by Priscilla Burris for June 27…
SUNGLASSES DAY!!! ENJOY!
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This image just in from CA CAT artist Priscilla Burris…. it’s of ‘her’ HEIDI HECKELBECK sitting in front of a new Coffee/Book place near Disneyland apparently, called INK AND BEAN, and it’s all about books and coffee! how perfect is THAT! So as Priscilla said, Heidi had to go over and check it out. Wish I could join her! The series about Heidi, written by Wanda Covens and published by Little Simon, is now in it’s #13/14 book and growing… very popular young “witch” who everyone loves to read about apparently. And no wonder! …. lets ALL join her for coffee this summer at the Ink and Bean! Or BOOKS OF WONDER, (NYC, 18th street) or any other coffee and book summer hang out!
I’m a bit late in congratulating our CAT artist Martha Aviles (in Mexico) for her SILVER MEDAL Honor from the SYDNEY TAYLOR BOOK AWARD presented by the Association of Jewish Libraries. This award for STONES FOR GRANDPA from KarBen/Lerner publishing, is in the younger readers category. CONGRATULATIONS all!
ALSO, Priscilla Burris illustrated a wonderful trade picture book that just launched…. EDGAR’S SECOND WORD written by Audrey Vernick from Clarion. It’s so endearing and might help an older impatient sibling should you know one! congratulations Priscilla!
Time seems to be just running away this long awaited spring! Part of the race for CATugeau Agency was run in NYC recently…the first visitation trip Christy and I have done together. Thank you to the wonderfully welcoming editors and AD’s at Penguin Group’s Grosset & Dunlap, Dial and Viking for letting us practice on you! :) I think Christy thinks this is all FUN! and I think I agree.
We started with a very special, fun lunch at Westville Hudson with our four NYC artists. They surprised Christy with a silver pin with two cats sitting together! So perfect and she wore it all day! Thank you CAT gals…
The next day we started BEA at the early Children’s Breakfast…always special and inspirational. Then we ‘walked the halls’ seeing publishing people from out of town, and literally bumping into others from ‘town.’ Always fun. We loved seeing so many great children’s books displayed (though I might have picked up a couple of ‘advance’ adult books too!) We passed out lots of our BEA BOOK BRAG SHEET too. Here it is for you to peruse as well. We’re very proud! Hope you’ll check them out at your local bookstore.
So now the follow-ups are done, and we’re settling back into the ‘day to day.’ Oh I almost forgot - Christy and 6 other of our artists have a new email Blast about ready for June’s “Adopt a CAT Month!” How perfect is that? come back soon to see that one…. and of course, we wish all a HAPPY FATHER’S DAY! image by Michelle Hazelwood
Well, things are looking better for books…at least kids books which seem to lead the markets often these days. A bit ago the first quarter stats were discussed in PW, and I wanted to share only a bit of all that. Stay positive. Trade sales are reported UP across the board in kids… 1200 publishers were feeling ‘solid’ in Jan 14. Divergent trilogy (which I loved!) was a big driver…congrats Veronica Roth and Katherine Tegen Books! and thanks!
They said the “surging children’s/YA sales’ were up 44 million in Jan where adult was up 10 million. GO KIDS! but UP is UP and all good. E book sales up 12% also…and is the largest selling format in adult books. I just bought a nook myself recently…. it’s light and easy to hold (becoming important even though I love a big fat hard cover too! Try GOLDFINCH on…yummy) and I like the back light. Nice as an option.
So lets jump happily into the spring books and next quarter. FINALLY it’s warm more than not everywhere. And BEA is next week! Christy and I can’t wait to attend…. hope there are some freebies left Friday!
And we wish you all a very memorable Memorial Day this weekend (actually the 30th, but hey….) Michelle Hazelwood has a fun piece to share with you….
This day is always a special one for mothers and their children…just an easy opportunity to THANK a love one in any small kind way. This is my first without my mother, and it is a mixed bunch of emotions I have to admit! But mostly all very good and immensely grateful. So I wanted to pass on this image of ANA OCHOA’S which does show the complexity of nature and expectations and dreams….something mothers live with and nurture. Enjoy the day ALL!
Last month I was visiting a son’s family in Cleveland OH and we visited our favorite place there The Cleveland Museum of Art. Even the 3 young grandkids love this fabulous building and their interactive kids room! just for grandma’s too! The show we went to see was Van Gogh “Repetitions.” (it’s on till May 26th if you can get there)
I got thinking about how we learn from practice as I gazed at this versions and variations on one of his own compositions and subjects. We see differently and deeper as we experience a thing, person or place repeatedly. Studying the differences and similarities between several of his repeated works gives us a new window into the mind and eye of this ‘well known’ artist.
On returning home to Williamsburg I was lucky enough to catch the last day of a small Caravaggio show at our own Muscarelle Museum of Art here on the campus of Wm and Mary. Caravaggio has always blown my mind’s eye anyway with his beyond realistic talents, but this too presented a repetition study of two similar paintings that might have been both by the artist himself…or not. Two unsigned versions of ‘Saint Francis in Meditation’. The viewer, after following the studies and exercises they presented, was to come to their own conclusion! The show also spotlighted the very fine and famous Caravaggio ‘The Capitoline Fortune Teller’ which was a true treat.
I couldn’t help but to notice the message I was to share with my artists and all of you readers! REPETITION = an intentional practice to learn and expand the opportunity to deeply know a subject. Illustrators of course conceive, sketch and revise then paint and maybe revise again on a regular basis. We forget perhaps that famous artists walked this same path over and over that we all walk. Dive in! Deeper! and again! Get to REALLY know your subjects to bring them more fully to the world to view!
my artist son Jeremy Tugeau and grandkids at the Cleveland Museum of Art new atrium…
|Our very own Christine Kornacki has WON the Children’s AWARD|
The Evangelical Christian Publishers Association (ECPA) has announced the winners for the 2014 Christian Book Award® program. Presented annually to the finest in Christian publishing since 1978, the Christian Book Award® program honors titles in seven categories: Bibles, Bible Reference, Non-Fiction, Fiction, Children, Inspiration and New Author.
