Archives for posts with tag: Illustrating Picture Books

Illustrators: Responding to the Text

Kevan Atteberry

#1. What elements of a manuscript first capture your attentions? Plot? Language? Imagery? Tone? Sound? Theme?

Kevan

Obviously, all of those things play a part in choosing to accept a manuscript, with a light edge given to Plot and Tone.  The story has to engage me. It must be fun, hopefully funny, and when you finish it feels complete. (And as a note, if the tone is odd or bordering on irreverent, I jump at the opportunity. But even above the elements you list, I think a strong, likable character is the thing that most often says, “Do this!” Though I love most genres of picture books, the ones that stand out for me, the kind I like to illustrate are character-driven. I want characters that endear themselves to the reader. Characters with strong established personalities in the text alone, but that I get to flesh out visually. Maybe add my own traits or peculiarities to.

#2. What elements of a manuscript inspire your choice of style, line, and palette? For example, your illustrations in FRANKIE STEIN, LOTS OF LETTERS, and BOOGIE MONSTER are at once related, yet still different from one another.

Kevan

To be honest, when I am offered a book, the art director or editor has chosen me because of a style they have already seen of mine. In discussion with them, they will reference a sample illustration and let me know that that is why they’ve asked me to illustrate the book. I’ve had editors and art directors make suggestions on both line AND palette. In TICKLE MONSTER, we changed the palette a couple of times because the publisher had a particular vision. I did so reluctantly, but in the end I was certain that they had made the right choice. I LOVE the palette in TICKLE MONSTER and BOOGIE MONSTER—as do others—and give all the credit to the publisher for that decision.

#3. Is there a picture book text that you would love to re-illustrate? What about the text excites you?

Kevan

If you are talking about a picture book text by anyone, hmmm…let me think. The first book that comes to mind in Mercer Mayer’s, ONE MONSTER AFTER ANOTHER. A charming story with lovely, fun illustrations and characters. There is no way I could improve on what Mayer did, but I could have the best time creating my own spin on it. GEORGE by Robert Bright would be fun, too. A sweet story with an endearing protagonist. Jose Arugeo’s LOOK WHAT I CAN DO is a wonderful illustration-dependent picture book that would be hilarious to interpret.  The text is nearly non-existent so I don’t know if this is a good example of what about the text excites me. It really is just the inanity of the two characters and their one-upmanship. And then I’d really love to illustrate a collection. Where the illustrations weren’t linear but rather vignettes. Each illustration standing on it’s own, not linked to the previous or the next illustration—like a collection of nursery rhymes, i.e. Mother Goose.

#4. As an illustrator, what is it that you most want writers to understand about your creative process?

Kevan

Probably that ‘I know what I’m doing.’ And to trust me. I will not ruin their story. I will bring it to life and I will treat it with great respect. But the illustration part is mine. It is my half of our collaboration. I am open to any illustration note that is imperative to the story otherwise it is all up to me. And the editor. I don’t want that to sound standoff-ish, I just want to feel comfortable—have them feel comfortable with me—interpreting their story visually.

 THANK YOU, Kevan, for sharing your thoughts. You can find out more about Kevan’s books and illustrations at:  www.oddisgood.com

Illus. by Kevan Atteberry

Picture Books Referenced Above

FRANKIE STEIN by Lola M. Schaefer. Illus. by Kevan Atteberry. Marshall Cavendish, 2009.

LOTS OF LETTERS by Tish Rabe. Illus. by Kevan Atteberry. Innovative Kids, 2006.

TICKLE MONSTER by Josie Bissett.  Illus. by Kevan Atteberry. Compendium, 2008.

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Illustrators: Responding to the Text

Craig Orback

 #1. What elements of a manuscript first capture your attention? Plot? Language? Imagery? Tone? Sound? Theme?

