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Discover the work of Greg Pizzoli, Cartoon Brew's Artist of the Day!

by Greg Pizzoli

Last year I was super busy illustrating a book with a pretty quick turnaround. I think I got the offer in September, and the book was due January 1. So after sketches were approved and everything, I had a little less than three months to do the final artwork for a forty page book (plus covers). It was doable, but just. I wasn’t going have time for anything else. No screenprinting. No writing. Nothing.

Except . . . I had this opportunity. There was an offset printing class with an opening at the university where I teach part-time, and my department head offered me a chance to audit the class and make a book. The whole idea of the class is that you spend half a semester designing a single-sheet book to be printed on an offset press. The second half of the semester you make films, mix inks, and (under the guidance of the Master Printer) assist in printing the book.

I love offset printing and I love making books. I had worked on this press before so the learning curve wasn’t too bad. And the opportunity to make something on my own was just too appealing to pass up. So I signed up for the course and got to work on a project that had been brewing in my sketchbooks for a few years. It was pretty weird, and kind of dark, and I felt certain no publisher would ever be interested in it, so I decided to make a zine. Just an exercise in putting text and images together, simply made for the sake of making it.

Several times I almost dropped the class because of my other commitments. I was too busy to make the art for the zine the way I normally would, and I was nervous about it looking terrible when we went to print. My teacher encouraged me to stick with the class, but to simplify the art so I could produce it faster. She reminded me that I was making this just for me, not for anyone else. The idea that I wasn’t making this zine for publication freed me up considerably, and working on it was really refreshing—it was influenced much more by my design and comics interests, and it just felt different than my other work.

I printed the zine and mailed some out to some people I had worked with or hoped to work with someday. Not pitching the idea—but really just saying—“I love making this stuff! Here’s this weird thing I know you’d never publish that I made!”—excited to share it, but no expectations.

You might guess where this is going—within a month of sending it out, I had a two-book deal with Viking Children’s Books—both dream projects for me. I’ve been researching, writing, and drawing, and a greatly expanded version of that little pamphlet-stitch zine will be an actual picture book in stores next winter! It’s totally different than anything else I have done—and that’s exactly what made it so appealing to my new publisher.

So, looking back on that time last year I guess two things are apparent:

1) Sometimes limitations (meaning your time, or maybe the number of colors/words/pages you can use) will force you to be creative in unexpected ways and 2) Doing the work that you feel driven to do (as opposed to guessing what publishers will want) can produce work you might not expect—and even if you think no one could ever publish it—you might be wrong.

Good luck this month!

Greg Pizzoli is an author, illustrator and screen printer from Philadelphia.

His first picture book, The Watermelon Seed, was published by Disney*Hyperion Books in 2013 and Publisher’s Weekly called it “an expert debut” in their starred review. Greg has more books in the works with Disney*Hyperion, Viking, Candlewick, and FSG.

Greg’s work has been featured in Communication Arts, 3×3 Illustration Annuals and he’s won two Portfolio Honor Awards from the Society of Children’s Book Writers and Illustrators.

After college, Greg spent two years as a full-time volunteer in AmeriCORPS from 2005-2006. In 2009, he received his MFA from the University of the Arts in Philadelphia, where he now teaches.

He recently gave up drinking (as much) coffee.

His screenprinted works have been exhibited in the United States, Canada, Spain and The Netherlands. His hand-printed artist books are in various collections throughout the country, including The Rare Book Department of the Free Library of Philadelphia.

See more of his work at GregPizzoli.com and GregPizzoli.blogspot.com. Follow him @GregPizzoli on Twitter.

Greg will send a random commenter a pair of hand screenprinted blank cards!

This prize will be given away at the conclusion of PiBoIdMo. You are eligible for this prize if:

1. You have registered for PiBoIdMo.
2. You have commented ONCE ONLY on today’s post.
3. You have completed the PiBoIdMo challenge. (You will have to sign the PiBoIdMo Pledge at the end of the event.)