Five finalists are selected in each category following a stringent judging process by judging panels specially selected for each category. The top scoring book in each category is named the Christian Book Award® winner. The Christian Book of the Year™ is chosen among the finalists to represent Christian publishing’s highest quality and greatest impact for 2014.
The Christian Book Award® program winners and Christian Book of the Year™ were announced at the ECPA Awards Banquet on April 28, 2014 at the Focus on the Family Headquarters in Colorado Springs, CO.
I just read the end of the submission guidelines for an Australian/International Picture Book competition, and these TIPS were there. Nothing new, but to read them all together is wonderful and possibly helpful to all. Thank you Kathy Temean (Writing and Illustrating WordPress Blog- check out for contest guidelines).
and PRINT THESE….then place above your writing illustrating space… and remember!
PICTURE BOOK TIPS
Golden Rule: don’t use too much dialogue, text or description. Let the pictures do the talking—don’t say what the pictures can show. Cut and cull your text. Be ruthless! If your text is 400 words long, it should be vibrant and intensely edited.
Think carefully about rhythm and flow—this is one of the most common obstacles between a work-in-progress and a publisher-ready ms. Read the work out loud and listen to the way the words work together. ‘Hear’ the beat and flow as you read, and adjust words as necessary.
Don’t attempt rhyme. It is not popular with publishers but if you simply can’t resist, make sure it’s infallible. Two rhyming end-words do not a perfect rhyme make. Rhythm and beat is as important as word rhyme—in fact, even more so. Don’t create awkward sentences with odd word placement in order to make a rhyme; rewrite the entire stanza instead.
Look at your word usage and sentence structure. Is it dynamic and interesting? Does it pull the reader along and make them want to read more? or does the reader stumble or become confused? Does it delight? Does it sound good?
Never talk down to the reader. Use big words. Use unusual words. Use a unique voice. Don’t patronise and don’t explain. Never hammer readers with morals. If you simply must use them, thread them through the story in an imperceptible way.
Unless you want your book to appear like an information brochure, attempting to educate children on social, physical, emotional and mental issues and conditions needs to be done cryptically and cleverly. Add humour. Create an unexpected storyline that intimates things in a subtle way and you will have a winner with kids.
Think about the plot. A good story leads the reader through conflict to resolution in a Beginning Middle Ending way, or in a Cyclical way. Things HAPPEN. Showing someone going about their day and going to bed at night is not a story. It’s an account. Write a story, not an account.
Have a protagonist. Your protagonist, or main character, does not sit by and observe—they action, take part and instigate.
Think outside the square. Cover unusual topics, with untouched themes (avoid monsters, fairies, trucks, mud, grandma dying, rainbows, farmyard animals, dogs and other overdone topics). Use different writing voices and story structure. Do something DIFFERENT.
Think twice about supplying detailed illustration notes. Too many notes absolutely do hamper your text; rely on the reader’s ability to imagine what your words are showing. Only supply notes if the text is very cryptic and needs ‘explaining’, and even then—make notes extremely short.
Look objectively at your story. Is it clear and simple or cluttered and confused? Be wary of submitting something that is wrapped up in your own head and unable to be deciphered by someone else. This happens A LOT.
Have an ending. A PB ending needs to be shocking, surprising, funny, quirky or in some way resolving and/or related to the plot. Around sixty per cent of the ms endings we have seen are either non-existent, confusing or dull. Go out on a top note, not a kerplunk. A great ending demands a repeat reading—and that is exactly what you want.
Write your book for kids, not adults. If you hit the nail on the head for kids, most adults will love it, too.
Keep it simple.
REMEMBER WHO YOU ARE WRITING FOR!
OK, this is my youngest granddaughter…a book lover already! Like my 8 year old granddaughter as well!
CATugeau Agency is so proud to announce the launch today of I Pledge Allegiance written by Pat Mora and Libby Martinez and illustrated by our own PATRICE BARTON for Random House Children’s Books (Knopf). Seems a wonderful time to remind ourselves how lucky we are who can make that pledge…and share it with our children. ENJOY!
Wanting to wish EVERYONE a very happy Spring/Easter week and weekend! Do believe it Spring is finally here…. in most places anyway. (sorry Cleveland!) Even The Cat has his ears on for the occasion!
Just in time for spring, a grandma (!) sends a surprise package of JUST what you need to Frog Hunt…so off go Maggie, a wee lively gal, and Milo, a huge loving dog! Our Priscilla Burris brings the characters alive in her usual adorable and spunky way: do check it out…. and it just begs for more adventures! Kirkus Review loves it! as do others…. go Maggie and Milo! and happy Spring finally to all….
cover, and below author reading to class….
What do you need for a frog hunt? Big polka-dot boots, a book about frogs and one giant border collie best friend.
Maggi, a wisp of a girl with spindly legs and a large, wobbly head, is an excellent adventurer. She can’t wait to try out her new boots and search the pond for frogs. After a good night’s rest—and imparting forbiddingly specific instructions to her brother at the breakfast table (“Please keep the chitchat to a minimum. I’m in a hurry!”)—Maggi and her shaggy sidekick, Milo, are ready. However, after waiting “a million minutes” (or three) in the water, they haven’t found a single frog. With shoulders slumped and head bent low, Maggi declares frog hunting to be capital B-O-R-I-N-G. Until…Milo finds a frog! And another. And another. After 16 frogs total, Maggi and Milo rest. (Frog hunting is hard work.) As the sun sets and the palette changes to a dusky blue, the frogs quietly croak “good night” to their new friends. Debut author Brenning has created a charming duo; Milo’s steadfast loyalty (and joyful, lolling tongue, courtesy of Burris) fully balances Maggi’s quirky proclivities. A simple, everyday adventure is always better when shared with a friend.
