Showing posts with label SCBWI. Show all posts
Showing posts with label SCBWI. Show all posts

Thursday, September 22, 2011

2011 SCBWI Illustrators Intensive – Even More Notes!


Richard Jesse Watson
 




I like to cross-hatch with an exacto knife.
The subject matter (of a painting) tells you what medium to use.
Some mediums ’fight’ you.

I like the challenge of 'making do' (with tools and supplies).

Experiment. Sometimes when you experiment you fail. But then you know ‘don’t do that again!—It was easier in my imagination!’

I like to play with symmetry and design.



He likes to use egg tempera, and has spent as long as three months on one egg tempera painting. The elegance of egg tempera painting comes from the delicate brush work that’s possible as well as its transparency. It’s a dance between opacity and transparency. He thinks you can get similar results with acrylics.

Both oils and tempera need to breathe, that’s why they can be used together. (You can paint oil OVER tempera).

He doesn’t recommend (egg tempera) unless you have a lot of patience.

Strathmore rag illustration board is an elegant amazing surface—either ‘toothy’ or hot press. But hot press is not good with an electric eraser (which he likes to use). It can ruin the surface.








Kadir Nelson

I’ve been searching high and low for notes from Kadir Nelson’s demonstration. I was so mesmerized by watching him paint this amazing portrait, I must not have taken any!

The subject -- a volunteer from the audience -- is illustrator Dan Santat.

These photos speak for themselves.....














Thursday, September 8, 2011

2011 SCBWI Illustrators Intensive -- Some More Notes


More quotes and photos from the August SCBWI Intensive

David Small
I don’t see how anyone can be an illustrator if they can’t draw the human body from memory.

(Retaining spontaneity) is my goal.

Don’t illustrate a manuscript unless you love it.  You will have to read it every day of your life for a year. Don’t do it just for the money.
My eye knows when I’m finished (with an illustration).
Rembrandt was an illustrator!

Synthetic brushes last forever....

On book tours I always take a sketch book. I need to keep drawing!

The artist’s duty is not to surprise the viewer.  The artist’s duty is to surprise himself.

A sort of calm (comes over me) when I’ve done something really good…(something) that welcomes or disturbs the eye in a pleasant way.



Marla Frazee
I stretch every kind of paper (from) Xerox 1 ply recycled paper to series 500 Strathmore hot press paper. It doesn’t have to be watercolor paper.  Getting the paper wet sets the graphite sketch (so it won’t smudge). I don’t use illustration board because you can’t use it with a light box.

I use Windsor & Newton watercolor or gouache and inexpensive brushes.
I paint 50 or more layers (with a small brush!) for my backgrounds. It’s not interesting to watch!

I like to use Prismacolor black Verithin and ebony graphite 5H pencils.
I draw out of my head, from a model or if photo reference is needed I Google it. I also have a scrap file of images. When using photo images (I take care) not to get too close to the photo image or the illustration won’t work.

Think character, scale, setting…
Technique is secondary because if the illustration isn’t working it doesn’t matter (what the technique is).

Think of the rhythm of the story…Where are the beats?
I have no desire to do art on a computer. Work in a way that relaxes you. I get tense on the computer. It feels great (to me) to spend the day in the studio working!

Thursday, September 1, 2011

2011 SCBWI Illustrators Intensive -- Some Notes


SCBWI followed their summer Conference this year with a chance to attend either a writer’s or illustrator’s intensive.  I chose the Illustrators Intensive and thoroughly enjoyed the opportunity to see some of the ‘greats’ demonstrating their illustrating techniques.


I wrote down some snippets of the information (on tools etc.) so dear to the hearts of illustrators’ fans and groupies!

Jerry Pinkney

Some preferences…

2B pencil for sketching

A tint of raw umber or ochre (rather than a white ground) because “it gives something for the colors to bounce off of.”

Arches 300 lb. or 140 lb. hot press watercolor paper “…hot press allows for greater detail.”

And…

Re: dealing with ‘artists’ block’…  ”Sometimes deadlines get you unstuck!”

Interesting info:  He never spends more than 3 days on an illustration. “But that could mean 10 hour workdays…” And it really means 3 days + 30 years experience!


Paul O. Zelinsky

Preferences…

125 lb. cold press watercolor paper because “it’s kind of forgiving.”

Inexpensive brushes are fine if they have a sharp point.

A clean work environment is important “but it never is” (clean).

And…

He stretches his watercolor paper (unless it’s thick enough not to need being stretched).

Concerning avoiding over painting….”Use a lot of hope!”

He uses a medieval technique involving underpainting with water base paint followed by oil painting.

