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My May Days project involves coming up with an outline for a book I've been thinking about writing for, maybe, ten years. I got started with research and a few notes twice. But with my last few writing projects, I've been trying to get away from the organic writer thing and do more pre-writing plotting. So that's what's happening this month.

Sometime before I wrote my last, for the time being, unpublished book, I invested in a copy of Plot & Structure by James Scott Bell. As a result, I've been very interested in plots starting with a disturbance to the main character's world. I really don't care for the give characters a problem thing that I've heard so much about, but a disturbance to their world makes all the sense in the world to me. In fact, that's how almost all my books began before I'd even heard anything about disturbing a world. Disturbing people may come naturally to me.

Needless to say, that's how my May Days project is starting, with a disturbance.

Looking at my Plot & Structure notes this morning, I saw that Bell talks about plot patterns. I have three significant characters, and I'm going to try to give each one of them a different pattern, which is more or less their goal. For instance, one character's plot pattern/goal is revenge, the second's is a quest, and the third's is what Bell calls "one apart"--a loner who is forced to act.

Now, sometime in the past I found the following story structure at a website called Storyfix:

Think in terms of four-parts to your plot.



Part 1. Set up.

Part 2. Collecting information. Either the author, or the protagonist  Some people will talk about complications at this point in a story, but as an organic writer, that leaves me wondering “What complications? Where am I supposed to get those?” Sending my character out to collect more information about what’s happening to her or her world, makes more sense to me and it’s phrased dynamically.


Mid-point—Plot Twist or maybe where Protagonist Changes

Part 3 Protagonist uses information

Part 4 Ending

I like that structure because it is so simple. And it tells me what to do. And it is a structure, not a formula, like the give-your-character-something-to-want-and-then-keep-it-from-her thing that I have also heard a lot of in the past.

So this is what I'm working on this month with my May Days project.

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Do you have a manuscript—picture book, novel, or nonfiction—that needs work? Do you wish you could learn techniques that would help you revise not only this manuscript, but future ones?

Then come to the KBR “Editing without an Editor” workshop in Westport, CT. Learn how to revise like an editor by working with two experienced editors, who have distilled the methods they’ve used in editing manuscripts with individual clients and in the online Kid’s Book Revisions class. To create a framework, they’ll compare “reader response” theory and the lit. crit. approach, and explore ways to gain objectivity and to focus on different aspects of manuscripts. You will pick up and try out methods for making critique groups work better. After lunch, you will learn and try out a variety of techniques for self-editing, from big picture revision down to copy-editing, working on your own or with a partner.

Critiques are available for those that want them, but are not included in the standard package, to keep the price as low as possible. The workshop fee is $175 through May 21st, and $225 after that. A critique of up to 15 pages is $40; longer manuscripts can be critiqued by arrangement.

The workshop will run from 9 AM to 5 PM on  Sunday, June 30, at the workshop space, Write Yourself Free/The Editing Company, 252 Post Road East, Westport, Connecticut, (the little red schoolhouse).

Schedule:

In advance: Student preparation: You will need to bring copies of up to 5 pages of your manuscript for use in model critique groups and hands-on work. We will tell you how many copies are needed ahead of time.          If you want a critique, submit manuscript when you register but no later than two weeks before the workshop, to allow ER or HU time to review and comment. See details following the schedule.

• Class “textbook”: Writing It Right!, Sandy Asher. We will give copies of this to all students.
• Also useful: A Family of Readers, ed. by Roger Sutton and Martha Parravano. Find it at your local library.

9:00   Welcome, introductions, and review of schedule.

9:15   Introduction: Reader Response vs. Lit. Crit–different ways to respond to a manuscript and what you get from them.

10:00   How Critique Groups Work and Don’t Work–introduction and discussion.

10:30   Critique Group Practice and Feedback. Break into critique groups to dive into “what lies underneath.” Focus on trying out a specific technique and getting peer critiques and editor feedback. (Eileen and Harold will lead and take part in a group.)

12:00   Lunch: Sign-up sheet available at lunchtime for impromptu critique groups or work with partners, etc., during 3:30 to 4:30 individual meeting time.

1:30   Big Picture Revising – Some techniques and what they do for you. Hands-on practice with your manuscript.

2:45   Sweating the Small Stuff – Yes, the details matter!  Again, techniques and what they do for you. Hands-on work.

3:30   Individual meeting with editors for those students who signed up for them. When not in meetings, students can write, revise, meet with a reading partner or impromptu crit. group, or do creativity exercises we provide.

4:30   Lessons Learned—what you’ve learned about yourself and your manuscript, and what do you do next? Discussion. Final questions.

Click link for more information, and registration details:http://www.kidsbookrevisions.com/editing-without-an-editor-2013.htm

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Conferences and Workshops, opportunity, Process Tagged: Editing Workshop, Eileen Robinson, harold Underdown

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Here is Tracy explaining her process:

Below, I’ve included some of the steps I used to draw and paint the “Watermelon Barrette”.

Illustration:

• Draw the design, scan it, and then reduce the drawing to fit the surface.
• Trace the design onto tracing paper.

                       

Paint/Supplies/Brushes:

• DecoArt Americana Acrylics.
• DecoArt Matte Varnish Sealer.
• Krylon Matte Finish Spray.

• Brushes—1/8” and 1/4”      Stipplers, #1 and #3 Round, 3/4” Wash, #2, #4, and a #10 Shader, #6      Filbert, and a #10/0 Spotter.

Wood Surface Preparation:

• Sand the wood barrette with 400 grit wet/dry sandpaper.
• Remove the dust with a tack cloth.
• Apply one coat of DecoArt Matte Varnish Sealer.
• Allow to dry, sand, and then wipe clean.
• Paint the background with at least three coats of paint.
• Center the tracing over the barrette.
• Slip the dark blue dress-maker’s paper under the drawing, and then
• Trace the main pattern lines with a stylus and/or a pencil.

 

Color Worksheet:

 Drybrush Tips:

• Use a 1/8” Stippler to      drybrush small areas.
• Use a 1/4” Stippler to      drybrush large areas.
• Dip the brush into the      desired paint color.
• In a circular motion,      wipe off the excess paint onto an absorbant paper towel.
• In a circular motion,      applying slight pressure, begin in the darkest area and move toward the      lightest area.
• Follow the above steps      until the desired results are achieved.

 Finishing Touches:

• Let the piece cure (I      wait three days).
• Apply one coat of DecoArt Matte Varnish Sealer.
• Let dry (15 to 30      minutes).
• Lightly sand with a      brown paper bag.
• Apply at least three      coats of sealer, sanding between each coat.
• Spray with Krylon Matte Finish.

Did you go to school for art?
No, not unless you count the “How to Paint” workshops I signed up for in 1991.

What types of things helped you to develop as an illustrator?
In 1994, a published picture book illustrator encouraged me to draw my own designs. So with shaky fingers, I picked up a pencil and gave it a whirl. And voila! The fabric tree and snow mama was my first design, and I painted it on slate.

I continued studying “How to Paint” books, and then with three years of drawing and painting practice under my belt, I designed “How to Paint” pattern packets. During that time, I attended a Tuesday morning group for young moms at a local church. The moms loved my designs, and they invited me to teach on Tuesday mornings. One of the designs I taught them, Noah’s Flying Angels, was painted on a wood piece.

My confidence bloomed like the flowers in my garden, and I decided to sell my expanding portfolio. Without access to the Internet, I packed up my car and traipsed all over Southern Ontario, begging and pleading with store owners to stock my designs on their bulging shelves. Krafty Kennedy’s, a store in London, Ontario, took a chance and purchased my packets. Wait, it gets better. They even asked me to teach workshops. A few years later, I became a “Big Brush” teacher at national painting shows in Toronto and London, Ontario.

Here is a pattern packet design.

What was the first piece of art you did where someone paid you?

A small marketing company hired me to design thirty cards. I recently revamped “Gone Fishing” to create a Father’s Day card.

Did you start out doing interior design work?

It wasn’t until 2004 that I received accreditation as an International Design and Decorating Professional. I then obtained my Staging, Color Consulting, and Professional Organizing designations. While I was running my decorating business, QC Design School approached me to tutor students and, later, to facilitate Color and Professional Organizing workshops. I’ve recently cut back on my decorating services to allow more time to pursue my new love…writing.

What are your favorite art materials?
Hmm…I don’t really have a favorite. I paint on many surfaces—illustration board, slate, tin, wood, and canvas.
Here is a “Musical Angel” I painted on a CD box.

Have those material changed over the years?

Yes, I’ve discovered Copic markers, which I must say are not forgiving. To avoid making mistakes, I test the markers on scrap paper to ensure I choose the correct tint, tones, and shades. The upside, I reduce my painting time in half.

Here is a very rough sketch for the painting below.

Once the idea takes shape, I redraw each figure, scan it, and then enlarge or reduce each element until I’m happy with the placement. I then transfer the final drawing onto Strathmore Windpower^TM smooth finish, acid free Bristol.

How long have you been illustrating?

I seriously began illustrating in 1994, so that means almost twenty years!

I like your note cards. How did you start creating and selling them?

Thank you, Kathy. Some of my three-dimensional wood designs were the inspiration that lead me to produce a line of square-shaped greeting cards, which I submitted to the Thirteenth Uniquely Ontario Creative Arts Show in Toronto, Ontario. My cards were judged on design, workmanship, promotional materials, and saleability. After receiving a score of 92 out of 100, I was invited to participate in the show that assists in the growth of Ontario’s best home-based entrepreneurs. I was disappointed I didn’t receive 100. 

Kathy, I hope you’ll indulge me for a moment. Regal Gifts hired me to create A Country Charm Collection, reproduced on wrapping paper and gift cards.

Here are just four designs.

My confidence soared. I queried a well-known calendar company in Markham, Ontario. Rejected, I sulked, unaware God was still at work. A few months later, I received a call. My name had been passed on to Zebra Publishing. They hired me to design a “baby’s first year keepsake” calendar, and the following year, a “twelve-month folk art” calendar. Both calendars sold like hot cakes in mom-and-pop bookstores, Chapter’s bookstores in Canada, and Barnes & Noble in the U.S.

It looks like you have written and illustrated a children’s book. Can you tell us a little bit about the book?

Our Story—You & Me is much more than a children’s book. It’s also a record-keeping book sprinkled with quaint quotes that will appeal to mommies and expectant mommies who want to capture the milestones of their baby’s first year. The book is unique in that it elevates a record-keeping book to an early-reader storybook a mom can read to her child, and uses a child’s natural curiosity about their first year of life to help interest them in reading. In the years to follow, mom and growing child will giggle together, poring over candid photos of things like a toothless grin, wobbly first steps, the ultrasound, and other special moments. This fifty plus page book mirrors my calendar art and will make the perfect baby shower gift.

Do you have plans to self-publish?

I’m on the hunt for an agent.

Is illustrating children’s books a new direction for you?

It sure is. 

Have you ever illustrated something for a children’s magazine?

I haven’t pursued that avenue yet, but I have been published numerous times in American and Canadian “How to Paint” magazines.

Here are two tear sheets.

The drawing and painting instructions for the “Musical Angel CD Box” are similar to the “Watermelon Barrette”. Below, I’ve listed the differences.

Additional Supplies:

• DecoArt Walnut Gel Stain.
• Krylon Matte Finish Spray.

 

CD Box Surface Preparation:

• Prep the box as per the previous instructions, paint the base Napa Red, paint the lid Antique White, and then paint the edge Deep Teal (apply at least three coats of paint).
• Drybrush the Deep Teal area with Blue Green, and again with Deep Teal plus Buttermilk to brighten.
• Apply scotch tape 1/4” from the edge, and then paint the border Country Red.
• Paint corner squares Lamp Black.
• Dilute the gel stain with water, and then apply with a foam brush. Wipe the excess stain with a cotton cloth. Let dry.
• Spatter with Burnt Umber and again with Lamp Black.
• Trace main pattern lines onto the lid.

 

Color Worksheet 1:

 Color Worksheet 2:

What have you been doing to get your artwork noticed?

I have an online whimsical shop over at http://www.tracycampbell.net/shop.html and a website over at http://www.tracy-campbell.artistwebsites.com, where Fine Art America reproduces my original whimsical works of art on metal, stretched canvas, and acrylic. You can also buy unframed prints or framed prints that are ready to hang on your wall or on a friend’s wall.

Have you made picture book dummies to show art directors, editors, and reps.?

Not yet.

Do you have an agent?

I’m hard at work querying agents.

Do you ever use two different materials in one illustration?

Not materials per se, but here’s another style where I used a Micron pen and watered down acrylics.

The above piece was painted on illustration board. The process is the same as painting on wood, except I don’t have to prepare the surface. I just transfer the line drawing, ink the design, and then apply watered down acrylics.

I also paint on Paper Mache items.

Have you seen your style change since you first started illustrating?

Oh my, yes! My earlier drawings and paintings were stiffer than my ironing board.

Have you gotten any work through networking?
Yes, from author extradornaire, Susanna Hill. She purchased designs for her online course—Making Picture Book Magic. Take a peek over at http://www.susannahill.blogspot.ca/p/making-picture-book-magic.html.

Do you do any art exhibits to help get noticed?

Not at present.

Are you open to doing illustrations for self-published picture book authors?

Not at the moment. I’d like to concentrate on illustrating my own books.

Do you use Photoshop?

Yikes! I hear the learning curve is steep and I’m not getting any younger. I do scan my artwork, and manipulate my designs with Microsoft Publisher and Paint. Here’s one I reconfigured.

Do you own a graphic tablet? If so, how do you use it?

Unfortunately not.

How much time do you spend illustrating?

Not as much time as I’d like. Some days I work on marketing, other days I write and/or paint.

Do you have a studio set up in your house? Where do you live?

I have a second-floor studio in my 1841 farmhouse, nestled high on a hill in a secret location. 

Is there anything in your studio, other than paint and brushes, that you couldn’t live without?

My art and writing reference books.

What are your career goals?

My career goals are to find a literary and/or art agent, finish writing two picture books, polish my middle grade novel, and continue creating art that one day will appear on home décor and giftware items. Lord willing.

What are you working on now?

Besides tutoring, I’m querying agents, blogging, writing a rhyming picture book, and adding art to sell on my website.

Are there any painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

I love dark blue dress-maker’s paper. I lay my line drawings over the transfer paper, and then I use a stylus to trace the design onto any surface I like. The beauty of this paper is that as soon as you add ink or water—poof—the lines disappear.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

Don’t be afraid to try new things, step out of your comfort zone. As Will Rogers once said, “If you want to be successful, it’s just this simple: Know what you are doing. Love what you are doing. And believe in what you are doing.”

Thank you Tracy for sharing your artwork and process with us. We will be watching to see how you develop your style to illustrate picture books.

If you want to see more of Tracy’s work or follow her in the future, her website is www.tracycampbell.net.  Please take a minute to leave Tracy a comment. It is much appreciated. Thanks!

Talk tomorrow,

Kathy

Filed under: authors and illustrators, How to, illustrating, Illustrator's Saturday, inspiration, Interview, Process Tagged: 3-D wood designs, How to Paint, Interior Design company, Magazines, Tracy Campbell

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This week we have Denise Ortakales who is a gifted paper sculpture illustrator. Here is Denise:

I was always artistically inclined as a child and loved to cut and paste. After high school I went to college and earned an Associate degree in Graphic Design. I married soon after, working in a variety of jobs, everything BUT graphic design. Why? Who knows, but different crafts and hobbies kept my artistic fires burning for years.

After my two children were born, I took some evening courses to update my graphic design skills. One of my teachers helped me realize that I what I really wanted to be was an illustrator. I had been buying beautifully illustrated children’s picture books for years, for the children I thought. I wasn’t fooling any one but myself.

In 1997, I went back to school. I have my family to thank for their support (and babysitting) throughout the next two years. Within one month, I had my first assignment and I’ve been busy ever since. In 1999 I graduated from the Art Institute of Boston with a BFA in Illustration. Soon after I received a contract for my first children’s book to illustrate.

Fast forward to today. I am still doing a variety of projects for various adult and children’s magazines (Consumer Reports, Utne Reader, Ladybug, Spider) and children’s books. I’ve also taught at the Art Institute of Boston, Chester College, and McIntosh College.

Here is Denise explaining her process:

First I start with a sketch…

Next I enlarge the sketch and trace it onto tracing paper.

I assemble my papers. Sometimes I paint my papers ahead of time. Sometimes I use a toothbrush, sponge, airbrush or anything to get the different textures I like.

Each shape is transferred to the colored paper . . .

. . . then cut out. I use an X-acto knife and many blades.

For the clouds I decided to paint them after they were cut. That way I could place the sponge painting exactly where I wanted it.

I glue spacers behind each piece. The thickness depends on how high I want it to stick above the background and other pieces. Typically I use foam core but you could use any type of cardboard or foam meat trays. Here I used thick blocks of Styrofoam. I usually use a white glue to glue the piece to the background. Aleene’s Tacky glue works best. Here I’ve used a repositionable glue which is why it looks yellow.

Here I’ve painted the background with a variegated swirly pattern.

At this point I lay my tracing paper sketch over the background. It’s a guide for placement of the other pieces.

Gently I lift the tracing paper and place the piece underneath it, not letting it touch the background until its fairly close to where it belongs. I’m usually able to fine tune the placement once its laid down. I continue this way until its done.

Here’s the finished piece. After it’s dry, it can be photographed.

Below are the covers of Denise’s books.

How did you end up going to the Art Institute of Boston?

I was looking for a small school with an illustration program. NH didn’t have one at the time. A substantial scholarship sealed the deal. I thought for sure traveling 100 miles each way, three times a week would get old fast. But it didn’t. I learned to love my commute—no children whining, I could listen to MY music, I could reflect on my day—I kind of miss it!

What types of classes did you take that really helped you to develop as an illustrator?

Illustration I & II, Children’s Book Illustration, Advertising Illustration, Buses, Billboards & CDs, 3D Illustration, Promotional Illustration, Illustration Survey. I made the mistake of taking five studio courses one semester. I did approximately 25 illustrations within those 15 weeks. Brutal, but I now know how to meet a deadline.

What did you do after you graduated?

6 months later I had my first book contract. I also did some editorial illustration.

Did the Art Institute help connect you to companies that could give you work?

Not directly, but I got my first job from an alumnus who looked for other AIB grads.

Did you start out right from the start doing paper sculpture?

Yes. Once I discovered my affinity for paper sculpture, then I decided to become an illustrator and go to school.

What was the first thing you did that you got paid to do?

It was a cover and two-page spread for a computer magazine. I had only been in school for one month. Gulp! After the phone call, I ran to my teachers and said, “What do I do now?” I think they were skeptical that I could pull it off.

How long have you been illustrating?

That first job was in 1997.

How many children’s books have you illustrated?

Six.

What was the first book that you illustrated?

Planets by Jennifer Dussling, published by Grosset and Dunlap in 2000. I was mortified that they published 6 spreads upside down in that first edition (well, they were round planets!)

How did that book contract come your way?

Probably from sending samples or postcards.

I see you have published with Grosset and Dunlap. How did you connect with them?

Good Morning, Garden was published by Cooper Square Publishing. Can you tell us a little bit about them?

It was published by Northword Press which was bought out by Cooper Square. Working for Northword was great. Sadly their gone.

How many children’s magazines have you done work for?

Ladybug, Click, Spider, ASK, Babybug, and Cobblestone.

Was The Legend of the Old Man of the Mountain (Myths, Legends, Fairy and Folktales) the first book you wrote?

It was the first one I wrote that sold. I have a few picture book dummies I’ve been working on.

How did that come together with Sleeping Bear Press?

The Legend of the Old Man of the Mountain was based on a beloved rock formation here in New Hampshire. While at AIB, I took a Writing for Children course. One of the assignments was to rewrite a folk tale or legend and make it your own, so I rewrote one about the Old Man. When the rock formation collapsed in 2003 and made the news, I knew it was time to dust it off. I revised the story and sent it out immediately. Sleeping Bear called within a month.

Carrot in my Pocket was published by Moon Mountain Publishing. Could you tell us a little bit about them and how you got the job to illustrate?

They were a new company. Since several friends also worked on some of their early books, I suspect they looked at local illustrators through the New England chapter of SCBWI. Unfortunately, they have since closed.

I notice you have illustrated a couple of books with other illustrators. How did that work?

Do you ever touch up the photographs with Photoshop?

Yes. Mostly dust or lint that shows up on the photographs.

What types of things do you do to get your work seen by publishing professionals?

Attend conferences, sign up for critiques, portfolio displays, website, BLOG, mail postcards.

Do you have an agent? If so, who and how long have the represented you?  If not, would you like one?

No agent. I’d be open to open to one though.

Have you seen your style change since you first started illustrating?

Well . . . I’ve actually been considering a change . . . to 2D. I am a little envious of 2D artists that don’t have to worry about photographing their artwork, or storing bulky pieces. A stack of spreads for a picturebook can be 20 x 30 x 4 feet tall! I’ll never give up on 3D but I’ve been working on an acrylic style to give clients options. It’s also good to mix things up once in a while. Keeps things fresh.

Have you gotten any work through networking?

We’ll see. I just attended a conference and rubbed lots of elbows.

Do you do any art exhibits to help get noticed?

No but I probably should.