Move over Ladybug Girl (2008), there’s a new spunky gal-and-canine twosome in town. (Picture book. 3-6)
Sometimes characters are just climbing the walls to say HELLO! …and for Priscilla Burris on a visit to Little Simon offices after the SCBWI Winter Conference, Heidi Heckelbeck, most popular child ‘witch’, did JUST THAT! (written by Wanda Cloven) Here are Ciara Gay (designer) Chani Yammer (Executive. AD) and Sonali Fry (Ed. Dir.) and many of the Heidi series books greeting Priscilla as she gets off the elevator! Such moments aren’t forgotten…. ever!
I just had to share this note our agent Christy sent an aspiring children’s book illustrator today. She was asking for advice, and this is like a mini course in what to do to find your style and get into the industry! It may not be rocket science, but it does take talent, industry knowledge and persistence!
“Thanks for your email. And congratulations on your interest in joining the wonderful world of children’s book illustration! Your first step is to visit book stores. Look at trade, educational and mass market books, and study the artwork (and the difference in artwork) in those markets. Compare it to your style. Is your artwork geared more towards the trade market, or more mass market? Then you’ll kinda know where you belong!
Move beyond pencil in your artwork. Sketches are SO important and good idea to show, but you need FINISHED SAMPLES. Lots of illustrations (color and black & white) showing characters, storyline, character growth and interaction. Show a consistent style or two. That helps you to be memorable. Work on samples that tell little stories – 2 or 3 sequential illustrations that have a story flow and book feel. Art buyers (and agents!) need to see this.
Once you have a good portfolio of samples (black and white & color), build a website. It doesn’t have to be fancy, but you will need one in order to easily show your work. You need to have an online presence. They can’t HIRE you if they can’t SEE you.
And then, get yourself out there! Get advice and feedback on your samples and portfolio from industry professionals and follow it. Listen to what people want and are looking for…and their honest critiques of your work. But most of all, have fun with it! Working artists are lucky because they get to do what they love! Have fun with the process of finding your style, and then enjoy working on your samples and building your portfolio. It should be a fun journey – not a mountain to climb!”
here is an aspiring artist by CAT artist Meryl Treatner
I’ve just always been amazed as I watch my children, and now 7 grandchildren, grow, learn, become themselves. The grands range now from 15 months (my agency partner and daughter Christy’s baby girl Billie) to my elder son Morgan’s 15 year old twin boys, Christopher and Riley, now in High School. (WHAAAAT!?) In between is their brother Coady, 7, and my other son Jeremy’s 8 year old daughter Ruby and sons, George (7) and Harrison ( 3 1/2). Lots to observe! And what I’ve noticed is HOW they learn … not only at the beginning, but into adolescence. They learn from play… and the practice, practice, practice that comes naturally with play.
Formal education is important and valuable of course, but it seems more and more it leaves little time for outside and free play. Unstructured time, or play, is the cornerstone of childhood. That ability is important all through our lives as we change, grow and attempt new things. Play keeps us learning, adaptable, engaged and excited about life.
I often encourage artists who are feeling frustrated, stiff or tired, to take up a new medium and just play with it. The end result isn’t important, it’s the process to cherish. Or go outside to a park and sit sketching kids playing without really looking at the pencil lines. That becomes the artists ‘play’. With practice and more play it will be impossible to stay stiff and frustrated. Like little Billie who is just learning to walk without holding on, we grow stronger and braver and happier as we learn by playing. Maybe we take spills, but we also laugh with the glee of a Gold Medalist at the Olympics! Got to run – PLAY TIME!
Been away in warm (!) Key West…. but coming home to a LOVE FILLED day is lovely too. Wanted to share our CAT agency love with you all! And DO check out our new agency FACEBOOK PAGE (CATugeau: Artist Agency) that my daughter and partner Christy T. Ewers is doing for us….full of more visual content and sharings.
Awards are wonderful but particularly because they better the chances that books will GET to kids….the point! we’ll be bragging about some awards this year…past and present. I’ll start with this:
Reading is Fundamental. “First Peas to the Table” ( Illustrated by Nicole Tadgell from Albert Whitman) has been selected one of 40 titles (chosen from a pool of 800 vetted titles) for 2013-14 Macy’s Multicultural Collection of Children’s Literature. They will be distributing collections to schools across the country.
With the country in what feels like such IMbalance these days, it was actually a treat to read in PW this week (Nov 18) about the slowdown in the sales of e-books! Earlier they’d reported a decline of sales with established publishers the last 5 months! E-books had seen only growth up till now. The slowdown is good because it feels like a balance is being found… better predictability (thus better publishing plans) for publishers, bookstores, and e-book sellers. Most who didn’t panic felt this would happen. It’s a matter of time and finding the balance of different formats, and what that will mean to all in the industry when sales in all formats stabilize. It’s a hybrid market and healthy for all I’m sure. Reminds me of TV and movies back when. Some books sell better with e-book, and others are always going to be better in print. Pricing continues to be challenging, but that too will find it’s balance point eventually. It’s really still all about getting CONTENT in all formats available to the readers who want it. And doing it in a way that all can stay in business! That sounds like good news to me.
THE INVISIBLE BOY…..