I found the demonstrations helpful as well as inspiring.  I’m going to stop worrying about expensive vs. inexpensive brushes and my work environment not being as neat as I’d like!  And I’m finally going to experiment with underpainting – oils over water-based paint....

More notes and photos from the Intensive on my next post!

Tuesday, August 23, 2011

More Wise Quotes from the Recent SCBWI 2011 Summer Conference


At the recent SCBWI Summer Conference one of the keynote speakers was a surprise—the amazing Judy Blume, who stepped in at the last minute for an ailing John Green. 
Below are a few wise comments from Ms. Blume, who was interviewed by one of my favorite people:  Executive Director and co-founder of SCBWI, Lin Oliver.




I don't' like to give advice because there's' no one way (to write).  Try a lot of ways and find one that works for you!

The stuff that's going to matter is what's coming from deep inside.

The reason (to write) was always to find out what was going to happen.

I heard (someone say) don't even think of writing something not taking place in the present.  (I say) don't ever listen to anything like that!

I listen--everyone who writes has to get out there and listen and observe.

Writing slang isn't great if you want to write fiction that lasts.

Writing not only changed my life, it saved my life.


Thursday, August 11, 2011

A Tasty SCBWI 40th Anniversary Summer Conference


The 40th Anniversary SCBWI Summer Conference just ended on Monday.  I’ve attended this exceptional conference for many years and this year’s celebration was one of the very best.  Below are some favorite quotes from this year’s speakers.


BRUCE COVILLE – Author

Everything we do moves outward and has an effect, like ripples in the pond.  We never know how what we do will affect others.  Our work has the potential to change the world in ways not known.  Go home and drop some pebbles in the pond.

LIBBA BRAY – Author

I love deadlines.  I love the whooshing sound they make as they rush by!

RICHARD PECK – Author

Unless you find yourself on a page very early in life, you will go looking for yourself in all the wrong places.



SARAH STEWART – Author
A few of her ‘rules for aspiring writers’ –
  • Read the great poetry written in your native language.
  • Put your ambition into writing, never into making money. 
  • If there’s no quiet place where you live, find that place within you for a few minutes each day.




BEVERLY HOROWITZ – Editor
There’s always room for something new and different. 
Write the story that only you can tell.


LAURIE HALSE ANDERSON – Author
Art disturbs the Universe.  Thank the Gods.  The job of any artist is to disturb. 
Have the courage to explore the stories of your heart.


Wednesday, January 19, 2011

Dreams, Obstacles and Goals – Continued

Since the beginning of the new year I have attended four meeting of writers and illustrators where the topic of conversation was our new year’s 'resolutions'—our mission statements. There was a repetition of advice at each meeting which was good, because apparently we humans often don’t do very well in keeping our new year’s promises to ourselves.

The suggestions of all four of these creative meetings are very do-able. I believe that if I don’t understand the process after discussing it four times in two weeks there’s no hope for me! I’ll address this subject in future posts to see if I am putting any of these good ideas into practice!

Below is a collection of good ideas and quotes gleaned from my marathon of resolution meetings.

Writer to Writer—Catherine Linka’s monthly writer’s group at the Flintridge Bookstore.

• “If you know your dreams you know your direction.”

• Verbalize your dreams so you know what you’re aiming for. Recognizing your obstacles and look for solutions, changing what you can and naming your goals, making sure they are realistic and measureable by setting a deadline.

LA FAN (Los Angeles Fine Arts Network)—my fine arts painting group, founded by Belgin Kaya Wedman.

• Dream, recognize obstacles and make achievable goals. (Yes, it’s the same message)!

• Re: Obstacles: If I am sabotaging myself or resisting success, why? How am I doing that?

• Be specific about goals and what’s stopping us from achieving them.

• Cut out distractions. Narrow the focus. Do the work

Westside SCBWI Writer’s Schmooze—Coordinators Lee Wind and Rita Crayon Huang

• “Hope is not a plan” was the well named topic of the discussion. We used writer Holly Black’s exercises for our discussion of “dreams, internal opposition and internal resources to overcome that opposition” and named short term and long term goals—(keeping them realistic). Yes, different words, but same message!

• “You want something, you go for it despite opposition and you win, lose or draw… but really you win no matter what because you’re changed by the journey!“ Because you’ve done the work and have something to improve upon….

Westside Illustrator’s Schmooze—Coordinator Suzy Engleman Block

• Set SMART goals—which means goals that are: Specific, Measurable, Achievable, Realistic, Time Based

• Baby steps are a good idea. ”Success is a result of achievements in small increments.”