Are you open to doing illustrations for self-published picture book authors?

No. I prefer working with established publishers. They understand art and artists, and allow you the freedom you need to create the best book possible. The fact that they can pay a decent fee doesn’t hurt either.

Do you own a graphic tablet? If so, how do you use it?

I have Wacom Intuos 3 that is a few years old now. I only use it for sketching.

How much time do you spend working on your art?

Not as much as I should because I have a day job, or rather, a morning job. If you’re asking how long it takes to create my art, a typical spread takes 2-4 days after the sketch has been approved by the publisher or client.

Any books on the horizon?

Nothing currently in the publishing pipeline.

What are your career goals?

I suppose the holy grail is a picture book that I’ve written AND illustrated. But really I would be happy with a few dozen more books, illustrated or written.

Why did you choose Paper Sculpture instead of drawing and painting like other illustrators?

I like to say that paper sculpture chose me instead of me choosing it. But in reality I remember seeing it as a child and wondering how they did that. When I was considering illustration as a career, I found a book on the paper sculpture and I knew that I had to try it. It was one of those Aha! moments that you shouldn’t ignore.

What kind of paper and glue do you use?

I use charcoal and pastel papers which are about the same thickness or a little thicker than construction paper. I prefer the papers that are colored in the pulp rather than printed color but will use anything if it’s the perfect color or texture. My favorite glue is Aleene’s Tacky Glue which is a thick white glue available at most craft stores. Really, any white glue will work, the key is to put it on VERY thinly.

What do you use to make your images 3-dimensional?

I use scrap pieces of foam core and mat board glued behind each piece of paper. If you’re trying this at home, try several layers of corrugated cardboard or foam meat trays work well too.

How did you learn to do Paper Sculpture? Did you have to go to school?

I really taught myself. I went to art school twice but I didn’t learn to do paper sculpture there. There are some books on the topic but the best way to learn is just to try it. Here are some of my favorite books:

Paper Sculpture : A Step-By-Step Guide by Kathleen Ziegler and Nick Greco.
More Paper Sculpture by Kathleen Ziegler and Nick Greco.

Couldn’t you get the same look on the computer?

Yes, you could get a very similar look. But I enjoy the creating of the actual piece, getting sticky fingers and paper cuts. I’ve always enjoyed a variety of crafts and creating art on the computer doesn’t hold the same fascination for me. Besides, I’m already on the computer too much surfing the internet, reading email and updating my websites.

What does someone need to consider if they want to try creating paper sculpture?

Transferring the 3-dimensional image to a 2-dimensional page is by far the biggest headache. Unless you are a professional photographer, you need to hire one to insure that your work will look it’s very best. At first, when you are just creating samples, it is a VERY expensive cost to cover. Be prepared for clients that have never used 3-dimensional artwork to balk at the photography expense. It’s your job to educate them.

The other problem is storing these darn things. Make friends with a framer who will give you good deals, otherwise they start to pile up and take over closets.

Are there any schools that teach Paper Sculpture?

Not to my knowledge, and I think that’s part of the fun of it, that a million other people aren’t out there doing the same thing. So buy yourself a good book (see above) and dig in. It’s not that difficult. You probably did something similar as a kid.

How do you handle the photographing of your artwork?

Because my work is 3-dimensional and difficult to ship, I have it professionally photographed locally. The photographer and I work together to create depth using lighting and shadows. I can then supply clients with digital files for publishing purposes.

Do you need to go to art school to become an illustrator?

Art School is absolutely not necessary to become an illustrator. No art director has ever asked to see my degree. It will, however, bring you up to speed quicker and perhaps save you from learning your lessons the hard way. I am a firm believer in the merits of art school but it may not be for everyone. Some of the benefits that you may not have thought of are:

Learning to talk intelligently about your work which you’ll need to be able to do with an Art Director.

Learn to be objectively critical of your own work.

Form a circle of peers that you can call on for advice and comradery when you are out on your own.

If you can meet assignment deadlines in art school, you’ll have no problems meeting deadlines in real life.

What are you working on now?

Um . . . a YA historical fiction novel? Yes, I’ve written it. 70,000 words, thank you very much. I have tried desperately to write picture books but could never get them below 2,000 words! So I embraced my wordyness and went in the other direction. It is such a rush finishing a first draft of a novel. I love it! It engages a completely different part of my brain. But that also makes is hard to illustrate and write novels at the same time.

Last summer I was appointed Illustration Coordinator for Northern New England SCBWI, so I am also busy working on conferences, Illustrator’s Day, and other activities for our illustrators.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

Yes, listen to your inner voice. Not the one that whispers how bad you are at drawing, or telling you you’re a poser. You’re probably already listening to that one. Stop! Listen closer to the one that tells you something in your image is not working, or needs fixing. Have you ever had someone critique your work, and you thought, “yeah, I kinda knew that?” It’s because you ignored that little voice (I speak from experience.) Listen and your work will improve.

Thank you Denise for sharing you wonderful artwork, process, journey, and expertise. Please make sure you continue to share you successes with us. We looking forward to following your career.

If you would like to visit Denise and see more of her work, you can find her at: www.sculptedpaper.com.

Taking a minute to leave Denise a comment is greatly appreciated. Thanks!

Talk soon,

Kathy

Filed under: authors and illustrators, Illustrator's Saturday, inspiration, Interview, picture books, Process, Uncategorized Tagged: Art Institute of Boston, Denise Ortakales, Grosset and Dunlap, Illustrator process, Paper Sculpture, Sleeping Bear Press

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Alicia Schwab has worked as an illustrator and designer for nearly twenty years and holds a BFA from the University of Wisconsin-Stout. Her career began in Hannover, Germany where she co-founded and co-owned a graphic design company. During those years she developed her illustrative voice producing illustrations for newsletters and books. After returning to the States, she continued working at design firms in Minneapolis, Minnesota as well as producing illustrations for newsletters, websites, and food packaging. For more than a decade, Alicia has concentrated on illustrating for the editorial and children’s book market. She is a member of SCBWI since 2001, and in 2012 she became the SCBWI-Minnesota Illustrator Coordinator for that region. Outside of the studio, Alicia enjoys speaking to the community and schools about her work.

I  begin with an idea in my head and start sketching on paper to figure out who my characters are and what they want. Let your subconscious have a say too. Try to let ideas flow without judging them. This sketch was drawn on a large sheet of tissue paper and I used the lower edge to redraw a character from another piece. When I scanned it into the computer a funny accident happened. I noticed the little person looks as if she is trying to tell the audience a secret. A lightbulb flashes and I have a new direction, the girl gives the boy butterflies whenever he sees her.

There is a lot of body language that need to be worked out between the two of them. I tried several different ways of how they hold their hands and position their arms. Some things look great in the sketch stage but then don’t work when fleshed out into solid shapes with the paint.

I sketched several different arms and hands separately and pasted them in place in Photoshop to see what works and get the proportions right. I also chopped up the original sketch and spaced the two a little farther apart.

For the purpose of this example, I have gone back into the final art to simulate the color studies I did for the background areas. Normally, I work this out as I paint. Three areas: the far hill with the tree, the path and the foreground.

I am fairly happy with everything. I went back into Photoshop and fiddled with his right arm some more.

How long have you been illustrating?

I have loved drawing all my life. As a child, my art allowed me to express the ideas I had not yet learned the vocabulary for. This would prove to be a useful tool later in life. But professionally, I started taking illustration jobs a year after college.

When did you decide you wanted to illustrate a children’s book?

Growing up, I loved drawing and I was surrounded by great picture books. It only seemed natural to me, to try to make my own picture book as soon as I learned how to write words (at about age seven). My passion for children’s books continues to this day.

I see you attended the University of Wisconsin-Stout. Do you think the art classes you took in college helped you develop an illustration style?

I hold a BFA in Graphic Design. The program has a strong foundation in studio (fine art) classes. I took extra painting classes that helped a lot with color theory and composition. I also acquired a strong knowledge of computer graphics skills that has enabled me to stay competitive as an illustrator/designer. The program did not offer illustration courses at that time, so I have learned on my own and taken additional children’s book illustration classes through MCAD, in Minneapolis.

What was the first thing you did where someone paid you for your artwork?

After college, I moved to Germany co-founded a graphic design company. I began by doing editorial illustration and my work won an award, the “1997 Chicago Athenaeum Museum of Architecture & Design” back in the States. Each spread featured a pop-up with a riddle to solve.

How did you end up starting a graphic design company in Germany?

I’ve always had a curiosity for what is over the next horizon. I had studied abroad for a semester in college and was  looking for a way to go back. I figured if I could support myself, I might be able to travel in my free time.

What made you leave Germany and move to Minneapolis?

It was a great experience, I enjoyed living, working and traveling in Europe. But the time came when I wanted to live back in the States near my family.

Have you done any work for children’s magazines?

Not yet, but I have done work for the children’s section of a newsletter: “Just Coz” for Smiths Medical.

How did you get to illustrate the book titled, Great Group Skits?

I acquired this project through a networking connection. I had a great experience working with Search Institute Press on the book, GREAT GROUP SKITS, written by Lynn Grasberg and Gina Oldenburg. I enjoyed working with the text and creating chapter head illustrations in black/white.

How did you get involved in illustrating Good Grief, Finding Peace After Pet Loss?

This project also came to me through a networking connection. Although the author, Sid Korpi self-published this book, I did not work directly with her on this project. Sid had a clear vision and marketing plan for the book that worked out really well.

Have any of your books won any awards?

The book Good Grief, Finding Peace After Pet Loss has won 4 awards: 2011 Green Book Award—(Category: Animals).
2010 Premiere Book Award—”Best Book of the Year”, (Category: Self-Help).
2010 Reviewers Choice Award from Reader Views (Category: Inspiration/Spirituality).
2010 IPPY—Independent Publishers Book Award (Category: Pets/Animals).

Is Good Grief, Finding Peace After Pet Loss a self-published book? How is the book doing?

Yes, it is and it has done really well. It is still receiving good reviews from readers as well as the recipient of several awards. The book is not only well written but is well designed which lends itself as a reliable source to comfort those who are grieving the loss of an animal companion. Having been through this a few times myself, I was able to connect the illustration with the audience.

How did you get the job to illustrate St. Catherine University: Guide to Reflective and Intentional Giving?

Through word of mouth from networking. The Twin Cities creative community is like a small town, everybody knows everyone. It is vital to network and stay connected. http://www.aliciaschwab.com/books/book01.html

How long is the book? How many illustrations did you do for the book?

I created seven full bleed, campus scene illustrations to enliven nostalgic, fond memories of alumni experiences at the university. I was asked to incorporate a circular theme into the artwork. I always love a challenge, so I worked the theme into the gesso ground.

I see you became the illustrator Coordinator for the Minnesota SCBWI chapter in 2012. How did that happen?

I have been a member of SCBWI since 2001. I have volunteered for several organizations over the last +twenty years. I started volunteering for SCBWI a few years ago and found it a rewarding experience. When the position became available I applied for it and have been the IC for over a year now. I feel strongly about being part of a supportive community that helps people find their potential as a children’s book writer and/or illustrator.

What is your favorite medium to use?

Currently, my favorite is acrylic paint.

As Illustrator Coordinator, what types of things have you done with the MN SCBWI chapter members?

I develop workshops to help members learn the craft, marketing and business of children’s book illustration. We have been also exploring newer areas of the industry by offering workshops on Picture Book Apps and Ebook publishing. Last year, we hosted our first Portfolio Show at our regional conference, which was well attended. For the future, we are looking at doing a One-Day-Intensive for illustrators and one for writers. It has been a rewarding experience to work with Quinette Cook, RA and Jessica Freeburg, ARA of the Minnesota SCBWI chapter.

Have you taken advantage of showing off your portfolio at one of national conferences?

This last February, I participated for the first time at the New York Conference and Portfolio Show. I would recommend any SCBWI member to take part in this event or the portfolio opportunities at LA Conference. You will learn a lot.

Do you see yourself writing and illustrating your own book someday?

I have held fast to my childhood dream of becoming a published author/illustrator. I am in several critique groups for writers and for illustrators.

Do you have representation from a artist rep or an agents?

I am currently not under representation but am actively seeking an agent.

Not counting your paint and brushes, what is the one thing in your studio that you could not live without?

I love my sunny studio, but it is chilly most of the year being that it is located in our basement, so I drink lots of hot tea.

Do you take pictures or do any research before you start a project?

I do, I use myself as a model with a big mirror. Because the client is local, I was able to make my own reference photographs for the book for St Catherine University. This helped tremendously to understand the campus layout, the position of the sun, the building proportions and the greenery.

Do you think the Internet has opened doors for you?

Sure, social media, blogging and access to information via search engines has really helped me grow as an illustrator.

Do you use Photoshop with your illustrations?

I currently use Photoshop in the sketch stage of the project and the fiddle with a few things for the finish. It is a deep program and enables me to utilize it in a variety of ways.

Do you own or have you ever tried a graphic Drawing Tablet?

I use a small Wacom Bamboo tablet when I need to draw on the computer. I would love to upgrade someday to a larger unit.

Do you think your style has changed over the years? Have your material changed?

My style has changed a lot since the mid-90′s, but so has my target market. The type of editorial illustration I sold in Germany is different than what was being bought stateside at the time. It taught me to be flexible. I used to work in ink and watercolor, then dabbled vector art while working traditionally in acrylic.

How do you market yourself?

I do blogging, social media as well as send out promotional postcards. I also advocate networking and getting involved in a professional organization such as SCBWI.

What are you working on now?

I am currently writing/illustrating a picture book about a very curious dinosaur.

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.

Currently, I paint in acrylic paint on watercolor paper. I use forks and different things to scrape into the gesso to create the background texture. Experiment. Play. Make a mess. Acrylic is forgiving in that you can edit out the areas you don’t like by painting over it.

Any words of wisdom on how to become a successful illustrator?

Draw everyday. Study what children’s book art is being published by visiting the library and the bookstores. Join a critique group. Read voraciously in the genre you want to illustrate in. I learned in Germany the best way to get to know a culture and its people is by learning the native language. Illustration is not just “pretty pictures” but is also a form of communication. The “culture” that it conveys is the specific use of language in the written word. For example, you wouldn’t create the same kind of illustration for picture books as you would for the young adult fiction genre. Understand what age group you are aiming for, and you will better understand your audience through the way they communicate.
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Filed under: Advice, authors and illustrators, awards, Illustrator's Saturday, Interview, Process Tagged: Alicia Schwab, Featured Illustrator, Good Grief Finding Peace After Pet Loss, MN SCBWI Illustrator Coordinator

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This week I would like to introduce you to Kary Lee. I think you will enjoy hearing about her journey, her watercolors and process. Here is Kary:

I see things in pictures. I always have. It wasn’t until college that I realized not everyone did. It explained a lot. My need to solve problems visually made sense. Being artistic gave me a pass with the linear world. I could show through my art that I do get it. I just go about it differently.

I’ve worked with different mediums and as an art director and designer but it was through motherhood that things began to resonate. I rediscovered the wonder and magic of the world as a child sees it, the ordinary as extraordinary. This and my passion for picture books and my new found love as a watercolorist fueled me. I started out creating personal student work as a traditional fine artist.

That journey brought me to book illustration. Five published books and several awards later personal circumstances caused my work to be inturupted. But in finding my way back, my current successes have come from commercial illustration, creating pieces that visually solve problems for external intities. I now find my work coming full circle, returning to more traditional fine art with a new and  passionate sense of purpose.

My niche is the human figure and more specifically, children. My goal, to capture the innocence, curiosity and sense of wonder for the things adults take for granted. The hidden agenda is to subtily imply that regardless of our ethnic, cultural and physically challenging differences that make us all unique, we’re all the same on the inside. The message may or may not be loud and clear and that’s okay.

My execution involves using light and it’s play on the subject matter to mold my images. I use pure transparent watercolor pigments and whenever possible have them mix and blend on the paper to keep my colors vibrant and alive. These elements are the glue that hold together the feel and personality of the my composition. I work in a realistic style so it’s important to keep my images fresh.

To be successful requires an element of interest that can’t be achieved through a photograph. It has to look effortless even though every brushstroke is calculated. The fewer brush strokes, the fresher the feel. Too many and it becomes overworked, flat and boring.

I prefer displaying my work in public venues over galleries. I like the challenge of capturing the attention of people who may not realize the beauty of my art or any art for that matter. I want to tell a story to someone who didn’t know they were going to care until they see the image.

I love being an illustrator and sharing my stories. It makes everything else in my crazy life fall into place. Some years ago my daughter’s play group was discussing what their parents did for a living. “Well,” my daughter stated, “My mommy colors for a living.” Silence fell over the room. I’m totally cool!

Where did you grow up and where do you live now?

I grew up in sunny Southern California. I spent my early childhood barefoot and in a perpetual bathing suit.  On hot days we would      mix powdered tempera paints with the garden hose and use the sliding glass door as our canvas. On rainy days we would snuggle in the happy chair and read.  My mother’s love for books had a profound impact on me. Now I live in Pullman, Washington, in the South Eastern region of the state and home to Washington State University.

How did you decide to attend Washington State University for Communication and Graphic Design?

I am a fourth generation WSU Cougar (Washington State University).  So, attending WSU was always my first choice. Communications with an emphasis in Advertising made sense because it was a creative career with the hope of job security.

Can you tell us a little bit about the classes you took while at WSU?

WSU has a prestigious communications program; The Edward R. Murrow school of Communications, Murrow’s alma mater.  There were many interesting and informative classes. Ironically, my most practical experience came through my involvement with a volunteer club, National Student Advertising Competition (NSAC).  It mimicked an ad agency campaign and we competed with other universities.  I learned that I loved conceptual thinking, and problem solving I realize now that the process is similar to story telling.  My fine art classes centered on traditional graphic design. It was the early 80’s, before computers were part of any curriculum.  So I learned ‘old school,’ studying traditional typography and layout methods.

You don’t usually think watercolor with Graphic Design. Did WSU have a fine art class that you took?

My final year as an undergrad I took an illustration class from John Christ, an adjunct professor from Atlanta (spelling is to the best of my memory).  He spent extra time with me, taught me to see think critically and really see things before I drew.  He helped me to understand how and why to draw with purpose, to know my subject and the importance of good characters. The experience was wonderful! He was wonderful!  But, my focus at the time was to be an art director.  I turned down his offer to go to a portfolio school in Atlanta. I had no money left.  Hell of a time for me to be practical! But he went back to Atlanta and I lost him. It took years for me to admit that this was a grave career error.  What can I say?  I was barely 21.  I goofed!  John, if you’re out there, it took me 20 years, but I am finally taking your advice and going for the dream!

Did you try other mediums before you decided watercolor was what you enjoyed using?

Not really. Unless you include pencil and ink, because I’ve always loved to draw.  I played around with acrylic, oils and      watercolor in high school, but it was a small school and there was nobody to teach me.  It didn’t come up again until I decided to try book illustration.  And watercolor seemed my natural choice.  I took some classes while my kids were in school.  The instructor was good, but I was the only person under 60 and we spend a LOT of time with flowers and fruit. All humor aside, it was a tough time for me and watercolor gave me an outlet I needed.  I had finally found the my it.       And, as refreshing and empowering as it was, I knew still life’s were not gonna cut it!

How did you find your way from there to Dallas, Texas for an art director job?

It was actually my third job out of college. I was an artist at a local T-Shirt shop the first year. Based on my daughter’s terms, I think I was a hipster before hipsters were cool! It was great. Then I married to my high school sweetheart.  He took a job with Texas Instruments and we moved to Dallas. The art direction job came after six months working for a banner company specializing in Car Dealership Point of Purchase marketing.  Can you say ‘character builder?’  I set type for used car bumper stickers and cut rubylith for vinyl signs. We also had those fun hoola skirt flags that drape every dealership.  It was grueling but looking back, a great experience!  Every designer should have to squeeze Lewis and Clark Auto Sales into a 5” x 2” space that can be read from 40 feet. Ironically the typeface Impact became my best friend!  I could crank out a mean mechanical in nothing flat.  After 6 months of the sweatshop I landed the graphic designer job and worked my way up to art director.

What types of work did you do with that job?

I got to do everything; design, layout, illustration, photo direction and even some AV work. It was amazing. It was the type of environment where I was gonna sink or swim.  The story of my life!  So I swam!  I loved the work, the teams, and creative challenges.  Our team worked with a free-lance illustrator and I soon realized I secretly wanted her job.  She was a mom with a studio in her back yard and among other projects, illustrated kids books.  How cool was that?  We became fast friends and I was very jealous!

What was the first thing you did where someone paid you for your artwork?

It was at an art show during my still life phase.  I did a whimsical painting that involved Hewey, Dewey and Louie and a color wheel (…you had to be there).  But, it sold for $165.  I couldn’t believe it!

How long have you been illustrating for a living?

