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Dilys Evans has been providing advice to young artists since 1978, when she founded Dilys Evans Fine Illustration.

Below is a summary of that advice—10 characteristics that she believes all outstanding picture books have in common.

Use it as a guide as you evaluate the picture books in your collection.

1. In the Beginning Was the Word
The pictures must be truly inspired by the story.

2. Preparation Is Paramount
The artist knows his or her characters, subject, and the setting inside and out.

3. A Great Cover Is a Great Start
If the cover art is compelling, it will make the viewer pick up the book and turn the pages.

4. The Artist Sets the Scene before the Story Begins
The inside flap offers a great opportunity to set the stage for the story or introduce a character.

5. The Endpapers Involve the Reader
Endpapers are another opportunity to add to the story or overall design of the book.

6. The Medium Is the Message
The perfect choice of medium to illustrate the text should convey every mood and nuance.

7. Every Picture Tells the Story
Every image is central to the story and moves it forward to the next page.

8. The Book Is a Form of Dramatic Art
Every scene must be carefully chosen to dully illustrate the drama and excitement of the story as it unfolds.

9. Art and Type Should Be a Perfect Marriage
The typeface should seem to be almost an extension of the art itself.

10. White Space Rules!
White space is a compositional element and not just a background to present the art.

Printed by the School Library Journal, September 2005

Talk tomorrow,

Kathy

Filed under: Advice, authors and illustrators, How to, list, picture books, reference, Tips Tagged: Dilys Evans, Guide to Evaluate a Picture Book, How to Spot a Great Picture Book

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Show and Tell: Exploring the Fine Art of Children's Book Illustration Dilys Evans

When I was in college, I was very involved with the college's literary magazine. I was on both the art and literature selection committees. I don't know how I ever got on the art committee or why I stayed on it. I love art, but I can't discuss it intelligently. I had a few stock phrases that I could use intelligently such as "I really like the use of negative space" and "the composition just draws the viewer in" but mostly I'd pull a Meryl Streep as Anna Wintour in The Devil Wears Prada and shake my head slightly with a pained expression on my face. When pressed, I'd explain that "it just doesn't do anything for me."

That's one of the main reasons I don't review picture books on this blog, and when I review things that rely heavily on illustration, like graphic novels, the bit where I talk about the art is always strained, if I even bring up the art at all.

This book reminds me why I don't talk about art much. Each chapter stands alone as its own little essay on the work, life, and career of a children's book illustrator. It's full of technical explanations on process, the only I really got into was Denise Fleming, who it turns out is INSANE. Ok, not really, but her medium is paper pulp. She makes each illustration in a piece of paper as she makes the paper. I've made a lot of paper in my day (I really love making paper) and that's just super hard core.

Evans points out all these things I never noticed-- what makes us turn the page, the little details that tell the story, and fully convinces us that each of these artists is a genius.

The prose is full of technical information and can be rather dense in place for those not used to reading about art, and it would be really nice if there were an introduction and conclusion to look at the group of essay/chapters as a whole and to look at common themes and items that make a truly great picture book.

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All About Agents...

My Sunday morning started out with an agent panel moderated by Mark McVeigh Editorial Director of Simon & Schuster imprint Aladdin. And here's some news--Mark revealed that Aladdin is now a hardcover imprint and will be publishing picture books through novels for teens.

The panelist were Dilys Evans, president of Dilys Evans Fine Illustration; Michael Stearns, editor-turned-agent with Firebrand Literary; Michael Bourret, agent with Dystel & Goderich; and Laura Rennert, senior agent at Andrea Brown Literary.

Mark asked the panel: Why does a creative person need an agent?

Micheal Stearns: He said writers need agents for two reasons. First, to work out deals with the editor so as not to pollute the writer-editor relationship. (Or, as Mark McVeigh put it, "Let the writer make the snowballs and the agents throw them. He is very much a pro-agent editor.) And second, because agents keep on top of the market in ways that a writer cannot.

Michael Bourret: He said a writer need an agent for direction as the writer builds her career.

Laura Rennert: She said agents are the advocates to deal with situations of problems that arise as the industry changes.

More from the panelists:
Michael Bourret: He shared a success story about his author Jill Alexander whom he met at the SCBWI conference last February. (She also met her editor there). He was taken in my her a title A Hood Ornament in the N0-Jesus Christmas Parade and knew he wanted her as a client. Her book will come out next year. (He agents Sara Zarr, a National Book Award finalist.)

Laura Rennert: She describes herself as a "literary omnivore," and says she's looking for a strong voice, a voice she takes pleasure in, a new perspective, a fresh and unusual angle. (She agents NY Times bestselling author Jay Asher; and Kathleen Duey, also a National Book Award finalist.)

Dilys Evans: She says agents must establish great working relationships with their editors--they must find ways to get what they want, smiling. (Mark McVeigh referred to agents as "honest sharks.")

And I wish you all could have been there to here Dilys Evans tell stories--she was terrific.

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Check out Taxali’s new figures from Chump Toys. Here’s a bit from Gary’s news release:

“Here is a sneak peak at my two new figures coming out this April. I present to you OH NO and OH OH. Yes, the legs articulate and you can make these little guys sit, stand, stare at the cosmos, kick each other… it’s limitless.

Standing at 6-1/2″ high, they’re a wonderful representation of my art courtesy of Bigshot Toyworks (production development by Klim Kozinevich at Big Shot Toyworks with a brilliant sculpt by Scott Wetterschneider, developed for Chump Toys). The launch will be at Magic Pony in April, maybe early May. I’ll be selling them for $60 each ($80 signed). … (For our European pals, signings are already planned for Barcelona and Rome in early, mid June.)”

And check out the new figures Klim developed for Nathan Jurevicius and MTV (warning: MTV’s page here is all Flash-y and rather slow to load):

You can see more of this series at Klim’s Flickr profile.

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