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My husband Matt pairs well with me for a number of reasons. Amongst them is our mutual inclination to collect things we love. As such, Matt has systematically been holding onto all his issues of The New Yorker ever since he got his subscription in college. Over the years these issues have piled up piled up piled up. I was a Serials Manager before I got my library degree and one of the perks of the job was getting lots of lovely magazine holders. For years these holders graced the tops of our bookshelves and even came along with us when we moved into our current apartment a year ago. Yet with the arrival of our puir wee bairn, we decided to do the unthinkable.
Yes. We ripped off all their covers.
Well, most anyway. We have the complete run of New Yorker text on CD-ROM anyway, and anything published after the CD-ROM’s release would be online anyway. Thus does the internet discourage hoarding.
In the meantime, we now are the proud owners of only three boxes worth of New Yorker covers. They’re very fun to look at. I once had the desire to wallpaper my bathroom in such covers, but that dream will have to wait (as much as I love New York apartments and all . . .). For now, it’s just fun to flip through the covers themselves and, in flipping, I discovered something. Sure, I knew that the overlap between illustrators of children’s books and illustrators of New Yorkers was frequent. I just didn’t know how frequent it was. Here then is a quickie encapsulation of some of the folks I discovered in the course of my cover removal.
Istan Banyai
Zoom and Re-Zoom continue to circulate heavily in my library, all thanks to Banyai. I had a patron the other day ask if we had anything else that was similar but aside from Barbara Lehman all I could think of was Wiesner’s Flotsam. Banyai is well known in a different way for New Yorker covers, including this controversial one. As I recall, a bit of a kerfuffle happened when it was published back in the day.
Harry Bliss
Author and illustrator of many many picture books, it’s little wonder that the Art Editor of The New Yorker, Ms. Francoise Mouly, managed to get the man to do a TOON Book (Luke on the Loose) as well. And when it comes to his covers, this is the one I always think of first.
12 Comments on Children’s Illustrators and The New Yorker, last added: 7/28/2011
Thank you so much for this retrospective! So lovely to see a Gary Larson cover in there, I had no idea! I’m going to have to check out more of Marcellus Hall, I love that cover.
I also love the covers by Richard McGuire, creator of books like The Orange Book and Night Becomes Day. Check out this old blog entry I wrote, http://handthumbcomics.com/?p=66 , for some of his covers!
janeyolen said, on 7/27/2011 10:39:00 PM
Fascinating. I knew of some of them, but. . .
Jane
Linda Urban said, on 7/28/2011 3:30:00 AM
I love this article Betsy.
For about a year or so, when my son was small, he thought the magazine was about an individual guy who was The New Yorker. My boy scanned every cover looking for glimpses of the guy in a “Where’s Waldo?” sort of way and a few of those covers became favorites of his. He still has a small stack of them in his room.
leda schubert said, on 7/28/2011 5:10:00 AM
Great list. Also Charles Martin, Ludwig Bemelmans, Joseph Low, James Thurber (did he illustrate a children’s book? I don’t think so. But he wrote several of my favorites), Roger Duvoisin, James Stevenson, John O’Brien, Roxie Munro, Gretchen Dow Simpson (she did an alphabet book years ago) and probably more.
Fact: our basement is completely filled with New Yorkers.
Fact: Almost all of these illustrious illustrators who also do children’s books are men. Hmm. Yet a bunch of women did covers as well.
Zoe said, on 7/28/2011 5:30:00 AM
Thanks for this – has brightened up my lunch time coffee no end!
Marisabina russo said, on 7/28/2011 6:41:00 AM
You can add me to the list though my covers and spots came out when you were probably just a tot! Interesting post.
Sharon Creeech said, on 7/28/2011 7:30:00 AM
Love this; thanks so much for compiling.
Paul Zelinsky said, on 7/28/2011 7:51:00 AM
This is great to look through; thanks! What you can’t tell from looking is that some of these illustrators were New Yorker illustrators who were approached by New-Yorker-reading editors or art directors, and others were book illustrators before they became New Yorker cover artists. I am guessing that the Sendak one is the only case of The New Yorker approaching a book illustrator.
If I may pile on with suggestions for more, you could also include Ross MacDonald and Douglas Florian. I was going to say Marisabina Russo but she said it herself, and she said it, according to the indication on the post, almost three hours after I am writing this now. How did she do that?