I’ve been illustrating for about 14 years now.  Once the kids got old enough for me to breathe I made the decision to go for it.  I got the studio in my back yard, balancing my career as a stay-at-home mom. Things were going swimmingly until I suddenly found myself as a single-mom.  All emotions aside, the timing for my career was terrible.  I juggled my first book tour with my newly acquired real estate career! I remember attending BEA and signing books beside Judy Blume by day (I know, right?) and arguing escrow dates and appraisals over the phone with my broker by night. My plate was a bit full. Something had to give. I knew it would be temporary, but I turned down the next book and dug in to real life.  As I said earlier, I swim even if sometimes it’s upstream!  It was so hard to see that project completed without my name on the cover.  I vowed that I would return as soon as it was possible.  And, here am! I’m back on track with a newfound appreciation for everything! What doesn’t kill us makes us stronger, and it’s so true. It also gives me ton’s of subject matter. My passion has only gotten stronger.

When did you decide you wanted to illustrate a children’s book?

I was 8.  Yes, that’s right. I wrote, illustrated and constructed my first children’s book when I was in the second grade. I guess you could say I was self-published.  I had an old typewriter, paper, pencils, and crayons.  I folded an old scrap of material over cardboard, folded it in half for a cover, glued it with Elmer’s, punched holes in spine with my pencil, and tied it all together with some yarn from the junk drawer.  Ta Da… “’Me and My Dog Ralph.’  Written and illustrated by Kary Lamb, grade 2.”

I see you have illustrated and published four books with Perfection Learning. How did you connect with PL?  

I met an editor, Susan Wilner at a local SCBWI workshop and gave her my card.  Much to my surprise, she called me a few months later!

Can you tell us a little bit about them?

They are actually pretty big educational publisher out of Iowa. The early readers I worked on are just one small division.  They do all types of educational books.  My connection was through Susan and when she hired me she owned her division, Lucy’s Letters out of Seattle, Washington.  In the interim, PL bought her out and my connection was lost.  I did one more book with one of their editors but he had his own group of illustrators, and things fizzled out.  All of the books are still in print.  There are links on my website.

Are they 32 page picture books? When were they published?

No, they were early readers; 1-3^rd grade.  They focused on phonics and letters in 8 page simple stories. They were published in 2005 and 2006.

How did you connect with Stonehorse Publishing?

It’s a very small publisher. Usually one book a year.  And, again, I met my publisher through SCBWI.  This time it was at the Winter NYC SCBWI Conference. Dizzy is one of a series of three fiction books.  But all included fun non-fiction facts about the animals the characters were created after. In our case, Pacific White-Sided Dolphins.

Do you have representation from an artist rep or an agent?

I definitely want an agent, but the right agent.  I have recently had some great feedback and a couple positive leads.  I am hopeful that things will come together and I will acquire representation soon.

Do you have any desire to write and illustrate your own book?

Yes. I actually have one of my stories written and blocked into a dummy, The Race.  It’s a historical fiction story (circa 1880; Kansas) based a story by great-grandfather, a published poet. I’ve had positive feedback from critique groups with award winning authors. But, I am focusing on getting established with an agent before I pursue it further.

Have you taken advantage of showing off your portfolio at one of nationals conferences?

Yes, and I won!  Runner Up; Realistic Category at the LA Conference in 2003.  It was amazing!  It was early in my career and I didn’t really know how cool it was. I had been upgraded from still life and fruit bowls but most important, I had found ‘my people.’  From that day on my dream turned to goal: to ‘make a living’ as an author/illustrator.

Not counting your paint and brushes, what is the one thing in your studio that you could not live without?    

Can I say two?  My natural light view and my music! Both are essential.

Do you try and spend a certain amount of hours every day working on your art?

Yes. But it’s always a challenge. It’s like exercise.  If I skip, it shows.  Staying in ‘shape’ is the key to improving skills and perfecting your craft.

Do you take pictures or do any research before you start a project?

Yes, lots of research, in conjunction with sketching and creating characters.  For example, my current book project      involves a deaf girl, so I am trying to learn sign language.  My older work is more realistic and photos were imperative. Now I take photos but try to work more from imagination.  But, even if I’m not using likeness of the model, it always helps to have images, especially with strong light sources because luminosity is sort of my trademark.

Do you think the Internet has opened doors for you?

No question!  Early in my search it was Verla Kay’s website that opened the biggest door.  That’s where I learned about SCBWI, the single most important external impact on my success. That’s a mouthful, but it’s so true!

Are you willing to work with a self-publish author?

No.  It’s a good fit for some, but I choose not to focus my energy there.

Do you use Photoshop with your illustrations?

Yes, but sparingly and at this point only as a production tool.  I love the traditional process of paint on paper, and it’s also what gives my work my look.

Do you own or have you ever tried a graphic Drawing Tablet?

I have an old WACOM from about 7 or 8 years ago.  I was curious when I first got it, but the concept was still abstract and the process seemed clunky.  It didn’t really save me any time.  But the new versions seem amazing.  So, I have it on my wish list.

Do you think your style has changed over the years?

I would describe it as my ‘evolving.’ I find my work loosening up, becoming more ‘painterly.’  The thing that remains constant in my technique is the underlying glazes of primary colors to create the luminosity.  As I said earlier I believe this sets my work apart and gives it the depth and life.  It’s not overly obvious but more like a ‘feel.’  The changes in my style have come simply in my gaining experience and knowledge, hence drawing and painting as much as I can.  It’s      quantity that creates the quality. There’s really not any big secret.  If you want to do this, then do it…. A      lot!

How do you market yourself?

With my graphic design/marketing background, I have been pretty good at creating marketing materials. Although I am a terrible client. I can’t seem to decide on anything for myself.  It’s a good thing I don’t have to pay myself.  I couldn’t afford it! I use social networking and attend conferences as often as I can.  I have a website, blog, and am active on Facebook, Twitter and most recently my girls are showing me the benefits of Instagram. Yikes! There are so many choices.  It can be overwhelming.

Do you have any career dreams that you want to fulfill?

Being able to do this full time, ‘for a living.’   I have so many stories to tell!

What are you working on now?

So glad you asked!  I am very excited to be starting a new book project this month!  A Good Sign for Alice; Guardian Angel Publishing, projected release – early 2014.  Alice is a deaf dog rescued from a shelter by Marie, a little girl who is also deaf and bombarded by two brothers who don’t understand girls.  It is written by Rachelle Burke.  I’m in the thick of research, learning sign language.  The challenge I’m finding will be to ‘illustrate’ deafness.  But hey, it’s the problem solving that I love about this job, right? I’ll be posting progress on my blog if anyone is curious. www.karyleeillustration.blogspot.com .

Do you have any material type tips you can share with us?

Professional grade paint and paper are a must if you’re serious about this medium.  My paints of choice are Windsor Newton and Danielle Smith with little exception.  Arches cold press is my choice for paper.  When trying something else I once found my self frantically waving my paintbrush in the air with one hand, the other propped on my hip and shouting with attitude, “What is this crap? I can’t work this way!” …with a French accent!

It’s not really a material type, but my wonderful new Epson Photo R2880 printer definitely affects how I use my materials.  It is oversized and takes watercolor paper.  I can now take sketches, scan them and print directly on the paper. It saves time and frees me up to try without worrying about ruining anything.

Any words of wisdom on how to become a successful illustrator?

For me this answer has two parts:

1.         Philosophical:  Stop for a minute and think about WHO you are WHEN you are creating.  That’s your muse; the inner voice you should be listening to if you want to be true to your work.

2.         Practical:  Paint or draw EVERYDAY! Go to conferences! Do your research on publishers, art directors and agents.  Find where your work fits best. Ask questions. But remember the answers are based on that person’s situation.
The truth? There is NO RECIPE! And success for one person is different than another.  At first I would ask questions and get a little annoyed when the answer was, what to YOU think. I have received some amazing help from some very well known authors, illustrators and industry professionals, but it’s still my journey.  And yours will be different than mine!

We a have all heard this:  ‘Do what you love and the money will come.’

For me I suggest a slight change: ‘Do what you love and the happiness and success will come.’  (maybe money too….but that’s just a bonus.)

Kary’s work hangs in public venues and private residences throughout the Northwest. She is currently writing and illustrating a historical fiction book entitled, The Race. It is inspired by a poem written by her great-grandfather.

AWARDS & PUBLICITY

In 2009 she was featured in Washington State Magazine for a University of Washington athletic event project, The Windermere Cup. The link is on my website, www.karyleeillustration.com . In 2008, Dizzy the Dolphin received the Mom’s Choice award for Children’s Picture Book Adventure. And, she was a national portfolio finalist at the Society of Children’s Book Writers and Illustrators (SCBWI) Summer Conference in Los Angeles, CA in 2003.

Thank you Kary for sharing you expertise, process, and journey with us. Please make sure you continue to share you successes with us. We looking forward to following your career.

Taking a minute to leave Kary a comment is greatly appreciated. Thanks!

Talk tomorrow,

Kathy

Filed under: authors and illustrators, awards, illustrating, Illustrator's Saturday, inspiration, Interview, Process Tagged: Dizzy the Dolphin, Illustrator Kary Lee, John Christ Professor from Atlanta

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Yesterday we talked about Paper Lantern Lit, Lexa Hillyer, Lauren Oliver, who are part of this  years NJSCBWI conference and what they were doing with authors, editors, and Stephen Barbara. Today, I thought I would share a great article they wrote to help authors improve their writing. Here it is below:

Chapters are kind of like socks—something we writers and editors use ALL the time, but hardly ever think about. We all know that most novels are anywhere from 40,000 words to 140,000 words long, and we all know they’re broken up into units called “chapters.” But how often do we stop to ask why? How do you know you’re getting the most from a chapter?

We see this challenge in two parts: WHAT goes in the chapter, and HOW it goes in.

Let’s start with the juicy WHAT, first.

Chapters must give good, purposeful content that moves the story forward, that’s what! Unlike socks (ew), a chapter is something you should be able to sink your teeth into and get some real nutrients from it. Let’s consult the magic 8-ball of chapter content questions:

1) What is the main character’s goal in this chapter? How does that goal evolve? (I.e., is the main character thwarted, or does her goal get more urgent?) If there’s no goal, what would make a good goal for the chapter? It should be based on the character’s overall goal in the book! If her goal in the story is to find missing treasure, then perhaps the goal in this chapter is to first dig up the map, or confront the pirate who buried it.

2) What happens in this chapter? Is there action, and does it naturally lead to more action? If not, what new actions might lead to consequences that increase the urgency or difficulty of the goal? (Here’s the thing about goals: we should be making it more and more difficult to get to while simultaneously more and more seemingly necessary.) For instance, perhaps the pirate who buried the treasure has mysteriously vanished, and now your main character must solve the mystery of his disappearance! Or maybe the character’s mother plans to sell her home, and now she needs that treasure more than ever.

3) What new information is learned? (And why now?) If not much is learned, what “clue” might be inserted into this chapter to help set us up for the actions and reveals of future chapters?

4) Does the chapter seem urgent? Does it have tension? If not, what would make everything more pressing, more dire? What might be causing the tension to deflate? Watch out for moments where things are getting easier for the characters, where they seem to be fed the answers. Instead, there can be clues leading them forward, but there should also be obstacles keeping us interested! Remember that you are supposed to be making things more complex and challenging—that’s good narrative!

5) Unity of action. Is the action contained to one location? Does it focus on a single event? Is there a logic to where and why it comes to an end? If you close your eyes, can you easily picture this chapter? Can you describe the action in a sentence? (Think: It was Mrs. White, with the wrench, in the drawing room).

6) Is there causality from one chapter to the next? Remember that the goal in chapter A should lead directly to the goal in chapter B, either linearly (“I had to talk to character M and he told me to go talk to character N”) or because some obstacle encountered in Chapter A redefines the goal in Chapter B (“I got shot at while talking to character M and now I need to go to the hospital, which has replaced talking to character N as my immediate goal.”)

7) Where have we come from? Have the actions, revelations, and emotions of the chapter been properly “seeded” in previous chapters? If not, what would be a few specific places earlier in the book where we might get enough information or “clues” to prepare us for what happens now?

8) Where are we going? What are the elements of this chapter that you’d like to see “pay off” later in the book? In novels, unlike in life, everything must serve a purpose. Even small developments should have some impact on the plot—a.k.a. that development should cause something important to happen later, throw a wrench into the narrative making the goal harder to get to, or aid in a significant reveal later on. Otherwise, it’s simply filler!

Now on to the HOW!

That is, how are we building this baby? What’s the appropriate structure of a chapter? Get ready… we’re about to tell you how to win a game of writing Jenga.

1) Importance of Innies. Is the chapter “in” strong? Does the opening “hook” you from the beginning with a surprising or vivid first sentence/paragraph? Are you peeking around the doorframe or leaping right into the middle of the room? Variety is the key. Experiment with the three A’s of openers: Action, Atmosphere, or Attribution (i.e. dialogue that is quickly attributed to a character). Either start in the middle of a scene with a sound (Splat! The burger hit him in the face), or with vivid description and mood (A dark, feathery form swooped across the fading skyline like a streak of black ink across the gray) or in the midst of a conversation (“How dare you call me selfish! I’m only trying to help you,” Cindy said, raising an eyebrow at me.)

Read the Rest

Talk tomorrow,

Kathy

Filed under: Advice, article, How to, Process, Writing Tips Tagged: Agent Stephen Barbara, Building Chapter Tips, Lauren Oliver, Lexa Hillyer, Paper Lantern Lit

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Shawna JC Tenney has always loved to draw and she has always loved children’s books. She graduated with a Bachelor of Fine Arts degree in Illustration from Brigham Young University and started illustrating as a freelance illustrator a year later. Since then, she has created artwork for 16 books along with children’s magazines, charities, educational materials, religious materials and theater playbills. I love drawing and learning every day.  She works in a number of mediums including acrylics, digital- Photoshop and Painter, charcoal, pastels and watercolor.  

Shawna lives in Utah with two very artistic little girls and graphic designer husband.  Shawna says, “One of my favorite things to do is teach an art class for my girls and other neighborhood kids. I love seeing the beautiful artwork they create!”

Here is Shawna explaining her process:

Process 1: First I draw lots of thumbnails. This helps me decide where to place characters and which angle I want to use. Sometimes I draw the thumbnails in pencil sometimes I use ink or the computer.

Process 2: I always sketch my drawings out first by hand using a mechanical pencil. Then I scan the picture into the computer and adjust lines and shape sizes in photoshop. Often I have to draw more than one sketch to get it right. Then I bring the lines into a new layer by selecting the channels so I can use my original lines and color under them. This also allows me to lock the “lines” layer and change the line colors later.

Process 3: Next I make a grayscale study.

Process 4: Then I make a color study. I usually don’t make this many, but it was fun to explore different color options for my dragon.

Process 5: I lay in the background color in photoshop. I like to use lots of different textures on my brushes. Sometimes I will print out my sketch and throw in some background colors with watercolor, just for fun.

Process 6: I lay in all the foreground color.

Process 7: Then I work in all the details over the top. Sometimes I finish the painting in Photoshop. Sometimes I use Painter because of the fun paint textures you can get. And that’s about it!

How did you end up going to Brigham Young University?

I first went to Utah Valley State College (which is now Utah Valley University) on an art scholarship, where I earned my associates degree. I had a great experience there, but at the time, they offered no Bachelor Degrees. I decided to go to BYU because at the time it had the best illustration program in the state (and also very high ranking nationally). At first I showed my portfolio to one of the professors there, Richard Hull. He thought I had some good potential. Unfortunately, I did not get in the university because of very high admittance standards. Richard Hull wrote a letter to admissions to request that I be admitted into the university to study illustration. Happily, it worked, and I was admitted. I will always be grateful to Richard for helping me get into an amazing illustration program where I learned so much valuable knowledge, which prepared me to working as an illustrator.

What types of classes did you take that really helped you to develop as an illustrator?

I took some awesome figure drawing classes, taught by Robert Barrett, who is phenomenal at figure drawing. I took an amazing (and very difficult) oil painting illustration class from Doug Fryer, where I learned amazing things about mixing color and composition. I also took some amazing illustration classes from Richard Hull, and Bethanne Anderson. Bethanne was my senior project mentor, and she inspired me in so many ways to become a children’s book illustrator and live my dreams. I took a couple  of digital classes in college, but hated them, and vowed I would never be one of those “digital” illustrators. This is very funny if you read on.

What did you do after you graduated?

Funny story. I graduated and had a baby two months later. Then we moved so my husband could go to school at another university. My husband was only able to get a part time job early in the morning working for UPS, and it wasn’t making enough to support us. So I went and got a part time job at JoAnn’s working in the frame shop. I worked there for a while, getting more and more annoyed that I was working at a retail frame shop for minimum wage. I was a well-trained frame shop worker (I had worked at several frame shops prior), and besides, I had a bachelor’s degree in illustration!  All I really wanted to do was be at home with my baby and draw. So I decided to work and pray really hard- take a leap of faith, quit my job and send out my work into the wide expanse of children’s illustration art reps and publishers, and see what happened. I think it was no coincidence that I was in the right place at the right time. Within a month, I got my first illustration job, and I got an art rep.

Did Brigham Young University help connect you to companies that could give you work?

No, but I did learn a lot of valuable information about the business of illustration, and how to start getting work.

I notice that you use a lot of different paint materials. Did you start out with a favorite material and expand to others?

When I graduated from school, my medium of choice for my children’s illustrations was acrylics.  Like I said before, I was scared of the computer. Then I saw more and more how people were able to save a lot of time and money by doing their art digitally. I was still afraid that using it would change my style, and I wouldn’t be able to make my art look enough like a traditional medium. Finally, I decided I wanted to learn once and for all how to paint digitally. So I asked my friend Manelle Oliphant to teach me a few things. I also learned from asking some of my other friends a lot of questions. I decided to jump right in and digitally paint a book I had been assigned. It took a while to really understand how to do things the right way (I am still learning a ton all the time), but eventually I got things to look more traditional than digital. So to answer your question- now I only paint digitally- except for things like watercolor sketches. I have tried a lot of different techniques, which may explain why it looks like I use a lot of different mediums.

What was the first thing you did that you got paid to do?

It was some illustrations for a crossword puzzle for a magazine called The Friend, a children’s religious magazine. My second job was the more interesting one (in a bad way). It was a reader for elementary school called The Case of the Bushy Tail. Because of a misunderstanding I took on the job not realizing that I would only have 10 days to paint the entire book- and take care of a 1 year old at the same time. It was…something I don’t want to do again. But many lessons learned.

What was the turkey’s illustration for?

It was a self-promotion piece I did a few years back.

How long have you been illustrating?

About 8 years.

How  many children’s books have you illustrated?

If you count all the readers and chapter books, 17 all together.

I see that Picture Window Books published The Truth About Ogres that you illustrated.  Can you tell us how that contract came your way?

I got that job through my agent.

Can you tell us a little bit about Picture Window Books?

Picture Window books is an imprint of Capstone Publishing. They mostly publish through the school market. I have also illustrated one of their Read-it Readers, called Allie’s Bike. That was the second book I illustrated- a bit embarrassed to look at it now, but its fun to look back on it and see how my illustrations have grown since then.

How many children’s magazines have you done illustrations for?

The Friend Magazine, Highlights, Spider and Ladybug.

You illustrated a few book with Magic Wagon. How did those books and contracts find you?

That was also a job I landed through my agent.

Tell us about DEADWOOD put out by the new small publisher Pugalicious Press. I assume that it is a middle grade book and you were hired to do the cover. What is the story behind getting this job?

Yes, Deadwood is a middle grade novel written by Kell Andrews. I illustrated the cover, and the book came out November 2012. I also landed this job through my agent. Unfortunately, I recently heard that Pugalicious Press has gone under, and the book is already out of print. But I also heard that they are selling the rights to a new publisher, and trying to see if they can use the cover artwork that I have already created.  I hope that things go well for Deadwood, especially for the author’s sake!

It also looks like you have done a few Christian picture books. Could you tell us about those books, the publishers, and how you landed those contracts?

Yes, I have worked with  Concordia Publishing house on a couple of books (The Parable of the Prodigal Son, and King Josiah and God’s Book) which I got through my agent. I also illustrated a book called, When I Take the Sacrament, I Remember Jesus, through a local publisher called Covenant Communications. I got that job because I met the art director at a couple BYU Alumni events.

It also looks like you have done a few Christian picture books. Could you tell us about those books, the publishers, and how you landed those contracts?

Yes, I have worked with  Concordia Publishing house on a couple of books (The Parable of the Prodigal Son, and King Josiah and God’s Book) which I got through my agent. I also illustrated a book called, When I Take the Sacrament, I Remember Jesus, through a local publisher called Covenant Communications. I got that job because I met the art director at a couple BYU Alumni events.

I notice a lot of illustrations on your website that have a Christmas (Santa) theme. Are they all from one book? Where they published in a picture book?  Same questions for the reindeer illustrations?

The Christmas and reindeer themed illustrations are all from a book I illustrated for an author, Chantell Taylor, called Rosie the Reindeer. The book was finished about 3 years ago, but the author has not been able to publish it yet. That was a fun book to illustrate!

Do you want to concentrate on being a children’s picture book illustrator?

Yes, it is my dream and passion. I have always loved picture books- I love looking at them and reading them to my kids. My big dream is to write and illustrate my own books.

Where were the Sleeping Beauty and Cinderella illustrations, published?

I think what you are referring to is the Beauty and the Beast pictures? I illustrated  a Young Learners Classic Reader version of Beauty and the Beast for Compass Publishing.

Tell us a little bit about the educational books that you have illustrated.