School Library Journal THE 20 BEST OF THE BEST….top picture books of 2103…and our Patrice Barton illustrated one of them!!! congratulations Patty!!!
You will help many ‘invisible’ kids become visible…..
“LUDWIG, Trudy. The Invisible Boy . illus. by Patrice Barton. Knopf. Tr $16.99. ISBN 9781582464503.
K-Gr 2 –Ignored and excluded by his classmates, Brian feels invisible, but when he welcomes a new student by writing a friendly note–and Justin responds in kind–everyone begins to see Brian with fresh eyes. Told with kid-savvy perception and emotion-tinged artwork, this quiet story shows how small acts of kindness can have big results. (Sept.)”
Michelle is a tea drinking (a robust Irish Breakfast, thank you), cozy sock wearing children’s illustrator living, drawing, and enjoying life in the foothills of the Rocky Mountains. She prefers a traditional approach of pen/ink, and watercolor: with a touch of digital thrown in for good measure.
A member of the Society for Children’s Book Writers and Illustrators, she was a New England SCBWI Ann Barrows Illustration Scholarship recipient, and has conducted a well-received workshop for elementary aged children entitled “The Art of Illustrating: Make Your Mark and Make a Splash.”
She is represented by Christina Tugeau at CATugeau.
Here is Michelle:
Above is a Self-Portrait done by Michelle.
Above is the cover art for Michelle’s new book, The Princess and the Frog written by Nancy K. Wallace and illustrated by Michelle. It was published by Magic Wagon in August 2013. Below are a few illustrations from the 32 page picture book,
The Princess and the Frog is a fractured fairy tale based on the story of the princess and the frog. When the princess loses her ball in the well, a helpful frog is willing to get it for her–for a price! But the kiss doesn’t cause the traditional transformation. This book provides information on putting on a production–including tips on sets, props, and costumes. An easy-to-follow script with color coding for character cues is ideal for readers’ theater, puppet shows, or class plays. Teachers can download a free guide with additional tips and reading level information for each character.
Here is Michelle discussing her process:
First some Character studies
I began with this illustration. I needed to work on older kids and had sent this one to my agent. She liked it, and asked for these two characters in another illustration.
My favorite part of the process is in developing the characters. So, I like to start with faces. I did a loose pencil sketch, playing with their expressions. I scanned them in, and brought them into Photoshop. I reduced their size, and then printed it out, so that I could work on their bodies next. (That part of the process varies – most often I’ll sketch out their full bodies, but in this case, I was happy with their expressions, but had run out of space to sketch their bodies, hence the scanning).
I sketched in their bodies, scanned into Photoshop and cleaned up the image up a bit. Print.
I wanted them to be in a school setting, so I sketched in the lockers and hallway.
At this point, I focused on other kids in the hall. I worked on a sketch of a group of kids. Scanned them in and added them to the scene in Photoshop.
I still felt there needed another kid in the scene, and sketched her. The thing I love about Photoshop is using it to work on the composition of the scene. So, so, helpful!!
After placing everyone where they needed to be in Photoshop, and cleaning up the sketch. I printed it out on watercolor paper, and paint. Below is the final image.
How long have you been illustrating?
When I was in elementary school, I would draw all the time. I had a big desk in my bedroom, and that’s where I’d work. I studied the classics. You know, Ziggy, Snoopy, Family Circus.
Did you study art at Pennsylvania State University?
Nope, not even close. I double majored in the Russian, and Sociology: with a minor in Russian Area Studies. I lived in the Soviet Union for four months the summer before my senior year. In fact, I was in Moscow when the Soviet Coup of ’91 occurred and Gorbachev was taken by the Soviet hardliners. I stood in Red Square amongst the tanks and heard Boris Yeltsin speak. It was an incredible experience. I had hoped to work for the CIA, but due to a governmental hiring freeze, that never came to be. It’s funny the winding path that life takes you on, isn’t it?
Did you study art anywhere else?
No, not really. I took a figure drawing class at The New Hampshire Institute of Art which was really helpful in learning to capture gesture. But most of what I’ve learned has been from looking at the work of those whose illustrations I’ve admired: Matt Phelan, Marla Frazee, RW Alley, Freya Blackwood.
When do you think you developed your illustrating style?
There wasn’t a point where I sat down and thought… hmmm, what’s my style going to be. I think style just happens when you’re busy drawing. My style constantly evolves as I learn new techniques, and am influenced by the things going on around me.
What was the first thing you illustrated where someone paid you for your work?
That’s an easy one. The SCBWI Bulletin published one of my spot illustrations. I was over the moon! My illustration accompanied a poem on the same page as an article about Judy Blume. JUDY BLUME – I couldn’t believe it!
Did the college help you find work?
No. Not in the art world, since I was on the road to Covert Ops.
How did you get your first big break?
My first big break was when, after years of hounding Christina Tugeau with samples, she finally agreed to give me a chance to prove myself. For years, I admired her cadre of illustrators, and thought she was an amazing woman. I poured over her blog and the articles she had written about the business. It was both fantastic and frightening when she said she’d bring me on. Fantastic for obvious reasons, but frightening because now I had to prove myself worthy. Nothing like a little pressure.
When did you decide you wanted to illustrate a children’s book?
In 2007, I was diagnosed with Stage IIIA breast cancer, the same year my eldest daughter entered Kindergarten. She was a shy little girl and we were all under a lot of stress, so to help her get through her day, (and to help me get through my treatment) I would draw a little picture to put in her lunch box every day. That was the push I needed to get my act together, follow my bliss, and not let the fear of rejection stop me from a career in illustration.
How many picture books have you illustrated?
I have illustrated four books.
What was the title of your first book? Who was it with?
