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Here’s a little sketch I did to go along with a story I wrote a while back. I found the story in an old notebook from about 10 years ago.
Here’s an excerpt of the story:
“Even here, in the bottom of the world—a place that nobody visits and nobody wishes they were and everybody pretends doesn’t exist—even in this dark place we can still find a few hours to tell stories beside the fire. The darkness of these tall tales sometimes keeps me up at night even now. There were times when I would run to Miss Hazel’s bed and dive beneath the covers (for even the thinnest, most threadbare blanket is the best protection from monsters.) But some tales told of great hope along with darkness. A distant hope, like the light of a glimmering star that somehow makes through the thick exhaust of the machines and sulfur-orange lights of the factory to reach me. It is a hope that burrows into your heart and makes you stronger, for everybody knows that hope is the hardest thing in the whole world to kill.”
The post The Factory appeared first on Jessica Lanan Illustration.
Roseville Public Library in Minnesota holds a "graduation ceremony" for Kindergartners who are getting their first library cards. It's awesome! Impossibly cute and the kids are filled with so much pride. And of course it reinforces the privilege of having a card! I was honored to be invited out to speak at the event. Here I am with the incredible group (minus Ann) who made it all happen!
You should totally bring such a program to your community!
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By: James Gurney,
on 2/12/2013
Blog:
Gurney Journey
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I drew this two-inch-high sketchbook study of a fellow listener in an Irish music session.
What really interested me was the unusual lighting: a sharp edge light on the left and a softer light from the right. The edges under the chin and the front of the shirt are completely lost. I used the wide edge of the 3B graphite pencil for most of the drawing.
There's an interview with me over at Leora Wenger's blog, as part of the Sydney Taylor blog tour, wherein I get only moderately long-winded about illustrating Linda Glaser's Hannah's Way for Kar-Ben, as well as all sorts of art making stuff. You can reading just by clicking here.
2010-2011, various sizes.
gouache on paper, pencil and gouache on paper, gouache on paper
By: Corey Godbey,
on 2/12/2013
Blog:
light night rains
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Hey! Here's a weekend that's sure to show up in legends to come: I'll be teaching a
TLC Workshop, "Story and Pictures" along with Justin Gerard!
TLCWorkshops is a professional art series of instruction for the working illustrator. Located in the greater Seattle area, each weekend workshop is packed with one-on-one interaction and gives you the opportunity to rub shoulders with some of the most brilliant art professionals working today.
In this dual-faculty workshop, Justin and Cory will cover their illustration processes and approaches to character-driven art. Students will work alongside the instructors to conceptualize and design their own character, craft their visual story and put it all together into a single image. The class will be heavily geared toward drawing and painting traditionally, but Justin and Cory will also demonstrate how they use digital tools to enhance their work (digital artists welcome!).
August 16-18, 2013.
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By: johnmanders,
on 2/12/2013
Blog:
John Manders' Blog
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Rough sketch to finish art... as always there is something lost - something gained. I always look back at the rough and find the thing I miss most about the finish and go back and change it. Just now lookin
The artist is never happy! What a life of self-inflicted misery we artists create. We demand something that can't be achieved... and no one else but us even knows what we're complaining about. C'est la vie.
I just found myself with a bit more work on a contract, so I'm putting my head down and working through to the weekend to get stuff done. I'm thinking I'll be mostly offline until I catch up so I probably won't be posting again until Saturday or Sunday.
In the meantime here's a little experiment in colour I did this morning. Still working on how to approach colouring Maddy, though I think I'm nearly there. Only about eight pages left to ink now.
I had so much fun with this image I ended up killing it in the end, but I do still like this little corner...
and sometimes it is the process that counts
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on 2/12/2013
Blog:
A Mouse in the House
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Let the good times roll!
Collector Jim Pinkowski has just set up a new website to feature the illustration art of Harry Anderson (1906-1996)
Harry Anderson (not to be confused with another illustrator Harold Anderson) did a lot of calendars, advertising art, and story illustrations for the American women's magazines. Later he gave his talent to religious painting. All of these categories are well represented on Jim's website.