Well, I’ve done a lot of readers for the educational market. They are good bread and butter jobs, but not ultimately what I want to do for my career. Same thing with the religious books. I am really trying to focus my career on getting work in the trade book /big publishers market.

Have you ever tried to write and illustrate a children’s book?

Yes, I have written a few of my own stories, which have failed. I am currently writing a new story, which I plan on finishing soon and then illustrating. I have so many great ideas floating around my head, and I would really just like to write and illustrate my own stories and ideas rather than always illustrating other peoples ideas.

Have you made a picture book dummy to show art directors, editors, and reps.?

I did make one dummy book that I sent to my art rep some years ago. It was a flop, but I learned a lot from the experience and gained a lot of wisdom since then. I hope to have a new dummy out by this fall.

What types of things do you do to get your work seen by publishing professionals?

I’ve been doing a lot of blogging, social media, and sending out my own post cards. Lately I’ve really been focusing on what kind of things I need to do to connect with other illustrators and art directors.  I’ve also been trying to focus my work on the trade book market.

Do you have an agent? If so, who and how long have the represented you?  If not, would you like one?

Yes, my agent is Janet DeCarlo of Story Book Arts Inc. She has been a great agent and has gotten me pretty steady work for the past 8 years.

Do you ever use two different materials in one illustration?

Yes, I’ve used digital with pastels, Photoshop with Painter, watercolor with Photoshop. It’s fun to experiment!

Have you seen your style change since you first started illustrating?

Yes, a lot. When I first started, I only painted in acrylic. My goal was to have as little texture as possible and to finish every single last detail. My colors were very saturated all the time. The end result is that every one thought my illustrations looked too “Disney” and too mass market. So I’ve changed things up quite a bit. Now I use a lot more textures. I realized I don’t need to finish every single little last detail- in fact, it works better when I don’t. I have tried to make the eyes of my characters look less “Disney.” I know better how to use color. I know now that it’s better not to saturate everything with pure color. I also know better how to stylize characters and how to compose an illustration. I think it’s important to be learning all the time- from teachers, from friends, from books, from conferences. I hope my style evolves and changes and improves a ton in the next 10 years!

Have you gotten any work through networking?

Funny enough, no, not really. But I have gotten lots of lifetime friends through networking. And I learn tons from my friends all the time. In fact, I run a local monthly illustration critique group, which I love!

Do you do any art exhibits to help get noticed?

I have participated in a couple BYU Alumni illustration shows. I have also participated in two shows at the Bountiful Davis art center called Illustrators Utah. It is a juried show, and the last  show I was in, I one 3^rd place for my illustration entitled Ghost Watcher.

Are you open to doing illustrations for self-published picture book authors?

As I said before, I illustrated the book Rosie the Reindeer for a self-publishing author. I think since then I’ve learned a few things. I may be open to illustrating for a self-publishing author if they had a phenomenal story and gave me an offer I couldn’t pass up. But for the most part, I would say no. I’d rather write and illustrate my own stories or work with a publisher.

When did you start using Photoshop?

The first book I illustrated in Photoshop was The Parable of the Prodigal Son, which was published in 2008. After my friend Manelle showed me how to paint in Photoshop, and I just jumped right in, hoping to make it look just like I illustrated it in acrylics. Since I was so new to the medium, the process took way longer it would have taken to just do in acrylics. Since then, I have learned a lot of tips and tricks to really speed up the process.

Do you own a graphic tablet? If so, how do you use it?

Yes, I paint all my illustrations in Photoshop and Painter with a Wacom Bamboo tablet. I hope someday soon to be able to get a Cyntiq!

How much time do you spend illustrating?

Well, I’m a mom. So whenever I can fit it in! Both my kids are in school now for a full day, so I really try to get a lot done while they are at school. Sometimes I illustrate late into the night or early in the morning.

Do you have a studio set up in your house?

Yes, I have a studio/office room in the house. It’s pretty small and I share it with my husband who is a graphic designer. I have a computer desk and a drawing desk, he has a computer desk, and we also have scanners, printers, a book shelf, and a supply closet. So as you can guess, it’s a little crowded in here. It is also often filled with my kids and their drawings, so it gets even more crowded! But it serves it’s purpose.

Is there anything in your studio, other than paint and brushes that you couldn’t live without?

Of course, my computer (I used a Macbook Pro which I hook up to a bigger screen). My Epson Scanner (since I draw all my drawing with pencil and scan them in). I also love my Epson Artisan 1430 large format printer. And of course my art books. I am obsessed with children’s books and art books!

You have an illustration you titled Christmas Surprise. Was that used in a picture book? What about the one titled Flying Pig? 

Christmas Surprise and Flying Pig are both self-promotion pieces I illustrated quite a few years ago- when I was still using acrylics. I like Christmas Surprise, but I don’t put it in my portfolio anymore because I often get the comment that it looks too mass market, and I’m going for trade books.

Any picture books on the horizon?

Right now I’m working on a few non-picture book jobs. But I am also working on my very own written and illustrated book –I hope to have a dummy finished and sent out this year.

What are your career goals?

I would love to illustrate more middle grade novels. My ultimate goal is to write and illustrate my own books steadily.

What are you working on now?

I am working on an few illustrations for The Friend Magazine, and I am illustrating a story which will be published by Oxford Publishing house called Harpoona. It’s an under the sea/fish Cinderella story .  And of course, I’m working on my own story!

Are there any painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

Something that I really like to do is scan textures into Photoshop- such as watercolor textures or gesso textures. This is how to do it. Scan in a texture such as a watercolor texture. Change the mode to gray scale. Play with the curves to make the pattern more contrasted. Select the entire image. Go to the “Edit” menu and choose “Define Pattern” and give it a name. Then your pattern will show up in your brush palette when you double click “texture.” Then set the brush mode on multiply and you can make the contrast go as high as you like. Use this on an already textured brush. Then you can get textures that look like you are using real paint!

I  love the examples of the paper doll illustrations you have on your site. Who did you do these for?

I did some paper doll illustrations for Girl Guiding U.K. (equivalent to Girl Scouts in the U.S.). I also did a fun zombie-ish paper doll for self promotion.

Here are a few examples of Shawna’s black and white illustrations,

Any words of wisdom you can share with the illustrators who are trying to develop their career?

If you are in this field, illustration needs to be your passion. You need to keep finding ways to learn and improve your style every day. Find friends and mentors who will help you and inspire you. Blogging and social networking are important. Never ever give up, no matter how depressed you might feel about where your career is going, or feeling that your art isn’t good enough. The people that make it are the ones that never give up. I don’t even feel like I’ve made it yet to where I want to be, but I’m not going to give up! Remember, you don’t have control over what is happening in the industry, but you do have control over the quality of artwork you are producing– so keep making better artwork. Don’t ever do artwork for free. Don’t take on cheap jobs that pay way too little. Instead, focus on making better artwork, and if you do, the better jobs will come. I keep having to tell myself this every day. I know if I do, good things will happen for me and my art. And I know it will for you too!

Thank you Shawna for sharing your talent and process with us. I see a great future for you and you art and good luck with adding the writing to your achievements. Please remember to let us know when you have new successes. It will be fun following you.

If you would like to visit Shawna, you can go to: www.shawnajctenney.com Please take a minute to leave a comment below for Shawna. It will be  much appreciated. Thanks!

Talk tomorrow,

Kathy

Filed under: authors and illustrators, illustrating, Illustrator's Saturday, inspiration, Interview, picture books, Process Tagged: Brigham Young University, Digital Art, Graphic art, Shawna Tenney

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I was going over my registration last night for the New Jersey SCBWI Conference and noticed an interesting intensive workshop titled Do-it-Yourself MFA in Writing for Children being held on June 7th at the conference. This intensive will focus on how writers can create a customized learning experience without going to school.

Gabriela Pereira will introduce the DIY MFA concept and then guide writers through the three main subtopics of DIY MFA. Write With Focus: This segment will focus on creativity and motivation. In particular it will cover techniques to help jumpstart a story or boost a work-in progress that has hit a rut. Read With Purpose: In this section, the emphasis shifts to reading like a writer. She will teach techniques that writers can use to make the most of their reading. Techniques that are not just about reading, but how by reading, you can gain a deeper understanding of the writing process. Build Your Community: In the last segment of the Intensive, Gabriela will shift gears and talk about building writing community. This section will include some information about building writer-to-writer relationships and community, but the primary focus will be on how writers can connect with their readers.

So I went to www.diymfa.com to see what other information I could find out about Gabriela Pereira. I discovered there was a lot of good information, but I wanted more, so I contacted Gabriela, so I could get answers.  This is what I found out: 

Before Gabriela Pereira started DIY MFA, she was a founding editor of a literary magazine, which gave her a lot of great experience in reading others’ writing with an “editor’s eye.” One of the things she does with DIY MFA is work as a content editor with writers, helping them write, revise and shape their books. She doesn’t advertise this service because she’s very selective about the clients she takes on. Writers she works with must be serious and ready to work hard. Gabriela has had clients go on to sign with agents and get book deals as well.

After she graduated from the MFA program at The New School (concentration in Writing for Children), Gabriela was inspired to share her knowledge by starting DIY MFA. She has spent the last few years building her audience and now she is branching out by doing workshops with shindig.com. The workshops have been greeted with a great response and turnout.

DIY MFA is also developing electronic workbooks and other self-guided workshop-type products like the Starter Kit which people can sign up to receive on the DIY MFA website. I signed up to get mine last night and it is filled with lots of information.  It was painless and free to receive. 

www.diymfa.com even has a Writer Igniter, which shuffles characters, situations, props, and settings to help trigger ideas. Very Cool! Check it out – especially if you need a spark to ignite a new story or break the writer’s block that may be plaguing you.

Gabriela is the spark, the Instigator of DIY MFA. 

Here is a more detailed bio:  

Gabriela Pereira earned her “real” MFA from The New School, in New York. While undercover as a graduate student, she collected information and discovered new techniques, even inventing a few writing tools of her own. Now she wants to share everything she learned with all writers.

Gabriela is a freelance writing teacher and leads workshops throughout New York City. She has taught at 826NYC, Everybody Wins and the East Harlem Tutorial Program, as well as a local writing workshop she built from the ground up. With a concentration in Writing for Children, when she’s not working on DIY MFA Gabriela loves to write middle grade and teen fiction, with a little “fiction for grown-ups” thrown in for good measure. Her work has appeared in several literary magazines and in a lesson plan anthology by 826 National. She enjoys coming up with new dastardly plans and innovative resources to share at DIY MFA.

For the latest articles, classes and tools, visit DIYMFA.com. Gabriela lives in NYC with “lawyer-hubby,” the “little guy,” and a collection of feline critters. Her secret dream is to take over the world.

TWITTER: @DIYMFA

FACEBOOK: facebook.com/DIYMFA

Hope you will consider coming to the conference.  Here is the link: www.regonline.com/njscbwi2013conference

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Conferences and Workshops, opportunity, Process Tagged: DIY MFA, Gabriella Pereira, Intensive Workshop, June New Jersey SCBWI Conference, Shindig.com, Writing techniques

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As a child, I was completely captivated by the John Sayles film The Secret of Roan Inish. It was somber, moody, atmospheric, mysterious, moving, charming, and oh-so-very IRISH. It was beautiful in both its mythic fable-like story, as well as its muted, lustrous cinematography. Essentially everything I loved in a story then and even more so now. As an adult I discovered the book upon which it is based, the Scotland-set The Secret of the Ron Mor Skerry. The story concerns a young girl, Fiona McConville, who returns from the city to live with her grandparents on the coast of Scotland. All of her family had been living on the nearby small rocky island of Ron Mor for generations until they all evacuated four years prior. On that day, Fiona's baby brother Jamie was tragically swept out to sea in his little cradle boat, never to be seen again. But Fiona believes her brother may still be on Ron Mor, and begins to suspect he's been protected by the seals that inhabit the island.

Originally published in 1950s, it has been out of print for a long time, apart from the straggling copies of the 1993 movie-tie in book, which is what I have. But this version of the book has always bothered me. It's the exact same text as the original Ron Mor, but just its title on the cover has been changed to Roan Inish. The original book also featured lovely black and white line illustrations by the author herself. For such a magical story, my lackluster printed copy simply won't do.

For several years (ever since I tracked down my own copy of the book via Ebay), I've wanted to revisit the story with my own images. 20 years after seeing the film, I'm finally doing it! I've begun here with the cover and would like to continue on with creating black and white chapter illustrations as well. I plan to play direct homage to Rosalie Fry's original vignettes in addition to adding some of my own imaginings.

But for now, here is the cover in process form.

1. Quick color/compositional sketch.


2. Black and white drawing.



















3. Refining color sketch to align with drawing.









4. Black and white rendering.



5. Color version. 



6. Final color version, adjusting placement of elements and position of figures.


7. Overlay of book jacket elements. 

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Why create a Curriculum Guide for your books?  

“A discussion guide and/or activity guide is a valuable way for teachers, librarians and parents to give a book more depth and breadth,” says illustrator Melissa Sweet who collaborated with me on SPIKE, THE MIXED-UP MONSTER. Today, there’s more interest than ever in these guides. Why? Two words: Common Core. Educators everywhere are looking for ways to incorporate this new mandate.

And once you have a guide, it’s a win-win-win situation!

• For kids, the games, crafts and activities are fun. They encourage kids to play with ideas they’ve learned from the book and to dive deeper into the subject matter.

• For teachers, the guide helps them incorporate your book into lesson plans, especially if the guide aligns with the Common Core.

• For you, the guide increases your book’s exposure and lets you elaborate on ideas you’ve introduced. It makes a dandy handout for school and library visits and can drive traffic to your website.

What are the different kinds of guides?

Activity Guides

These offer interactive activities, such as cut-out masks, holiday cards, finger puppets, bookmarks and so on. They may include directions for games, activities, songs, recipes, and crafts.

Discussion Guides

These guides have more text, fewer cut-outs.  They might provide interviews with the author and illustrator, discussion prompts, projects and extension activities. They list questions to ask kids and suggest additional books, websites and resources.  See Michelle Markel and Melissa Sweet’s Discussion Guide for BRAVE GIRL.

All of the Above 

Our SPIKE, THE MIXED-UP MONSTER Curriculum Guide has something for everyone—pages of interactive cut-out, crayon and drawing activities for kids, plus book-related questions that align with the Common Core for educators.

How do you create a Curriculum Guide?

Talk to your publisher. More and more houses are interested in developing them.  Some will work with the author and illustrator. Others will hire an outside reading specialist to write discussion questions, illustrated with pick-up art from the book.

For our book SPIKE, THE MIXED-UP MONSTER, Melissa Sweet and I agreed to work on the guide together.  I came up with the games and wrote the copy. (As the former Children’s Content Director of Nick Jr. Magazine, they were right up my alley!) Melissa did sketches for some pages and we used pick-up art from the book for other pages. We submitted the “manuscript” and later sketches to our editor and then worked with the Simon & Schuster marketing department to have the guide designed and copy-edited.  Simon & Schuster also hired a literacy specialist, Tracie Vaughn Zimmer to add a discussion guide with questions that align to the Common Core. Tracie says, “I’ve been writing guides for 10 years. My focus is to really try to find what’s unique about the book and bring that forward for teachers to use in their classroom. The new push is the alignment with The Common Core Standards, which I’ve been trained in extensively over the last two years.”

Who pays the costs?

Sometimes the publisher, sometimes you! For my book JUST SAY BOO,

I worked with my illustrator Jed Henry to create Halloween cards, masks, paper dolls, a charades card game, and more.  Jed agreed to create some original art and we used some pick-up art as well.  We both donated our time and then I hired a former Nick Jr. designer, Jennifer Starr, to put it together. This is key. Without a good designer, your guide won’t look professional or be as appealing.

How long does it take?

It depends on the scope of the guide. Our SPIKE guide is 15-pages long and includes original art so the production process took several months.  Guides that are mostly text or use pickup art will take less time. 

How does it get distributed?

You, your illustrator and your publisher post the guide as a free downloadable PDF on your websites, Facebook, Twitter and Pinterest accounts. I also take copies along to school and library visits, conferences and other venues. To keep costs down, I might copy one or two pages, do those activities with the kids, and then provide the school the link for more. Or you can email your school contacts ahead of time and have the school download the guide before your visit.

To download the SPIKE, THE MIXED-UP MONSTER Curriculum Guide, visit: www.susanhoodbooks.com

For wonderful ideas for teaching SPIKE developed by the professors of Lesley University, see http://march23rdhandout.blogspot.com/p/panel-i.html

Have more questions? To get more information about creating guides, contact Susan@susanhoodbooks.com.

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Interview, Marketing a book, Process, Tips Tagged: Curriculum Guide, Melissa Sweet, Paula Wiseman Books, Simon & Schuster, Spike the Mixed up Monster, Susan Hood

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Sheralyn’s first successful drawing was of a hot air balloon in the third grade. When her teacher returned it, there was a big check-plus scrawled on the back with a smiley face. It was at this moment that she knew art was going to be my lifelong companion. There was no going back.

Since art instruction was not a priority in the small town where she grew up, she did my best to learn to draw. She spent many hours in her room keeping company with her fish, becoming paler by the day. She challenged herself to draw anything she could find. Most note worthy were the eleven drawings she made of a photo of Han Solo in Teen Magazine until it looked like him. Sheralyn says, “Many thanks to George Lucas. I owe most of my drawing skills to him.”

Here is Sheralyn showing her process:

This is the original pencil sketch from my sketchbook. I used this for the basic idea.

I then composed the final composition in Photoshop, adding other characters that I had done as rough pencil sketches. I blew up my composition to fit 12″ x 16″  and then transferred it using graphite paper to a black Ampersand Scratchbord panel (black coated clayboard panel).

I then spent hours scratching out the image using both a fine point and a curved scratch nib as well as this great tool Ampersand has called a parallel line tool, which works great for fur. Here is the completed black and white scratchboard before adding color with ink. I like Ampersand Scratchbord because it is very forgiving and has a very deep base of clay, so if I made any mistakes or wanted to make adjustments in any way, I could use a black india ink marker to mark over the area and then scratch again. Also the panel is very sturdy and not brittle, which was a problem I encountered regularly with other scratchboards I had used in the past.

This is the completed piece with color ink washes added to the original black and white version. Again, the panel is very forgiving and the black areas of the board repel the color pretty well so you don’t have to be too terribly careful, just dab up the excess color off the black surface while it absorbs nicely into the exposed clay surfaces on the board. I like to use Daler-Rowney FW Acrylic Artist Inks which is my ink of choice. Ampersand also offers inks for their boards and they work well. However, I like to have a larger palette to work with than what they offer and the FW’s work really well.

This is the original very loose sketch idea.

This is the refined sketch with pencil. I scan the sketch into the computer and tweak as necessary.

Now I do all the work in Photoshop. Here I make a monochromatic “digital underpainting” to create my tones on which to layer the colors.

Here I create another layer and begin to lay in my basic colors. This is the point where all the basic colors are laid into the initial sketch. After I’ve laid in the initial colors, I separate all the components into separate layers so I can work on them individually as well.

A bit of a jump here, but I have essentially taken each component of the composition and created layers of color over and over again to create smoothness and saturation. It’s essentially the digital equivalent of using translucent layers to build up colors over the initial underpainting. I also use the smudge tool like I would use a blending brush for an oil painting to blend colors. When I have finished refining all the individual components and their layers, I merge them back into one single layer (although not deleting the individual layers) and refine the entire composition as needed. Photoshop enables a lot of flexibility in this way which is quite wonderful.

Above and Below illustrations are from “Mrs. Mosley’s Christmas Tree” by Janie Devoe

Where did you grow up? Do you still live in the area?

Demotte, Indiana (a small town in northwest Indiana).

No. I’ve lived many places since. I have lived in St. Paul, Minnesota most of my adult life, with a few years spent in Yellowstone National Park, Northwest Wisconsin , and Louisville, Kentucky.

Did you ever take any art lessons?

Art was not considered all that valuable in my hometown, so there was minimal instruction and inspiration available. I was pretty much self taught until I went to Ball State University where I received a BFA in Drawing.

What was the first art related thing you got paid for?

I can remember painting an old time main street scene on our local IGA grocery store’s front window in high school. I think they paid me twenty dollars. Otherwise, I believe the first “published” art I did was for CD covers and T-shirts for local musicians when I first moved to Minnesota in my early twenties.

When did you decide you wanted to be an illustrator?

For as long as I can remember, I always wanted to illustrate children’s books.

Scratch board illustrations above and below.

How long have you been illustrating?

I’ve freelanced as an illustrator on the side for the last twenty five years while making my living in additional ways (server, picture framer, landscape painter, gallery owner, musician). In 2010 I decided to become more serious about making children’s book illustration my main focus.

What types of things did you do to help develop your work?

I’ve always studied favorite illustrators and artists. I took classes in oil painting technique and the business of illustrating. I became more involved with SCBWI in 2010 and attended several national conferences. Having portfolio critiques and attending workshops by so many amazing illustrators and art directors really opened my eyes to the story telling aspect of children’s illustration. Since all my formal training was in fine art and not illustration, I really had missed out on essential information about how good illustrations really move a story along.

I see that you use oils for your fine art. What is your favorite illustrating material?

