school and find peers of your own age staring back at you, you notice people and they notice you, the things that separate you from them start to become clearer and more definitive.

Spooner 2.jpg

HA: How long have you been a cover designer? What compelled you to start your own business in this field?

SPOONER: When I reached the age of 18 I had gathered enough understanding of the world to know that there was a chance I could do something creative, something that involved creating images to convey meaning, for a living – a way of making money to allow me to create images for as long as possible with no interruptions. It was suggested by my art teacher that I undertake a Foundation Degree at the Wimbledon College of Art in London.  Following this suggestion and applying myself to getting accepted was a confirmation that I was indeed going to do something creative as a profession; I’d sat across tables from other students with artistic prowess far greater than my own for years by this point and despite this I still felt very strongly that I could find a niche for myself that they couldn’t fit into. That degree, in total, lasted a year and was essentially, what became known in retrospect, as an ‘options year,’ a term suitably vague and confusing. I ended up in a scary umbrella option called ‘visual communication,’ which basically meant commercial imagery in the broadest and (sadly) vaguest sense. I was trapped in a room, right on the edge of Wimbledon like a dirty secret, shoulder to shoulder with photographers, graphic designers, typographers, traditional illustrators, children’s book illustrators and even a couple of fine artists who had severely lost their way but decided that it couldn’t have possibly been there fault. I barely made it out of that year purely through the department’s constant need to try and cover every discipline’s needs on a daily basis. We were essentially a broth with too many chefs and I lost any sort of direction or idea of what I truly wanted to be. However, I did survive it and based on the few tethers I’d managed to grasp over the course of a year under the degree’s instruction I decided to sign up to The University of Portsmouth’s illustration degree.

When I got to Portsmouth everything was confirmed. I was reminded of what I truly enjoyed and what I wanted to do more of in the future. The degree provided the perfect platform for me to start from and presented the bare bones truth of what the world I was trying to install myself into was and would be like, so any second thoughts I would have had were put aside fairly early on. The unofficial mantra that got passed down by the lecturers, and made frequent appearances in our group tutorials like a support meetings code of conduct was “what you put in – you will get out,” and while that obviously sounds like common sense, I can assure you that you’d be amazed at how many people decided to sit back, put in minimum effort and just assume the work would find them both during University and out in the big wide world of work. I heard from one of my friends at a London based art degree while I was Portsmouth that her department’s stock phrase was “nobody wants you,” which although incredibly depressing is an unfortunate truth.

Spooner 3.jpg

When I left University in 2012 I had finished my illustration degree; handed in work, filled 14 sketchbooks, written a dissertation on film noir, even wall mounted my work for an exhibition to be looked over by a horde of complete strangers – all over the course of the final third year. What I didn’t realise was that we although the work was handed in on 11tth May – we didn’t officially graduate until the 23rd July. This meant that we effectively had two whole months of not having a clue who we were supposed to be; were we students? Were we graduates? Could we start working without knowing whether we’d passed or not? The list of open-ended questions goes on and on but when you’re talking about a department full of potential freelancers you knew you weren’t going to get any answers – even the lecturers gave the impression that they now saw you as competition as opposed to the subordinates they were teaching a week previous.

There was absolutely no hope of turning to your fellow artists and finding out what they had planned because competition was verging on blood thirsty, so rather than dwelling on it I decided that I didn’t need to know what grade I got, or even whether I’d passed, to be a practicing freelancer. I had a portfolio to my name and a desire to work and seek out potential projects so, for those two months, I emailed and searched, rinsed and repeated, sending upwards of fifty emails a day until eventually one client, just as fresh and new to ‘the game’ as I was, said they wanted me on board for their new project and were willing to pay me actual money in return for my services. That was six years ago, and I haven’t stopped since

HA: You call your online domain, CARRION HOUSE. Why that name? Does it have a special meaning?