Anderson's people always have a lot of warmth, sympathy, and animation, and he became known as a specialist at painting children.
He worked in water-based paint because he was allergic to oils. His fluid, relaxed paint handling and attention to edges show his admiration of Joaquin Sorolla, John Singer Sargent, and Anders Zorn.
New website
Harry Anderson ArtJim Pinkowski's website on
John BerkeyAnother collection of
Anderson art by Leif PengBook:
Harry Anderson: The Man Behind the Paintings
The Civic Theater of Lafayette Indiana is mounting a production of KNUFFLE BUNNY: A CAUTIONARY MUSICAL that runs from Feb. 15th - 17th. If you're in the area, don't miss: The Music! The Laughs! The Laundry!
Details are here.
Hugging koalas! Can you think of a fuzzier, squishier, sweeter love than that? HAPPY VALENTINE'S DAY!
Click the image to open a .jpg to print and color.
CLICK HERE for more coloring pages. And be sure to share your creations in
my gallery so I can put them in my upcoming newsletters! (They don't have to be cards - share your kids' art too!)
Sign up to receive alerts when a new coloring page is posted each week and... Check out my books...
Learn more about my fun picture book
Glitter Girl and the Crazy Cheese - click the cover.
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| © Monster Riot |
I'm so very excited to introduce to you today: Monster Riot! Jason and Catherine's work is a study in opposites: it's minimalist, yes, but thoughtfully so, and without losing a wisp of whimsicality or humor. It's also retro-modern— and while so much work you see these days is inspired in some way by mid-century culture, Monster Riot's work is indeed it's own— fresh, unique, and imaginative!
Please for a minute seek out and appreciate the quiet yet intense level of attention to detail that is apparent in the crafting of these illustrations. If you are a detail nut like me, this art can't help but win your heart on detail. Just seek and you will find it, again and again. Another thing I have to call out in the illustrations is the limited palette. Just gorgeous, sophisticated, thoughtfully curated colors. This is how you do minimalist!
I adore their funny, smart work and sharp, modern style. I hope you do, too.
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| © Monster Riot |
Can you tell us of a favorite creative activity you enjoyed as a child?
Jason: From as far back as I can remember, I think it was probably coming up with little stories that involved me and my little brother (I was always the hero of course). I'd write these adventures down and then illustrate key parts using my favourite Crayola colouring pencils.
Catherine: Playing with my Magic Drawing Board for hours on end (was fun at the time!).
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| © Monster Riot |
What was your first job or position as a creative professional?
Jason: After graduating in 2006 I was torn between animation and live action film. Neither of those really worked out for me so I found myself looking at different creative careers. Eventually I ended up as a Flash animator at an advertising company in London. This led to becoming experienced in graphic and digital design which I think has helped me become a better illustrator.
Cat: My first creative job was an art assistant for a children's nursery but now I'm a Creative assistant for an events company whilst working on my own projects in my spare time.
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| © Monster Riot |
What is your current favorite medium to work in?
Jason: You can't beat a pencil and paper (and then Photoshop to make it pretty).
Cat: Hard to choose but currently experimenting with indian and acrylic ink.
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| © Monster Riot |
Whistle while you work: Do you enjoy working in silence, listening to music, a podcast, or a movie? Please share!
Jason: I tend to like silence when I'm writing, drawing and coming up with ideas. I'll only listen to music if I'm doing bits in Photoshop as it helps me work faster!
Cat: I like to listen to music playing out loud (with both of us singing along badly) but will resort to listening on headphones when Jason wants quiet time!
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| © Monster Riot |
Now how 'bout these little stuffed creatures? (You know how I love my stuffed animals.)
I don't think there's anything sweeter than the little stuffed legs on the pink birdy.
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| © Monster Riot |
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| © Monster Riot |
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| © Monster Riot |
Visit Monster Riot!
Monster Riot
Hello all!
I'm a busy bee at the moment, I'm working on a picture book and am just over the half of the Chris Oatley Academy Painting Drama course. Which is amazing by the way, it gave me a lot of insights that are so obvious when you know. But you need to know and not a lot of resources on the internet or in magazines give you the reasons why certain things work in art and illustration. So it's already worth it :)!
