It is late. On an investigator’s desk steeped in the blue of night, a brass lamp lights up the archives: letters, registers, photographs, an unfolded map. Everything you read is paper in the light; everything that serves as a tool stays in the shadow, clean and discreet.
The illustration is an intaglio print in iron-gall ink, heightened with watercolour. The line sets the hierarchy: firm outlines, finer details, shadows and contour lines barely touched in. The washes stay transparent, never more than two layers, and spill a little over the line, like a colourist’s hand.
The portraits are three-quarter busts, recognisable as a thumbnail or full size: each person has their own hairstyle silhouette, accessory and clothing colour.