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Kathleen Kemly has wanted to illustrate children’s books since she was in third grade. She grew up in Michigan and studied illustration at Parsons School of Design in New York. She is the Illustrator of many award winning books. Kathleen works in pastels, oils and pencil and has exhibited her pastel paintings in Seattle. She has worked with children as an artist in residence for middle school students and enjoys visiting schools and talking to children about illustration and creating characters.

Ms. Kemly is a member of the Society of Children’s Book Writers and Illustrators and a recipient of the Seattle Arts Council Arts in Education Grant. She lives in Seattle with her husband and two grown sons. She likes to ski, hike in the mountains and be outside as much as possible.

Above and Below are Two illustrations from THE ICE POND – A Work in Progress.

Below is Kathleen’s newest book, MOLLY, BY GOLLY: The Legend of Molly Williams Americas First Female Firefighter. Written by Dianne Ochiltree and published by Boyd’s Mill Press. You will have to wait until the fall of 2012 for it to hit the bookshevles.

KT: This is so much fun. I just realized that Molly, by Golly was written by my friend Dianne Ochiltree. Did you have a chance to interact with Dianne while working on the book?

KK: Not directly, but she provided lots of reference material for me to use. She was also part of the illustration review process, not usual for a writer, because she is an expert on the history of fire fighters equipment and clothing. Her input really helped Molly come to life, along with her great story!

Couple all these great illustrations and a wonderful story by Dianne Ochiltree, to me, this is a must by book. Can’t wait until it is available to buy.

Here is Kathleen sharing her process:

I like to start in Photoshop with sketches. For a book I will do a bunch of character sketches first and then storyboard the book very loosely. When the storyboard is where I want it to be I’ll print it out and make a dummy to make sure there are few compositional redundancies and it has good ‘page turn-ability’. I like to have my art director and editor take a look at this point so they know and approve of the direction of the project.

Next I enlarge each thumbnail, in Photoshop, to the final art size and do the sketch. Drawing in Photoshop enables me to make changes easily, move, resize and warp until the drawing is just where I want it.

Continuing on with creating an illustration of Table 52 in Chicago...

I taped this photo onto my lightbox and did a first trace, establishing the main lines of the building. I straightened up the distortion in the photo (its slight, but its there... the verticals in photos are rarely all truly vertical.)

I took out all the "uglies" that I mentioned in the last post.

I moved the middle tree to the right just a bit so the pretty window would show better. This also had the added benefit of hiding a bit of the "warming hut".
Then I did a really bold thing and added a tree that isn't even there on the right side!
Before I did that I stared at that side of the building and pondered how on earth to show the fire escape and fiddly bits of pipes and all, then also how to show that whole basically dead area.

"Why don't you just crop the whole piece and take that side off altogether?" you ask. Good question. Two things: 1. It needs to be there to balance out the rest of the piece and 2. because I'm doing this for a magazine and there is a size specification, I have to include exactly what I have in the picture to make the size work.
The added tree is in keeping with the two that are already there, and I honestly don't think anyone's going to have an issue with it. This is a case where that "artistic license" we all carry around comes in handy. You just have to know when and how to use it.

So now that I have the composition basically worked out to my satisfaction, I do another trace, tightening things up a bit, cleaning up the linework and adding a few more details.


I forgot to say before that I also took out the buildings in the background. Sometimes I leave them in, it depends. If a building is flanked by others, up close, or if the surrounding buildings help establish where this one "lives", or for some other good reason, I will leave them in, and maybe fade them out some.
In this case, the surrounding architecture does nothing to enhance this one, and also, this one is kind of 'stand alone' anyway, so I decided it didn't need any company on the page.

Also, the trees will be very "light" in feeling. I don't want them to overwhelm the picture. I will be taking out the snow in the photo as well, and putting Spring leaves on the trees (and taking out the Christmas lights they currently have wrapped around them). So the overall feel of the piece will be much different than the photo.


Next I put that last sketch on the light box and transfer the drawing to my final paper.
I'm using Lanaquarelle watercolor paper. I darkened the drawing up in Photoshop to show here. In reality its much much lighter, and so is the paper. But it does have a warmish cast to it, which will work nicely with the whole feel of the piece.

The next thing to do is choose a palette and start painting!

All images and content herein are © Paula Pertile and may not be used or reproduced without permission.