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Viewing: Blog Posts Tagged with: Color, Most Recent at Top [Help]
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1. Colorful Animal Illustrations by Shanti Sparrow

Shanti_Sparrow_Marley Lola-and-Frank Shanti_Sparrow_owl Shanti_Sparrow_cat Shanti_sparrow_Coy

Shanti Sparrow Website >>

Shanti Sparrow Shop >>

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2. Entrance Ramp

At sunrise I'm standing at the bottom of an entrance ramp leading down into a parking lot in Kingston, New York. It's not a place that tourists would ever go. 


Entrance Ramp, casein, 5 x 8 inches. 
Instead, ordinary people come here on their daily routines. At this hour it's mainly older guys arriving for fitness sessions at the YMCA and patients showing up for appointments at the nearby radiology lab.

Off in the hazy distance is a tangle of street lights, utility poles and cell towers. The sun is coming up hot. A few pools of cool air settle in the shadows around my ankles.
I limit my casein colors to three (plus white): raw umber, golden ochre, and cobalt blue. The underpainting of tinted Venetian red adds a contrasting hue. (By the way, using a contrasting colored underpainting is a legal way to sneak in an additional color in the "Outdoor Market Challenge.) 


Halfway into the block-in. The blue-yellow limited palette mixes with the red of the underpainting.


Covering the surface with grayish opaques is like putting out a fire. A few red embers still glow. 

Now I can concentrate on the close value contrasts and the oppositions of warm and cool colors.


I'm glad I've got my night-painting Department of Art shirt on, because I'm standing a little ways into the road. 

As I paint, I wonder about strange stuff, like why poles are never vertical, and who chose those ball-shaped street lights, and what the sounds would have been like here 100 years ago. I think this sunken parking lot was once the basement of a bustling factory.

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3. Sleepy San Francisco Squirrel

Greetings, I want to share a recent illustration that completed for my MFA program. The program has us traveling around the country for different contact periods twice a year, spring and fall. We always return to home base which is the Hartford Univeristy in Connecticut in the summer time. Last fall we traveled to New York […]

via Studio Bowes Art Blog at http://ift.tt/1CJMmb4

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4. Experiments with a Limited Palette

You can make a limited palette out of almost any two colors, as long as one is cool and the other is warm.

Catskill Roadhouse
For this painting I used ultramarine blue and cadmium red scarlet, together with white. It's basically red, white and blue, so you can call it the "American palette." 

Here's a video showing how the painting developed (Link to YouTube video):


With two colors that are near complements, it's fun to work over a surface primed with a color from the far side of the spectrum. I'm using blue and red over yellow. The yellow is about 95% covered up, but where it peeks through, it energizes the color scheme like a pinch of spice.


You might try orange + violet + white over a cyan underpainting, or yellow + cyan + white over magenta. You can also introduce black, either as an accent if you want to deepen the darks, or if you want to use it as a color of its own (such as black + orange + white over blue). 


A two-color-plus-white palette has some advantages:
1. It's extremely fast to set it up and get it running. (I was painting while Jeanette was still fooling with her umbrella.)
2. It's good for beginners because it reduces your choices to light or dark and warm or cool.
3. It puts you into realms of color that you would never think of if you had all the color choices available.

I was using casein, but this method would work for any opaque paint: gouache, acrylic, or oil. If you're doing the painting in gouache, the priming should be done with a paint that gives a sealed surface (such as colored gesso, acrylic, or acryla gouache) so that wet layers don't pick it up. 

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5. Ellie

Ellie by Mike Wuby Mike Wu (Disney Hyperion, 2015)

Before anything else, this (full screen!):

Ellie’s endpapers start us off like this: long and lonely and barren.

Ellie by Mike Wu Ellie by Mike WuThere she is, a little hint of her. And if you want another one, take the dust jacket off to reveal the case cover.

Ellie by Mike WuOk.

We learn quickly why the zoo was so sullen and gray. Because the story happened visually, to start, we don’t need to linger in introductions and routines and the way of this world.

We know.

Ellie by Mike Wu Ellie by Mike Wu Ellie by Mike WuHeartbroken.

Home.