SPOONER: I didn’t actually live in the city I studied in when I was at University. I lived forty miles away and was working two part-time jobs, so I didn’t really socialise much with other students outside of the formal lessons and group tutorials attended at the University. I used to commute via bus and train and when you couple that with the fact that our schedule, especially towards the end of the course, was pretty lax it meant that not a lot of people actually knew me beyond being able to recognise me in passing me in a corridor. However, during the second year of the course there was a big emphasis placed on creating an online identity for ourselves as prospective illustrators through online portfolios, social media, blogs etc. We were encouraged to represent ourselves as more of a brand than a person, where possible, and so for two weeks I went through all sorts of names that I thought would highlight the dark work I was creating, and hoping to create, for other people.

There were some truly awful names amongst the list of potentials and some downright laughable, so I eventually decided to take stock of how people already viewed me within the course as they were, to a point, pretty unbiased and probably a good indicator of how people would view my work having not really known me personally. In the first year we had done a project where we were set the task of researching and illustrating an animal of our choice over the course of a month and producing some sort of ‘end result’ based on our research and development. I had chosen a crow as my subject and had jumped head first into my research almost gratuitously. The end result was a series of illustrations based on ‘The Crow’ by Ted Hughes and when it came time to present the research and final product to my teachers, alongside everyone else, the other students were slightly taken aback by how ‘into it’ I had become when they saw the bulging sketchbooks and development folders. Subsequently people started referring to me as ‘the crow guy,’ not in a negative capacity (as far as I know) but simply as a convenient moniker based on simple fact — I did nothing to dissuade this.

So, knowing that I was already known as ‘the crow guy’ I took the word ‘Carrion’ and coupled it with the word ‘House,’ because I liked the idea of appearing as a professional house, or style of illustration as opposed to just some guy who could colour in really well and that’s how the name came about. It may also interest you to know that I also work on children’s books under the name of ‘Hoodwink House,’ a name chosen because I don’t feel that the child friendly style of illustration I utilise under that name is an honest representation of my artistic self, therefore I feel like I’m tricking/hoodwinking both customers and myself when I put on that particular hat style.

Spooner 5.jpg

HA: I read your website where you have worked on projects that include works by Neil Gaiman, Clive Barker, and Stephen King. That’s impressive. Can you talk about how those projects developed for you? Do you feel more pressure when creating covers for high-profile projects with big-name talent attached?

SPOONER: All of those stories have come to me as parts of anthologies, so they are packaged alongside other stories, by other authors and therefore it diffuses that pressure by normalising those particular names and reminding the elated fan in you that they are just people. I try to make a point of going through anthologies avoiding any knowledge as to who has authored what as it’s the story I’m illustrating – not the writer. It also prevents me from trying to mimic any sort of aesthetic that they or their publications are synonymous with and in turn raise the chance of me coming up with something genuinely original and honest.

HA: In the age of Amazon and ebook readers, are covers as important in this digital age as they were in the days when hardcovers and paperbacks ruled?

SPOONER: Yes, of course. Covers are very important for conveying a theme or the essence of a book, ultimately providing an insight into what you might stand to gain or experience should you decide to have a look inside. On a simpler level; humans are sensory creatures so if you can appeal to someone’s imagination simply through the power of sight and image then you’ve already enriched their experience of a publication before they’ve even opened it. I would almost suggest that ebook covers need to be more illustrative than that of a physical copy as they are at a sensory disadvantage by not having that physicality and appeal to touch that humans enjoy so much.

Spooner 6.jpg

HA: What’s the key to a successful collaboration with authors and publishers in creating cover designs? Do most authors and publishers have a specific cover in mind or do they give you a lot of latitude in your design?

SPOONER: I think a successful collaboration comes from a mutual understanding and respect between the client and the illustrator. The writer should never see themselves as some sort of divine benefactor that has stooped to the illustrator’s level and offered them work that they are lucky to get – even if that is the case, and the illustrator should never be tempted to hold their skills to ransom and demand inordinate sums of compensation. Writer’s should realize that illustrators are a key part to making their body of work, not just a marketable and interesting package, but a complete and fully realized one with multiple layers. Illustrators should also realize that; yes, they are artists, they should never work for free because it undermines the entire profession, but they should also be open to the needs of the writer and understand that just because they are talented does not mean they are entirely right when it comes to understanding a writer or publishers’ vision. Working in tandem with each other towards the same goal, making all criticism fair and constructive from both parties – they seem like common sense things to keep in check, but they are often the first things to suffer when a collaborative effort starts to break down.