A tip of the iceberg that is the homework for the Painting Drama course.
Next to that I've done some secret things that I can't really tell you yet about. Or maybe I can a little bit.
At the moment I'm writing (a short book, or a very long article, I don't know yet) about being a freelancer whilst having a part time job next to it. There are so many reasons why I'm writing it, but it's mostly because it is exactly what I am doing and I thought it was time somebody should write about it. There are SO many resources, articles and blogs out there about freelancing and succeeding in it, but nobody every really tells about how to handle that while you're having a part time job next to it. And I have firsthand experiences with it that I think could be very useful for a lot of 'starters' out there. I don't have any clue when the book is going to be finished though.
Some weeks ago I did some character sketches for the visual novel-game by
Tim Bruls /
GameFoqus called
S.P.O.O.N., which is a story about futuristic cooking! Honestly a very original subject in my opinion.
You can read more about it (or play the first version of the game)
here.
The idea is to make a more polished version of it later on, I'll keep you posted about that!
First character sketches for S.P.O.O.N.
And last but not least: I've updated my website a bit, I changed the sketch-section into
an editorial section, since it's more relevant and recently I've been creating more illustrations for magazines and booklets as well!
Next to that it was time for a change of
the concept art page, because it needed a better arrangement of subjects, which is hopefully a lot clearer now. Some new things I made for GameFoqus projects were added and I hope that I can add more concept art sketch work to it after I finished the Painting Drama course, already looking forward to it!
Watch this charming and thought-provoking animation, The Girl, the Old Man and the Book by James Rumford – and you can read a bit of background from James’ blog here.
James is the creator of Rain School, one of our 2011 WaterBridge Outreach Book Set – you can read our interview with him here, and visit our online Gallery of his work.
My daughter was immediately enchanted by The Diary of B.B. Bright, Possible Princess, big time. From the moment she saw the luminous cover to her nonstop read of the lyrical, lovely tale, she was hooked. And no wonder. 
This mother-daughter team packs a powerhouse punch.
At Vanderbilt University Alice Randall teaches Bedtime in the Briarpatch: African American Children’s Literature. Briarpatch is an intensive examination of African-American children’s literature from the 17th century to the present. In her course and in her writing Randall is concerned with how African-American children’s literature can be used to reflect and challenge the larger society. Some of the books her students read include: Peeny Butter Fudge, by Toni Morrison and Slade Morrison, Please, Baby, Please, by Spike Lee and Tonya Lewis Lewis, We Are the Ship: The Story of Negro League Baseball, by Kadir Nelson; Stitchin’ and Pullin’: A Gee’s Bend Quilt, by Patricia McKissack; Zeely, The House of Dies Drear, and M.C. Higgins, the Great all by Virginia Hamilton, Monster and All the Right Stuff, both by Walter Dean Myers;
Roll of Thunder Hear My Cry, by Mildred D. Taylor, The Watsons Go to Birmingham-1963 , by Christopher Paul Curtis, Tar Beach Faith Ringgold, I Know Why the Caged Bird Sings, by Maya Angelou and Life Doesn’t Frighten Me by Maya Angelou and Jean-Michel Basquiat.
Caroline Randall Williams is the great-grand daughter of the man many consider to be the father of African-American children’s literature, Arna Bontemps. Like Bontemps, Williams is poet and a children’s author.
Many thanks to both for their wonderful and wise words (and a fabulous bit of history below!):
“First, we want to wish all the readers out there a very, very happy Valentine’s Day and an inspiring Black History Month. Because it is Valentine’s week and Black History month we have a cyber Valentine for you made possible by the Library of Congress—a link that will allow you to peruse one of the great treasure troves of Black Kid Lit—The Brownies Book.
Edited by W.E.B. DuBois and Jesse Redmon Fauset , The Brownies’ Book was a
“Monthly Magazine for the Children of the Sun.”According to the cover The Brownies’ Book was “designed for all children but especially for ours. “ We love the Brownies’ book. And we think you’ll love it too. What reader of the Brown Bookshelf wouldn’t love a magazine that states on its cover that “it aims to be a thing of Joy and Beauty, dealing in Happiness, Laughter and Emulation, and designed especially for Kiddies from Six to Sixteen.”