Hope.

Ellie by Mike WuEllie, and a hint again, carrying something with her trunk, wishing and wanting to help.

But a small elephant isn’t a tall giraffe or a burly gorilla.

She’s just Ellie.

Ellie by Mike WuBut in that curlicue grip, that same hope.

Does she see it? Do you?

Linked by color and purpose and quite possibly definition, this happens next:

Ellie by Mike WuDoes she notice? I don’t know. I’d like to think she did.

Watching and waiting, a wise little elephant.

Ellie by Mike WuThis is the first spread without Ellie in it, without her sweet, sad eyes.

But now we get to see through them, and I’d bet a reader’s eyes do the same awe-pop that hers must be doing right now. That’s something I’m sure is true.

Ellie by Mike Wu Ellie by Mike WuTurns out, Ellie found her thing.

And here’s where I’d recommend finding a copy of this yourself, because the final spreads are something you should see and feel through your own eyes. But be sure to notice the back endpapers and their stark difference to the front. The progress is literally told in colors.

This book is rectangular, and so open, it’s an expanse. That trim size gives the zoo a little room to breathe, to extend, to become the physicality of Ellie’s journey. There’s space in that shape, space in the story.

Mike Wu’s film background (did you notice the zookeeper’s name?) may have influenced that trim size. What we call trim size they call aspect ratio, and aspect ratios in film are far from the standard definition of once upon a time.

Maybe? I don’t know. But I’d guarantee a visual storyteller thinks of those things, and it’s for us to appreciate, to wonder about, and to call beautiful.

Ellie by Mike WuOk.

ch

I received a review copy of Ellie directly from the author, but all opinions are my own.

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6. The Skunk

The Skunk by Mac Barnett and Patrick McDonnell

by Mac Barnett and Patrick McDonnell (Roaring Brook Press, 2015)

The Skunk is a book I’ve been wanting for ages but I had no idea that I was.

I’m going to spoil this podcast interview for you, and you should still listen to it anyway, but when asked where he got the idea for this book, Mac said it was a writing prompt on an old poster in a school library:

A skunk won’t stop following you.

A fun thing is knowing Mac, and hearing his booming and contagious laugh, and picturing his long, lean self hunched over a desk with eight-year-olds hunched over their desks, writing about a skunk who won’t stop following you. I think Mac would love that too, because there’s a thing that resonates in all of his work for kids, which is a true and uncanny understanding of kid-ness, and a willingness to give them stories that grownups can’t observe in their own natural habitats.

(Sidenote: I wrote a whole thing about this recently, about honesty as a necessary thing in picture book writing and a necessary part of understanding the audience. Check it out here!)

I’m also going to spoil a big design piece of this book, so if you like to read things untainted, unspoiled, and fresh, bow out now. You’ve been warned!

But: the skunk and his man. A story you didn’t know you were dying for.

Mac Barnett and Patrick McDonnell didn’t collaborate on this book; rather, in publishing’s traditional sense, Mac did words and Patrick did pictures, and they didn’t speak of it until it was finished. In that same podcast, you’ll hear them speak of what an honor it was to work with lumps of clay the other had thrown down.

That, of course, is the very nature of a picture book. The text is incomplete without pictures; both parts are needed for the dance. 100

Here’s how I read a book.

First the endpapers.

The Skunk by Mac Barnett and Patrick McDonnellThen the case cover. (Have I told you how angry my students get when a book does not have a secret underneath?! Also, see Travis Jonker’s latest post on this for more. A treat for sure.)

The Skunk by Mac Barnett and Patrick McDonnellAnd the title page.

The Skunk by Mac Barnett and Patrick McDonnellThis is so interesting to me, this differently styled skunk here. His etched-ness gives me pause, and is a little bit dizzying. Because here’s the thing: this small moment gives the whole story true plausibility. This skunk, this real skunk, did all of the things in this book. But I’m seeing it through an artist’s lens who might have represented it in a way that I can understand, that I can see.

Curious.