Craig

The easy answer would be to say all of the above, which for me is also true. More specifically though I get a lot of enjoyment from the setting, whether it’s historical or not and also the characters. For my picture books THE CAN MAN and NATURE’S PAINTBOX: A SEASONAL GALLERY OF ART AND VERSE both were set in the present which made for a nice change of pace from my typical historical projects. NATURE’S PAINTBOX does not really have a main character; the four seasons were my main characters. Bringing out the fun distinct elements of each season and letting my imagination run wild was really rewarding. It was also my first time illustrating poetry so that brought its own unique challenges. For the book I worked in pen and ink, pastel, watercolor and oil paint to depict each season. Typically an illustrator works in only one consistent medium for each book. For THE CAN MAN it was very character based and deals with serious and topical subject matter like homelessness and wants versus needs as seen through the eyes of a young boy. Tim lives in the city and comes from a family of limited means. He wants a skateboard for his birthday and decides to earn the money himself. I wanted my visuals to be grounded in reality. Living in Seattle at the time I took visual elements from the city but not in any obvious way then put them in the artwork. Traveling around the city with my camera was great fun.

THE CAN MAN

#2. What elements of a manuscript inspire your choice of style, line, and palette?

For example, your illustrations in PAUL BUNYAN, NATURE’S PAINTBOX and THE CAN MAN are at once related, yet still different from one another.

NATURE'S PAINTBOX

NATURE'S PAINTBOX

NATURE'S PAINTBOX

 Craig

For THE CAN MAN I knew I wanted to work in my usual medium oil to capture the richness and detail of Tim’s life in the city.  Oil painters like Edward Hopper and Wayne Thiebauld among many others were and continue to be an inspiration and I felt that oil paint best captured the urban realism depicted in that story. As I mentioned earlier, in NATURE’S PAINTBOX the poet Patricia Thomas in the text makes comparisons between the seasons and the four different mediums so the decision on what medium to use was made for me. I did however have to practice with pen and ink and pastel, two mediums I hadn’t used much since art school and much earlier. I felt a lot of pressure with that book to make all the different mediums look equal as far as skill level. For PAUL BUNYAN I wanted something flatter and more cartoon like so I worked in acrylic paint and used a lot of line work, which gave me the effect I was looking for. I wanted less realism and a more playful quality.

#3. Is there a picture book text that you would love to re-illustrate? What about the text excites you toward doing this?

Craig

They aren’t really picture books but I love a lot of the classic adventure stories that N.C. Wyeth illustrated a hundred years ago like TREASURE ISLAND, KIDNAPPED, ROBINSON CRUSOE and others. His images are so burned in my brain though it would be pretty hard I think to come up with something new or that wasn’t too influenced by his work. KIDNAPPED is a favorite story I have reread many times. I love the setting of the Scottish Highlands in the 1700’s and the main characters Alan Breck Stewart and David Balfour. The tale is so vivid in every way.

#4. As an illustrator, what is it that you most want writers to understand about your creative process?

Craig

That we take these stories to heart very deeply and try really hard to bring them to life visually. Reading them over and over multiple times, acting out scenes in order to help you sketch the characters better and capture their feelings brings the illustrator into this world the author has created. Along with the satisfaction of completing a project I do feel a little bit of sadness and even a mild depression when it comes time to say goodbye to the world the writer created and I immersed myself in. If you’re lucky though another story awaits just around the corner!

THANK YOU, Craig, for sharing your thoughts and reflections. You can find out more about Craig’s work and books at:  http://www.craigorback.com

PAUL BUNYAN

 Picture Books Referenced Above

 THE CAN MAN by Laura E. Williams. Lee & Low, 2010.

NATURE’S PAINTBOX: A SEASONAL GALLERY OF ART AND VERSE by Patricia Thomas. Millbrook Press, 2007.

PAUL BUNYAN adapted by Stephen Krensky. Millbrook Press, 2007.

Illustrators: Responding to the Text

After 100 posts about picture books, I’m yearning to add other voices. I’ve begun to invite illustrators to answer a few questions about how they respond, relate to, and expand a text they didn’t write themselves. In other words, how do illustrators respond to our manuscripts.

Our first illustrator is Richard Jesse Watson.