The computer has become my tool of choice for color work for illustration, but my first true love is and always will be the pencil. I love sketching and working up tones with a pencil. Love it. I really find painting with oils much more enjoyable, but realize that with the technique of oil painting that I use, it takes a very long time to complete a full book that way.

Have you ever tried to write and illustrate a children’s book?

Yes. I’ve had one in the works that has evolved for a couple years now. It’s a counting book with a bit of a different take on the whole sheep and sleep thing. Most people can tell by looking at my body of work that I have a bit of obsession for drawing sheep.

The above is from Sheralyn’s sheep bookdummy, “A Heap of Sheep.”

Have you made a picture book dummy to show art directors, editors, and reps.?

Yes, I have a dummy for my sheep book that I mentioned earlier as well as another dummy I put together for a book based on the poem “A Piper” by the turn of the century Irish poet Seumas O’Sullivan. It’s a lovely poem about how a traveling musician comes to town and the music brightens up the day for the people of the town. I also have another dummy that another author is circulating. A few years back, an agent who saw my work at the New York SCBWI conference contacted me about illustrating one of her client’s stories. Even though I knew it was a bit unconventional for an author to submit with illustrations by another illustrator, I loved the story and thought it was a good opportunity to gain some experience in putting together a book, so I agreed. Over time, the literary agent moved more towards promoting YA books and less towards picture books. It was disappointing because in the end, she didn’t submit the dummy to many publishers. However it was a very valuable experience for me and I learned a lot. When the agent’s contract for the book was up, the author and I decided to continue our partnership in the book and she is currently submitting it to publishers. I did two full color illustrations to go with the dummy.

I see that you are in a illustrator’s group that blogs. How did that evolve?

My friend Hazel Mitchell started the group (Pixel Shavings). I met Hazel at my first NY SCBWI conference and about four months later she asked me if I would be interested in being a part of the group. It’s a great group of very fun and talented people and I am very honored to be in it.

Do want to concentrate on being a children’s picture book illustrator?

Yes. It really is my first love and what inspires me most. Not to mention it’s a great way to make the world a better place.

What types of things do you do to get your work seen by publishing professionals?

I attend SCBWI conferences whenever possible as well as send out postcards. I’ve also found that our group blog (Pixel Shavings) has been helpful as well as are the wonders of facebook and other social online interactions. To be honest, my goal this year is to be more persistent with submitting my book dummies and artwork.

Do you have an agent? If so, who and how long have the represented you?  If not, would you like one?

No, I do not. I haven’t pursued an agent yet because I have been making my living as both a musician and an artist up til now. I play mandolin in a duo and trio with my husband (who has always made his living in music). This year, I am changing my priorities to focus more on Illustration and less on music for income, so I intend to pursue an agent.

Do you ever use two different materials in one illustration?

Other than digitally combining my pencil work with the computer, not generally. I have experimented with a bit of collage and painting in the past for some of my own book dummy ideas. I had a book idea years ago that portrayed the joys, trials, and tribulations of learning to play the violin. For sample illustrations, I gessoed sheet music on to the panels to create interesting backgrounds. It was fun and a nice effect.

I see that you have some illustrations that are listed under scratchboard. Can you tell us a little bit about how you do them? Do you make y our own scratchboards?  Looking at the one in the library with the ghost; how did you do the color? It looks too exact to have been painted underneath.

I really like to use the Black Clayboard/Scratchboard by Ambersand. It’s very smooth,  consistent in texture, durable, and takes colored inks really well. I start with a pencil sketch that I transfer to the board using graphite transfer paper. Then I draw the black and white image by scratching away the black. I use pigmented inks for coloring. The entire Monsters in the Library piece is done by hand. I only used the computer to organize and expand the layout from an original sketch. The ghost was a fun challenge. I was able to get the translucence by putting down the color and then quickly absorbing it back up again with a paper towel. The nice thing about the clayboard is that after applying the color, there is still enough of a base to go back in and scratch a bit more, which also lent to the ghostly effect.

Have you seen your style change since you first started illustrating?

Definitely. I am more detail oriented and I render more now than when I first started. I have to be careful with this on the computer though because it makes detailing limitless, and it’s easy to overwork pieces.

What types of jobs have you gotten with your art?

Everything from CD covers and T-shirt designs to violin maker’s labels and storefront signs to books. Since playing music has always been a part of my life, there have always been musicians I know who need art. I’ve also illustrated two books for Reading A to Z, “Silly Sarah” and “Why the Bat Flies at Night”. They are a publisher of reading program books for kids. Currently I am working on illustrations for a book about the national parks being published by Sequoia Natural History Association. I spent five years of my young adult life working in Yellowstone Park, so that experience has really come in handy for this project. The images on my website of the little duck, mole, and pigs are from Silly Sarah.

Have you gotten any work through networking?

Actually the Sequoia book came about through social online networking. My relationship with Reading A to Z happened because of my involvement with SCBWI and Pixel Shavings.

Have you published any illustration in magazines or newspapers?

Early on I did illustrations for a conservation organization here in Minnesota called Pheasants Forever. They had a environmental awareness magazine for kids called the PF flyer. I also did illustrations for the magazine for the Minnesota Bluegrass Musician’s Association. I’ve had one spot drawing appear in the SCBWI Bulletin magazine.

Do you do any art exhibits to help get noticed?

Yes. Since I’m also a landscape oil painter I have shown and sold my work in various exhibit and art fair situations and owned a gallery called “Blue Moment Fine Arts” for eight years. I sell my paintings at B. Deemer Gallery in Louisville, Kentucky as well as The Steeple Gallery in St. John, Indiana and have had shows at Seasons on St. Croix Gallery in Hudson Wisconsin. I have also had shows and sold prints and cards of my work in Ireland where a lot of my inspiration comes from. I still sell my Irish prints and cards at a specialty shop called Irish on Grand here in St. Paul.

Are you open to doing illustrations for self-published picture book authors?

It depends on the book and the professional attitude of the author. If an author is a member of SCBWI or has really studied the business and seems to have taken the time to study and consider my work in relation to their project, then I would consider it. I received several inquiries last year from self-publishing authors whose books I felt were a bad fit for me as an illustrator. This left me with the impression that they had not really looked over my portfolio very well to see what I do best before contacting me.

You have a section on your website titled, “Ireland.” Do you visit Ireland regularly?

Yes. I spent a fair amount of time there from college through my late twenties. In my thirties, I had a show of my paintings at the Clare Museum and sold cards and prints of my work there through the Russell Gallery in New Quay. In 2007 I led a sketching tour on the west coast. A lot of my inspiration to paint comes from the landscapes and music there. It’s where I go to recharge my soul.

Do you ever use Photoshop?

Yes. Fortunately, it is a great way to get the look of oil painting with pixels.

Do you own a graphic tablet? If so, how do you use it?

I use a Wacom Intuous tablet and couldn’t live without it for a lot of my current work. I use it just like a brush or pencil, building up layers and layers of pixel paint just like I would with real paint on a canvas.

How much time do you spend illustrating?

Since my husband and I both make our living in the arts, we tend to be working most of the time. For me, if I’m not playing the mandolin for practice or profit, I’m painting or working on illustration. I try to illustrate on my hired jobs Monday through Friday, usually about 8 hours a day, and do music at night and on weekends. Of course, this changes all the time since our music schedule and project deadlines are always in flux. We don’t own a TV and weekends don’t really exist in our world, so I spend most of my time creating for my living or for fun.

Do you have a studio set up in your house?

Yes. It’s a bit small but works quite well presently, and I have to admit it’s nice to not pay extra rent for a space. I’m thinking of looking for a larger studio in the next year though. I used to have a roomy studio in downtown St. Paul, which was nice and it got me out and about a bit more. I feel a bit of a recluse working at home these days. I’m a homebody by nature, so it’s always good to have a reason to leave the house to go to work.

Is there anything in your studio, other than paint and brushes that you couldn’t live without?

My mandolin, music, Irish tea, and my cheering section of toys and stuffed animals.

Any exciting projects on the horizon?

My husband and I are working on a couple of projects that combine our love of children’s literature, my illustration skills, his writing skills, and our music. One project is a nonfiction picture book and the other involves a character who likes to share his enthusiasm for travel and history through music. Fortunately for me, my husband began to pursue writing mid-grade nonfiction about two years ago. His background is in performance and cultural music history, he teaches music to both kids and adults, and he has the unending curiosity of an eight year old, so it’s a good fit. We also work really well together, which is a major plus.

What are your career goals?

I would love to spend the rest of my life illustrating books that utilize both my color work and pencil work. I would also like to see my illustrated sheep get out in the world in the form of books, cards, etc., so I want to learn more about licensing. Somewhere in the midst of that, I want to keep making music as well and with some luck, maybe my two passions will converge.

What are you working on now?

I’m in the middle of a book of forty illustrations for Sequoia Natural History Association as well as working on some characters and illustrations of my own that I’m really excited about. I’m setting up online sales for my paintings and prints. And the phone just rang for a gig with lots of Italian mandolin music….so I’ll be working on that as well!

The above illustration is from Sheralyn’s book dummy, “A Piper” based on the poem “A Piper” by the turn of the century Irish poet Seumas O’Sullivan. Sheralyn illustrated this with colored pencil.

The rest of the pictures are ones done in oil during Sheralyn’s visit to Ireland.

I work in oil paint. I use only the highest quality, pigmented paints ( Old Holland, Schmincke Mussini, Winsor and Newton) and work on museum quality panels by Ampersand. My style works well with the smooth surface that the panels provide, and they offer a rigid ground to ensure longevity and non-cracking of the paints over time (oil paints become more brittle as they age, so the more rigid the better). You will notice that some of my paintings are listed as “oil with wax”. For these paintings, I combine a very small portion of wax medium to increase my ability to create an atmospheric effect. This medium also adds extra stability to the paints themselves.

I am an illustrator by nature. Many of the scenes I create with my paintings illustrate moments – ordinary moments that for some reason or another mark themselves as extraordinary. Moments that have embraced my senses with the smells, sounds, and feelings of being aware; the smell of rain, the sound of my footsteps, the touch of wet leaves. As I look back on my life, I realize that some of my most resonant memories have not necessarily been exotic experiences, but these seemingly unimportant moments that ring of true presence. These are the experiences that I wish to communicate.

Have the materials you use changed over the years?

The pencil was really the only thing I had available to me when I was a kid. I spent many hours in my room teaching myself to draw. When I graduated from college, most of my color work was done in prismacolor pencil. I liked working with prismacolors because you could get fine detail, but they had limitations in that the wax of the pencils could only be layered so far. So later on, I studied oil painting with a painter who specialized in traditional methods of underpainting and transparent layering of color. Learning this technique for my landscape painting also lent to new possibilities for my illustration and gave my work a fresher and more vibrant quality. Now I’ve transferred that same technique of layering color on to the computer.

Are there any painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

I love Cachet sketchbooks and Ampersand panels, both for their ease of use, quality, and durability. For paints, I adore Old Holland brand. I have an artillery of Alvin mechanical pencils I always carry with me, each loaded with different leads, so I can have the gamut of 4B to 4H lead at my disposal when the need strikes. I’m the type of person who just loves to just sit around building tones with pencil. It’s a bit like playing scales on a musical instrument. To me it’s very zen and relaxing, not to mention good practice.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

My words of wisdom come from others who have embraced life. This is one of my favorites from animator Chuck Jones:

“The rules are simple. Take your work, but never yourself, seriously. Pour in the love and whatever skill you have, and it will come out.”

In addition, I guess I would say to join SCBWI and go to their regional and national conferences if you can. Get to know other illustrators and find support and comradery. Being a creative freelancer is a roller coaster ride of a life and has it’s ups and downs. So when frustration hits, be driven by your joy and desire to make the world a more colorful place. Don’t be afraid to put yourself out there and ask questions. Be bold and smile a lot. I’m still working on the bold part myself, but I think I’ve got the smiling part down and it really makes a difference.

Thank you Sheralyn for sharing your work and process with us. I enjoyed spending time with your illustrations and finding out more about you. Please keep in touch and let us know when you have a new success. We’ll be watching.

I am sure Sheralyn would love if you left her and comment with this post, so if you have a minute, please drop us a line. Thanks! You can visit Sheralyn at: www.sheralynbarnes.com

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Illustrator's Saturday, inspiration, Interview, Process Tagged: Ball State University, Digital Art, Oil Paintings, Scratch board illustrations, Sheralyn Barnes

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Later this year IDW will be publishing Half Past Danger, a new series written, drawn, and created by Stephen Mooney. After working as artist on several IDW titles including Star Trek and Angel for the last few years, Mooney decided it was time to set up a creator-owned project, which he’d have full control over. In order to do so, he had to set aside a year in which he scripted, designed, pencilled, inked, coloured and lettered the project – six months in which he wasn’t earning money from any other gigs. It was quite the risk, taking himself out of the comics scene for a year in order to focus on a comic he had no idea would ever see the light of day.

However! The good news is that IDW decided to pick up the book, starting with issue #1 this May – preorderable now! I spoke to Stephen about making the leap into creator-owned work, the inspiration for Half Past Danger, and how the experience has been.

 

Steve: Half Past Danger is dedicated to your father, “who took me to the movies”. What kind of films would you go see? Were there any in particular which served as inspiration for Half Past Danger?

Stephen: Oh wow, yeah. Loads! The first film I can remember my dad taking my brothers and I to see was E.T. in the Savoy cinema in Dublin in 1982, when I was five years old. Still my favourite cinema to this day. I can remember it like it was yesterday; its one of my first real memories. The whole experience made such a huge indelible dent on my psyche, in so many ways. The bustling anticipatory atmosphere of the jam-packed theatre, the crowd reactions as the movie ebbed and lowed. I was absolutely hooked. It also started my love affair with Spielberg’s eighties ouevre. Films that followed included The Return of The Jedi, Indiana Jones and the Temple of Doom, The Goonies, Back To The Future, Big Trouble In Little China, Indiana Jones and The Last Crusade, and many, many more.

The most obvious influences on Half Past Danger filmically-speaking are undoubtedly the first three Indiana Jones movies. They really colour and inform my entire storytelling style. That bang-zip-wallop rapid-fire action beats-ridden kind of a narrative, with a few gags interspersed. Half Past Danger aspires to be that style of tale. Strong influences also would be the very early Connery Bond films, and pulpy matinee-style fare like The Treasure of the Sierra Madre. Then of course you have the classic Harryhausen dino movies. Great stuff, all.

Steve: How did the story of Half Past Danger start to come together? When did you first have the idea for it?

Stephen: The idea has been in my mind in some shape or form for years now, in that I’ve always known that if and when I ever attempted a story of my own that it would be 100% mired in that kind of pulpy action-adventure style, simply because that’s the genre I feel most comfortable in, and know so well. I always knew also that I’d want the main character to be an Irishman, since that’s the one thing I’ve been all my life, and nobody could tell the story of that particular character better than me, to my mind. I guess somewhat inevitably I injected much of my own personality and traits into a somewhat idealised version of myself, and placed him squarely into this scenario I’d begun to dream up. Hell, the guy even looks like me. If that’s not vanity wit large, I dunno what is.

The story came together over the last couple of years, I knew the high concept from the start, Nazis versus dinosaurs, but I wanted to really take my time and write something that hadn’t specifically been seen before, since as everybody knows, a lot of these themes have been done before on many occasions. The real trick is to give readers something they haven’t experienced as of yet, and I didn’t want to press too far ahead until I was sure I’d come up with a new spin on what in some ways could be seen as an old tale.

Once I figured out the main wheres, whys and whats, the rest came fairly rapidly.

Steve: This is your first creator-owned work – how did you decide that Half Past Danger was the right project to get off the ground?

Stephen: Well, it’s the only project that I’ve ever completely fleshed out, to be honest. I had this one idea that I thought was really strong, and it was bang in the middle of my wheelhouse, or more specifically what I wanted my wheelhouse to be, so I ran with it. To be honest I didn’t question it too much. Do I have other ideas? Yeah, but they all revolve around this universe! I guess I just had a single, enormous itch I needed to scratch for the time being, and I’ll see where I go from there.

Steve: You’ve said that you took six months off to focus on this project, writing, drawing, inking, colouring, lettering…. Where did you start with the project?

Stephen: With the writing. I didn’t put pencil to paper drawing-wise until the full series was totally written and put to bed. Then pencilling, inking, coloring, lettering, in that order. Then back to the start again for issue 2 and go again; rinse and repeat.

Steve: Did you work issue-by issue on the story, or plot out an entirety and then start filling it in? How did you approach the story once you had the concept locked down, in essence.

Stephen: I worked out the entire plot first. I’d be terrified to embark on a story without knowing how it was going to end. To be honest, I’d probably never GET to the end in that scenario, I’d just circle the drain narratively until I eventually flushed the project. In order to commit myself to this massive body of work, I had to make sure everything was utterly and clearly signposted. Otherwise I wouldn’t be able to visualize my goal, and I’d be second-guessing myself all the while. Because the writing was the only element that I’d never approached before, I wanted to give it all of the respect it deserved, and to take the time to get it done right. Or, at least as right as I could get it!

Steve: How long has each issue taken you to complete? Did you find yourself surprised by how difficult certain aspects of the process were?

Stephen: Man, too long! The writing took about 2 months all-in, including research. That was fine. It was when I got stuck into the art side of things that I began to get bogged down a little. One of my dreams for the book was to do absolutely everything myself; complete creator control. That proved to be somewhat of a pipe dream in a way, though. The first issue of the book took me four months to pencil, ink, colour and letter. That was just unsustainable, the book would take another two years at that rate, and I was already six months in. Hence the addition of Jordie Bellaire as series colorist from issue 2 onward.

Something had to give, and of all of the aspects visually, I was spending the most time on the colours, which was crazy. Jordie is a very close friend, and when she saw me floundering she offered to dive in and help me out. She’s an amazing colorist, and a big fan of a lot of the same source material as I am, so it was a pretty seamless transition really. It also doesn’t hurt that Jordie’s a phenomenally talented colorist, in constant demand at all the biggest companies. I’m certainly beyond delighted that she chose to climb aboard.

With Jordie alongside, I’ve been spending two months a piece on the subsequent issues, almost all of that time spent drawing and inking the 26-odd pages per issue, then a couple of days of lettering at the end.

Steve: I was really struck with a blog post you wrote about the role of writing and art in comics - http://www.halfpastdanger.com/2011/10/writing-vs-art-this-time-its-personal.html . Now you’re further into the story, how have you found the balance between writing an issue and drawing it?

Stephen: It’s very hard for me to separate the two, if I’m being honest. In this instance, it’s all just the story. When I was writing it, I knew exactly how every beat and scene would look on the page (or at least how I’d like it to look), and now that I’m drawing it, I almost know off by heart the entire story and script, so it all just flows onto the page. Again, it’s all just utmost inseparable elements of the story, for me. The script is more a broad outline with fairly tight dialogue than anything. Stage directions.

Steve: I’ve read the first issue of the series, and really enjoyed the central character, Tommy Flynn. Did you find the design process easier for a character you created, and would be writing yourself? Has it been easy translating your ideas to the page, rather than interpreting an established work, as you’ve done before for IDW?

Stephen: Yeah, I think it has. I wouldn’t say easy, but I certainly haven’t had to wrestle it into submission or anything like that. Probably because the main character is a bit of a cypher, in that he acts and reacts pretty much the way I would assuming I were a lot braver and a tad more selfless. Working with the established characters, like say Angel or Spike wasn’t that difficult either though, in terms of working what was written on the page, because I had such bloody good writers whom I trusted implicitly. I’ve been very lucky that way. I’ve never had trouble portraying any given character on the page, the acting and character beats are one of the very few aspects of the drawing that come totally naturally to me.

Steve: With more control over the final product, have you noticed yourself experimenting more with pacing and panel layout?

Stephen: Oh god, yeah. WAY more. I’m very respectful of a given writer’s script when I get it on a work-for-hire job, I’m loathe to mess with what they’ve asked for in their direction. They spent time working that stuff out, so I stick pretty religiously to it when at all possible, even when I might disagree on the shots called for. Or maybe there might be a crazy talking order or something going on that just isn’t feasible without the addition of an extra panel or the use of a slightly different angle. Perhaps I should go more with my own gut, I don’t know. Usually I just want to make the writer happy. If there’s leeway there, I’ll certainly take it. This kind of touches on that article on the Half Past Danger process blog that you mentioned in one of the earlier questions.

On my own book, I’m much freer to go with my initial instincts, storytelling-wise. It’s one of the most satisfying elements of the whole venture, and one of the reasons I actually wanted to attempt it. I think one of the reasons that people seem to be responding to how ‘cinematic’ the storytelling is, is because that’s my natural modus operandi, and my default setting.

Steve: How has the experience of working on a creator-owned project been for you?

Stephen: Absolutely wonderful, so far. Dizzying highs, terrifying lows, creamy centres. It’s as hard as I’ve ever worked, and in even more of a vacuum than before. It’s incredibly scary and daunting, because at the end of the day, for better or for worse, it’s all me on the page; nobody to hide behind. But at the same time, that’s pretty much the most incredible aspect. Where else can a sole creator be responsible for almost every aspect of production? Film? Animation? It just doesn’t happen, and that’s one of the reasons I love comic books so much.

Steve: Do you see yourself doing more creator-owned work in future, or are you looking to alternate with some more work-for-hire projects?