HA: I see your art incorporates visceral colors but also you have black-and-white illustrations. Which do you prefer and why?

SPOONER: I genuinely don’t know. I spent a long time simply sketching in standard pencil, sticks of charcoal and standard black ink so colour rarely made an appearance in my work during my infant to early teenage years. Around seventeen/eighteen years of age I had access to my A Level college’s entire art department, pretty much whenever I wanted, so I took the opportunity to explore the use of colour in my free time (lunch breaks etc.) and did so quite sporadically. The result was that colour would tend to explode within my images, as if the fact they were no longer repressed was reflecting a sort of violent display of annoyance at me personally through the very paper or canvas I’d set myself to. So I don’t know which of the two I prefer but I’m very happy that they are both present and hope I treat both equally well.

HA: On your website, you have a section for your illustration work. You also have a section titled “Self Directed Work.” What is the difference?

SPOONER: That simply refers to the work I make out of sheer impulse and self direction. None of it is commissioned by a third-party, they are simply the things I create because I have to create. Therefore, there are a few slightly weird pieces up there as well as a few canvas pieces, which is a medium I don’t advertise as a service to anyone. As you can probably imagine; there is a massive amount of work that I’ve produced for myself that isn’t on that page and is instead going completely unseen by anyone other than me.

Spooner 7.jpg

HA: What scares you?

SPOONER: The idea of not being able to create or be creative in my pursuits or hobbies scares me tremendously. Once, while in a group tutorial at University, after summer holidays through which we’d been told to maintain a visual diary, a teacher asked to see what I’d amassed. Upon opening my book and flicking through it she went very quiet, looked back over everything and asked me if I had produced as much as I had because I was perhaps scared of not being able to one day. That question caught me completely off guard with how direct it had been but also provided me with the quickest, most uninhibited ‘yes’ I had ever given in my life.

Advertisements

David’s Haunted Library: The Beauty Of Death

David's Haunted Library

30732852There are a lot of horror anthologies out there and it’s not always easy to find one that you think you would like. That being said sometimes you find a horror anthology that when you see it you know you can’t go wrong. The Beauty Of Death: The Gargantuan Book of Horror Tales is that book. Edited by Alessandro Manzetti, this book includes stories by such great horror authors as Tim Waggoner, John Skipp, Poppy Z Brite, Peter Straub and many more. This is one mammoth collection that all horror fans should have.

One of my favorite stories in this collection is Carly Is Dead by Shane McKenzie. This story is told from the viewpoint of a rotting corpse in a field who is being eaten by the forest animals but is still aware of what’s going on. Who would have thought you could have sympathy for a corpse. Another good hard-core gore story is White Trash Gothic by Edward Lee. This one has to do with an author who gets amnesia due to a traumatic event and he travels to where he wrote his last book to find out what happened. I loved how Mr. Lee makes you feel compassion for the author and then throws him into a bizarre situation that will make you fear going to a small town.

Another one of my favorites was Calcutta, Lord Of Nerves by Poppy Z. Brite. This one is about a boy born in Calcutta, he is moved to America but returns after his father dies and the zombie apocalypse starts. In Calcutta things are so bad it’s hard to tell the poor people from the zombies and weird things happen as we find out that the zombies may be worshiping an old God. My favorite scene in the book is when the lead character excepts that zombies are just part of the world now and he doesn’t think they’re that bad.

It’s really hard to pick favorites in this book and if I wrote about each story here this review would be a book in itself. Other stories that stood out for me were The Office by Kevin Lucia which is a psychological horror story about a  man who relives his life through his favorite place, his office. Another one is No Place Like Home by JG Faherty which follows a man who bought a haunted house that changes his life for the better. Things get bloody though when someone tries to get him to give it up. In The Garden is one by Lisa Morton that really got to me. In this one a woman lives in a house and is taking care of her crippled brother when something in her garden causes him to get better, I loved how Lisa made you feel compassion for the lead character and then hits you with a shock ending.

The Beauty Of Death deserves a spot on every horror fans book shelf. When I first saw it I knew I had to have it and I wasn’t disappointed. This book reminded me of The Year’s Best Horror anthologies that come out each year, but The Beauty Of Death has more to offer. Every story here has the anatomy of a good horror story and focuses on characters dealing with their worst fears and considering its length it will keep you scared and reading for a long time.

