ILLUSTRATION TIP/Capturing Action & Emotion with Layne Johnson

LAYNE JOHNSON, on Illustrating Action

Well I just found out my book OFF LIKE THE WIND! The First Ride of the Pony Express, written by author Michael Spradlin, won this year’s Western Heritage Award from The National Cowboy Hall Of Fame and Museum in Oklahoma City. How exciting! When I think back to working on that book, I recall certain ideas I had as I first read the manuscript, and later as I was designing each spread for the art. The first thing that made me really want to illustrate the story was a biggy. It had loads of ACTION. How many times have authors been told, “Give the artist something to illustrate!” What illustrators hate to see in picture book manuscripts are the dreaded “talking heads.” Or no change of location. With OLTW, that was definitely not a problem! The action varied from location to location with various perilous interactions. When I paginate a manuscript the question is what to illustrate on each spread or page. It was especially challenging but fun with OLTW, because there was so MUCH to choose from.

When faced with this most exciting phase of a book, I must look at what or what not to illustrate. A picture book doesn’t have the luxury of video where multiple thing can be acted out. I must choose that wonderfully magic “moment” which can relay the essence of the scene. Am I asking the reader to think, react, or simply be a part of a scene? Do I illustrate what’s about to happen, what’s happening now, or what just happened, i.e. anticipation, excitement, or reaction. These are all valid things to paint, but must be balanced throughout the book. This is where the true art comes in . . . pacing.

I don’t believe in talking or writing down to children. They are smarter than we give them credit for. And they aren’t delicate flowers, though we try to make them that at times, usually for our own overprotective reasons. The children of yesteryear knew more about life because they grew up with it. And the children of today deserve to know what the past was really like. Knowledge is strength.

Once I decide what to illustrate, I then look at how to build tension, create empathy, make a scene explode, or the opposite – how to create a resting point, something serene. Ultimately I want to make a child feel like he or she is there. Empathy is everything. Panoramic skies can make you feel like you’re really in an expansive environment. Dangerous critters or weather may threaten. There may be hostile people. This is GREAT! Stories must overcome real obstacles; otherwise it can be a boring read.

So look at the scenes below with these things in mind. Also, watch for point of view, perspective, directional elements that guide to focal points, color, etc. They aren’t accidental, but hopefully somewhat invisible. “Pay no attention to the man behind the curtain!”

Visit my website at http://www.laynejohnson.com/

See my book trailers on YouTube!

COMING SOON....

ON A PERSONAL NOTE FROM LYNNE MARIE:



Bottom Row: L to R, Layne Johnson, Jennifer Ward, Me!

I think one of the best things about the Highlights Foundation Writer's Workshop at Chautauqua (besides the fabulous mentors, invaluable learning experiences, wonderful opportunities, absolutely delightful staff and beautiful, quaint & relaxing location) is the people.

At Chautauqua 2002, I had the distinct pleasure of meeting Layne Johnson, Jennifer Ward and Matt Faulkner (not pictured) as attendees and becoming pals for the week. 

Here were are, admiring one of Layne's projects at the Welcome Center. I am still a great fan of his remarkable work and am pleased to be able to showcase it here.

Writing Advice from Illustrator Will Terry/How Not to Kill 'Em with Color

Ok -- I admit it. I am an author who is a wanna-be illustrator. I study art and pictures probably just as much as I study words and text. You might not even know that about me, so maybe I am a "closet" wanna-be illustrator.  Then, one of my favorite picture book illustrators, Will Terry, releases his video series "How to Illustrate Children's Books" and "Digital Painting in Photoshop" and I tell myself I must have him Guest Blog over at my blog pond so that other writers who are closet wanna-be illustrators can come out and stretch their wings along with me. But does sweet, humble Will mention it in the following post? No. So here's the link. Enjoy the creative process (and the color aspect - but in moderation, of course)! http://www.willterry.com/store.php


And without further to-do, here are some enlightening anecdotes from Will Terry:

I feel like the brother of three sisters all over again sneaking into their bedroom with one mission – get to the barbie dolls, rip as many heads off as possible before their screams forced me to run and hide. Part of me feels that I don't belong here. I got horrible grades in school. I'll bet that most of you did well in school. I'll bet that most of you enjoyed writing as a child – I didn't. I'll bet most of you have no trouble with reading comprehension – I did and still do. I lived in the shadow of an older sister who over-achieved in school. Why am I confessing all this? Because it's part of who I am and I feel lucky to have found what I'm good at. It pains me to realize that the world is littered with souls like mine but who never found themselves or were never rewarded for their talents. I grew up feeling inferior to those who excelled in reading, writing, and math. I was afraid of you guys.