About that wonderful NewYorkistan picture– I don’t know how it was credited in the magazine, but it was created jointly by Maira Kalman and Rick Meyerowitz.
jules said, on 7/28/2011 8:31:00 AM
I wrote this for Kirkus recently—http://www.kirkusreviews.com/blog/childrens/seven-impossible-things-new-yorker-effect/—-and started a list of those editorial illustrators who migrated to children’s book illustration. This post is PERFECT and adds to my list (which exists for no other reason than to just….exist). Bravo to this post!
Victoria Stapleton said, on 7/28/2011 8:47:00 AM
And now there is Frank Viva, whose first book is ALONG A LONG ROAD (Little, Brown).
Genevieve said, on 7/28/2011 9:06:00 AM
As a long-time New Yorker reader, I adore this post. Many of these covers look so familiar to me, I remember seeing them originally, but most of them I had not known were done by children’s book illustrators. Now I need to go find their books!
Elizabeth Bird said, on 7/28/2011 9:13:00 AM
I found a Viva cover that looks identical to Along a Long Road but didn’t get a chance to include it.
Jules I wondered if you’d done a New Yorker piece but neglected to check Kirkus. Consider yourself linked.
Wish I could get my hands on the covers of other artists mentioned. Didn’t know about Roxie.
A little more than a year ago I conducted a Children’s Literary Salon at NYPL with a bunch of talented female graphic novelists of children’s literature (Colleen AF Venable (Hamster and Cheese), Raina Telegemeier (Smile), and Tracy White (How I Made it to Eighteen)). It was recorded for posterity (unlike most of my Salons) and that was the last I heard of it. Then the other day I find out from J.L. Bell on Twitter that it’s up and running on the NYPL website. Glory be, who knew! So if you’ve ever been curious as to what a Literary Salon consists of, have at it.
Again, this was yet another pretty darn good week for videos. Trailers abounded, and not just for movies. The big news of the week was that a Bill Joyce picture book had been turned into what may be the most cinematic picture book app we’ve seen yet. It’s called The Fantastic Flying Books of Mr. Morris Lessmore and is so gorgeous, in fact, that I’m going to do something I’ve managed to avoid until now. I’ll buy it. Here’s why:
Thanks to Ben Rubin and Paul Schmid for the link!
On the book trailer side of things is this one for what I’m going to call the most anticipated fall children’s book of 2011, I Want My Hat Back:
And then on the actual movie world, two trailers were released this week. One gives me hope. The other . . . not so much. So on the hope side of things is this new, longer Tintin trailer. I was always convinced that Tintin could never be done well because who’s going to allow a kid like him to handle a gun onscreen? I never counted on CGI to save the day. I usually hate this style of animation but here . . . it kinda works because it acknowledges how cartoony it can be. Oddly, I could only find a trailer online that had French subtitles. Ah well.
Nice yes? Well retain that happy feeling because the other trailer released was a bit of a disappointment. I don’t know why Martin Scorsese got it into his head that the title “Hugo” sounds better than “The Invention of Hugo Cabret”. Plain old &ldquo
6 Comments on Video Sunday: Trailer Bonanza, last added: 7/17/2011
In regards to Hugo Cabret, I totally agree. It is fairly common, though, to use different music in the trailer if the film hasn’t been scored yet. I’m hoping that’s the case here. But really, with the font and the weird color temps, I feels like it’s trying too hard to be Harry Potter. The black and white of the book helped the story feel grounded, but the color in the film (I think it’s the blues that do it) feel like it’s trying to be a fantasy or fairy tale.
JMyersbook said, on 7/17/2011 8:42:00 AM
The extended clip from “Dark Girls” is amazing/horrifying/illuminating. Powerful. I was riveted. Thank you for sharing this.
Brooke Shirts said, on 7/17/2011 9:34:00 AM
The music in the “Hugo” trailer brought back painful memories of when they put Enya in the trailer for “Tuck Everlasting.” Shudder.
Oh, and “Dark Girls” just about made me bawl. Thanks so much for sharing, it looks amazing.
“I didn’t want her to be dark like me.” said, on 7/17/2011 10:30:00 AM
[...] [...]