There’s poetry, and short stories, there’s history, and letters. And there are wonderful photographs and drawings. Page after page of brilliance by and for African-American children. Elegant and amusing The Brownie’s Book was a kind New Yorker for children.”
Our journey to publishing was a bit circuitous. Though we have a big New York agent for this book, Conrad Rippy, we ultimately chose to publish with a distinguished independent publisher, Turner Books located in our hometown, Nashville.
Working on the creation of a Black Fairytale Princess, B. B. Bright, we were very, very inspired by The Brownies’ Book which was only published for a year or two starting about January 1920. The Brownies’ Book celebrates the writing of Black children by publishing their letters. That was part of our inspiration to narrate our novel in the forms of letters written into a diary. The Brownies’ Book assumed that the child reader was sophisticated and curious and recognized that adults often peer over the shoulder of the children reading in the house. Like The Brownies’ Book our novel is written for children, and for folks who once were children. Other writers who have influenced us significantly that we love include Virginia Hamilton and Patricia McKissack. Both of these writers bring beauty and grace to the page—are willing to summon a kind of archetypical elegance—and they always tell a good story in a voice that is at once feminine and universal. That’s hard. But they do it and do it well. Creating a girl’s voice that boys would listen to was something we were seeking to do. But we were most strongly committed to writing to empower girls to be their full authentic selves and to know when they are being fully and finally themselves—they are royal. No matter who their parents are or what the situation into which they are born or live.
This story began in a doctor’s office over twenty years ago. Caroline got bored and Alice started telling her a story—about a fairytale princess that looked like young Caroline with beautiful brown skin and brown eyes. Immediately Caroline started changing and adding to the story. Twenty years later we had a book—and a contract for seven more.
We were so excited that The Diary of B.B. Bright, Possible Princess was nominated for a NAACP Image Award; that was a big honor. Making it better we got to sit next to a hero of ours, Christopher Paul Curtis (The Watson’s Go to Birmingham) at the awards! We were also excited that The Diary of B.B. Bright, Possible Princess was nominated for a Cybils Award in MG Fantasy. We’re even more excited that there’s been some talk of turning The Diary of B.B. Bright Possible Princess into a movie. We’ve begun talks with an Oscar nominated producer about optioning the rights.
The State of the Industry
It has always been hard to get African-American children’s books published and hard to get the word out about them once they are published. There are precious few of us working as agents booksellers, editors, publishers, or publicists. And precious few writing and illustrating. But our children read. There is a growing audience that gets larger by the day. Children are profoundly influenced by the books they read and don’t read. This keeps us writing, to close gaps. There are still far too many aspects of ourselves not reflected on published pages.
We take heart from our history from knowing what our foremothers and forefathers endured to get published and read. The history of African-American Children’s literature (something Alice teaches at Vanderbilt) is a history of writers who manage to triumph over obstacles and land in homes and schools, and set up residence in the hearts and heads of children of color.
Many thanks for your amazing work!
Visit Alice Randall online at her Web site.
I have been trying to do too many things at once (again). All a wee bit stressful, but I can't complain, because it's all fun stuff and I would so much rather be too busy than not busy enough.
One of the jobs I've had to get done was some high-res scanning of these drawings from my sketchbooks. They are needed as publicity images for 3 days of sketching workshops I am doing this summer in Barcelona. Yes, I know - I told you it was good stuff!
I was thrilled to bits when, a couple of weeks back, I got the fantastic news that I have been selected to be one of the instructors to deliver on-location sketching workshops at this year's Urban Sketching Symposium. The competition was fierce this year so I put in my application, but really didn't expect to be accepted.
My workshop will be Sketches That Sing: Creating Drawings with a Life of Their Own. It is one of 20 workshops being delivered by some of the top on-location sketchers in the world! As you can imagine, I am awed and honoured to be amongst them. You can read about all the workshops on the symposium website as soon as everyone's info has been uploaded by the Urban Sketchers team.
