5 November 2015 at 04:45 GMT
3 November 2015 at 22:32 GMT
Warner Bros. has sent over the official logo treatment for Fantastic Beasts and Where to Find Them — it’s Potter-esque with a touch of dragon. Check it out below.
23 October 2015 at 04:29 GMT
6 October 2015 at 12:00 GMT
Harry Potter Fan Zone recently had the chance to participate in a group interview with Jim Kay, the artist behind the gorgeous Harry Potter and the Philosopher’s Stone illustrated edition, released today.
Jim is currently at work illustrating Harry Potter and the Chamber of Secrets, but took some time out to talk about bringing J.K. Rowling’s words to life.
Always J.K. Rowling (AJKR): Were you influenced by previous Harry Potter illustrators/the films or did you veer away from both?
I’m a huge fan of both the books and the films. I thought the screen adaptations were a wonderful showcase of the best set design, product design, costume, casting, directing and acting their disciplines had to offer. I knew from the start that I’m competing to some degree with the hundreds of people involved in the visuals of the film. I remember watching the extras that come with the movie DVDs a few years back, and wondering how on earth you’d get to be lucky enough to work on the visuals for such a great project. To be offered the opportunity to design the whole world again from scratch was fantastic, but very daunting. I’d like to think that over the years lots of illustrators will have a crack at Potter, in the same way that Alice in Wonderland has seen generations of artists offer their own take on Lewis Carroll’s novel. I had to make it my version though, and so from the start I needed to set it apart from the films. I’ll be honest I’ve only seen a few illustrations from other Potter books, so that’s not been so much of a problem. I love Jonny Duddle’s covers, and everyone should see Andrew Davidson’s engravings — they are incredible!
Magical Menagerie (MM): What was the most important detail for you to get right with your illustrations?
To try and stay faithful to the book. It’s very easy when you are scribbling away to start wandering off in different directions, so you must remind yourself to keep reading Jo’s text. Technically speaking though, I think composition is important — the way the movement and characters arrange themselves on the page — this dictates the feel of the book.
SnitchSeeker (SS): What medium do you use to create your illustrations?
I use anything that makes a mark — I am not fussy. So I don’t rely on expensive watercolour or paints, although I do occasionally use them – I like to mix them up with cheap house paint, or wax crayons. Sometimes in a local DIY store I’ll see those small tester pots of wall paint going cheap in a clear-out sale, and I’ll buy stacks of them, and experiment with painting in layers and sanding the paint back to get nice textures. The line is almost always pencil, 4B or darker, but the colour can be a mixture of any old paint, watercolour, acrylic, and oil. Diagon Alley was unusual in that I digitally coloured the whole illustration in order to preserve the pencil line drawing. I’d recommend experimenting; there is no right or wrong way to make an illustration, just do what works for you!
The Daily Snitcher (TDS): Because each book is so rich in detail, what is your personal process when choosing specific images?
I read the book, then read it again and again, making notes. You start off with lots of little ideas, and draw a tiny thumbnail illustration, about the size of a postage stamp, to remind you of the idea for an illustration you had while reading the book. I then start to draw them a little bigger, about postcard size, and show them to Bloomsbury [UK publisher]. We then think about how many illustrations will appear in each chapter, and try to get the balance of the book right by moving pictures around, dropping or adding these rough drawings as we go. With Harry Potter and the Philosopher’s Stone Bloomsbury were great in that they let me try all sorts of things out, different styles, concepts. Some I didn’t think would get into the final book, but everyone was very open to new ideas. There was no definite plan with regards to how the book would look; we just experimented and let it evolve.
23 September 2015 at 21:46 GMT
Harry Potter author J.K. Rowling revealed some exciting new information about the ‘Potter’ family lineage over at Pottermore today. She also revealed, at long last, the names of Harry’s grandparents — Fleamont and Euphemia Potter.
The Potter family is a very old one, but it was never (until the birth of Harry James Potter) at the very forefront of wizarding history, contenting itself with a solid and comfortable existence in the backwaters.