Stephen: In a perfect world, I’d love to do further HPD series every year or two in the Hellboy model, with the odd work-for-hire gig interspersed between. But obviously, that all depends on how the first series is received. I’ll certainly stick around for as long as Chris Ryall and the amazing guys at IDW will have me, I genuinely don’t think that there’s a better home for Half Past Danger.

Steve: Jordie Bellaire will be coming on as colourist as of issue 2, as you’ve mentioned, whilst I believe Declan Shalvey will be drawing a backup strip for each issue. There seems to be quite a growing community of comics creators in Ireland recently. How important is it to have that sense of a creative community? Is it helpful to have people to bounce these ideas off?

Stephen: Oh, it’s invaluable. it really is. Having guys (and gals!) like Dec, Jordie and also Nick Roche, Will Sliney, Stephen Thompson and all the other Irish pros to bounce stuff off and get opinions from is simple indispensable. We’re a very close network. Almost collaborators in a way. I couldn’t do this without their help, I mean that. Otherwise I’d just be floating along in a nebulous void of gibberish. And I wouldn’t even know if it was good gibberish. So yeah, absolutely essential.

Steve: What advice would you give to anybody looking to create their own comics?

Stephen: Get off the pot and do it. Let go of the doubts and the maybes, and just make it happen. Everybody is afraid; everybody wonders if they’re actually good enough. I know I do. The only way to find out is to light that touch-paper, and have at it.

At the end of the day, even if Half Past Danger doesn’t hit that sweet spot critically or commercially, I’ll still have the satisfaction of knowing I tried.

I did my best. Otherwise, as dramatic as it sounds, I’d go all the way to the grave wondering what might have been.

 

Many thanks to Stephen for his time! If you’d like to find out more, you can read all about the process on his blog, which has been constantly updating with information and thoughts on the creation process for the last few months. You can find his pencilling, inking, colouring, bits of script, all sorts of things on there – I really recommend you have a look. You can also find him on the twitters! Half Past Danger #1 is out in May.

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Happy Easter to everyone! Hope you are all having a lovely, relaxing weekend and enjoying your chocolate eggs!

I'm afraid I don't have an Easter illustration to share with you, but instead here is a little character study I've been working on recently. One of my NY resolutions this year was to become more confident with drawing and painting children/people characters and this is my first attempt. I want to move on to doing characters more suited to picture books, but I figure this is a good start!


Please follow the link to take a look at my painting process...
I thought it would be nice to show a glimpse into my painting process for this illustration. These are just a few quick snaps, but I will definitely be doing a more in depth post about my process soon. I love reading these kind of posts on other blogs and seeing how illustrators/artists create their work.

I paint in Windor & Newton gouache using a sable brush (at the moment I'm using a Pro Arte one in size 4, but I have a variety that I use). My basic process starts with a pencil outline, which I trace onto watercolour paper using a light box. My painting process goes something like this...I start by painting a base colour, then add light and shadow and blend out. Once this is done I will add details such as eyes, hair, fur, grass etc.




A very simple explanation, but you get the idea I hope! Please link me to any of your process posts, I would love to have a nosey at them!

Enjoy the rest of the long weekend :-)

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Danielle Arbour’s whimsical designs have long decorated kids’ rooms through bedding, accessories and other lines of soft goods (as marketed through her home textile company, Clair de la lune, Inc.).  After studying arts at both the University of Ottawa and Sheridan College in Oakville, Danielle received a diploma in Graphic Design from George Brown College in Toronto. Danielle spent the next several years working, as a Designer, for some of Toronto’s largest Advertising Agencies before starting her own company. She now freelances from her home studio as both corporate designer and children’s writer/illustrator. Danielle Arbour currently lives in Toronto with her husband, two young children and new Jack-Chi puppy Lulu.

The first three images are taken from various FarFaria stories that I have illustrated. Here I show the process.

I have to supply the client with a rough dummy,  followed by a tight linear (in this case I have already shaded them) and the final colored product.

Each main element/character must be separated onto its own layer in Photoshop, for animation purposes, which is why I normally draw a lot of elements separately.

This is a page from Otis the Love Monkey picture book. I illustrated this book to accompany a knit sock monkey for The Monkey Project, in the US.

This is an illustration that I did for an international children’s music project in Amsterdam. Each illustration
represents a colour. My colour was forest green.

ABOVE & BELOW:

These are to show my process. I pencil draw my illustration. I scan them in and colourize them in photoshop.
If there are patterns or textures I will normally draw them separately and overlay them. The same goes for
little details, like birds. This way I can control the balance and composition of illustration.

I generally illustrate most of my drawings in separate elements these days (not one big image) This allows
me to play with composition and with apps and ebooks, most elements need to be layered so that the
animation can easily be added. If my characters are walking, I separate the legs from the bodies. Eyes are
layered in so that they can open and close to give the characters life. I have left some descriptions on this
image to show you what I mean by this.

I want to describe how different illustration has become with ebooks and apps. I feel this is important for illustrators to understand. Technology has changed so much.

Initially, you would create one scene to describe a passage of text. With book apps, and animation, you first have to create an environment or stage, and have your characters function within this environment. You then have to think outside of the environment if you want little visual surprises to pop up or zoom in. You have to think in broader terms with layering backgrounds and details which may add visual interest once animated. I guess it is closer to animation than book illustration.

Have you always lived in Toronto?

No. I grew up in Midland, Ontario, a small town, about an hour north of Toronto.

How did you end up going to University of Ottawa and Sheridan College?

Initially, I had wanted to become a writer, and so I was studying general arts at the University in Ottawa. Throughout the year, my aunt, living in Ottawa, encouraged me to change my studies to Graphic Design. She believed that from a young age, I had great artistic abilities. (side note: I have attached a drawing (wash stand.jpg) of the wooden laundry stand that I sketched at 5 years old. My aunt was visiting with her artist friend at the time, and he was amazed with the drawing. He took it home, framed it and had it on his wall for 25 years. For my 30^th Birthday, my aunt presented it to me. I had no recollection of drawing it, but I had spent many hours playing on that stand as a child. I have scanned it and attached it with my other drawings. It’s a terrible scan because I didn’t want to remove it from the frame.) I attended Sheridan to create a portfolio, since I had not taken visual arts in Highschool.

What types of classes did you take that really helped you to develop as an illustrator?

All of my classes helped me out. I think that my design courses and photography influenced my style as much as my fine art classes. My style is somewhat graphic. Illustration is about space conception and colour balance.

What did you do after you graduated?

When I first graduated I got an apartment with a friend in Toronto. We were broke. I remember walking about 4 miles to a part-time job at a clothing store, where I designed in-store signs. I could not afford the subway. We could barely afford to eat. I soon got offered a job at Columbia House, where I stayed for three years. I worked on their product catalogues. It was here that I developed my computer skills.

I see that you got a degree in Graphic Design from George Brown College. Did you do that before or after attending the other two schools?

This was my final stop. After Sheridan, I was accepted into the Sheridan Illustration program and the George Brown Graphics program. I chose the graphics at GB, thinking that this was a more practical choice. I was right.

What caused you to decide to go to George Brown College for Graphic Arts?

It just so happens that Graphic Design was quite big when I graduated and illustration was becoming obsolete. I still have no regrets about choosing Graphics.

Did any of those schools help connect you to companies that could give you work?

Yes, definitely. Being Colleges, both schools helped me in putting together a good practical portfolio, which is so important. When you are first seeking employment, this is all you have. People will judge your skill level and talent strictly on this. In those days, the Universities did not offer Graphic Design. Everything has changed now.

Do you use materials like watercolor, acrylics, etc. when you illustrate?

I used to paint strictly in acrylics and ink. I loved the boldness of acrylics. I now draw and shade everything in graphite pencils (H to 4B range). I then scan and colorize my illustrations using photoshop. I am definitely a product of old-school meets new school.

What was the first thing you did that you got paid to do?

When I was still a student, I was commissioned to design and illustrate the interior concepts for a chain of fast-food Chinese Restaurants. I still remember the name, Yu Chus. It was done all in fuschias and cool greys. Looking back, I still find it bizarre that an entrepreneur would have chosen a graphics student (and not an interior designer) to do this. They opened some restaurants, but the chain is no longer around – go figure.

How long have you been illustrating?

I have been drawing since I was five. I have been illustrating professionally for about seven years.

Can you tell us about your advertising background?

Yes, after Columbia House, I was hired at my first downtown Agency. Six months into it, the Agency lost two key clients and it closed its doors literally overnight. My employer landed at a bigger Agency and he brought me with him. I worked in the studio with a group of very talented designers. I learned so much here. The hours were hectic. We drank lots of coffee and lived off donuts. Some new business pitches kept us their overnight.

It looks like you have done commercial art for products. Can you tell us how you got involved in that and what types of products you have done?

I’ve done a variety of product designs. My first product created for myself, however, was children’s bedding. I created Clair de la lune Inc. with my sister, who is a teacher. I did everything from illustrating my own textiles, to designing all of my branding, web, etc. We sold our children’s bedding at One of A Kind Show, NYC Textile Sow, ABC and many boutiques throughout North America. I had the business for seven years.

At SandyLion Stickers, where I was Associate Creative Director, I designed and illustrated many children’s stickers and activities, as well as dimensional stickers for scrapbooking.

Did you first work for a company and then form your own company from there?

I left advertising to start Clair de la lune Inc. Advertising was not enough of a creative outlet for me and the hours were crazy.

Do you now want to concentrate on being a children’s picture book illustrator?

I have concentrated on this for some time. It can be a bit of an uphill battle. You really need a tough skin and a passion for it to continue on.

At this point, I think that I just want to concentrate on creating things that I love. Whether it be products, books, apps, t-shirts, it’s the creative process that gets me excited. I love coming up with new ideas and figuring out how to execute them. Illustrating is just a part of it.

Is your goal to illustrate a children’s picture book?

I would love the opportunity to illustrate a beautifully written story. I do currently illustrate and write children’s ebooks for a company called FarFaria in San Francisco. I just completed illustrating one of my favourite stories, The Selfish Giant. I have also illustrated and conceptualized a PB for a US charity called the Monkey Project.

Have you made a picture book dummy to show art directors, editors, and reps.?

Yes, I have worked on a few dummies, which were sent to most of the big publishers. I also have to create a full linear dummy each time I illustrate an ebook. I have done about half a dozen of these in the past year.

Do you think you would ever want to write and illustrate a children’s book? Any ideas in the works?

Yes, I have already written three unpublished stories and I have more ideas in the works. I get just as excited about writing as I do about illustrating.

What types of things do you do to get your work seen by publishing professionals?

As mentioned above, I have sent my manuscripts and dummies out to many publishers. I have posted my work on a few illustrator websites, such as http://www.childrensillustrators.com and http://www.creativesource.ca. I have a website www.daniellearbour.com and a blog where I post my most recent illustrations.

I see that East West Literary Agency represents you. How did you make contact and get them interested in you?

It’s a very long story. When I first started illustrating, a woman from Kentucky called me to see if I was interested in illustrating her manuscript idea. I had illustrated a line of children’s dishes for a Canadian Company and she had received them as a baby shower gift. She loved my style and found that we were a great fit. We developed her concept together, and we sent it to publishers. We sought editorial advice from a company. They liked our book and put us in touch with East West. East West later represented my own projects.

Do you ever use two different materials in one illustration?

I always do. I use traditional pencil with photoshop.

Do you belong to the SCBWI in Toronto? 

I am not, although I did attend a weekend workshop in Muskoka one year. It’s something that I should probably do. It’s good way to networking. Networking is the most important thing – in any field.

Have you seen your style change since you first started illustrating?

Yes, I think that my pencil drawings have become a lot tighter. I am also experimenting with more photoshop textures, brushes and layers. I try to evolve constantly.

Have you gotten any work through networking?

Yes, a lot my work has come through word of mouth with ex-work colleagues, friends, etc.

Have you published any illustration in magazines or newspapers?

I have had a few very basic drawings for a community newspaper and graphics for ads published.

Do you ever use Photoshop?

Yes, all of the time. I use Photoshop for my pencil renderings and illustrator for my vector illustrations.

Do you own a graphic tablet? If so, how do you use it?

Yes, I just got a Bamboo for Christmas, and I am still learning to use it. I use it instead of a mouse for everything. I was starting to get a lot of pain in my hand and I find that this has helped. I can sometimes work 12+ straight hours on my computer. It is also a more natural motion when drawing.

How much time do you spend illustrating?

I probably spend fifty percent of my time illustrating and the other fifty doing my freelance design work.

Do you have a studio set up in your house?

I do. My computer is set up in my basement and I do my drawings on my dining room table.

Is there anything in your studio, other than paint, brushes and your computer that you couldn’t live without?

I would really miss my bond paper and pencils. I could live without my cat’s litter-box, which is 4 feet away from my desk.

What are your career goals?

I want one of my stories to be published. It’s my dream to share this story with children. I am also in the process of creating my own children’s app. I have been working on this for many months. I hope to continue creating children’s products and to keep up with all the latest technologies.

What are you working on now?

I am working on a children’s app, which I hope to complete by summer.

Are there any painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

I think that each illustrator has to experiment on his own. What works for me, will not necessarily work for someone else.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

You will get a lot of feedback about your style – some good and some bad. If you believe in what you do, stick with it. Be selective in whose feedback you take to heart. And most importantly, only do it if you love it, because it really is a labor of love.

Thank you Danielle to sharing your talent with us, answering the interview questions, and sharing your process with us.  We will be keeping an eye on you and your future.  Please let us know about your many successes.  You can find Danielle at: http://www.daniellearbour.com - www.childrensillustrators.com - www.creativesource.ca

I am sure Danielle would love if you left her a comment. It would be much appreciated if you could take a minute to respond.  Thanks! Hope everyone has a great Easter and Passover.

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Illustrator's Saturday, inspiration, Interview, Process Tagged: Danielle Arbor, East West Literary Agency, Geroge Brown College, University of Ottawa, Whimsical Designs

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This Good Friday Illustration was sent in by MaryJo Scott, a freelance illustrator and mother of three. Besides filling journals with sketches and words, she moonlights as an open mic storyteller and poet. Growing up the youngest of six and working in my parents’ coffee/gift shop, has given me an unending supply of humorous and poignant stories. My favorite things are walking out of a library with an armful of books, hiking, gardening, visiting with my chickens (the girls and one talkative rooster) and looking for salamanders under rocks with my kids. http://maryjoscott.carbonmade.com

Leading off the critiques for March is the only one who used the picture prompt. I want to thank everyone for submitting their first pages and thank Janine for taking time out of her busy schedule to critique the four pages and help so many writers in the process.

HE LOVES ME NOT  By Lauri C. Meyers – YA 

       “He loves me. He loves me not. He loves me.” Rose said plucking the lily’s purple petals.

“You’re doing it all wrong,” a voice spoke behind her. Rose turned to see a beautiful stranger approaching. Almost too lovely for real life, and certainly too gorgeous for Corning.

“I can show you the correct way, but,” the stranger paused, her eyes gleaming, “you should only try if you’re certain of his love. Though, you wouldn’t be pulling petals if you were sure.”

“I know he loves me deeply. I was merely,” Rose selected her words, “reassuring myself.”

“Delightful. Then you are indeed ready for the test. Escort me to the water.” Though Rose was not in the habit of following strangers, she easily slid her arm in the woman’s elbow when offered.  This woman felt safe, or at least irresistible.

“Water flows all around the world, across the land, down the mountains, into the sky, and through every living thing. Water courses through you right now.  If anyone knew the truth, it would be the water.”  The stranger brushed Rose’s cheek with her supple fingers. The words sounded as true as anything she had ever learned. Certainly, water did know more than anyone.

“Though my pastor says,” Rose attempted to collect the letters floating around her head into the words she heard every Sunday, but the truth was strong. The stranger’s smile dazzled.

“To ask the water, you must be in the water.” Rose didn’t remove her slippers or raise her gown as though entering a carriage, but rather waltzed right into the lake.

“Now say your words. He loves me. He loves me not. He loves me.”

“He loves me. He loves me not.  He loves me. He loves me not,”  Rose chanted.

The water rippled around her, and bubbles began to pop around her fingertips. Then the water tugged her under. She didn’t struggle as the liquid filled her mouth; she just let go knowing the answer to the question.

“It seems he loves you not.”  The stranger walked away from the water.

Here is Janine’s critique for HE LOVES ME NOT by Lauri C. Meyers:

I like how this story opens with a familiar action that immediately tells us something about the main character and creates anticipation for both Rose and the reader–will her love be reciprocated? Then the introduction of the stranger with a better solution follows immediately, breaking our expectations and adding a layer of intrigue. I love the description of the stranger as “Almost too lovely for real life, and certainly too gorgeous for Corning” because it tells us not only about the stranger but also about the setting and, in contrast, presumably, about Rose. The description could also allude to some magical or paranormal ability, which the following paragraphs lead me to believe she possesses. Was that intended? If so, I love the use of simple language to work on so many levels.

While Rose’s interactions with the woman seem strange, I’m willing to believe because the author hangs a lantern on it by saying Rose wouldn’t normally follow strangers but this woman feels irresistible. I do wonder, however what it was Rose was saying about her pastor and why she can’t recall it in the woman’s presence. Has the woman (literally or metaphorically) cast a spell on her? This may be explained in the following pages, and in that case, it’s fine to leave the reader wondering at this point. It seems that Rose has some misgivings about the woman’s proposal, but yet they never fully arise, and for some reason, I’m picturing her as Alice following the White Rabbit down the hole, which I really like. The line that I am hung up on, though, is that “the truth was strong”. I don’t know what that means, and maybe that should be made more clear.

When Rose enters the water and chants, I like the images of the water rippling and the bubbles popping around her. Again, there’s something beautiful and mystical about this description. After that I’m not quite sure what actually happens. Does the current pull her under? Is it some supernatural force? And does she come back up?

There’s a wonderfully enchanting mood set in this piece, and I would definitely keep reading to find out what happens. I do feel a bit disconnected from the two characters, though. If Rose (or the mysterious woman) is the main character, how can we learn more about her? And if neither of them is the protagonist, how are they connected to the protagonist in a way that it sets the stage for the rest of the story?

It would also be beneficial to check for common spelling and grammar errors, which can distract readers. Overall, an engaging first page.
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YA Novel  BABY  by Kathleen Elken

            “Ain’t no way to come into this world.”

That’s what most people say about me bein born in a Port Authority toilet bowl.  That ain’t how I feel about it though.  Givin birth to me in that dirty, ol’ pot was the second best thing my Mama ever done for me.  The best thing was her leavin me there.  Nobody, not nobody should be with someone who don’t love ‘em.  Least that’s what Nell always said, and she be the one who found me.

Hittin that cold water must a been like the slap most babies get ‘cause Nell said I was bawlin like a banshee when she opened that stall door.  She stuck her hands right in and scooped me out.  Used a ribbon from the flowers she was carryin to cut my cord.  Then she wrapped me tight in her coat and held me close.  Back and forth, back and forth she rocked, waitin on that other lady to bring back help.

Those transit cops, they said I was so blue, so cold, I’d never make it.
“Hush!” Nell said to them.  “Go find this baby girl’s Mama!”

And they did.  Just followed her blood trail out a that bathroom.  Past those statue people, down those steps, all the way past Hudson News, right up to the Greyhound Ticket Counter.  Mama was just gettin off line, grippin a ticket to Pittsburgh.  She must a used up her whole life savins ‘cause they don’t find no other money on her.

It was good the cops had a hold a her by the arms since her knees buckled right then and there.  They ended up takin both a us down to St. Vincent’s.  We was in that hospital a week, and every day the nurses ask her don’t she want to see me.  But she never did…

Here is Janine’s critique for BABY by Kathleen Elken

What’s most intriguing to me about this main character is not her dramatic birth but her unique perspective on it. I think most readers can agree being abandoned in a public toilet is “no way to come into this world”, but the main character holds no grudges and wants no sympathy, finding herself lucky to have at least been given a chance at a life with someone who loved her, which presumably she found in Nell. Immediately, I’m drawn to like this character who sees her own bad fate in the best possible light.

I love the imagery in this first page, from the baby hitting the water like a slap, to the transit cops following the trail of blood “past those statue people…”, to the mother gripping a bus ticket to Pittsburgh. The voice is compelling, and I’d definitely want to keep reading.

As I’ve noted, the story about the main character’s birth is interesting and sweeps me along, and it certainly tells us a lot about the character. However, at the end of this page, I have very little idea what the novel is about. I assume the main character is now a young adult and I wonder what’s going on with this character at present. Perhaps this first page is actually back story that could be worked in later once we’re better grounded in the plot? Or maybe one paragraph could come before the first line to set up why this information is important for us to know right away?

One general thing to keep in mind here is the dialect. While I enjoy the element it adds to the narrator’s voice, I think the level of dialect may be a little intense for some readers. I found it distracting that in some sentences there were multiple words in dialect. It might sound more natural if less dialect were used to greater effect; for example, adding the “g” back in at the end of words ending in “ing” but keeping more impactful expressions like “ol’ pot”.

The first page has great writing and a strong protagonist.
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Picture Book   Ants in My Pants by Linda Bozzo

Amy Sue whirled into Room 13 waving a note. “This is from my mom.”
She bounced up and down on her left foot. Then she bounced up and down on her right foot.