Ok, that was a very heavy way to start out but I feel I owe it to my counterparts to push this message whenever I can for awareness. The public school system is broken – it looks to strip mine a few skills from those who posses them while leaving the rest feeling unwanted and discarded.

I thought I would talk about a very important lesson I learned a few years ago. It was very painful but I'm so glad I allowed myself the opportunity to open up to new possibilities. Often we get to a comfortable place in our craft and we don't want to receive criticism – we stop practicing what we preach. I'm in a critique group called Brotique (a bunch of guys trying to write picture books) and I have no trouble accepting criticism on my writing. I think it's because I have very few hours writing in relation to the time I have spent refining my illustration style.

A few years ago I met David Small (caldecott winner for So You Want to Be President? ) at a writing conference out here in Utah. I had the chance to go to dinner with him after the conference and he started talking about professional critiques. He said most professionals don't really want an honest critique. I gulped because I realized that I was in that camp. Why would I want a professional critique? After all I'm a professional right? I know what's good about my work and I don't need anyone telling me different. As he talked I thought about it and one thing I learned early in life is that whenever you're confronted with an opportunity that seems painful or difficult it usually is followed by growth. Also life is too short to say “no” to new experiences – I know too many “no” people and they're boring – I don't ever want to be accused of being boring.

So I found myself volunteering for his critique – almost like I was hearing my voice from across the table. Mr. Small then looked through me - “Ok, but let me warn you.” Uh oh. “I'm too old and I've wasted my breath telling artists what they want to hear to long to sugar coat my feelings any more – in other words I'll tell you exactly what I think of your work.” GULP - ok. What had I got myself into?! Luckily he didn't do it right at the table so everyone could see me melt into my chair. “I want you to send me the book you're most proud of and I'll look it over and get back to you.” Sheesh – what a relief – I could still back out gracefully – at least nobody at the table would know that I chickened out.

This would be a boring story if I had chickened out so of course I didn't. That which does not kill me makes me stronger – so after a trip to the post office (I sent him “The Frog with the Big Mouth”) I waited to hear from David. A few weeks later I summoned the courage to call him and take my flogging. After the small talk I said so what did you think of my book? His response came with another disclaimer. “Ok, but there are illustrators I've lost touch with after I've commented on their work – some people can't handle criticism.” I assured him I was well prepped and ready for my lashes – not in those words but you get the point.

Anyway quite simply he said that I have beautiful illustrations but I don't give the reader any rest from my fully illustrated color spreads. He went on to ask, “Are you trying to kill your audience with color and visuals?” “Not everything is as important as you're making it.” “In order to have a crescendo you have to have rest – a place to build from.”

WOW! He was right. I was trying to kill the viewer with color. How did he see through me so easily. In fact I remembered looking at picture-books in college wondering why every illustration wasn't treated with equal value? I remember thinking that most books were lacking a consistency in image quality. But I was making a horrible mistake. I wasn't looking at the book as a project but more as an excuse to showcase artwork. I felt silly. Was I trying to kill the viewer with fully illustrated color spreads? I was trying to wipe out the planet with my color! “I wanted to blow the viewer off their chair with color – If you gaze upon my work I'll burn your retinas kind of color – and the funny thing is that I can't stand movies that have 20 min action scenes where the story fall apart. Talk about blind.

So I thank you David Small – I have to admit that it took me a few months to fully accept your gift but it has changed me in a good way. I'm trying to be more sensitive to the story. Ask myself more questions. What can I do to enhance the plot, characters, etc. When should I underplay the illustrations? When should I unleash my powers?

What did the author intend? Will the reader understand the text better if I put this or that in the pictures?

In the end I now look at each manuscript as the first half of the completed project. And I'm happy to share this experience with you – perhaps you too can improve your craft if you let go a little and allow for the fact that you just might not know it all.

I'm now working on another book (Senorita Gordita) for Albert Whitman by Helen Ketteman (a total sweetheart) and this time I'm going to get it right – or as right as I can with my current skills.

http://willterry.blogspot.com/

http://willterry.com/

Art Advice/Launching Your Story by Amal

I am pleased to introduce my dear friend Amal -- one of my East Coast Conference Posse (clockwise, Penny Weber, Lynne Marie, Deborah Cuneo and Amal Karzai). Although I am hardly an illustrator, these extremely talented illustrators and writer/illustrators who let me hang out with them and sometimes let me humor them with my stories and cut-paper art which I dabble in!

