Ask for the Moon has wonderful illustrations and cover art, created especially for the book by Rebecca Stewart. Prior to working on this book I had never collaborated with an illustrator before and I found the process both fascinating and rewarding.
Why illustrations? Why not just stills from Shaw Brothers films?
It felt important to have images in a book about a visual art form like film but, working with a tiny budget, I was concerned that I couldn’t afford to pay fees for copyright licences to use stills from the films. Perhaps, more importantly, Rebecca and I both agreed that it just didn’t make sense to populate a book that had innovation as its overarching theme with reproduced images. We felt that illustrations that were an original response to the book’s content would better honour that overarching theme.
Choice of illustrator.
I was delighted when Rebecca offered to illustrate the book. In many ways she was the ideal artist for this project. I have known Rebecca for years, and we have collaborated before but in completely different roles and on a completely different project, never as writer and illustrator.
I have long enjoyed looking at Rebecca’s artwork and knew her to be an extremely talented artist, with a particular passion for illustration. Pertinently, for a book dealing with a kinetic art form like martial arts movies, she has an instinct for drawing movement: Rebecca is a mad keen fencer, training and competing regularly, and, prior to this project, I had seen many of her dynamic sketches depicting fencers in training.
Rebecca also started off her professional career as an animator and is highly film literate, so she quickly got the ways in which the filmmakers I was wanting to talk about in the book – Lau Kar Leung, King Hu, Chor Yuen, Chang Cheh – were exceptional.
Rebecca came on board a few months before the completion of the writing of the book. She read the second draft, we had quite a few meetings to discuss the ideas I wanted to write about as well as the aesthetics of Shaw Bothers films, and I supplied her with a collection of images that I felt typified these aesthetics. These included screen shots from the films themselves, digital images of marketing collateral harvested off the internet such as posters, lobby cards, and Shaws’ own fan magazines.
Rebecca did her own research, unearthing gems such as some terrific photos of Sir Run Run Shaw which inspired her caricatures of him in the book. Of course, she watched DVDs – I was gratified to find that The Magic Blade went down particularly well – and found clips from the movies on YouTube. I remember her telling me that, as a preparatory exercise to get her eye in, she was working through a fight scene from The Five Venoms on YouTube by stopping it every few moves and doing some sketches, when she had an epiphany as to just how beautifully complex the choreography in these films can be and realised what had been inspiring me about this aspect of martial arts filmmaking for years.
Every few weeks Rebecca showed me some of these preparatory sketches to check if I was happy with the way the illustrations were shaping up. I was intrigued, and excited, to see that Rebecca was modifying her own style to ensure that the illustrations for this specific book were complementary to the tone and aesthetics of Shaws’ films. Check out Rebecca’s Instagram page to see the style of other drawings in comparison to the work she did for Ask for the Moon.
So, all in all, the process of working with an illustrator was a wonderful process, both for the creative companionship such a collaboration can bring as well as having a suite of images that add another layer of meaning to the book.