Karen Gray Ruelle said, on 7/17/2011 12:04:00 PM
LOVE the music for that I Want My Hat Back trailer. Is it Danny Elfman, d’you think? Sure sounds like it. Oh yeah, and the book looks great, too.
tanita said, on 7/17/2011 2:22:00 PM
I Want My Hat Back… kind of hilarious, that SOME animals refused to comment, ahem. Meanwhile, I had seen a shorter version of the Dark Girls trailer previously – I think the trailer is shattering; the movie just might kill me. And yet: every time I see The Doll Test, and children are still self-hating, without even knowing yet why… I think, “we still must keep bearing witness.”
You can read more about the app from Moonbot Studios in this write-up in The Atlantic. And you can read about further William Joyce fabulousness in this earlier post on the title credits he created for Mr. Magorium's Wonder Emporium.
0 Comments on The Fantastic Flying Books of Mr. Morris Lessmore as of 1/1/1900
An intriguing trailer for a 13-minute short by Moonbot Studios. They describe it as being inspired “in equal measures, by Hurricane Katrina, Buster Keaton, The Wizard of Oz, and a love for books.”
Sold.
It looks like it strikes a nice balance between 3D animation and a more handcrafted look, which is something I can always get behind. I’m told we can expect to see the full thing in a few months.
0 Comments on The Fantastic Flying Books of Mr Morris Lessmore (by Moonbot... as of 1/1/1900
1 2 3 4One is the final inks again. This is on Arches 140 pound hot pressed paper which is great for both ink and watercolour. The drawback for using watercolour with hot pressed paper as opposed to cold pressed (or "non pressed") is that it's harder to do an even wash of colour. In cold pressed papers there is enough texture that the watercolour washes will fill large areas without any difficulty but this is harder in a paper with a smooth surface. However nibs catch and spatter in the tooth of a cold pressed paper making it less ideal for inks. I end up using gouache to solve this problem.
Two, three and four are the order in which I apply colour which is taken from this book (five) , more or less. William Joyce is one of my heroes and his process in amazing.
Two: I start with yellow and then red. At this point I already have an interesting almost monochrome picture. With each successive layer of colour more of the image is revealed.
Three: I start to add blues to the mix, in this image just concentrating om making the boat and the clouds purple. This photo doesn't quite show the richness of the three colours but it's quite astounding what can be done with a minimal palette.
And finally four, the sky. This illustrates the difficulty I have in getting an even wash on hot pressed paper. Instead of an even wash I end up with whorls of colour and variations in the density of the pigment. Ins stead of worry about this too much I try and use it. The unevenness suggests a Van Gogh-like movement in the sky and clouds that I use. Here I see another "mistake" I've made; the ultramarine wash has obscured my inking in the sky to the point where it looks terrible. I worried about this for some time because I had spent a long time inking the sky and was quite attached to the way it had tur
23 Comments on Flying Boat Cover Process Seven, last added: 2/26/2010
Thanks for sharing your process, Eric. Do you have a particular reason for laying in the colors in that order?
I use the same type of paper when I work with ink line and watercolor wash. Works great. Fabriano also makes a 140lb hp that I buy when the sale price is lower than Arches. I can't detect any difference in quality.
Woo Hoo! This is great to see. I'm still wondering whether to attempt a proper classic ink and wash cover for my comic...
I've been told the secret to getting a flat wash on hot-pressed is pre-mixed watercolour (like Dr Martin's), masking fluid and a big expensive brush... The bottled watercolour really helps actually, but I never braved the masking fluid after tearing a great big hole with it into one picture.
Thanks Jeanie! I tend to think of the colours as being lightest to darkest but it's probably pretty arbitrary and it just really helps me to just work if I know what general direction I'm going in. I should have mentioned I use Winsor Newton artist quality paints too...
I love Fabriano papers but they can't take as much punishment as the Arches paper foe some reason and I can be pretty hard on my paper.
Hang on! I just realised... Arches hot-pressed? Wow! I found that is almost impossible to get a flat wash on whatever you do! I cried about it in college because it's so great for inking and such a fiend for flat washes and the skies messed up all my pictures. When I started using slightly more textured paper it was like the whole world became a better place for me... but then I never thought of using gouache for skies! They discontinued the paper I used to use, I've pretty much stopped water-colouring since...