The Skunk by Mac Barnett and Patrick McDonnell The Skunk by Mac Barnett and Patrick McDonnellThe color palette here is a smart choice. It maintains this noir experience, but also serves to connect the duo physically: the skunk’s red nose, the man’s red bowtie. The skunk’s black and white tail, the man’s tuxedo tails. (Both of those with a flip and a flourish.)

There is no other color, save for a muted peach, a brightness in the shadows.

Soon, the man understands what’s really happening. His eyes speak fear.

The Skunk by Mac Barnett and Patrick McDonnell The Skunk by Mac Barnett and Patrick McDonnellThis standoff is one of my favorite parts. The offerings here–an apple, a saucer of milk, a pocket watch–are of no interest to a skunk. But it’s a moment of connection, the first time the man has turned to face his follower. That’s some bravery.

The Skunk by Mac Barnett and Patrick McDonnellThen things get dire and the pace quickens, and if you haven’t felt it by now, we’re talking some serious Twilight Zone stuff.

This man moves to a different part of the city, buys new things, and perhaps breathes a bit easier.

The Skunk by Mac Barnett and Patrick McDonnellThe Skunk by Mac Barnett and Patrick McDonnellThe man misses the skunk, because things like that worm and weasel and skunk their way into your routine, and all of a sudden, the missing it part is very real.

And here’s what else you probably noticed. The color!

Without the skunk, in a new house, with new things, the man is different. Transformed? Suddenly aware? What’s happening?

The Skunk by Mac Barnett and Patrick McDonnell

As he searches for his skunk, the colors mute. The world returns to whatever that normal was before.

My skunk.

And the endpapers again. Bookends, that duo.

The Skunk by Mac Barnett and Patrick McDonnell

There’s a thing that happens with books when your eyebrow wrinkles and you’re not quite sure where you are anymore. Those are the best kinds of stories–the honest and the daring ones and the ones that make you look at your own world with a mix of wonder and skepticism.

ch

Thanks to Mary Van Akin at Macmillan for the images!

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7. Painting Within a Value Gamut


Gouache Week continues with a brief trailer / sampler from the feature Gouache in the Wild. This time Jeanette and I are painting an ordinary gas station while our car is being fixed nearby. (Link to Video)


Color gamut, value gamut
In terms of hue, this is a complementary gamut of blue grays vs. yellow-oranges. I leave out reds, except what I can mix with burnt sienna. And I ignore greens, except very dull greens that I can mix with the few colors on the palette.

I also want to classify the tone values, pushing everything to a group of light tones and dark tones. I try to create the painting using the limited number of color notes represented by the swatches below:


Top row. 1. Light/Warm; 2. Light/Neutral; 3 Light/Cool.
Bottom row. 4. Dark/Warm; 5. Dark/Neutral; 6. Dark/Cool.



This Spartan color universe yields a strong value statement and it guards against the dullness that comes from painting everything in middle values.
------
Live streaming event TODAY
Join me this afternoon at 4:00 New York time, June 24 for a live gouache painting demo on ConcertWindow. There will be a chat window so that you can ask questions and interact.

Own the 72 minute feature Gouache in the Wild and be part of the fun
• HD MP4 Download at Gumroad (Get 10% off all Gumroad products this week only at this link$14.95 $13.45
• or HD MP4 Download at Sellfy (for Paypal customers) 10% off this week only $14.95  $13.45
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8. waterfall


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9. Rabbityness

Rabbityness by Jo Empson

by Jo Empson (Child’s Play, 2012)

Here’s a book that’s deceptively simple in text, in color, in motion.

An average rabbit, doing average rabbity things. White space, dark spot illustrations. Calm and steady.

Rabbityness by Jo EmpsonRabbityness by Jo Empson

But then. The page turn is the miraculous pacing tool for the picture book, and this one is a masterpiece. Swiftly, from the expected to the unexpected, from straightforward rabbityness to the unusual.

And the beautiful. And the wild and the wonderful.

Rabbityness by Jo Empson Rabbityness by Jo EmpsonRabbityness by Jo Empson

Jo Empson’s art is a storyteller to follow. It unfolds visually, deftly, magically.

Desperately.

Rabbityness by Jo Empson

Because one day, Rabbit is gone. So is the color and the movement and the life.

“All that Rabbit had left was a hole.”