#1. What elements of a manuscript first capture your attention? Plot? Language? Imagery? Tone? Sound? Theme?

What a clever question, George.  The first thing that captures my attention is the envelope (that is, if it arrives by mail). Things are changing so fast, that the traditional form of mail may be obsolete by the time you get this response. But I’m sure you remember what mail is even though your readers may not.  So, to clarify for you readers of George, I was referring to Medieval Mail, or Snail-Mail, or Analogue Word Transfer, or in other words,  The Hob-Nobbing of Wizards, using paper and ink made from walnuts. .  What was the question? Oh, right, am I intrigued by envelopes?  In a word, yes.  The fact that someone sent me an envelope with yummy words or story, is so exciting.  And the possibility of illustrating those words sends me into a little orbit. An orbit of imaginings.  Ahhh, what might I do with these words?

The tone of the words is what hits me at first.  Does the writer grab me by the…uh,  medulla. Am I intrigued? Is this writing fresh? Not like, Slap!!>>fresh, but original voice fresh. Then the other things follow: Imagery. Sound. Plot. Theme. Etc.

#2. What elements of a manuscript inspire your choice of style, line, and palette?

For example, your illustrations in THE LORD’S PRAYER, THE HIGH RISE GLORIOUS SKITTLE SKAT ROARIOUS SKY PIE ANGEL FOOD CAKE and THE MAGIC RABBIT are at once related, yet still different from one another.

 The final emotional delivery of the manuscript will inspire me to want to illustrate the story or not. As an illustrator, forsooth, even as a reader, I want to be led down a garden path; hopefully one with pretty flowers, and ripe fruit. Some lizards would be cool. Maybe I could be wearing a Davy Crockett hat.  It sure works if you surprise me with your thoughtfully arranged words, maybe startle me!  Amuse me? It does me-the-reader wonders if you can emotionally nudge me, or even wrench me  in some lingering way.  We could also just have fun.  “Good clean fun,” to quote Bill Murray.

But all that to say, a good story will compel me to experiment with medium in some unique way. My goal is to be true to the text but to explore the text and as N. C. Wyeth said, “To paint between the lines.”

THE NIGHT BEFORE CHRISTMAS by Clement C. Moore

 #3. Is there a picture book text that you would love to re-illustrate? What about the text excites you toward doing this?

I would love a chance to re-illustrate THE STORY OF FERDINAND by Munro Leaf. Actually it is so perfect the way it is. Forget I said anything. Ixnay on the what I saidnay.  But I love the anti-war sentiment, and the idea of letting each person be true to their unique gifting. Hard question to answer because I love so much in literature.  I am currently illustrating The Twenty Third Psalm. I would love to illustrate some Washington Irving, some Edgar Allan Poe.  THE WIND IN THE WILLOWS is a book I have always wanted to illustrate.

#4. As an illustrator, what is it that you most want writers to understand about your creative process?

 That illustrators cry real tears. We bleed. We put our pants on one leg at a time.  We eat turkey one leg at a time.  An illustrator’s job is to create a sub-text to the writer’s text.  A children’s picture book illustrator will be telling HALF of the story. One half, your words, one half, our pictures. It is an intimate collaboration. A perfect marriage of text and art. Or like the bishop says in THE PRINCESS BRIDE, “Mayowage…”

THANK YOU, RICHARD for sharing your thoughts.  For a fascinating look at Richard’s work and life please visit his website: <richardjessewatson.com>

THE MAGIC RABBIT by Richard Jesse Watson

 Picture Books Referenced Above

Moore, Clement C. THE NIGHT BEFORE CHRISTMAS. HarperCollins, 2006.

Watson, Benjamin James. THE BOY WHO WENT APE. Illus. by Richard Jesse Watson. Blue Sky Press, 2008.

Watson, Richard Jesse. THE MAGIC RABBIT. Blue Sky Press, 2005.

Willard, Nancy. THE HIGH RISE GLORIOUS SKITTLE SKAT ROARIOUS SKY PIE ANGEL FOOD CAKE.  Harcourt, 1990.