Haha, cool, I didn't realize you liked Bill Joyce, but that makes sense. I worked a lot with him on his last book, watching him paint is pretty interesting. You should follow the moonbot studios blog, that's his newest venture. http://moonbotstudios.blogspot.com/
:D I don't ever know what way up anything goes... What the heck, exactly! I've been painting on random paper with scraggly Chinese brushes for years. Bought my first expensive brush in 5 years or so last week, thinking "I think I should, really, ahemm" partly because I was reading your blog and thinking I should think more seriously about materials... he he
Gah!!! I've been looking for a William Joyce blog or somewhere online where I can find more stuff of his! Thanks so much Erin for the link Erin that is so awesome! And it's awesome you're working with him. I'm only just hearing about this project now, what's it all about?
And how did you end up working with him? What were you doing? So cool...
Ha! Well, I would have done the sky first and I agree with Viviane about Arches Hot-pressed - impossible to do washes on. But this is looking great so the best thing you can do is do it your way, Eric.
It's been great seeing this detailed process, quite educational.
Viviane: I remeber being so obsessed with materials early on and it being a constant source of low self esteem for me. Now I see it more as an exploration rather then a looking for the perfect brush or ink or whatever.
When I started reading Gentian's blog: http://sketch-books.blogspot.com/ I really got into her playful approach to materials.
Also, I read somewhere that Frazetta uses the same super cheap Mickey Mouse watercolours he's used since he was a kid.
Thanks Rob! I know!! That's the proper way to go about it but for some reason it never looks right to me when I do it that way. I think because I can't yet judge how extreme the contrast is going to be and I tend to prefer a higher contrast then watercolour naturally lends itself to, if that makes sense...It's also that early on I started messing with various materials and liked to see what interesting effects I could get when I combined lots of materials together.
Wow thanks, Gentian's blog makes me want to try out different papers again actually... mmm... ha ha, I really like sleeping next to a plan chest full of different sorts of paper these days. Right, I feel inspired now :D
Eric, Have you ever tried the Maxfield Parrish technique of using oil glazes over your pen work? It is easily achievable by using Liquin to thin out the oil color until it is transparent. Build up your color depth with layers. The layers dry quickly and the result is colors that glow without affecting the inking. It also works well with the Joyce technicolor technique.
somehow, i missed this one, and now i'm coming backwards from the next post. this is so interesting to see--i really appreciate the process posts, it's very helpful!
Hey Again Eric- The studio I work for bought a lot of movie rights to his work (Dino Bob, a few others) and he developed some IP with us, which we sold to Dreamworks (Guardians of Childhood, you can look it up, there's a little bit online). Since he lives in Shreveport, which is only 3 hours from Dallas, my art director and I spent a few months over there helping him with a new book while he works on the movie and other projects. There isn't much else I'm allowed to say ;) His studio is inspiring though, I think there's a video on that Moonbot blog. My friend Adam Volker works with Bill full time now.
*Picture book, Kindergartners to third graders, contemporary, Christmas *Three children (two boys and one younger girl) as main characters *Rating: Santa Calls is a great adventure Christmas story for children.
Short, short summary: Art Atchinson Aimesworth receives a call from Santa to go to Toyland in the North Pole. He takes with him Esther (his sister after she begs and cries) and Spaulding (his buddy). They have a fabulous adventure in the North Pole, and they meet Santa and Mrs. Claus as well as the Dark Queen and her elves (and they defeat her, of course). However, they can’t figure out why Santa called them to come to the North Pole. He’s just so secretive; and every time Art asks, Santa doesn’t answer the question. In the end, Esther and the reader figure it out!
So, what do I do with this book?
1. Try to decide before you and your child read the last page why Santa called. It may be hard, but read carefully and look for clues.
2. Use the map of the North Pole in the front of the book and make up a story (as a class or as individual students) about the North Pole and an adventure other kids could have there.
3. Write a descriptive paragraph about what Toyland looks like. Use the illustrations of Toyland from the book.
Here's what's on my drawing table currently. I'm working like mad right now, filling sketchbooks,penciling and inking comics, sketching etc. etc.I haven't painted anything in a while and was surprised how bright my palette has become, really rich hues. I paint using a method William Joyce describes in his World Of William Joyce Scrapbook, which might be a kid's book but the painting advice is awesome.I've penciled the first ten pages of Harry and Silvio and will finish the other four or five tomorrow and start inking them this weekend as well.