My first picture book (board book) was The First Easter Day (2013 Candy Cane Press), written by Jill Roman Lord.
How did that contract come about?
Christina Tugeau. She got in touch with me and let me know that the folks at Candy Cane Press were interested. It was fabulous, because I had just signed on with her when this opportunity became available!
Have you done any work for children’s magazines?
Yes, I have done work with New Moon Girls, and most recently I did a Hidden Pictures illustration for Highlights Magazine.
Have you done anything for educational publishing houses?
Yes, my three most recent books were published with ABDO Publishing, Magic Wagon. They were Readers’ Theatre books written by Nancy Wallace, and were so much fun to work on: Hair Today, Gone Tomorrow, Farmyard Security, and The Princess and The Frog.
How did you come to be represented by Chris Tugeau?
Relentless hounding. And working on my skills, taking her advice, reading the articles she had written about the business, looking at the work of those illustrators I admired, and hours of drawing. Drawing, drawing, drawing. And hounding her.
Do you think you have gotten more jobs by having representation than you would have found on your own?
Absolutely. Without a doubt.
Do you have a favorite illustration? Of my own work?
My favorite illustration of my own work is probably this one. I love music: my daughters play violin and flute. Whenever I see this one, it makes me happy.
(Orchestra illustration from Sketch to Final)
Do you have any desire to write and illustrate your own book?
Yes. I have a few ideas for picture books that I’m working on. But writing is HARD! I definitely hope to go that route though! What is your favorite medium to use?
My favorite is pen and ink and watercolor. I’ve been exploring digital but I love the way the paint flows in watercolor, and the happy accidents that inevitably happen with watercolor.
Do you take pictures or do any research before you start a project?
I do. I don’t know what I’d do without the internet. If I can’t find a reference online, I’ll make my kids or my husband pose for me. Or if I’m just really stumped on something ,like a weird hand position, I’ll take a photo of myself.
What is the one thing in your studio you could not live without?
Hmmm. My HB pencils. Closely followed by my children’s book library. I love being inspired by the talents of other illustrators!
Do you try and spend a certain amount of hours every day working on your art?
When I don’t have any projects in the works, I work M-F from 8-3 – while my kiddos are at school. When they are home, I like to focus on them. Unless, there is a project in the works, in which case, I make the time where there is none.
Do you think the Internet has opened doors for you?
Absolutely. It is through the internet, that I discovered SCBWI, my agent, my illustrator pals, technique tips, etc. Do you use Photoshop with your illustrations?
I do. Mainly, for cleaning up my sketches, and finishing up paintings. I would like to get more involved in the digital side of illustration. That is one of my goals for this year.
Do you own or have you ever tried a graphic Drawing Tablet?
No. I’d like to try out a Wacom Cintiq, but I fear spending the money and discovering I don’t like it.
Do you think your style has changed over the years? Have your material changed?
Oh my gosh, YES!! I mentioned earlier how I used to draw little pictures for my eldest daughter when she was in Kindergarten. She pulled them out not long ago, and oh my. They were NOT good. It’s really hard looking back on my older stuff, because I’m constantly changing – for the better (I hope!).
How do you market yourself?
Christina Tugeau does several group mailings, and I try to send out my own personal postcard mailings three times a year. I keep a blog, and website presence, and am active on Facebook/Twitter.
Do you have any career dreams that you want to fulfill?
I’d really, REALLY love to illustrate a trade book. I’m constantly working on improving my technique with the hopes that one day I’ll be able to see my book up on a shelf in the local bookstore! Closely followed, by being an author and illustrator of a trade book. That’s the dream.
What are you working on now?
Right now, I don’t have any big projects in the works. So I use this time to focus on character sketches, bringing movement into my work, playing with technique, working up book ideas, basically all the stuff needed to make you a better illustrator.
Do you have any material type tips you can share with us?
Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc. Pencils – General’s Kimberly Drawing Pencil HB, Prismacolor colored pencils – Black, Prismacolor colored pencils mixed color tin Pens – Micron Paint – Windsor Newton Watercolors Paper – Arches Hot Press Sketchbook – Decadence – Moleskine, Typical – whatever I can get my hands on for cheap. Printer/Scanner – Epson WF-7520, and Epson R2000 (for printing on watercolor paper) Where to go to buy art supplies – Blick.com
Any words of wisdom on how to become a successful illustrator?
I think the number one most important piece of advice for illustrators is to believe in yourself. It can be really tough being rejected. Really tough. You need that belief in order to dust yourself off (grab a cup of tea), and do it all over again. The second piece of advice is to get your work out there. No one will hire you if they haven’t seen what you can do. Remember: postcards, on-line portfolio, blog, FB, Twitter. Oh, and draw. Paint. Do it all the time. Look at the work of people you admire. See how they tackle an area you’re weak in. Learn, adapt, work hard.
Here are a few examples of Michelle’s expertise with black and white illustrations.
Michelle thank you for helping to kick-off 2014 with your wonderful talent and thanks for sharing your journey and process with all of us. Make sure you let us know of each success story.
Thanks to Kathy Temean for another wonderful interview of a CAT artist… this Sat. it was Ana Ochoa, one of our two Mexican talents. (Martha Aviles is the other) ENJOY! (and I’ll soon post one from week before as well….)
Ana Ochoa was born and raised in Mexico City. She studied Graphic Design at the national University of Mexico, with an average of 9.2. She started working as a designer and illustrator after college, and after a while she decided to concentrate on illustrating children’s books.
In 1994-95, Ana received a scholarship from the French government to study in Strasbourg, France, at L’Ecole des Arts Decoratifs, at the illustration department with M. Claude Lapointe.