But, much like the art, Rabbit was a storyteller to follow.

Rabbityness by Jo Empson Rabbityness by Jo Empson

And the color returns.

It’s a story about making a mark that leaves a legacy. It’s about telling a story and remembering one. It’s for anyone who is daring enough to leave drips of unrabbityness, and anyone brave enough to chase them.

ch

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10. Bunad Babe

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11. Cat Says Meow (and a giveaway!)

Cat Says Meow by Michael P. Arndtby Michael Arndt (Chronicle Books, 2014)

This book won me over when I saw it last year, and it’s one that is fun to peek into again and again. And how is that the case with something so simple, but so sophisticated? So spare, but so complex? That’s the best truth of design.

Here’s what’s happening. Each spread shows an animal and its sound. And each animal is mostly made up of the letters of that sound.

It’s a fun puzzle to unlock. The portraits are bold and saturated in color, often different than we’d see them in the wild.

But here they are, wild anyway.

Cat Says Meow by Michael P. Arndt Cat Says Meow by Michael P. Arndt Cat Says Meow by Michael P. Arndt

I do love an animal book that goes beyond the usual suspects, don’t you? A mosquito! Not my favorite friend by any means, but he looks good and menacing here.

Cat Says Meow by Michael P. Arndt Cat Says Meow by Michael P. Arndt Cat Says Meow by Michael P. Arndt

This small volume is a perfect primer on both typography and onomatopoeia.

And it’s got killer endpapers.

Cat Says Meow by Michael P. Arndt

A portion of  proceeds from Cat Says Meow goes to support animal rescue organizations, including the ones from where Michael’s dog (Clooney!) and cat (Aiden!) were rescued.

And for more type fun, play this kerning game and see how your eye stacks up to a designer’s. Or this one on letter forms, which is a bezier curve bonanza.

Would you like a signed copy? And these one of a kind bookmarks and vinyl stickers! You do, yes. Leave a comment here or share this post on Twitter before midnight on March 8st, PST. Good luck!

Cat Says Meow by Michael P. ArndtCat Says Meow by Michael P. Arndt

 

ch

All images are © 2014 Michael Arndt. Thanks to the artist for sharing them (and an awesome giveaway!) here. And be sure to check out his Instagram if you love all things type, animal, and lovely. It’s a great one!

 

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12. Guide Cells and Color Vision


Scientists have announced an important discovery about how structures in the retina shape color vision.


The study concentrates on the Muller cells, which occupy a narrow space in front of the eyes' photoreceptors. 

It has always been a mystery what goes on in that layer, and why the rods and cones are at the back of the vertebrate retina, and not in the front. 

The study leader is Dr. Erez Ribak from the Israel Institute of Technology. He has demonstrated that the Muller cells act as light guides, selectively sorting the light as it passes back to the photo-sensitive layer.  

The image at left is a 3D scan showing the vertical Muller cells in red standing above the rods-and-cone layer in blue.






Images courtesy BBC News
According to the BBC report, the Muller cells "funnel crucial red and green light into cone cells....Meanwhile, they leave 85% of blue light to spill over and reach nearby rod cells, which specialize in those wavelengths and give us the mostly black-and-white vision that gets us by in dim conditions."

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13. Tricky Vic: The Impossibly True Story of the Man Who Sold the Eiffel Tower

Tricky Vic by Greg Pizzoli

by Greg Pizzoli (Viking, 2015)

I’ve read lots and lots and lots of books for kids. I’ve read lots of questionable ones and I’ve read lots of spectacular ones. And then I’ve read a handful that are simultaneously spectacular and fresh and inventive and completely honor how smart kids are.

This is one of those.

You might know Greg from that burping crocodile or the hound with a need for speed, but did you know a book about an impossible con is exactly what the world of kids’ books needed? Meet this Greg.

Actually, meet Robert Miller.

Tricky Vic by Greg Pizzoli

(click to enlarge)

A normal kid, one who leaves home to become an artist despite his parents’ best efforts. A normal kid with a penchant for billiards, poker, and gin.

A grifter known as Count Victor Lustig.