2 Comments on On The Drawing Table Today, last added: 9/12/2009
If you are exposed to it as a kid you will never be quite like other people. How could you be? You’ve watched an entire adult population, your parents, your aunts and uncles, your teachers or your school principles; all your authority figures, suddenly transform into Poseidon, or Mae West or a cross-dressing Santa Claus. Everyday life becomes an overnight Technicolor fever dream. Schools close. The daily schedule is thrown out for a new schedule of parties and parades that become an unending delirium where it’s not inconceivable but in fact highly likely that you might look out the den window at any given moment and see several dozen men and women dressed as Yogi Bear drift nonchalantly by in a papier-mâché galleon.
0 Comments on Fat Tuesday as of 3/14/2007 12:56:00 AM
My husband Matt pairs well with me for a number of reasons. Amongst them is our mutual inclination to collect things we love. As such, Matt has systematically been holding onto all his issues of The New Yorker ever since he got his subscription in college. Over the years these issues have piled up piled up piled up. I was a Serials Manager before I got my library degree and one of the perks of the job was getting lots of lovely magazine holders. For years these holders graced the tops of our bookshelves and even came along with us when we moved into our current apartment a year ago. Yet with the arrival of our puir wee bairn, we decided to do the unthinkable.
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Thank you so much for this retrospective! So lovely to see a Gary Larson cover in there, I had no idea! I’m going to have to check out more of Marcellus Hall, I love that cover.
I also love the covers by Richard McGuire, creator of books like The Orange Book and Night Becomes Day. Check out this old blog entry I wrote, http://handthumbcomics.com/?p=66 , for some of his covers!
Fascinating. I knew of some of them, but. . .
Jane
I love this article Betsy.
For about a year or so, when my son was small, he thought the magazine was about an individual guy who was The New Yorker. My boy scanned every cover looking for glimpses of the guy in a “Where’s Waldo?” sort of way and a few of those covers became favorites of his. He still has a small stack of them in his room.
Great list. Also Charles Martin, Ludwig Bemelmans, Joseph Low, James Thurber (did he illustrate a children’s book? I don’t think so. But he wrote several of my favorites), Roger Duvoisin, James Stevenson, John O’Brien, Roxie Munro, Gretchen Dow Simpson (she did an alphabet book years ago) and probably more.
Fact: our basement is completely filled with New Yorkers.
Fact: Almost all of these illustrious illustrators who also do children’s books are men. Hmm. Yet a bunch of women did covers as well.
Thanks for this – has brightened up my lunch time coffee no end!
You can add me to the list though my covers and spots came out when you were probably just a tot! Interesting post.
Love this; thanks so much for compiling.
This is great to look through; thanks! What you can’t tell from looking is that some of these illustrators were New Yorker illustrators who were approached by New-Yorker-reading editors or art directors, and others were book illustrators before they became New Yorker cover artists. I am guessing that the Sendak one is the only case of The New Yorker approaching a book illustrator.
If I may pile on with suggestions for more, you could also include Ross MacDonald and Douglas Florian. I was going to say Marisabina Russo but she said it herself, and she said it, according to the indication on the post, almost three hours after I am writing this now. How did she do that?
About that wonderful NewYorkistan picture– I don’t know how it was credited in the magazine, but it was created jointly by Maira Kalman and Rick Meyerowitz.
I wrote this for Kirkus recently—http://www.kirkusreviews.com/blog/childrens/seven-impossible-things-new-yorker-effect/—-and started a list of those editorial illustrators who migrated to children’s book illustration. This post is PERFECT and adds to my list (which exists for no other reason than to just….exist). Bravo to this post!
And now there is Frank Viva, whose first book is ALONG A LONG ROAD (Little, Brown).
As a long-time New Yorker reader, I adore this post. Many of these covers look so familiar to me, I remember seeing them originally, but most of them I had not known were done by children’s book illustrators. Now I need to go find their books!
I found a Viva cover that looks identical to Along a Long Road but didn’t get a chance to include it.
Jules I wondered if you’d done a New Yorker piece but neglected to check Kirkus. Consider yourself linked.
Wish I could get my hands on the covers of other artists mentioned. Didn’t know about Roxie.