Good luck, everyone!

by Greg Pizzoli

{published 2013, by Disney Hyperion}

I’ve been looking forward to this book for a long time, mostly because that cover is SPECTAZZLING. But also cause I follow Greg Pizzoli on Twitter, where he is clever and quippy and shares things like THE ENDPAPERS. And then this is what the publisher teased us with, so I was pretty much in love with this book right away:

With perfect comic pacing, Greg Pizzoli introduces us to one funny crocodile who has one big fear: swallowing a watermelon seed. What will he do when his greatest fear is realized? Will vines sprout out his ears? Will his skin turn pink? This crocodile has a wild imagination that kids will love.

Yeah. SO INTO THAT. The Watermelon Seed hits stores TOMORROW, May 14th, so you might want to go ahead and get in line. After you meet Greg, of course.

So I’ve also been looking forward to this post for almost as long. I’m thrilled to have Greg Pizzoli in for a visit. Welcome, Greg!

I call him “Kroc”. Sometimes my editor calls him “K-Roc” or “The Krocster”. Boy, does he hate that.My background is in printmaking, and I built a silkscreen shop in my studio, which is how I generate a lot of my work. I think my preference towards limited and deliberate colors comes from the printmaking. It could be laziness, but I’m going to say printmaking.

Basically you make a drawing in black and use that to make a stencil on a screen. Doesn’t matter how you make that drawing – by hand on tracing paper, with construction paper, in Photoshop – whatever you can use to get a drawing in black. Your screen, which is a frame of aluminum with a fine mesh stretched across it, is covered in photographic emulsion, and you expose the screen to light. Wherever the light hits the emulsion, it hardens and becomes water resistant.

BUT if you put your black drawing between the screen and the light source, the emulsion that is blocked by your drawing (which remember, is black, thus very light blocking-y), that emulsion stays soft. And you can wash it out with water. So everything that wasn’t blocked by your drawing is water resistant, and your drawing washes out of the screen, making a water resistant stencil in the shape of your drawing. You make one of those for each layer, or usually, color. WATERMELON was offset printed obviously, but I did a lot of screenprinting textures, etc to make it feel very printy. The spot colors definitely help there, too.

I’ve been teaching screenprinting for about 4 years at The University of the Arts in Philly. It’s where I met Brian Biggs. He took a continuing ed class I was teaching in 2009. He introduced me to my agent. I dedicated a book to him, but it hasn’t come out yet. I still owe him big time. I still teach! I love it.

Humor usually keeps me interested in whatever I’m doing.

I like to work with texture for sure, too. And shapes. Shapes, yeah, shapes are good. I know this is great interview material here. Breaking news, Greg Pizzoli “like shapes”. Today on Buzzfeed, 23 shapes Greg Pizzoli likes most.

Anyway . . . I was really into shapes and texture with THE WATERMELON SEED, and the next book I’m doing with Hyperion (NUMBER ONE SAM, Summer 2014) comes from a similar place. We’re doing spot colors for that one, too. But four this time, which opens up a lot of possibilities in terms of overlapping layers and colors.

Like most people, I like lots of stuff. I never get tired of looking at Eduardo Munoz Bachs posters. He obviously had a lot of fun making his work. A lot of people you’d suspect probably, Sendak, Ed Emberly, Tove Jansson, Charles Schultz, etc.

I’m really lucky to have so many talented buddies in the Philly area, too. I host occasional drink ‘n’ draws at my studio and Zach Ohora, Matt Phelan, Bob Shea, Tim Gough, Amy Ignatow, Brian Biggs, Lee Harper, Gene Baretta, Eric Wight, and several others have come by. It’s a good time. Sometimes we do this thing where we each draw for five minutes and then pass the paper to the right and draw on top of that drawing for five minutes, until we get all the way around the circle or run out of beer. You can imagine just how bad these things look. Joe Strummer, Iggy Pop, David Bowie. They’re my heroes.

No way! I love coffee. I think I quit for a while last year and it just floated around my online profile for a bit. I did stop drinking as much. I am down to like 2-3 cups a day which feels great for me. I was drinking like 8-10. Oh yeah. I’m nicer now.

Greg Pizzoli, people. Is he awesome or what?

So yeah. That’s pretty much my favorite thing on the internet right now. Did you catch the part where the period at the end of the sentence becomes a spotlight for good old K-Roc?! I love that detail.

The Watermelon Seed! Greg Pizzoli! Thanks for hanging out here! We love your book. And you are top notch, too.