In 1996 she was chosen for an encouragement prize at the Noma Concours for children’s Books in Japan; with “La vaca querida”; and in 1997 she was chosen for the illustrators catalog at the Bologna Children’s Book Fair, with “Las Tormentas del Mar Embotellado”.
Her work has been exhibited in Mexico, Tokio, Taiwan, Bratislava, Bologna, New Delhi, Rio de Janeiro and Cartagena de Indias (Colombia). These last three exhibits sponsored by IBBY (International Board on Books for Young People).
Ana has worked with most publishers in Mexico (both private and government), doing picture books as well as school text books.
Here is Ana explaining her process:
I first drew a clean pencil in tracing paper.
I traced my drawing with a B pencil on Arches 300gr. watercolor paper, to take advantage of the texture.
I scan my image and tweak the color a bit with the Adjustments/Variations tool. Add textures to the whole page.
I add color in different layers; later I come back and add midtones and highligts once I have all the color added. I also add textures (with fabrics, etc) Also added the photos.
I copy the original drawing and add it on top in Multiply to add more pencil texture and give it depth. I play with Photoshop and I find new coloring ways every time!
How long have you been illustrating?
Something like 17 years, I think…
How did you decide to study Graphic Design at the National University of Mexico?
I wanted to study History or Biology, but I decided on Graphic Design since I already had so much “experience”. You see, I sort of always knew I wanted to draw and write and paint and create. I painted my bedroom walls when I was about 8, and I got a professional drafting table for Christmas when I was 9. I suppose I did get some toys or something else too, but it’s the table that I still remember. My mom also used to buy me glue and paint in big bottles; she made sure that I never ran out of supplies. Still now, I am never out of supplies!
Can you tell us a little bit about that school?
UNAM is State funded and therefore tuition free, but it’s independent from the government. It’s truly an honor to be a “universitario”. It’s the most important University in Latin America; the best artists, writers, architects, philosophers, scientists, have studied and worked there. I studied Graphic Design since there was no Illustration and that was the closest I could get. But it was really good, and school taught me a lot. After finishing I got a scholarship from the French Government to study Illustration, and I was on my way.
What were you favorite classes?
My favorite classes were photography and silkscreen printing. Probably because those were hands on and we worked in a workshop kind of space, not so much a classroom. I also liked certain Graphic Design semesters, for the teachers who taught them. I liked those that let us experiment and find our own ways to learn. I still sometimes come across one in particular that remembers me because I “did not like to follow his rules”. By the way, it’s probably rude to say, but I hated my drawing teacher. Even the little kids thought she was a witch; she even looked the part, no kidding! (There were little kids because on Saturdays she ran the Children’s Workshop, and I did my social service there, with her.)
Did the School help you get work?
Not really. I got my first job because I knew the ladies who ran IBBY Mexico. Back then, they had all kinds of connections, they knew everybody.
What did you do right after you graduated?
I wrote my thesis. I went looking for work. And I did two horrible little books.
Do you feel that the classes you took in college have influenced you style?
I don’t think I had a style when I started college. I never had illustration (at least as I know illustration now) classes, only techniques. And I did not find those techniques we were taught interesting to illustrate for kids. I think what they taught us was aimed for more commercial work. I learned a lot more from looking at illustrators I discovered back then: Ulises Wensel, Carme Solé, Fulvio Testa….
What was the first thing you did where someone paid you for your artwork?
Two logos, one for a coffee shop another for a restaurant. My debut and goodbye from the Graphic Design world.
When did you decide you wanted to illustrate for children?
I think I knew when I realized I too could draw and write just like those who drew and wrote the books that I liked so much.
What was the first illustration work you did for children?
Those two little books, they were so horrid…I still have them, and they have kept me grounded. They remind me that I am no genius, and it’s only that trough hard work you end up doing good things. Right after that awful experience, a book called “La Guayaba”. It’s a book part of a collection about the fruits that Mexico gave to the world.
How did that come about?
I met this lady editor trough IBBY. She was quite fearless, I think… I did not even have a half decent portfolio, honestly! Her name is Rosalia. I later did another book with her, “La pobre viejecita”.
How many picture books have you illustrated?
In Mexico? About 17, I think…
What was the first picture book you illustrated?
“Una vaca querida”
How did that opportunity come about?
I knew about this publishing house and just asked for an appointment to show my work. I probably was a bit fearless too. I am usually very shy.
Have you worked with a lot of educational publishers?
Yes, I have. Here in Mexico and in the US.
How did you get those jobs?
In Mexico, just asking and meeting with people and showing my work. Nowadays they know me, and they call if they think my style is what they need. My work is mainly suitable for little kids.
In the US, though Chris, my rep.
What was your first big success?
It should be “La Guayaba”, my first real illustration job. But honestly, for me, everything I’ve done is a BIG success! Getting a new assignment, mastering something new, everything is big.
Do you think you will ever try to write and illustrate a picture book?
A few years ago I took creative writing courses. And I wrote and wrote. And then 2008 happened…and no one had money. I took my stories to several editors in Mexico, and even though some did like them there was no money. When I found one editor, she lost her job… And there is also something: editors in Mexico want it all done and finished. No one wants or has the time needed to take a story, and idea, and guide it to be a finished book. At least I have not found the one who does.
But, wait! There is a story of mine published, “EL niño de chocolate” (“The chocolate boy”). I did not illustrate it, someone else did. The first edition came out in 2009. Then ACNUR (that’s the UNHCR United Nations High Commissioner for Refugees) published it again, sadly just in time with the earthquake in Haiti in 2010. The main character is a Haitian boy who goes to live in a new country.
Have you done any illustration work for children’s magazines?
Yes. I worked for a now defunct children’s magazine called “Chispa”. I also illustrated a literary newspaper supplement for children.