Dear Mrs. Diaz,
Amy Sue can’t stay still today. I hope you’ll know what to do.
Mrs. Jitters

Amy Sue plopped down in her desk. Her toes tapped. Tappity, tap, tap. Her hands clapped. Clappity, clap, clap.
The class could not help but notice.

Amy Sue pulled out her book and tried to read. But her backside grew fidgety. Her desk shook. Smack! Amy Sue’s crayons crashed to the floor.

“Amy Sue, why can’t you stay still today?” asked Mrs. Diaz.

“I’ve got ants in my pants and I don’t know what to do.”

“Oh, my!” said Mrs. Diaz. “Be a dear and give this to Mrs. Water and ask her for new crayons.”

Amy Sue zigzagged to the art room. She dashed from one side of the room to the other before she dropped the note on Mrs. Water’s desk.

Dear Mrs. Waters,
Amy Sue needs a new box of crayons. By the way, she can’t stay still today. Can you help?
Mrs. Diaz

“Amy Sue, why can’t you stay still?”

“I have ants in my pants and I don’t know what to do.”

Here is Janine’s critique of ANTS IN MY PANTS by Linda Bozzo:

This story has the potential to be a really fun read aloud. I love the verbs here: whirled, bounced, plopped, tapped, clapped, shook, crashed, zigzagged, dashed… I can see Amy Sue moving and I think young readers would be drawn in by her actions (and perhaps able to relate in not being able to control their fidgets). I would definitely keep reading to find out what else those ants will make Amy do and how she’ll get rid of them.

As engaging as the narration was, I was a little less enthralled with the notes and the dialog, and I found they pulled me away from Amy’s motion that was otherwise propelling the story forward. I wonder if those interactions couldn’t be summed up in the narration? Taking this a step further, as written now, the grownups are trying to solve Amy’s problem, when it might be more interesting to see the main character search for her own solutions. How does she try to control the “ants in her pants” and what other trouble does she cause enroute to succeed?

This is a strong first page. I think if you continue developing the main character and the action, it could be even stronger. Again, I’d read further to find out what happens here.
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MG Novel  FOURTEEN AND FEELING LIKE POLLYWOG POO by Doris Stone    

As I opened the screen door I sensed tension. Something was wrong, but what?   Dad sat at the kitchen table- normal.   He had a cup of coffee- normal.  His head was down like he was reading or deep in thought- normal.  I dropped my backpack onto the floor with a thud. He didn’t look up – UNUSUAL!

“Guess who aced her Algebra test?”  I said, trying to sound cheerful. But for some reason, it felt like cockroaches were gnawing on the insides of my stomach.

“Jilly,” Dad said letting out a mournful sigh.  The tone in his voice stopped me in my tracks.

“Huh?” I said slipping into the chair across from him.  He sucked in a deep breath and whispered. “I have to go.”  His blue eyes looked faded, lifeless and his face taunt. “I got my orders. I’ve been called up.”

For a moment, I couldn’t comprehend what he was talking about.  But then it was clear.  Dad was going to war and I was going to live with Aunt Karen. A sick feeling coiled around me like the tentacles of a massive squid.  My chest hurt. Every bit of life was being squeezed out of me.  It was a panicky feeling I knew all too well.

Dad stood up and walked to the kitchen window. “This isn’t what I planned.”   He looked over the driveway- staring blankly as if somehow- someway the answer to our problems could be found, written in the asphalt.  A few seconds later he walked over, put his hand on my shoulder and said “We’ll be all right. We’ve been through worse.  You and me kid, we always make it through.” But his voice sounded weak.

I needed it strong. What could I say?  No problem.  Everything will be fine.  I don’t mind changing schools again.  Keppler and Cruze will be fine without me. I really wanted to make him feel better.  I wanted to say, everything will be all right. But damn it! Things were different this time.

Here is Janine’s critique for FOURTEEN AND FEELING LIKE POLLYWOG POO by Doris Stone:

I’m torn about this first paragraph. I like what it tells us about Jilly’s relationship with her father: they’re close enough that she can immediately sense her father’s tension, even if she doesn’t know how she knows. It rings true to me that she takes stock of the situation

to try and figure out what’s different. However, the mental checklist format feels a bit unnatural as she would make those observations more quickly and running through it that way gives a bit of a detective feel, which doesn’t seem to fit with the scene that follows.

The author uses great metaphors to show how the main character’s feeling, such as, “A sick feeling coiled around me like the tentacles of a massive squid.” With such a strong sentence, I don’t know if the next two sentences are necessary because they essentially say the same thing but less effectively. I also feel the father’s emotion when he stares out the window and speaks reassuring words in a weak voice. I would be careful to keep the girl’s voice age-appropriate, though. It seems out of character for a young girl to observe “His blue eyes looked faded, lifeless and his face taunt”. What does the father do to show his feelings? What subtle things would the character more likely notice, like in the above example? It also felt out of voice to me later when the character says “damn it” in a way that seems too adult. Most of the things Jilly does, says, and feels seem believable and age appropriate, so I wouldn’t want to pull the reader away from her story with these more adult lines.

I’m intrigued that apparently the father has been deployed (or at least transferred) before but this time things are different. I want to know more about that. What’s different? And just who are Kepler and Cruze? I like that these facts are dropped in, and I’d want to keep reading to find out the answers. However, there are some details I feel need to be filled in sooner. I’m unsure how many times Jilly’s father has been deployed; Jilly doesn’t comprehend what her father means at first, but then she says she knows the feeling all too well and that she’s changed schools before. These statements seem to contradict each other. Additionally, I wonder what worse things the father and daughter have been through before? And has Jilly lived with Aunt Karen in the past or was there a mother (or someone else) in the picture before? When too many of these questions creep in without any answers, I start feeling like I’m observing a private conversation, and I want to be more in the loop so I can feel fully invested in the characters.

As a note, the fourth paragraph should be split into two so you don’t have two characters speaking in one paragraph. Another great first page that would keep me reading!

____________________________________________________________

Remember you can meet Janine Hauber from the Sheldon  Fogelman Agency at the New Jersey SCBWI Conference in June. For more details, or to register go to: www.regonline.com/njscbwi2013conference This is a great opportunity to get to know Janine. Thanks again Janine. It is very appreciated!

Talk tomorrow,

Kathy

Filed under: Agent, demystify, Process, Writing Tips Tagged: Agent Janine Hauber, Doris Stone, First Page Critiques, Kathleen Elken, Lauri C. Meyers, Linda Bozzo

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This is by no means the only things you can use to format and convert your manuscript to an e-book, it is just to give you an idea of the some of the things out in the market you can use. The Kindle, the Nook and the iTunes Bookstore (which services both the iPhone and iPad) now stand out as the most common targets for e-books. This has helped the e-book boom has helped consolidate formats a bit, but there still isn’t a single gold-standard editing product that guides users through the whole workflow and helps them check their results.

You probably will want to format your e-book for a varity of readers –  it helps to support as many of devices as possible. The Kindle, for instance, is notorious for not supporting ePub format files.

So here is a little information about the most common e-book formats and their drawbacks, so you can decide what to use to format your manuscript and create an ebook.

HTML:

If you are looking for only one fromat, HTML is more or less it. For one, it’s ubiquitous; almost every text-processing program can generate or read HTML. It also supports many features e-books will use: hyperlinks, font control, section headings, images, etc. Downside not everyone knows HTML.

But if you’re starting with a Microsoft Word or Open Document Format document, your best bet is to export it directly from the source application into HTML. Word users should do a “Save as…” using the “Web Page, Filtered” option, which strips out most of Word’s generated left over junk (cruft).

Exporting to HTML from your source program helps preserve the most crucial formatting and usually preserves sections and chapters: outline headers are turned into h1/h2/h3 tags, which most conversion programs correctly recognize. Some are even able to auto-generate tables of contents from those tags. Word typically does a good job generating TOCs without problems.

Microsoft Word (DOC or DOCX)

If you’re dealing with an original manuscript, odds are it’s probably going to be in Microsoft Word format. Almost every device on the face of the Earth can read or write Word documents. And the format has native support for most everything you could think of: formulas, chaptering, footnotes, indexes — anything that might show up in an e-book.

Word documents are best as a starting point for an intermediate conversion format, most likely HTML, rather than a format that can be converted directly into an e-book. In fact, most e-book conversion programs don’t accept Word natively as a source document type. They may accept Word’s sibling format, RTF, but that is already at least one stage of conversion away from the original and increases the chance that certain features might not make it through the conversion process. For example, RTF does support features like sections and footnotes, but the Calibre e-book creation suite, for one, doesn’t process them correctly.

OpenDocument (ODF)

OpenDocument is the format used by OpenOffice.org. Microsoft Word also supports ODF as one of it’s formats. it reads and writes.) Third-party OpenOffice offers extensions that let you export directly to e-pub formats. There are also a number of standalone applications, such as ODFToEPub. If you’re already used to creating your documents in ODF, your path to creating a finished e-book may be  shortened, slightly.

ePub:

An open, non-proprietary format. Uses XHTML as the basis for its document format. ePub is widely supported as an output format by various e-book production applications. iTunes only accepts ePub as a source format, so it couldn’t hurt to render a copy of your product as ePub no matter what other formats you use.  Books that require PDF-style page fidelity won’t work well in ePub.

Mobi and Kindle:

After Amazon bought Mobit, it made it into the basis for the Kindle reader’s own e-book format. Mobi supports digital rights management, but unencrypted Mobi documents can be read on the Kindle without issues.

PDF

PDFs can be read as-is in the majority of e-book readers, including the Kindle. It is best used when you want to maintain absolute fidelity to page layout — images, typefaces, etc. But this is the very feature that makes PDFs a problem in some scenarios. Other e-book formats are designed to work independently of any particular device resolution, so pages reflow automatically for each device. This is one of the reasons the Kindle didn’t make use of page numbers at first, since the page numbering for a particular book depends on what device or screen size you are using.

PDFs reproduce the formatting of the original page, no matter what the size of the destination device, so a PDF formatted at a certain size may be readable on a large display, but look cramped on a Kindle or Nook. If you plan to use PDFs, you may want to consider exporting your document with different page sizes for people using e-readers with small screens.

Calibre:

http://calibre-ebook.com/  Calibre is a free and open-source application marketed as a personal e-book management solution. It can be used as an e-book conversion utility.  It is powerful and may be the best place to start, especially if you want to distill output for multiple e-book formats. The program can accept ODF, RTF, ePub, Mobi, PDF and HTML. Calibre can also reformat documents unwrapping plain text that has too many line breaks or insert chapter breaks by looking for certain text structures (such as a line break, the word “Chapter” and then a number).

It doesn’t support DOC or DOCX documents, so anything coming from Word, so you will have to save it in another format first.  Serdar Yegulalp, a computer techology author says, ”Saving in either ODF or HTML from Word seemed to do the best job of preserving formatting and features, including things like monospaced formatting for code examples. Doesn’t process footnotes correctly.”

Sigil:

http://code.google.com/p/sigil/ Sigil is a multi-platform EPUB ebook editor – free open source. It’s an editor that exports to e-books (has a built-in document editor) it includes various tools for collating and assembling a finished e-book (such as a table-of-contents editor). Sigil’s main drawback is how it handles importing – only accepts HTML, plain text or existing ePub files as input documents.

Jutoh:

http://www.jutoh.com/ Accepts OPL files and has slightly more robust editing options. The cost is $39.

Adobes In Design is a full blown publishing solution, but it requires a lot more work and knowledge to generate a finished product than a simple conversion utility. Second is the price tag: It starts at $699.

TIP: Include a Table of Contents

An e-book that isn’t properly chaptered is difficult to navigate. Going to an arbitrary point in a book is not as easy as it should be. The Kindle, for instance, has no touch screen, so jumping around in a book without a table of contents is a chore.

If you have gone through the process of formatting and converting your own ebook, we loved to hear what you chose.

Talk tomorrow,

Kathy

Filed under: demystify, How to, Process, Publishing Industry, reference Tagged: ePub, Formatting an e-book, itunes, Kindle, Mobi, Nook

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Ask anyone who’s been in a writers critique group, and you will hear that there is no better way to hone your craft.  Ideally, a critique group gets you where you want to go as a children’s writer.  But what if you can’t find a group to go to?

Start one of your own.  I know, it’s a little scary.  But it’s worth it.  (Trust me:  I’ve been in critique groups since 1995. All that critiquing helped me reach some major publishing milestones!)  So here goes, a few pointers from my own experience:

GET THE WORD OUT.

The best way to let like-minded writers know that you’re starting a group is to contact the SCBWI critique group coordinator listed on your regional chapter’s website and/or newsletter. This chapter volunteer collects names of ‘critique seekers’, and sorts them according to geographic location.  If there is not a group in your area open to new members, he or she shares your contact information with interested writers who live and work in the same area so you can network on your own.  Another route is to contact local community education programs and universities offering ‘writing for children’ courses, and ask the instructors to make an announcement to students about your intention to start a critique group.

GATHER ESSENTIAL FACTS ABOUT POTENTIAL MEMBERS.

Start a file with everyone’s email, phone number, address, websites. Ask basic questions: what genres and for which readerships do you write? When can you meet—mornings, afternoons, or evenings—and which days of the week?  How often do you want to have meetings:  once a month, twice a month or weekly?  Where are you located and how far are you willing to travel for the meetings?  Do you want to read/critique manuscripts at the meetings or outside of the meetings?  Do you want to share marketing information at the meetings or focus only on the craft inside of the critique group?  Answers to these questions will assist you in structuring the group for maximum mutual benefit, and get things off to a strong start.

FIND YOUR MEETING SPACE. 

This is a matter of choice and luck.  The first place to look for free meeting space is your local library.  Most have a community room for small groups, and if there is room, you may be able to schedule the space up to a year at a time.  Other options include bookstores, coffee houses, and members’ homes.  As long as the venue is comfortable, relatively quiet and convenient to all members, your location will work well.

SET YOUR FIRST MEETING.

Set the date, gather members and get going.  The agenda for a first meeting should be to discuss and set ground rules, and to simply get to know one another a bit.  Sample work might be read to the group so others can get an idea of your writing ‘personality’, but no real critiques should be done at this first gathering.  You might hand out tips on critiquing the work of others, and a checklist of literary elements to look for in a manuscript.  There’s a lot of information about the critique process on various websites, as well as entire books on the subject. Two excellent books are: HOW TO START AND RUN A WRITERS’ CRITIQUE GROUP by Carol J. Amato; and THE WRITING GROUP BOOK:  CREATING AND SUSTAINING A SUCCESSFUL WRITING GROUP by Lisa Rosenthal.

KEEP IT GOING.  Encourage each writer to take their work up a notch with upbeat yet honest comments. Listen with patience and respect.  Motivate one another.  Commiserate and celebrate together.  Keep up the good work.

Submitted by

Dianne Ochiltree, www.ochiltreebooks.com

Author of MOLLY, BY GOLLY! The Legend of Molly Williams, America’s First Female Firefighter, 2012 Bronze Medal winner, Children’s Literature, Florida Book Awards

Talk tomorrow,

Kathy

Filed under: Advice, authors and illustrators, demystify, How to, Process, Tips Tagged: dianne Ochiltree, How to Set up a Critique Group, Molly By Golly

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With comics having reached a hitherto unseen level of respectability, that’s the cue for the comics literati to go back to the begining and argue about how the whole thing works…or doesn’t.

In a simultaneously rambling and incisive interview, Tom Spurgeon asks Fantagraphics publisher Gary Groth about all the matters of the day—publishing deals, young cartoonists and their expectations and storytelling ability, Spain Rodriguez. It’s full of pull quotes, but I’ll pull this one on the nature of comics:

SPURGEON: You always struck me as a guy that maybe didn’t have a special connection to comics as comics.

 

GROTH: That’s not true. I do love the form. I love the drawing. One thing I would love to do — one thing I love about comics is the line. It’s so important. I could see analyzing nothing but the line. You could blow up 30 cartoonists — Segar, Jaime, Crane — just blow up their line. I think that’s so big of a component for the expressive nature of comics. I think everyone acknowledges this, perhaps subliminally. But probably not as much as they ought to. Not as much as they do content. But in a way, it is content.

And that brings me back around to something I’ve been avoiding talking about, all the various responses to Eddie Campbell’s essay The Literaries, which I tackled a bit here but then the argument went round the bend and in only a few paragraphs, AN AMERICAN IN PARIS (the movie) and Billie Holiday’s “Strange Fruit” had both been declared substandard and I threw up my hands, grabbed my glove, and went home.

While my back was turned, Robert Stanley Martin—who is known for his strong message board postings—came back to put down the “let comics be comics” crew::

That’s right, folks. If you’re reading a comic for the overarching story, and judge it by how effectively it tells that story, or even to what extent that story is worth telling at all, then in the view of Eddie Campbell (and Dan Nadel and Kim Thompson and Jeet Heer and Tom Spurgeon and Heidi MacDonald and numerous others), you’re reading and judging it wrong.

Part of me just wants to point to Eddie’s article and its reception among the comics-cultist crowd as Exhibit A as to why none of these people should be taken the least bit seriously as critics ever again. They’re of course entitled to their enjoyments, but they are so preoccupied with their abstruse little fixations that they seem completely divorced from the impulse that guides people to becoming audiences for cartoonists and other storytellers in the first place. The reason I can’t entirely dismiss the essay is because I’ve seen similar arguments in a field outside of comics, where they’ve been around for six decades and don’t appear to be going away. They can be found in film criticism, where they are a key part of the auteur theory.

For the record, if I enter a room and Robert Stanley Martin is standing on the right side, and Eddie Campbell, Dan Nadel, Kim Thompson, Jeet Heer, and Tom Spurgeon are standing on the left behind a wall of crocodiles, I will drag myself on bloody stumps, if need be, to get to the left side of the room.

The whole discussion led to a roundtable of such grave import that it caused Noah Berlatsky to quote both a Russian poet and Steven Grant, and Jones, one of the Jones Boys, to wonder whether Borat was funnier than Aristophanes.

I don’t normally give much time to the Hooded Utilitarian drumming circle, but the fundamental question—are comics to be judged only on narrative or on a mix of narrative and art or on some other quality?—is a bit silly, but definitely something to examine just in case there’s a test.

Campbell put it all on the line again with a subsequent post entitled Campbell’s Rules of Comprehension in which he analyzed a random comics page from near a hand —in this case from Bryan Talbot’s GRANDVILLE, and noted how it stacked up against his own storytelling rules for civilian comprehension:

Occasionally I see a well-regarded comic wander across the view of a regular person. It happened on my travels recently when I was a houseguest of a friend, a 70-year-old lady who makes her living as an artist. While I was there she was working on some etchings to go into a limited edition anthology of poetry on the subject of war. I mention this simply to show that this person understands pictures. The mail arrived and among it there was a volume of Bryan Talbot’s Grandville, which her husband had bought. She opened it and checked it, in order to let him know by phone that it had arrived. While idly looking at the pages she confessed to me, after putting down the phone, that she didn’t know how to read these graphic novel things. I took a quick look and said, “My first thought is that I can completely understand what you’re saying, because I can see that the author in this case has broken at least three of the basic rules of comprehension.”

Campbell’s rules were given an interesting reading by Neil Cohn, who has been gathering studies on how we read comics from behavioral and neurological viewpoints. NOW we’re getting somewhere.

Overall, I found that American comics used far more panels showing multiple interacting characters than Japanese manga, which used overwhelmingly more panels of single characters or close ups. This would support that American books use more sequences following “Rule #1″ [All the information necessary to understand the drama of a sequence must be contained in every panel of the sequence.] than Japanese books. This difference has an impact on comprehension. Being provided with only parts of a scene (single characters) forces you to infer the larger scene. This requires more machinery in the narrative grammar (what I call “Environmental-Conjunction”), i.e., the rules in people’s heads that allows them to comprehend sequential images. Yet, this does not necessarily lead to poor comprehension. Rather, it simply reflects a different grammar along with the need for a different type of fluency. Neither is better or worse. Just different.

If you haven’t thrown down your pencil in despair by now, Cohn’s post actually has a lot of interesting info on studies that show how people read comics, absorb information and so on. If you’re ready for grad school on all this, a fellow named Brian Kane sent me a link to his dissertation on comics, with this chapter in particular: Reading Sequential Art as a Higher-Order Problem Solving Skill, Part 2: Context. This is a daunting text that goes on for many, many long paragraphs along with all kinds of arcane diagrams such as the above.

As someone whose comics making career rarely got beyond checking to make sure that Huey’s shirt or cap was colored red, and not green or blue, I did not find this to have very practical applications.**

So who to give the final word to? Why Colleen Doran of course!

Art may be easy, but stop lying to people Gurus of Art Twee. GOOD ART IS RARE AND IT IS HARD.

** How did I know this? Because of the beautifully elegant pictograph that an editor named Bob Foster had over his desk that read
Huey
Dewey
Louie

 

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Susan grew up in Maryland and was educated at the Maryland Institute College of Art in Baltimore, where she and her husband and two sons now live. Besides books for children, her illustrations have been used for advertising, merchandise, and greeting cards. She is the Illustrator Coordinator for the SCBWI MD/DE/WV region.