• “At the moment of commitment the universe conspires to help you.” Goethe

So the consensus is:

Dream. “Begin with the end in mind” but also set realistic goals, SMART ones. “Let go of the outcome and work with energy to attain our goals!”

Yes, it’s the same message! And a good one.

Thursday, January 6, 2011

Heidi Illustration Challenge from Tomie dePaola

The theme of Tomie dePaola's annual SCBWI contest was to illustrate the first paragraphs of Johanna Spyri’s Heidi. Not knowing whether I would have time to finish my entry by the deadline (just before the holidays), I resolved to make the attempt – if only as an exercise.


As well as the problem of dealing with a classic character many are familiar with (in this case I consider Jesse Wilcox Smith’s beautiful illustrations for the 1922 edition to be perhaps the most loved) I believe the very text chosen to be illustrated to be a problem. Spyri tells us where Heidi is going and with whom, describes the terrain and her outfit (both in elaborate detail), gives her age and even her complexion. With so much spelled out, and with Jesse Wilcox Smith’s illustration of the scene fixed in my mind, how was I to portray the scene in a different manner? Indeed a challenging contest idea from Mr. dePaola! And did I mention he wanted something unique? I considered portraying Heidi as a tan-faced, rosy-cheeked Swiss mouse or other creature..... but finally approached the challenge by trying several angles of Heidi on her journey up the mountain with her companion. (I’ll show three sketches – there are even more!)



I did not have time to enter the contest and can’t say my preliminary attempts rose to the challenge, but I feel I learned from the process and became even more aware of the difficulties involved in creating characters for classic works of fiction.

Wednesday, November 3, 2010

Ventura/Santa Barbara Writers Day -- A Conference Groupie's Lucky Day

I was one of the spotlight speakers at the Ventura/Santa Barbara SCBWI Writers Day, so rather than doing Cats on Wednesday I decided I would post my speech. When I wrote it I hoped to encourage others who are having a long journey to publication. After I spoke several writers told me they had related to my story and were encouraged, as well. So here it is:


At the time I moved to Hollywood from Texas as a child, we thought the movie business was glamorous. One of my Texas cousins visiting us was more than a little serious in her desire to be “discovered” by a movie producer. We all knew the old lore about starlets being discovered at Schwab’s drugstore and becoming famous movie stars.

It occurred recently to me that the big SCBWI Conference every year is to aspiring children’s book writers and illustrators a bit like Schwab’s was to those starlets—the brass ring, the chance to be discovered, and whatever that might mean in the publishing world. It’s a chance to be a J.K. Rowling, instead of Lana Turner or Angelina Jolie.


I was fortunate in my family who were always supportive of my intention to be an artist, like my mother, and to write books.

My oldest sister taught me to read before I started school. She shared her favorite books and poetry and they became my favorites too.



The three of us enthusiastically wrote plays and acted in them, and wrote and illustrated various editions of a family newspaper that was full of gossipy news. Then we decided to jointly write a science fiction novel and though we abandoned it rather quickly it had a rollicking start with us each collaborating on our ideas.

I belonged to a creative writing club at the library and the librarian who started the club was a published children’s author. She was my first mentor.


My life has always been involved with art. My first art teacher was my mother who was a talented successful artist as well as a wonderful mother and role model. We moved to California for her career and because my sister wanted to go to Art Center.

I grew up and went to Art Center and became an illustrator, graphic designer and painter and eventually decided it was time to follow my early dream of writing and illustrating children’s books.

While studying with Uri Shulevitz in New York State I first found out about SCBW (they hadn’t added the “I” yet) – back here in California. At my first summer conference I thought I’d died and gone to heaven. It was where all my questions were answered---I had found my people!

After years of attending the conferences I still find them enjoyable. I continue to learn something new at each one. After that first conference I continued writing, editing and having my work critiqued. I wanted my work to be truly ready, so I didn’t submit any of my manuscripts.

But then my mother had a stroke and other health problems and I chose to be her caregiver. I wrote and painted as I could and continued to attend conferences. I was beginning to feel I had become a Conference 'groupie' because I had been attending for such a long time.

Still I didn’t submit my work, because I felt if I sold a manuscript my situation would make it too difficult to follow through with the project.

I won a Los Angeles Writers Day picture book contest with the manuscript that would later become my first book, though it would be years before it would be submitted.

Years earlier I had seen – and never forgotten – a PBS documentary called “Anonymous was a Woman”. It was about the many unknown women folk artists of 18th and 19th century America whose work was rarely credited or lauded. The film inspired me to write my book about a fictional young girl painter in 1830’s America who pursues her dreams of being an artist and finds a way to sign her name to her work, when everyone says she shouldn’t.