Tricky Vic by Greg Pizzoli

(click to enlarge)

This liqour induced pow-wow below the Totally Legit delivery truck might be one of my favorite moments in this thing. It’s accompanied by a sidebar of Totally Legit information about the Prohibition. This blend of grit and truth and history hangs right in the suspense of Vic’s story. It feels like Saul Bass made one of those The More You Know PSAs right there on the page.

Tricky Vic by Greg Pizzoli

(click to enlarge)

One of the greatest tricks in this whole book is how we see the silly, unsuspecting faces of Vic’s marks, but never his. Only a thumprint. Both the clearest and fuzziest identification.

Mixed-media collage always yields great texture, just by its very nature. But Greg adds custom-made rubber stamps, actual photo texture from the floor of the Eiffel Tower, and like we’ve already seen, his very own thumbprint. This approach is as layered and grungy as Vic himself. This book can’t be slick and clean and soft–it needs depth and dirt and intrigue. That’s what it’s got.

That’s no con.

Check out these endpapers. Brick wall, posted bills, danger, and suspense.

Tricky Vic by Greg Pizzoli

(click to enlarge)

Why does that not look like the full width of the book, you ask?

Because then there’s this:

Tricky Vic by Greg PizzoliIn the best of places, that sneaky space under the dust jacket, where unsuspecting grownups don’t dare peek. Kids do. They know where the good stuff is. And this is the good stuff: The Ten Commandments for Con Artists by our hero.

I think 8 is my favorite. Or 5. Or 10.

And now, don’t miss Greg and Julie’s chat about this book over at Seven Impossible Things. Lots to digest. Commandment 2 will be an impossibility.

ch

 

I received a copy of Tricky Vic from Viking, but the comments are all my own. And speaking of Viking, huge kudos to the publicity team that sent the book like so:

Tricky Vic by Greg Pizzoli

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14. D'you ever get the feeling...

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15. Book-O-Beards: A Wearable Book

Book-O-Beards by Donald Lemke and Bob Lentzby Donald Lemke and Bob Lentz

Guys. So if book-gifting isn’t a thing for April Fool’s Day, then it totally should be. These books aren’t a joke, but they are a huge bunch of laughs.

Here they are in action:

How funny is that? Such clever design. A perfect accessory.

Book-O-Beards by Donald Lemke and Bob Lentz

Hipster popularity aside, these punchy beards provide a secret identity for the preschool set. It’s dress up meets poetry meets a barrel of laughs.

And these guys don’t stop there! Beards have some series teammates in Book-O-Hats, Book-O-Teeth, and Book-O-Masks.Book-O-Beards by Donald Lemke and Bob Lentz Book-O-Beards by Donald Lemke and Bob Lentz

 

Sure to spice up story time!

ch

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16. High-tech glasses may help remedy color blindness


The normal perception of color depends on having distinct sets of color receptors, including green cones and red cones, each of which has a peak sensitivity to a slightly different wavelength of light.

Simulated cause and effect of color blindness—Images courtesy EnChroma
When their signals are interpreted by the brain, they allow red and green colors to be easily distinguishable.

The photo on the left represents normal color vision, and the one on the right simulates the way things look to people with red-green color blindness. The charts shows how the gap between the green cones and red cones are narrowed in people with red-green color blindness.
Normal and Deuteranoptic vision, courtesy Color-Blindness.com

Another way to think of it is that for people with color blindness, the red and green signals are making noise on the same channel. It's like having two radio signals going at the same time. You can't make out what they're saying on either station, and red and green end up being mixed up. People with color blindness have the necessary healthy receptors. The only problem is that they're too close to each other.


To address this problem, engineers at EnChroma developed special filters which fine-tune the light going to each of those closely nested receptors. The result is a genuine experience of red, green, purple, and pink colors where they weren't visible before.


The promotional video (link to YouTube) shows the emotional effect of color-blind people trying on the glasses and seeing colors for the first time.

Because there are many kinds of color blindness, EnChroma is careful not to claim that this is a universal cure, but it appears to provide a helpful boost for many deutans. EnChroma/Valspar offers a free online color blindness test to see if they might be suitable.