Potter is a not uncommon Muggle surname, and the family did not make the so-called ‘Sacred Twenty-Eight’ for this reason; the anonymous compiler of that supposedly definitive list of pure-bloods suspected that they had sprung from what he considered to be tainted blood. The wizarding Potter family had illustrious beginnings, however, some of which was hinted at in Deathly Hallows.
In the Muggle world ‘Potter’ is an occupational surname, meaning a man who creates pottery. The wizarding family of Potters descends from the twelfth-century wizard Linfred of Stinchcombe, a locally well-beloved and eccentric man, whose nickname, ‘the Potterer’, became corrupted in time to ‘Potter’. Linfred was a vague and absent-minded fellow whose Muggle neighbours often called upon his medicinal services. None of them realised that Linfred’s wonderful cures for pox and ague were magical; they all thought him a harmless and lovable old chap, pottering about in his garden with all his funny plants. His reputation as a well-meaning eccentric served Linfred well, for behind closed doors he was able to continue the series of experiments that laid the foundation of the Potter family’s fortune. Historians credit Linfred as the originator of a number of remedies that evolved into potions still used to this day, including Skele-gro and Pepperup Potion. His sales of such cures to fellow witches and wizards enabled him to leave a significant pile of gold to each of his seven children upon his death.
Linfred’s eldest son, Hardwin, married a beautiful young witch by the name of Iolanthe Peverell, who came from the village of Godric’s Hollow. She was the granddaughter of Ignotus Peverell. In the absence of male heirs, she, the eldest of her generation, had inherited her grandfather’s invisibility cloak. It was, Iolanthe explained to Hardwin, a tradition in her family that the possession of this cloak remained a secret, and her new husband respected her wishes. From this time on, the cloak was handed down to the eldest in each new generation.
The Potters continued to marry their neighbours, occasionally Muggles, and to live in the West of England, for several generations, each one adding to the family coffers by their hard work and, it must be said, by the quiet brand of ingenuity that had characterised their forebear, Linfred.
Occasionally, a Potter made it all the way to London, and a member of the family has twice sat on the Wizengamot: Ralston Potter, who was a member from 1612-1652, and who was a great supporter of the Statute of Secrecy (as opposed to declaring war on the Muggles, as more militant members wished to do) and Henry Potter (Harry to his intimates), who was a direct descendant of Hardwin and Iolanthe, and served on the Wizengamot from 1913 – 1921. Henry caused a minor stir when he publicly condemned then Minister for Magic, Archer Evermonde, who had forbidden the magical community to help Muggles waging the First World War. His outspokenness on the behalf of the Muggle community was also a strong contributing factor in the family’s exclusion from the ‘Sacred Twenty-Eight’.
Henry’s son was called Fleamont Potter. Fleamont was so called because it was the dying wish of Henry’s mother that he perpetuate her maiden name, which would otherwise die out. He bore the burden remarkably well; indeed, he always attributed his dexterity at duelling to the number of times he had to fight people at Hogwarts after they had made fun of his name. It was Fleamont who took the family gold and quadrupled it, by creating magical Sleekeazy’s Hair Potion ( ‘two drops tames even the most bothersome barnet’ ). He sold the company at a vast profit when he retired, but no amount of riches could compensate him or his wife Euphemia for their childlessness. They had quite given up hope of a son or daughter when, to their shock and surprise, Euphemia found that she was pregnant and their beloved boy, James, was born.
Fleamont and Euphemia lived long enough to see James marry a Muggle-born girl called Lily Evans, but not to meet their grandson, Harry. Dragon pox carried them off within days of each other, due to their advanced age, and James Potter then inherited Ignotus Peverell’s Invisibility Cloak.
19 September 2015 at 19:29 GMT
Universal has revealed the first poster for the Wizarding World of Harry Potter theme park, opening Spring 2016 at Universal Studios in Hollywood.