Anyone can attend the symposium and take part in 5 different workshops, as well as lots more. As long as you enjoy live, on-location sketching, you can register for a place. Registration opens in March and will cost $395 but, if you fancy it, you will need to be quick - places are expected to go like hot-cakes.
If you have not heard of the Urban Sketchers Annual Symposium before, you can get a pretty good idea of what it's all about by reading my posts after last year's symposium in Santo Domingo:Just backSketching in the Mercado
Workshop with Nina JohanssonColour-Games workshop with Jason Das
or even from the year before in Lisbon
Maybe see you there..?
And London's Imagine Festival is now open! Last night the Imagine team and The Book People gathered children's book people from far and wide to celebrate the start of two weeks of amazing family events on the Southbank. Check out the programme, have you booked your tickets? (Don't miss my two events with Philip Reeve next Sunday!)
I took rather random photos on the night and missed out lots of people (including David Roberts, who's one of my all-time fave illustrators), Jeff Norton (whose book I reviewed recently) and Steve Cole (who's done joint events with me), but here are a few peeks at the evening. Oh look, there's Philip Ardagh, mucking about as always, with publisher Alison Green.
Some of my best mates, David O'Connell (whose first book with HarperCollins, Monster and Chips, is launching in three weeks) and my fab studio mate Gary Northfield (whose book with Walker Books, TEENYTINYSAURS, launches in May), and our lovely agent, Jodie Marsh.
Showing off my fancy hat with super-prolific writer Ali Sparkes!
Babette Cole and I adopted young illustrator Sam Usher and spent all evening doing our best to embarrass him. He took it very well.
Writer Andy Stanton with Book People chair Ted Smart and writer Anthony McGowan:
Writer and reviewer Nicolette Jones, writer-illustrator Jez Alborough, writer Nicola Davies, Ardagh and Thirst for Fiction YA book blogger Rhys Jones:
We were all asked to bring along our favourite word and make a badge of it; here's illustrator Garry Parsons with 'SPLAT':
Garry with an agent (named Alice, I think?) and illustrator Adam Stower:
Sam Usher with writer Holly Smale, whose first book, Geek Girl launches the same day with HarperCollins as Dave O'Connell's.
Illustrator-writer team Emma Dodd and Kelly Gerrard. There were quite a few Americans about, and I somehow didn't manage to get a snap of Caroline Lawrence, who last time I saw her was in full cowgirl outfit.
A big thanks to organiser Ruth Huddleston, for all the hard work she's putting into organising the Imagine Festival! Here she is with her daughter, Lydia:
Oh dear, it's that Ardagh again! I need a longer photo to fit him in.
And a big thanks to the Southbank's Performance and Dance Programmer Tamsin Ace, who's also been putting in huge efforts to get this festival rolling!
Gary Northfield, writer Alex Milway and David O'Connell. They drank beers but I stuck to the mojitos.
I found myself sitting right behind writer Sarwat Chadda during the speeches.
Here writer Lauren St John and I are trying to decide on a proper photo face.
Cartoonist and writer-illustrator Joe Berger with his partner Charlotte, and writer-illustrator Ed Vere:
Poor Axel Sheffler. Every time I've seen him, I've taken a photo of us looking more and more terrified (for some reason), but I think we've plumbed the depths of terror and must come up with a new expression for festival photos.
Thanks so much, Ruth, Tamsin, all of the Imagine team, Book People and the evening's great performers for a lovely night! Bring on the festival!
For a short period of time during the mid-1950s, the Disney company allowed corporations to use its characters to sell products. There’s some interesting history behind this, and if you’re interested in learning more, I’d recommend this two-part series by historian Jim Korkis (part one, part two).
Among the companies that took advantage of this opportunity was American Motors, maker of Nash and Hudson cars. (Interesting sidenote: the company’s president at the time was Mitt Romney’s father, George W. Romney.) Yesterday, YouTube user ZarakPhoto uploaded a fine collection of the American Motors spots featuring Jiminy Cricket and Mickey Mouse. I’ve seen other prints of these spots, but these are easily the crispest versions I’ve encountered and worth a look even if you’ve seen them before:
Here’s an upload from another YouTuber with a lower-quality version of one of the other spots featuring Song of the South characters:
The commercials were designed by Tom Oreb, who in my humble opinion, was the most versatile and skilled designer during the Golden Age of Hollywood animation. Oreb’s assistant art director and layout artist on these spots was Vic Haboush, who was a dear friend and mentor to me.