Reviewers on Amazon say that the glasses sometimes take a while to get used to, and that you have to learn the names for unfamiliar colors. There are also concerns about the build quality and brittleness of the lenses.

Read EnChroma's more in-depth explanation 
Color blindness test

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17. 2015 Art on the Green Poster

 

Here's the poster for the 2015 Art on the Green arts festival in Coeur d'Alene, Idaho, featuring one of the fabulous osprey that make their home on and around Lake Coeur d'Alene.

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18. In

In by Nikki McClure

by Nikki McClure (Abrams, 2015)

In by Nikki McClure

This is one of those books where the cover convinces you that you’ll love it. It’s both bright and cozy. Spare and warm.

A teensy giraffe peeks out of this boy’s hiding spot and you can see its smiling face, but only eager anticipation in this boy’s eyes.

Open.

In by Nikki McClureIn by Nikki McClure

This is my kind of kid. It looks like a grownup is over his shoulder, offering an open door and a pair of shoes. But he’s got a tower of bricks, a colander kingdom, and the very best pair of pajamas.

In is best.

Until out is.

In by Nikki McClureIn by Nikki McClure

In by Nikki McClure

And when out is cold and wet, in you go.

In by Nikki McClure

Nikki McClure’s paper cuts are intricate and exquisite, but they are also all-embracing. Not common artwork, but a reminder of the universal comforts of childhood and play and home.

A stark black and vibrant yellow are perfect patches of color to explore these opposing wishes. They balance, they tug, and they leave enough room for us to journey with him. By day and until nightfall.

In and out.

A perfect choice to celebrate curiosity, imagination, and the way we explore our world.

Another Nikki McClure favorite is here!

ch

 

 

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19. Enormous Smallness

 

Enormous Smallness

by Matthew Burgess and Kris Di Giacomo (Enchanted Lion, 2015)

This book is the author’s debut picture book, and as a poet and creative writing teacher he found a perfect venue for these words. And here’s a great look at the illustrator’s work over at This Picture Book Life. (If you haven’t seen Brief Thief, RUN to the library. Now.)

Then there’s Enchanted Lion. Smart, beautiful, well-crafted books. This small Brooklyn publisher is fresh off a huge and deserved recognition in Bologna.

So. Let’s take a look.

Enormous Smallness

Layers of letters and piles of words make up some of the best endpapers I’ve seen this year.

Before I flip another page, I’m keenly aware of this texture. What an exceptional way to visualize the poetry of E.E. Cummings. It makes perfect sense. A jumble of words and sounds and feelings are the foundation for E.E.’s work.

Words as art themselves.

Enormous Smallness Enormous Smallness

Here’s a simple sentence, spare but lovely, stating facts and straightening out his family tree. Understated, but lively is for sure in that ensemble. Can you see rambunctious Uncle George there, turning a cartwheel or just plain standing on his hands?

The handwritten labels, the cattywampus text layout, the warm texture. All so inviting.

Enormous Smallness

A happy home for spilling words.

Enormous Smallness

A poet, catching words like a bunny through a hoop.

An author, echoing exactly what young E.E. loved.

Estlin looked around

as if his eyes were on tiptoes

and when his heart jumped,

he said another poem.

Enormous SmallnessEnormous Smallness

An illustrator, wrapping it all up in carefully crafted texture that smacks a bit of haphazard beauty.

It’s pretty. It’s intentional. It’s rich and wonder and a treat to take in.

Enormous Smallness Enormous Smallness

A remarkable slew of back matter includes a timeline, additional poetry, a fascinating author’s note, and another really great elephant illustration.

Magic.

Lots to see and learn and celebrate here.

Out today.

ch

I received a copy from the publisher, but opinions are my own.

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20. Jack Be Nimble

 

 

Jack be nimble,
Jack be quick,
Jack jump over
the candlestick. 

Pieces from the 2015 SCBWI-WWA Conference intensive with Candlewick art director Kristen Nobles. The assignment was to illustrate the traditional nursery rhyme by going beyond the typical little boy images.