 

 

Press Release: Ramsey Campbell-Holes for Faces

front_med_300px
The new collection Holes for Faces by world-renowned horror author Ramsey Campbell is now available on DarkRegions.com, Amazon.com and the Amazon Kindle.
Trade paperback and ebook editions in stock/available, premium signed limited edition hardcover preorders available on DarkRegions.com and include paperback and/or ebook editions after order is placed.

Description

One of the most respected living horror writers in the world, Campbell has more awards for his horror tales than any other author, and “is likely to be remembered as the leading horror writer of our generation,” according to S.T. Joshi. One of the heirs apparent to early-twentieth-century American author H. P. Lovecraft, Campbell’s horror stories are often set in contemporary Merseyside, England, his own hometown, and involve quite ordinary characters. His unsettling, dreamlike prose, however, transforms his work into very effective horror fiction.
Holes for Faces collects many of his best tales from the first decade of this century. An attempt to avoid a haunted house leads into worse danger. The announcements at a railway station deal with stranger things than trains, and is that another railway station in the distance or a different kind of destination? A childhood game becomes a source of terror, and so does a radio quiz show. Even Christmas decorations may not be trusted, and beware of that Advent calendar! A hotel provides amenities you mightn’t welcome, and a visit to a tourist attraction attracts an uninvited follower. A train journey may never end, unless it already has, and a visit to a hospital brings back more than memories. A myth about a horror film has unwanted consequences. There are angels you mightn’t want to see too clearly, if that’s what they are. And you’ll have to decide if it’s better to stay in the dark or see what’s waiting there. You’ll find uncanny dread in these pages, and disquiet and terror, but also poignancy and comedy of paranoia. One theme runs through all the stories: youth and age.

Table of Contents
Passing through Peacehaven
Peep
Getting It Wrong
The Room Beyond
Holes for Faces
The Rounds
The Decorations
The Address
Recently Used
Chucky Comes to Liverpool
With the Angels
Behind the Doors
Holding the Light
The Long Way

Blurbs

 

“Consider Holes for Faces another textbook by one of our best practitioners, an essential addition to the bookshelves of horror readers and writers alike.” – FEAR NET
“Holes For Faces is a must-read for Ramsey Campbell fans, collecting his best stories from this fledgling century we find ourselves in. And if you’ve not been introduced to Mr. Campbell yet, then I can think of no better place to start.” – The Occult Detective
“…a superb collection of stories of the strange and the dark that I’m sure fans of the genre will love. I know I did.” – The Horrifically Horrifying Horror Blog
“The title story, “Holes for Faces,” is a tale of sliding realities in which our protagonist sees a very different world around him. He becomes aware of the horrors that no one else can see. These stories reflect Campbell’s ability to take normal and tilt it just far enough to create fear. This could happen to you he reminds us and that is the greatest fear of all.” – Horror Novel Reviews
“…as the reader progresses into the tales, the tension increases as the stories become more sinister and, well, down right creepy in that some of the stories make us question our innermost selves. In reading “Holes For Faces”, which I have enjoyed immensely, I discovered that my personal favorites are “Getting It Wrong,” “Holes for Faces”, and “The Rounds”.” – Widescreen Online Review
“Campbell is renowned among fans and writers alike as the master of a skewed and exquisitely terrifying style.” – Library Journal

Samhain Books and Halloween Reads

With episode 70 of horror addicts being about the future I wanted to talk about a new mass market Horror publisher called Samhain books. Back in the year 2000, Dorchester publishing started to release two horror novels per month under the Leisure books name. Leisure books was responsible for probably 80% of the horror novels that you saw on the shelf when you went to a book store.

The executive editor of Leisure Books and the man who was  in charge of their horror line since 2000, was Don D’Auria. Don grew up watching Chiller Theater and reading Famous Monsters magazine, along with any horror novel he could get his hands on. He graduated with a Master’s Degree in English from Columbia University and started work as an editor in the genre he loved. Don helped many horror authors launch their career, such as Brian Keene, Gary Braunbeck, Sarah Pinborough and Tim Lebbon.