I can only say it is a pleasure to witness Amal's genius in writing and illustration first-hand, and I am proud to share one of her tips with you.

*.*.*.*

On illustration: To make things easier when approaching a book consider the whole story, where you can take it, how far you can take it, and ways to endear the character to yourself. If you love the character there's a positive chance that someone else will too.To set the tone before storyboarding I work the cover art first, even if it's not what the art director chooses for the cover. It lets me know how to proceed -- a necessary launching pad of sorts. Because I judge books by their covers, and because I don't judge anyone who picks one up for the title font, the cover art counts double -- like the first page of a novel, we want them to keep flipping pages.

LEFT:  The portrait in red is titled Mirror Image. So what else does one do with oneself at 2am but play Sudoku and paint a self portrait. Oil on canvas.

RIGHT: The Vault is an illustration that belongs to Mercurial - A day in the life of Anaka Twarpick. It's the picture book sequel to Stravinsky's Lost Music. Mixed media

View additional images here: http://amalillustration.com/

Links: http://www.artsac.org/

A long bow of thanks to the Global Studies Program at SUNYSB for their clever fund raising adventures

Please check out Amal's NEW children's book:

Order 'My Magic World' now from Amazon:

ttp://www.amazon.com/My-Magic-World-Viswan-Rahasya/dp/0982114109

The cover art is for Ali's Special Cure - a picture book being published by Tazeen Ahmed and due out end of 2010. It's about a young boy who learns the power of prayer. Kinda apt for the times....The artwork is in watercolor.

Writing Advice/Writing Sea-crets from Author/Illustrator Melanie Hope Greenberg

I am honored and excited to present today's Guest Blogger for many reasons. One, she's the FIRST author/illustrator talent to be featured here <3 Second, she's a New Yorker, like me! Third, her book features an unusual event that happens at a wonderful place -- Coney Island, Brooklyn, New York! Fourth, she's a sweet and wonderful person who spends lots of time and energy promoting children's literature and art <3 Fifth, she has Mermaids in her book! And Sixth, her tip can be used by BOTH illustrators and picture book story writers to map out their story!

*.*.*.*

Writing Sea-crets from Author/Illustrator Melanie Hope Greenberg

I’ve written and illustrated a story about a shy mermaid coming out of her shell. How do I go about getting my story published?

To present my book idea to a publisher I take these steps.

* First, a Thumbnail Grid is the entire 32 page book on one a sheet of paper. It's an outline and a map for the sequences of scenes.

* Second, a 32 page Storyboard brings the words and pictures together. Here starts composition, camera angles, and characters.

* Last, is a dummy, or a fake 32 page picture book in the size that you envision. The dummy contains the storyboard sketches enlarged and refined. The words are pasted in to see if they work with the art. The dummy is a good place for self-editing. How does the book's pacing sound and feel with each turn of the page when read aloud?

The Book Dummy is finished! What is the next step?

* Find an editor who is interested. Or, send to a publishing house Slush Pile, in other words, the cattle call.

* Send that editor (or the Slush Pile) a packet with a Cover letter, Typed Manuscript, Book Dummy and Color Art Samples, and a SASE. Remember, never send original art, send color reproductions only!

Good Luck!

See Melanie's Thumbnail Grid, Storyboards and Picture Book Dummy for "Mermaids on Parade" at her blog: http://mermaidsonparade.blogspot.com/2009/05/writing-and-illustrating-dummies-are.html
Web: http://www.melaniehopegreenberg.com
Illustration Blog: http://melaniehopegreenbergillustrations.blogspot.com/

ABOUT MERMAIDS ON PARADE:

Once a year, mermaids, Neptunes and legendary sea creatures come to life - leaving their oceans to parade on the land. They sparkle and glitter and make the streets of Coney Island electric with excitement. In the middle of it all, a shy little mermaid comes out of her shell to march with all the others. Young and old alike can enjoy the salt water taffy-hued costumed entrants who come to open the ocean and march in the nation’s largest art parade around a once world famous amusement park.

Keep reading to find out where to get your own signed copy of  "Mermaids On Parade!"

Purchase signed copies of "Mermaids on Parade" here:
http://mermaidsonparade.blogspot.com/2009/11/collect-melanies-art-and-books.html