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21. Once Upon a Cloud

Once Upon a Cloud by Claire Keane

by Claire Keane (Dial Books, 2015)

Here’s one to hand to any kid that still can’t get enough of Frozen. And when you do, give them a little wink-nudge that this book’s creator worked on what Elsa and Anna’s world looked like. And she worked on Tangled. And then they will see the lush purple cover anyway, and sometimes that’s all it takes.

Once Upon a Cloud by Claire Keane

(click to enlarge)

Meet Celeste. She wants the perfect gift for her mom. Big eyes. Big dreams. (Sweet bear expression. And do you see those little shoes she’s kicked off? Even sweeter.)

Celeste is stumped. When she’s about to fall asleep, the Wind carries her away.

She sparkles with the Stars and then meets the Moon and the Sun.

Once Upon a Cloud by Claire KeaneOnce Upon a Cloud by Claire Keane(click to enlarge)

There’s something musical about the pace of the pictures here. Sweeping and epic and enchanting. The colors wash over Celeste’s celestial quest, slowly spinning one into another.

And then, she’s home again. But her heart is new and her eyes are fresh, and the same things that have always been there shine a bit more than they did before once upon a cloud.

Simple in story. Arresting in art.

Once Upon a Cloud by Claire Keane

ch

 

Review copy sent by the publisher. 

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22. Cougar Bay Osprey

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23. Beastly Verse

Beastly Verse by JooHee Yoon

by JooHee Yoon (Enchanted Lion, 2015)

Beastly Verse by JooHee YoonBeastly Verse by JooHee Yoon

(click to enlarge)

This book is something. A mashup of poetry and pictures, washes of color and words.

Beastly Verse by JooHee Yoon Beastly Verse by JooHee Yoon

(click to enlarge; this is an example of a spread that folds out to reveal an entirely new and more expansive illustration.)

Some thoughts from JooHee on the art and creation of Beastly Verse:

I wanted to create a book that not only tells wonderful stories, but one that is beautiful to behold. For me, the design of the book is just as important as its content; they are inseparably linked. I believe all elements of a book–its paper, binding, size and weight–create an atmosphere that plays an important role in the experience of reading.

The printing process fascinates me. Not only traditional printmaking, but also industrial processes as well, since these are just a further development of the old printmaking techniques. I have always been drawn to printmaking, and rather than mixing colors on a palette and putting them on paper, I enjoy working with flat color layers overlapping one another to create the secondary colors. My experience with printmaking informs almost all of my artwork today. I wanted to take advantage of the industrial printing process so the printer is not just reproducing the image I make, but in a sense creating the image itself.

Beastly Verse by JooHee Yoon Beastly Verse by JooHee Yoon

This book has been printed using just three colors. The areas where the main colors overlap create secondary colors, resulting in a book that seems very colorful even though only a limited palette was used. Seen alone, each layer is a meaningless collection of shapes, but when overlapped, these sets of shapes are magically transformed into the intended image. To me the process of creating these images is like doing a puzzle, figuring out what color goes where to make a readable image.

I am very inspired by books from the early 1900s – 1950, when artists were forced to work with spot colors since reproduction methods weren’t as developed as they are today. It is amazing what some artists could do with just two or three colors, and this is exactly the same process I am using, but one from choice rather than necessity. There is a luminous brilliant quality to the colors when images are reproduced this way that I love.

Beastly Verse by JooHee Yoon Beastly Verse by JooHee Yoon

(click to enlarge; this is an example of a spread that folds out to reveal an entirely new and more expansive illustration.)

It’s fascinating to pull the curtains back on an illustrator’s process, and I’m thankful to JooHee for her words here. Her explanation of something so simple, so exquisite, and so complex is as brilliant as those colors she creates.

And the book itself is definitely a work of art. Uncoated, thick pages. Slightly oversized. There’s a non-uniform feeling to the ends that isn’t quite a deckled edge, but a bit more raw and tactile. Hand-crafted almost.

Beastly Verse by JooHee Yoon

(click to enlarge)

Beastly Verse’s dedication reads simply, For the Reader.

Here, the reader is also the design enthusiast, the art collector, and the wordsmith. A book for book lovers.

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Huge thanks to Claudia Bedrick at Enchanted Lion for the images in this post. 

 

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