Vampiric imagery is very prolific: coffins, stakes, bats, tenebrous castles, crimson moons, blood, apotropaic garlic heads and, of course, vampires. illustrating Dracula’s sock had this challenge: to create a pattern that reflected the variety of a vast collective imagination. The colors would necessarily have to be nocturnal and sanguine, the figuration close to frightening or, at least, suggestive of it. Perhaps because my miniature and pixel-drawn draculas ended up being nice and even cute, I decided to add to the motifs repeated in pattern the representation of the castle of this count from Transylvania, with the night, the bats and the reddish moon, haunting the
foot from the ankle.
Melville’s classic has several fascinating elements: among the characters, Ahab and Queequeg are very portrayable, from the environments, the high seas or the deck of the whaling ship Pequod. What is less fascinating is the idea of chasing the white whale. The Moby Dick is, without a doubt, the most seductive element of this novel. (And nobody wants her to die.) That’s why I wanted it to stand out, leaving the Pequod’s silhouette in the backlight of a sunset only to suggest the presence of events connected with Ishmael’s voyage. The illustration of this sock was then thought of as a single design, rather than a pattern, with the sperm whale relaxed, before Pequod’s arrival, hugging the shaft. Moby Dick thus gains prominence at the bottom of the sea, or it wasn’t a big whale, among the fish that stroll between the toes and the heel.