Acrylic on 8″ x 10″ canvas board. I like to do the book titles as “vertical-axis” ambigrams (mirror-reflection style) for two reasons. First, the style better fulfills Poirot’s sense of symmetry than a rotational ambigram would do. Second, I’m thinking of them in terms of a book cover or a fixed display, and it’s sort of handy in that case to get the visual effect without having to physically rotate the thing.
I’m pleased with the legibility of this particular one… and also the elephant. 🙂
Acrylic on canvas board. I was very pleased with the concept for the illustration, and with how the malachite table turned out. [A note on this series: since ambigrams are invariably a graphic design featuring perfect symmetry, I do graphically alter my pictures to likewise attain perfect symmetry. The original little paintings are quite symmetrical and close to what you see here, but utilizing graphic precision makes for a “truer” and more striking ambigram.]
Once again, a vertical-axis “mirror” ambigram of a Christie title. Acrylic on square canvas board. I’m attempting to carry on my habit of using the letters themselves (frequently the center letters) to convey some important pictorial plot reference. In this case, we have the folly itself. 🙂
This was a new challenge for me: a mirror ambigram with a horizontal axis, rather than a vertical! (Turn it ninety degrees if you want to get a better sense of the symmetry.) I think it turned out rather well. 🙂
I’m still behind on my ambigram-posting… Since I’ve been doing a lot of Christie titles, here’s a mirror ambigram I did not long ago of The ABC Murders. Acrylic paint on square canvas board. 🙂
My apologies for being WAY behind on blog posting. I’ve been making new things and sharing elsewhere, but I’ve been remiss here. So I’ll start with one of a series of new ambigrams I’ve done lately: the Christie title, Death in the Clouds.
I’ve been doing various book titles as mirror ambigrams lately– that is, there is a vertical axis and both halves of the image are identical. The benefit to this kind of ambigram is that you don’t have to physically turn the thing to get the full effect. 🙂 This particular image bears some similarity to the first Christie title I painted, The Hollow. Both painted mirror ambigrams take advantage of story-appropriate imagery, traced through the center letters, to aid in the overall ambigram design. I’m looking forward to trying more of these. 🙂
This is one of my first attempts at a “mirror” ambigram, with its vertical axis. (I thought I’d start with a fairly easy title!) It’s also the first ambigram design I’ve painted. Readers of the book The Hollow might recognize Yggdrasil, the tree that is sketched by an artist in the story. 🙂 Acrylic on canvas board; 5×7″.
You already knew with what seeming effortlessness David Suchet turns into characters. Here’s the ambigram proof! (Shown with inversion.)
This new ambigram is in honor of the snowy power outages we had this evening. I lit several tea lights in my craft room and planned to finish my doodles by candlelight, but the lights came on again before I could finish. Oh well… this meant I was able to use the scanner. 😉
The ambigram reads upside down or rightside up, either orientation. Yes, that was a bad pun. My original ambitious plan was to pair this with a pictorial ambigram which would turn an aerial-view train on tracks into a dagger and 12 slash marks, but I decided to give it a pass. Which is probably just as well…!
Let it be known that (for whatever reason) not only is Hugh Fraser really rather difficult to draw, but his name is dashed difficult to ambigram! I tried many variations of this ambigram with somewhat mixed results. The names that need to ambigram into each other should ideally be very close in length to make it work. This is the best I could come up with, after a long struggle and even some technical reference help.