What types of things did you do to find illustration work?
When I started, I just called editors and publishers and asked for appointments. Now, first and foremost there is Chris Tugeau, my incredible AND patient agent. She is constantly giving advice, organizing mailings and asking for new samples, published or not. I try and participate as much as I can on what she calls “image blasts”, a very fun way to keep clients looking at you even trough little images. I love her blasts!
How did you hook up with Chris Tugeau and get her to represent you? How long have you been with her?
I met with Chris by chance, really. I went to a SCBWI Conference in LA, and I was translating for a friend. In the end, Chris took us both. I’ve been with her since 2001.
What is your favorite medium to use?
I don’t think I have a favorite. I’ve used watercolor and pencil, acrylics, collage. I’ve used all kinds of different materials for my 3D: wire, paste, yarn, rocks, fabric, etc. Right now I am experimenting with Photoshop. I also use traditional mixed with Photoshop. I’d love to get a commission to work on 3D! I think that ideally, every project should have it’s special medium. I’d love to embroider a book!
Has that changed over time?
Yes, these past few years, I’ve had to become more time efficient, and Photoshop was the way to go.
What is the one thing in your studio that you could not live without?
Music and my light box. And my library, of course.
Do you try to spend a specific amount of time working on your craft?
Well, my craft is my life, so I am always working on it one way or another. As part of my creative process, I also design and make jewelry (in silver, copper and enamel), dabble a bit in ceramics, (to complement my jewelry) sew, knit, bake, embroider, write and build stuff.
Once, for the Children’s Book Fair in Mexico City, I built a 25 meters long 2.5 meters high set of a book I illustrated, “La pobre viejecita”.
Right now I am preparing the images that resulted form a workshop with Spanish
illustrator Javier Saez. What happened is that the texts that I got to work on (he first worked with school children who wrote their dreams, then we got those dreams to illustrate) were a bit bland. So, when that happens, you have to make up with a really interesting graphic representation technique, and I chose to make 3D maquettes. So I am constructing/building two little fair booths.
Do you take pictures or do any types of research before you start a project?
Actually, that is where the Internet comes in handy for me. Lately, I’ve been doing educational work, and it’s quite straight forward, I think. But I do use the Internet to find things I am not all too familiar with, like baseball or other sports, for example.
For the two personal projects that I am working on now, I do go out on the street and take pictures and notes. I can’t find the info I need for these books anywhere else but in real life.
Do you think the Internet has opened doors for you?
I never got around having my own web site because it was so expensive. So I really don’t know if it would have worked for me in the past. On the other hand, I have found tons of information on the illustration world, for sure! It’s also taught me that you have to BE out there, present at all times.
Are you planning on creating a website to help promote you work?
Yes. Things have changed and now there are ways for you to manage your own site, without having to rely on someone else. Internet is so huge and absorbing! Everything is in there, the whole World at your feet, and I know I have to take advantage of that as a working tool.
Do you use Photoshop with your illustrations?
Oh yes. And I am experimenting more and more with it. It’s a great tool! I just hope I never stop drawing by hand, though.
Do you own or have you used a Graphic Drawing Tablet in your illustrating?
Yes, I think a tablet is a must. But I still draw by hand and scan; then add color with Photoshop.
How did you get the scholarship with the government of France?
Well, my mom saw to it that I learned French since I was quite young, so I always thought I’d go over to France some way or another and spend a decent amount of time in that country.
The story is that one day, I was walking back from meeting with an editor, and I passed by the Foreign Affairs Cultural Exchange office. I went in and asked for information and right then and there they gave me the papers and all of the instructions that I needed. I got everything together, all of the signatures, the recommendation letters, admission to a couple schools in France; I was diligent and fast. I turned in my dossier and forgot about it (I did not want any suffering or hand wringing or worries or any of that). Then one day they called to inform me that I had been accepted and that I had an interview with the French Cultural Attaché. Then I got nervous! It felt so good to get the scholarship; they even arranged my change to Strasbourg, to this more amazing art school, L’Ecole Superieure des Arts Decoratifs. It was great! I once told my teacher, Monsieur Claude Lapointe, “I can’t draw”. He answered: “Then don’t draw”. It was the first time someone told me I could illustrate away from a piece of paper. It was a really great time of learning and experimenting.
How long did you study in France?
Do you think that experience changed your style?
Well, it let me dream and experiment. Open my mind and really look at all the possibilities around me. Like I said before, illustrating not only happens on a flat piece of paper. I loved what Monsieur Lapointe told me, you can NOT draw. And it taught me to be an illustrator, to narrate, tell a story trough images; I really learned the how to over there. I think my style has changed over the years because I’ve worked and learned with every new assignment. I feel my style is evolving, changing, growing all the time.
How did you end up doing art exhibits around the world?
In 1997 I got selected in the Bologna Children’s Book Fair Catalog (the book name is “Storms in a Bottled Sea”). After being exhibited in Italy, those illustrations took a tour to Japan and Taiwan. After, IBBY asked for them to be shown in New Delhi and Brazil.
Another book, ”A loved cow” was granted an Encouragement Prize at the NOMA Concours in Japan. Then those images were taken to Taiwan. I also participated in the Golden Apple in Bratislava.
Do you have any career dreams that you want to fulfill?
Of course! Illustrating a book that I will also write! Having my ALL MINE book in a bookstore, that is my BIG DREAM!
What are you working on now?
Right now I am working on two personal project dummies. Of course I also wrote the stories! They are both inspired by my two youngest nephew and niece. They are my biggest source of inspiration.
Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.