Growing up I rarely heard of women artists – women as accomplished as the famous male artists. Times have changed, and today there are plenty of books on women’s accomplishments, but I still think it’s good to encourage girls – and boys – to have a strong sense of self-worth.

After I lost my mother, it took me a while to recover.

And then my lucky day happened. It was at the 2008 summer conference that my dummy and sample illustrations for Signed, Abiah Rose came to the attention of Abigail Samoun of Tricycle Press.

It had happened!—Just like Lana Turner at Schwab’s Drugstore! I was discovered! Only for me it was at a Portfolio Display in Century City. By then I had lost my starlet good looks after waiting so many years to be a glamorous overnight sensation but the dream of all of us conference groupie starlets had happened to me!



My book Signed Abiah Rose was released in June. Booklist gave it a starred review and named it to their Top 10 List of Historical Titles for Youth.

I am lucky, even though luck for all of us usually involves what my heroine Abiah Rose has, and I have tried to have—determination, belief in yourself, patience and hard work.




If there is someone here today who feels they’ve been wanting for a long time to be published and is getting discouraged, maybe knowing of my long road to publication will be helpful.

And while I wasn’t trying to give a message with Signed Abiah Rose -- I wanted to tell an entertaining story – I hope children will be encouraged by it to follow their dreams.



Of course, having one book isn’t stardom. All those qualities it took to get published have to continue and to grow. I intend to keep being a conference groupie and hopefully to have many more lucky days.

Tuesday, September 21, 2010

An Illustrator's Process - Planning a Dummy




At last night’s SCBWI Illustrators Schmooze we had demonstrations of ways to make dummies for our picture books. In November our yearly Illustrators Day is coming up, with a chance to display our portfolios and dummies for editors and art directors. I am re-working a dummy for my latest project and looking back at past ones, as well.





The level of finish in a dummy varies from one artist to another. I’ve seen extremely rough ones to something that looks like an actual book. When I studied with Uri Shulevitz the dummies he showed us, and had us make, were extremely rough. Some editors and agents like a dummy with completed sketches, close to what the final will be. Others are OK with very loose sketches showing you have thought of where the text will go and blocking out the action, pacing, page turns and rhythm of the book. As a beginner you should always include two to three finished illustrations and perhaps the cover. You can photocopy your finishes and glue them into the dummy. Keep a backup copy when you submit your dummy, in case the editor or art director or agent doesn’t return it to you.


 
In previous posts (June 23-25) I have directions for a dummy construction I use for most of my dummies. Two of my favorite books, which have helpful chapters on picture book dummies, are Writing with Pictures, by Uri Shulevitz, and Illustrating Children’s Books, by Martin Salisbury.

Thursday, August 26, 2010

SCBWI 2010 Summer Conference: Random Photos

Here's Ashley Bryan in action, reading poetry......


and signing books.... 

Bruce Hale and Christopher Cheng present workshops...(Skyping and Book Trailers)



















The Golden Kite Luncheon......                                            and the Portfolio display..........















April Halprin Wayland.....................                    and Jesse Joshua Watson with dad, Richard Jesse Watson


Tuesday, August 24, 2010

SCBWI 2010 Summer Conference: Notes and Quotes – Agent Steven Malk (on Illustration)

Think carefully about your portfolio. Be selective: don’t include the ‘kitchen sink’. Include no more than 20 samples. Every piece needs to count. This is your chance to make an important first impression on publishers and agents. Keep adding and subtracting over time. If you have a new piece you’re proud of, add it. You may have some samples from two years ago and some from two days ago in your portfolio. Include examples of children, animals; also black and white sketches, but not super-rough sketches.

Steven Malk
Have a clean, well-organized website. You don’t need fancy bells and whistles, you just need a portfolio. You can have more than 20 samples on your website. Make it easy to navigate. Make it distinctly you. Attend many conferences. Illustrators have an advantage having their portfolio seen at a conference, and you can hand out your card with your website information on it at conferences.

Don’t dabble. Publishers and agents hate it when you dip your toe into publishing and then get out. You have to be in it for the long haul. Commit 100%. I don’t believe the gloom about the end of picture books. The bar is raised for all of us. We’re more selective, push yourself harder, and develop your own distinct point of view. A favorite artist may influence your work, but develop something new and exciting of your own in your work.

Biggie point: don’t give up. One of the best things about conferences is to get the support of your peers, then go home and work. There are so many examples of someone who has made it after many years. When you’re discouraged, read the classic picture books and don’t give up.