We have a real treat this Saturday. Susan has offered to give a way her book BIG CAT, Little Kitty.  If you would like a chance to win, please leave a comment and tweet or add to your facebook page. Next Friday I will announce the winner. 

Here are some of Susan’s clients:

Baltimore Precision Instruments, The Baltimore Sun, Barton-Cotton, Bits & Pieces Puzzles, Catalpha Advertising & Design, Educational Press, Girl Scouts USA, Hallmark Cards, Highlights for Children, Humane Society US, Johns Hopkins Women’s Health, Ladybug Magazine, McDonogh School, National Wildlife Federation, The Nature Conservancy, Prospect Hill Press, Real Creative Advertising, Stave Puzzles, Stemmer House Publishers, Success For All Foundation, Sunrise Greetings, Sylvan Dell Publishing, Tree-Free, US Can, Words & Numbers, World Wildlife Fund.

Here is Susan explaining her process:

For the panda book, as with all my picture books, I started by gathering reference photos.

Then I made thumbnail sketches of each spread on one sheet of paper so that I could plan the way it would flow.

I enlarged my thumbnail. 

Then made a more detailed sketch to submit to the editor for approval.

Once approved, that sketch was projected onto my drawing surface, which in this case was gray charcoal paper.

The final was done in soft pastels made by Derwent, Faber Castell and other brands.

I scanned the finals and Sylvan Dell added the text.

Book cover above and interior spreads below:

BIG CAT, Little Kitty written by Scotti Cohn - Publisher: Sylvan Dell Publishing; First Edition (March 10, 2011) ISBN: 978-1607181248

The First Teddy Bear by Helen Kay – Publisher: Stemmer House Publishers; 2nd edition (September 1, 2005) ISBN-13: 978-0880451536

One Wolf Howls by Scotti Cohn Publisher: Sylvan Dell Publishing (May 24, 2012) ISBN-13: 978-1607186090

On The Move Mass Migration by Scotti Cohn  Publisher: Sylvan Dell Publishing (March 5, 2013) ISBN-13: 978-1607186168

How long have you been illustrating?

In the early 1980s I worked as a staff illustrator for J. Walter Thompson Recruitment Advertising, a job that was a lucky break. I learned to draw line art depictions of all races of people and to work within short deadlines. I took freelance assignments whenever I got them, and after a few years decided to freelance exclusively.

When did you decide you wanted to illustrate a children’s book?

I have always wanted to illustrate books for children, and when I read about Stemmer House, a small publisher near Baltimore, I contacted the editor and made an appointment to show my portfolio. Another lucky break! I was given a contract to illustrate The First Teddy Bear, published in 1985. I am happy to report that it is still in print; a second edition was released in 2005.

I see you graduated from Maryland Institute College of Art in Baltimore. Can you tell us a little bit about that school?

The Maryland Institute College of Art was such an exciting place for me to be in the mid-seventies when I was there! The school was just beginning its phenomenal growth that continues into the present – MICA is one of Baltimore’s premier cultural institutions, is recognized as one of the top art schools in the country, and is the center of Artscape, the largest free arts festival, held each July. I studied Graphic Design/ Illustration for three years and met my artist husband there. I have been back to participate in an illustration workshop, and have several friends on the faculty. However, I was unable to finish my degree back then; I hope to do so in the future.

What types of classes did you take?

I took Illustration classes with Cyril Satorsky and Richard Ireland, Graphic Design with Bob Wirth, and Screen Printing with Quentin Mosley.

Did you have a focus in on any area of art?

I knew that I wanted to be an illustrator, so I concentrated on sharpening my drawing and painting skills and the elements of graphic design that apply to illustration. I regret that I did not study sculpture, because I love to sculpt and spend time at the beach each summer making sculptures in sand.

What was the first thing you did where someone paid you for your artwork?

While I was in high school an amateur theater company hired me to design and screen print posters for their production of The Music Man. I was thrilled to get money for having so much fun!

Have you done any work for children’s magazines?

My work is regularly published in Highlights.

Do you have representation from an artist rep or an agents?

I have a licensing agent, but I am not represented in the children’s market.

Your website shows that you published four books with Sylvan Dell Publishing. Could you tell us how they found you?

Actually, I found them; I heard about this young company at a SCBWI conference and was attracted by the fact that they publish only picture books and take email submissions. I submitted a book dummy, which was rejected, but the editor asked if I’d be interested in illustrating a book for them. Of course I said yes!

Are they mainly an educational publisher?

Sylvan Dell includes educational material in the back pages of each picture book, but their books have good stories and beautiful illustrations as the highest priority; their motto is Science and Math Through Literature. They market to bookstores as well as schools and libraries.

Which book was your first?

I illustrated One Wolf Howls by Scotti Cohn, published in 2009.

You also have another book published by Stemmer House. How did that contract come about?

That was my very first book illustration contract, and I was young and had little idea of how it all worked! The editor at Stemmer House gave me the manuscript for The First Teddy Bear and instructed me to divide it into pages and make a book dummy with sketched illustrations on each page. I worked on that book for a year… I don’t think my experience was typical. After that I joined the SCBWI and learned a lot.

Do you have any desire to write and illustrate your own book?

Oh, yes! My head is full of ideas, and I experiment with stories and drawings whenever I can.

As Illustrator Coordinator, what types of things have you done with the MD/DE/WV SCBWI chapter members?

Besides offering individual portfolio reviews by art directors, editors and agents visiting our conferences, once a year we have a “First Look” panel of visiting faculty comment on illustrators’ work (anonymous) in a slide show format. We also display members’ portfolios at conferences, and include at least one workshop or breakout session geared specifically to illustrators. This year, our region’s 20th anniversary, we held a logo contest.

Have you taken advantage of showing off your portfolio at one of national conferences?

Yes, I participated in the Portfolio Showcase at the NYC SCBWI Winter Conferences of 2012 and 2013.

Do you see yourself writing and illustrating your own book someday?

Yes, I’ve got a couple in the pipeline.

It looks like you have illustrated for a large variety of companies. What did you do to get that work?

While my kids were small I concentrated on greeting card and local advertising freelance assignments, which I got by word of mouth and a minimum of self-promotion. Those jobs were able to be completed quickly and I received payment quickly, too, which suited my situation as a parent working from home. The freelance market has changed since then, and self-marketing and promotion claim a much bigger part of my time. I am targeting the children’s publishing market more than before, but still accept assignments from businesses, when they come my way.

Not counting your paint and brushes, what is the one thing in your studio that you could not live without?

It was not true when I started my business, but today I could not function without my computer. The internet changed everything. It’s hard to imagine my work as a freelancer without email, Photoshop, scanning and printing.

Do you try and spend a certain amount of hours every day working on your art?

When facing a deadline I am completely disciplined about work, but an average day is broken up with domestic chores and walks in the park with my dog, as well as art work.

What is your favorite medium to use?

Pencil, followed closely by watercolor.

Do you take pictures or do any research before you start a project?

My studio contains a four-drawer file cabinet full of picture clippings I’ve been gathering since I started this work, although I more frequently use the web for photo references. I sometimes sketch or take my own photos for reference, but I always do research at the start of a job.

Do you think the Internet has opened doors for you?

Well, it has brought the world to my fingertips right here in my studio, and it enables me to communicate with clients or potential clients and allows far more people to see my work, so that’s a definite yes.

Do you use Photoshop with your illustrations?

Yes, I am digitally coloring drawings sometimes, and Photoshop has freed me from the fear of messing up when working in traditional media – I can always fix it on the scan.

Do you own or have you ever tried a graphic Drawing Tablet?

I do not own one, but have been curious.

Do you think your style has changed over the years? Have your materials changed?

My commercial work requires me to be fluent in a number of styles, which is fun, like trying on costumes. I did my second book for Sylvan Dell entirely in soft pastel, then a completely new medium for me. But my natural inclination is a fairly detailed and painterly style which has changed only a little over the years. Animals have been my book subjects most often, but I also love to depict children in my illustrations, and use watercolor and pencil more than other media.

How do you market yourself?

I am always looking for new ways to get my work seen by people who could hire me. I have a website, a Facebook page, am registered on LinkedIn, send postcards to editors and art directors, and take every opportunity to hand out business cards. I regularly visit schools and give presentations of my work.

Do you have any career dreams that you want to fulfill?

Okay, if you’re talking dreams… I’d like to win the Caldecott. But more realistically, I would like to be successful enough in the children’s publishing market that my work would be regularly pursued.

What are you working on now?

I am working on a retelling of an Aesop’s fable about mice.

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.

For the panda book, as with all my picture books, I started by gathering reference photos. Then I made thumbnail sketches of each spread on one sheet of paper so that I could plan the way it would flow. I enlarged my thumbnail and made a more detailed sketch to submit to the editor for approval. Once approved, that sketch was projected onto my drawing surface, which in this case was gray charcoal paper. The final was done in soft pastels made by Derwent, Faber Castell and other brands. I scanned the finals and Sylvan Dell added the text. For watercolor illustrations, I use Strathmore 500 series cold-press illustration board, which I buy from Utrecht in packs of 10 sheets. You can use both sides, and it’s 100% cotton rag. I love pan watercolors and Windsor Newton series 7 brushes. I transfer my rough drawings onto the board via an artist’s projector (mine is an ancient “Kopyrite”).

Any words of wisdom on how to become a successful illustrator?

Keep working to hone your craft, even if you have to give yourself assignments. Join the SCBWI. Keep listening and learning and studying the art that excites you. Take every opportunity to let your work be seen.

Susan takes her artist talents even to the beach.

Thank you Susan for sharing your talent, journey, process, and one of your books with us.  Please let us know when you have a new success or a new piece of art you would like to show off.  You can visit Susan at www.susandetwiler.com

I always ask if you will leave a comment for Saturday’s Featured Illustrator, but this week you will put yourself in the running for one of Susan’s books, if you leave and comment and post something on Twitter or facebook about this post. Of course if you do not have a Twitter or facebook account, just let me know with the comment and you will be included in the drawing.

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Illustrator's Saturday, inspiration, opportunity, picture books, Process Tagged: A SCBWI Illustrator Coordinator, Maryland Institute College of Art, Susan Detwiler, Sylvan Dell Publishing

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Who Says Women Can’t Be Doctors? The Story of Elizabeth Blackwell is an expertly crafted biography that can be used to teach students a variety of craft moves during a biography writing unit of study.

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As a new character joins the cast of Cullen Bunn and Will Sliney’s Fearless Defenders, so she joins team members Valkyrie and Misty Knight in our growing group shot of the team! Today sees the release of Fearless Defenders #2, which sees Dani Moonstar enter the scene. The leader of the New Mutants for years and years now, Moonstar is a Native American character who was depowered during the M-Day storyline – but that didn’t stop her from her duties as team leader.

Now stepping into Fearless Defenders, I asked artist Will Sliney a few questions about the character, and her design in the book. Will’s been profiling all the characters as they appear, and you can find his previous looks into Valkyrie and Misty Knight here. But as we’ve been going on, Will’s been adding each member into a group image of the team, which establishes his ability to draw expressive and individual female faces for his cast. Read on! And gawp!

Steve: We’ve spoken previously on your interest in the mythology and cultural identity of Valkyrie. With Dani Moonstar, do you feel that same interest? As a Native American character, she is again a character with a vast cultural background all her own.

Will: Yeah, it’s nice to see the cultural diversity in Fearless Defenders already coming to the forefront. Anything new can be a big interest to me too. Obviously I know much more about Norse mythology having grown up on this side of the Atlantic, but its important to learn about the backgrounds of each new member. I have had fun researching for her.

Steve: As a Cheyenne, she again has quite specific facial features such as a flatter, longer nose, and quite pronounced cheekbones. How do you approach the character, in terms of look and features?

Will: I usually create a model sheet for each character. You can hopefully see the different facial features already in the group shots that have been building here at The Beat each month. You pretty much have hit the nail on the head for Dani. These features will have been laid out before in the many artists who have drawn her. I really liked David LaFuente’s recent take.

 

Moonstar joins Misty Knight and Valkyrie in Will’s group shot of the Fearless Defenders cast

Steve: While the other two characters are hand-to-hand fighters, Moonstar tends to use ranged weapons like the bow and arrow. Has this come into play in the action sequences, or do you prefer to have her in the middle of the fighting alongside the other cast members? How do you plan fight sequences?

Will: Dani’s opening scene shows that she can mix it up in hand to hand combat even when she is out of arrows. Bow or no bow. I think being de-powered, Dani is on a mission to prove herself as a fighter, so she is not afraid to go in fists first.

 

Steve: She’s also well known for having spent time as a valkyrie herself, with several stints in Asgard. How do you think the character fits in alongside Valkyrie, both visually and in personality?

Will: Its obviously an important part of the story. Dani does look different from Valkyrie when she is in her full Valkyior form. (I always have difficulty spelling that word.) and that is reflected in Dani’s personality too. I’m not too sure yet how highly Valkyrie respects Dani at the start. We will have to wait and see…

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Katie McDee was raised in the sun-filled, salty-fresh air of Southern California and is lucky enough to still live and work there. Katie’s interests include movies that don’t stink, delicious eateries, and discovering new places. Her free time is spent playing ultimate frisbee and capturing her friends’ most embarrassing moments in her sketchbook.

Katie’s artistic talent and creativity has always been a part of her life. Whether it was hand-made cards or Super Market art contests, as a child she was always drawing. In high school she not only starred in musicals but also designed the Tshirts and posters. Although she excelled in many areas of school, art and music were always her favorite.

Today she works as a traditional and digital illustrator for the children’s market. Past projects have included books, magazines, video games, board games, T-shirts, greeting cards and packaging.  With a BFA in Illustration from CSU Long Beach, and years of freelance experience, Katie has the knowledge and experience of working with art directors, designers, and other creative professionals.

Her clients have included:  Oxford University Press, Capstone Publishing, Highlights High Five, Pearson Education, Lakeshore Learning Materials, Friend Magazine, Pockets Magazine, The Los Angeles Times, Bionic Games, Appy Entertainment, The Topps Company, and San Diego Gas & Electric (Sempra Energy).

Here is Katie explaining her process:

Thumbnail: When I start figuring out the composition of a piece I always draw small. Really small. I scratch out a bunch of little thumbnails and once I have one I like I scan it and enlarge it in Photoshop.

Sketch: Sometimes I’ll draw over the blown-up thumbnail in Photoshop or move pieces around, But usually I just print it out and trace over it with tracing paper and a BiC mechanical pencil.

Color rough: I like to do a quick color rough in Photoshop.

Blocking in: Once I’ve scanned in the final sketch and received approval, I place the sketch in Illustrator with opacity scaled back to 50%. I lock that layer and start blocking the shapes in layers. I usually have background and foreground layers with others as needed.

Blocked in: After everything is blocked in with Illustrator, I export each layer as PSDs and put it all back together in Photoshop.

Final: In Photoshop I use even more layers to shade and highlight and bring in texture overlays. And voila!

How did you end up going to CSU Long Beach to get your BFA in illustration?

I actually started out at CSULB as a music major. I thought I was going to be a choral director. It wasn’t more than a couple months before I realized that my talents were better suited for visual art. So I switched majors and focused on illustration. Lucky for me I married a high school choral director so now I’ve got the best of both worlds.

What types of classes did you take that really helped you to develop as an illustrator?

All of the illustration, composition and design classes were my favorites but every art class I’ve taken was invaluable, from watercolor to screen printing. But my illustration skills have developed most through freelancing. There’s nothing like learning on the job.

Did they help connect you to companies that could give you work?

No, I don’t think I’ve had any work come from classes, though keeping in contact with some classmates through social media sites and email has.

Did you start out using watercolors for your illustrations?

Yes, in college I painted everything in watercolor (unless I had to use some other media). And my very first paid jobs were created in watercolor. I still love traditionally painting illustrations for clients and my own personal work.

What was the first thing you did that you got paid to do?

I can’t remember exactly. It was either a caricatured family portrait or a gigantic mural depicting castles, gnomes and fairies. But those were private commissions. My first freelance gig was a series of paperback reader books for Lakeshore Learning Materials.

How long have you been illustrating?

7 years professionally. 31 years doodling

What types of things do you do to get your work seen by publishing professionals?

My work is showcased online on my website/blog and a couple illustrator sites like childrensillustrators.com. I’ve contacted art directors directly and sent mailers in the past but usually contract work comes through my online presence and word of mouth.

Have you ever tried to write and illustrate a children’s book?

Yes, there have been a few attempts. I’ve learned a lot since and plan to dust some of them off and give ‘em a complete overhaul one of these days.

Do you have an agent? If so, who and how long have the represented you?  If not, would you like one?

I do not have an agent or art rep. I’ve considered it many times and I’d like to have a good working relationship with one. But I’m waiting for the right fit.

Do you want to concentrate on being a children’s picture book illustrator?

That would be so great. Ultimately I’d love to just spend my time working on picture books exclusively. Though I’d probably miss the diversity and fun of illustrating for games and magazines.

Have you made a picture book dummy to show art directors, editors, and reps.?

No, not yet.

Do you ever use two different materials in one illustration?

Yes. Pencil sketches, painted textures and photoshop. Ink and watercolor. Sometimes even cut paper.

How did  you find the companies where you have done commercial illustration, games, etc.?

I have friends in high places, haha. No but really, most of the time they find me online or through word of mouth.

Do you attend the SCBWI Conference in LA? 

If so, how do you prepare for attending something like that? I attended one year, I think it was in 2009. I participated in the portfolio showcase so there was months of drawing, designing, and printing a portfolio and postcards to show off. It was a lot of fun and I met some amazing people that I’m now blessed to call my friends.

Have you seen your style change since you first started illustrating?

Oh, definitely. Though I was looking through old sketches the other day and noticed I still draw umbrellas and shoes the same way.

Have you gotten any work through networking?

Yes! Thank you blogging and Facebook.

I see you have had your illustration published in quite a few magazines.  How many magazines have published your work?

Six, so far. I hope to double that in the next year. I love illustrating for magazines.

How did the LA Times find  you to illustrate a story for the ‘Kids’ Reading Room’ section of the newspaper?

I think I called the Art Director. Never underestimate the power of the ‘cold call’.

Are you open to doing illustrations for self-published picture book authors?

I have in the past. Unfortunately, I don’t take on self-publishing authors now because they don’t have a budget I can pay bills with. It’s a sad reality, especially when their book ideas sound so fun.

What made you go digital?  Is Photoshop your software of choice?

When I started freelancing for companies, it was all digital, all the time. There were many late nights figuring out Adobe Illustrator and Photoshop as deadlines sped towards me. Now I can’t live without my computer. I enjoy the crisp look and edit ability of Illustrator and the fun challenge of rendering an illustration to look painted with Photoshop. While I still love painting with watercolor and gouache, the computer affords me and my clients much-needed versatility. And there’s nothing better than ‘command Z’, am I right?!

Do you have any tips that would help other digital artists?

Get a bigger scanner and printer. The biggest you can afford. And a Wacom tablet. It’ll save your arm.

Do you own a graphic tablet? If so, how do you use it?

Me and my Wacom Intuos 3 are best buddies. I don’t even use a mouse. My mouse is dead to me.

How much time do you spend illustrating?

Depending on the circumstances (deadlines or family commitments) I can spend as little as 5 hours to as much as 12 hours a day working.

Do you have a studio set up in your house?

My family insisted I take one of the bedrooms as my studio instead of a guest room. Sorry visitors but it’s mine and I love it!

Is there anything in your studio, other than paint and brushes, and your computer that you couldn’t live without?

My drafting table is 7 feet wide. I am spoiled.

Any picture books on the horizon?

I’m about to start working on an early reader book with Oxford Univ Press.

What are your career goals?

My goals include more book, magazine and licensing work. I think pairing up with an agent or rep may be my next step. I’d also like to set up an online shop to sell some of my random paintings and creations. My ultimate goal is to spend my days writing and illustrating my own books and board games.

What are you working on now?

Right now I’m working on some spot illustrations, early reader book(s), some educational activities/games and 2 magazine illustrations.

Are there any watercolor painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

Why stretch watercolor paper when you can use illustration board? I like Crescent. Sometimes I print out a copy of my sketch and paint a color rough right on it. Hmm, what else? I used to ink with a croquil pen but now I use Microns. They’re waterproof and come in multiple sizes and colors.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

Here’s my 2 cents. And that may be all it’s worth to you, but… Try something new. Get out of your comfort zone. I see many people who are only willing to work in one way or for one type of publishing. You will grow as an artist and more doors may open for you if you say yes to something different. Tackle that App, comic book, or board game design rather than sitting around waiting for your big break in picture book publishing (or whatever it is you so desperately desire).

Katie, it was pleasure getting to know you through your illustrations and this interview. I am sure we will be seeing a lot more from you. Please let me know when you have new successes and send in new illustration that I can use during the month. That way we can stay connected.

You can see more of Katie at the following sites: www.katiemcdee.com  www.katiemcdee.blogspot.com  www.childrensillustrators.com/illustrator.cgi/katiemcdee 

Please take a minute to leave Katie a comment about her work.  It is much appreciated.

Talk tomorrow,

Kathy

Filed under: authors and illustrators, demystify, Illustrator's Saturday, inspiration, Interview, magazine, Process, Tips Tagged: California Southern University, Capstone Publishing, Highlights Magazine, Katie McDee

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