Get notebook and bring it with you all the time. And a small pocket camera, if you can. Right now, for the two dummies that I am working on, I go out on the street a lot, take pictures, notes. You can’t rely on your memory alone, you need to keep a log of everything you see, everything you find. I am also a big stuff collector. I collect everything: stuff from nature, stuff I find just lying about. I love old things; I love flea markets, old bookstores. I keep all kinds of stuff because you never know what you’ll need for a project. Any project.
As for proper materials, I like Winsor and Newton watercolor paper. I also love Arches, because of the textures. I used to like smooth papers, but now I want them to have texture. I also like Dr. Ph Martins and Ecoline watercolors.
Any words of wisdom on how to become a successful writer or illustrator?
This is a tough question, I think. It depends on what every individual thinks success is. For me, success it’s being quite happy with what you do. I know I’ve had to be patient and I’ve developed what you call a “thick skin”. You have to be strong. In this profession you find more than enough cruelty and negativity, so don’t lend your feelings to those. Keep working, keep learning; never ever think that you’ve finished learning! Also, and this is a BIG one for me: READ. Read as much as you can. You can’t illustrate if you don’t absolutely LOVE reading.
A few other covers from picture books Ana has done.
Ana thank you so much for sharing your talent, process, and journey with us. Please keep in touch. We would love to hear about all your future successes.
You can contact Ana through Christina Tagueau: www.catugeau.com Please take a minute and leave a comment for Ana – Thanks!
I think most of you know Christina Tugeau and her agency which she found 20 years ago to represent talented illustrators. Chris found her calling when she went to work for another agent four years prior to her starting her agency in 1994.
After a BA with a Fine Art Major and Lit Minor from DePauw University (IN), she worked in NYC for Family Circle Magazine’s Art Dept. while doing freelance assignments. Later, as she brought up three creative children with her husband in CT, she helped organize and manage a local Fine Art Guild, a town school-wide performing arts educational organization, two local chapters of a national mother-daughter philanthropic group while always involved in various other art projects for the town and school system. During those years she also did graduate work in Art Therapy and worked in Interior Design.
Art, artists and kids books have always been part of Christina’s life and loves, so of course that love would rub off on her children who are grown now and following in her footsteps. Her son Jeremy and her daughter-in-law Nicole were the first to jump on the Cat group bandwagon when they opened their own company doors to illustrators with T2 children’s Illustrators. Jeremy is a long-time children’s illustrator, and he continues to work as an artist in this field while maintaining some involvement with T2 Illustrators as a creative resource and promotional guru.
As of Jan 1, Christina’s daughter Christy (Christina Tugeau Ewers) is now part of her agency. That’s Christy and her 14 month old daughter, Billie in the picture at the top of post. Christy is starting Billie off right by reading her Patrice Burton’s award winning illustrated picture book I LOVE OLD CLOTHES written by Mary Ann Hoberman and published by Knopf BFYR. I haven’t ever met Christy, but a picture says and thousand words and I find myself already wanting to get to know her. Christy recently moved to Fairfield CT from Brooklyn she is excited to have this contact with the “real world’ and she is only a hop, skip, and a jump from all the editors and art directors in NYC.
Just in case you are wondering how Christy came up with the name Billie for her little baby; she is named after her grandfather (Christina’s husband and Christy’s Dad). That tells you a lot, too.
This is very exciting. Now artists have another chance to win representation at CaTugeau. Christina has someone she can trust and mentor to help her with the business and provide extra time for the agency to get in front of the mover and shakers in the world hub (NYC) of children’s publishing, and Christy has the opportunity to learn all the ins and outs of the industry from a master representative.
Here is a little bit more about Christy: She has 10 years of public relations, and office coordinator/manager of operations experience and recently worked with an app publisher in NY, so she knows the lingo and all a ton about social media. She is a fast learner and English major, which add so much to the picture. And Last, but not least: She is looking for her ‘own’ artists to add illustrators to the agency.
Christy’s email is Christy@catugeau.com North American artists should submit as guideline to both Christina and Christy for now. They are looking for trade picture book styles and middle grade reader styles. Send 4+ images attached for quick view and a link to website. They’re fast at getting back to each and every one who submits to them.
Christina has a reputation of working hard for ethical fairness in our wonderful industry, and enjoys writing for and presenting to artists at various national and regional conferences for SCBWI and other organizations and newsletters. I am sure you will find the same enthusiasm with Christy. Just remember the old saying, “The apple doesn’t fall far from the tree.” And this cliché is really something you want.
Well it’s 2014… the 3rd actually and I missed the New Year’s post I’d planned. It’s been an interesting past year with its many challenges. I have been quietly reviewing it all the past few days as I’m rather immobile due to my month old ‘holiday red’ cast on my right foot! (severed tendon). Comes off, to a ‘boot,’ on 8th I hope!
There were a lot of loses this past year…and now the year is one of them. There were also many things to bring joy and gain as well. But the new year is OK by me….onward! I wish for a much improved year…for the country, the world, my agency and each and every one of you reading this! Positive thinking always….
It is a Birthday in many ways…. my talented daughter Christy has officially begun her partnership in our agency! Welcome my dear… big time! She’ll push our ’social networking’ skills (!) and I’m sure try to organize me in a more modern fashion. I plan to let her! Eventually she’ll be my legs visiting publishers in NYC and elsewhere. She’s closer to most of the ages of those I often visit! How’d that happen? lol
I’m a very lucky person…and know it. I’m crazy about my artists, past and present, and one of my sons, Jeremy Tugeau, is one of them! His wife Nicole is the most capable owner/rep of their own agency, Tugeau2. This has to be a first in this industry for family participation! As I enter my 21st year with CATugeau, I do count my many blessings. So as this new year begins with fresh steps, creative energy and promises, I celebrate it’s birthday with you all!