This is Oreb’s model sheet of the “commercial” Mickey Mouse, which Vic and I discovered in his personal collection many years ago. Click for a larger version:
Belinda Love Lee is a freelance designer out of Cardiff, UK, whose talents span print, web, and branding. Her business cards designed for prop stylist, Christina Yan, feature foiling, gold edging, and embossing that make for a beautiful presentation. Her attention to detail aids her in creating a design that is modern with a touch of whimsy.
Love Lee’s style carries over into another project, wedding invitations that include a map of the couple’s wedding location.
Check out Love Lee on her site and Twitter.
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If you’ve spent a little time on this site, you probably know that I LOVE CRAFT BOOKS! I’m not sure if this is because if I’m one of those daft people for whom information goes in one ear and out the other and I actually need to read 800 craft books to “get it”, or if I just like hearing the same things over and over again.
Of course, I jest.
In actuality, I like to read so many craft books because different authors discuss the same concepts differently. I like to get multiple perspectives. Every book you write is different, and some concepts apply more to one project than another. There is no “bible” for craft books (in my opinion). I think you need a library. A library that’s ever-expanding! And yes, it’s possible I’m a little obsessed.
I thought I’d share the favorites in my current library, so you can add to yours!
Ingrid’s Top 10 Craft Books:
(as of right now, and in no particular order)
1. From Where You Dream: The Process of Writing Fiction by Robert Olen Butler
2. Writing Fiction: A Guide to Narrative Craft (Eighth Edition) by Janet Burroway
3. Story: Substance, Structure, Style and the Principals of Screenwriting by Robert Mckee
4. The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby
5. The Art of Fiction by John Gardner
6. Aspects of the Novel by E.M. Forster
7. A Poetry Handbook by Mary Oliver
8. Words Overflown by Stars: Creative Writing Instruction and Insight Edited by David Jauss
9. Alone, With All that Could Happen by David Jauss
10. Reading Like a Writer: A Guide for Those Who Love Books and For Those Who Want to Write Them by Francine Prose
I’d love to hear what some of your favorite craft books are too. So, please share!
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Really interesting lighting... nice sketch in so many ways! I thought of you while painting in Chadds Ford a few weeks ago... I needed your orange cones! I was precariously perched on a tiny strip between a pasture fence and the curve of a winding country road. Hope all is well.
Shapewelding!
Viewing a beautiful small drawing like this larger than originally sketched really captures and emphasizes the freshness. Very nice!
Thanks for posting this, Jim. I've been working on pencil drawings for the past month and understand how hard it can be to capture that light as effectively as you have.
I started out using just two pencils, a 6B and a 2H, but I've found that I don't have a sensitive enough touch to get all the gradations I want, so I've added a few more options to my kit.
Jean, I find it's helpful to carry a range of two or three pencils, say HB, 2B, and 4B. That way you can get fine, light details or rich blacks. When you draw with the side of the pencil, it takes more pressure, and therefore a softer pencil, to get the same darkness of stroke as you would from a sharpened tip.
TWO inches? I give up :)
Not the typical sketch. Nice.
What a splendid little study! Can you elaborate on the house lighting while you were drawing? Also, I would love to know if this gentleman caught on that you were sketching him.
Thanks, Eric.
My Pen Name, I think portraits are easier if they're small. It's especially easier to eliminate unnecessary detail.
Diana, the light came from two windows beyond the sitter. The room only had a single light bulb, which didn't shine much light on the subject. I don't think the subject noticed, or would have minded if he did, because I and a few other artists were regular sketchers at this session, and everyone was used to people with sketchbooks—especially teenage artists.
Lovely!!
Jim,
Is an eraser part of your supplies for pulling out whites you've muddied?
Hi, Jean, yes, I usually use a kneaded eraser, mainly to lighten a passage or to clean up smudges.