Sadly, after working 10 years for Leisure books, Don was released in August of 2010. Due to declining sales, Leisure decided to stop printing new horror novels and had to make cut backs. The publishing industry was changing, book stores were not ordering as many books and started offering E-readers instead. Leisure did not change with the times and was slow to jump on the e-book bandwagon. As Mass Market sales were shrinking, new publishers were starting to grow through E-book sales. One of the publishers that is growing thanks to the E-book is Samhain books.

Now, Don D’Auria has a new job as executive editor of Samhain Books. Samhain will pick up where Leisure books left off and start publishing 2 horror novels a month, they will offer a print mass market version of their titles along with an E-book release.  They will also offer novellas and will help new horror authors start their career by accepting submissions from anyone who thinks they have a good story to tell. Starting in October Samhain will release The Seven Days Of Cain by Ramsey Campbell and Wolf’s Edge by W.D. Gagliani.

The Seven Days of Cain is a psychological horror novel about a man in Britan named Andy who starts to receive mysterious letters about murders that are taking place in America and  how Andy may be connected. Andy has to not only stop the murders but also find out why he is being tied to them. In the process he will see how uncertain his reality is and see everything he loves destroyed.

Wolf’s Edge follows a homicide cop named Nick Lupo who just happens to be a werewolf. Lupo has some powerful enemies including a mercenary organization who is trying to create on an invincible team of werewolves to take over the U.S military. The organization plans on exterminating detective Lupo and then taking over the country.

Since this is the Halloween season I also wanted  to talk about  a couple of good books to celebrate the season. The first one I read a few years ago by David J. Skal called Death Makes a Holiday. This book is a cultural history of Halloween that covers the history of the holiday from its celtic orgins to the present day and also takes a look at the urban legends that surround Halloween such as needles in candy and satanic rituals that take place on October 31st.

David J. Skal is a classic horror historian, he has written books on the history of Dracula, as well as a history on classic monster movies and biographies on Tod Browning and Claude Rains. In this book you will hear about the story behind the jack-o-lantern and how the holiday changed through the years. If you love Halloween like I do, then you want to check this book out.

I also want to mention a book I found recently and started reading on my nook called Midnight on Halloween by Autumn Gentle. This book has 31 short stories all having to do with Halloween. Some of the tales in this book include snake women, werecats, extreme gaming gone wrong and a post apocalyptic mosquito city. To find out more about Autumn Gentle go to  www.thefreakandthevampire.com.

Free Fiction Friday: Hot Blooded Twins

For our Free Fiction Friday post for this week we have a set of Hot Blooded Twins. These two books are a part of the Hot Blood Series which was an ongoing anthology of horror erotica books. There are 13 books in this series, the first one came out in 1989 and the last one came out in 2007. Hot Blood was created and edited by Jeff Gelb and Michael Garrett.  The two editors have also worked together on other anthologies such as Shock Rock, Dark Delicacies and Fear Itself.

Our first twin was number 6 in the series and is called Strangers By Night. Some of the stories that are included here are Dead Girls in Love by Edward Lee, Take It as It Comes by Tom Piccirilli and The Body In The Window by Ramsey Campbell. This book originally was released in 1995 and according to some of the reviews I read its much nastier then the 5 books that came before it.

The second twin is called Fear The Fever, it was  the seventh book in the series and was released in 1996. Some of the stories in this anthology includes: Love Letters From The Rain Forest by Jack Ketchum and Edward Lee, Untamed Sex by James Crawford and The Sinister Woods by Wendy Rathbone. If its possible this book is even more racy then its predecessors. According to what I read some of the stories include an erie pornographic art gallery, necrophiliac humor and a story about a long lost cookbook.

So if you like a little sex and humor with your horror  or if you want some erotic thrills before bedtime, you’ll probably want to adopt these two books. Sure they’re a little raunchy but with a little love they’ll fit nicely on your bookshelf. So in order to have these two Bram Stoker award winning books mailed to your home, all you have to do is leave a comment on the blog as to why you want to have these books and why you would make a good owner. The best comment wins the books. This is open to US residents only. Good Luck.