Showing posts with label illustration. Show all posts
Showing posts with label illustration. Show all posts

Wednesday, April 1, 2015

Book Birthday: Pipsie, Nature Detective

Pipsie, Nature Detective: The Disappearing Caterpillar by Rick DeDonato and illustrated by me is out in the world now! Pipsie is published by the amazing team at Two Lions Publishing.

I'm really excited since Pipsie is the result of years of hard work by many people behind the scenes. If you see Pipsie in the wild I hope you enjoy it just as much I loved illustrating her.

PipsieCover

Here are some fun behind the scenes stuff for Pipsie.
The character design went through MANY iterations.
Pipsie character1
First character design ideas for Pipsie. I really liked the lab coat but it didn't really convey nature detective.



Pipsie Hair
Exploring Pipsie's hairstyles.
Pipsie Outfit4 1
Accessorizing Pipsie's outfit.
Pipsie2
Getting closer to the final Pipsie look.
TracyBishop PipsieCharacterFinal
The final Pipsie!


This is what my work space looked like while I was finishing up Pipsie.
TracyWorkspace2 2TracyBishopWorkSpace

To find out more about Pipsie, visit her website. There are a lot of activity sheets for you to enjoy.
www.pipsienaturedetective.com.

You can also see Pipsie information on her Facebook page.


Places to buy the book.
Amazon
Barnes & Noble
IndieBound

Monday, January 5, 2015

Pros of Using a Surface Pro 3 for Illustration

For years now, I've dreamed of being able to work remotely without having to lug around my laptop and Cintiq.

For a while, I'd been eyeing what seemed to be the top three options for a portable digital work station: the Cintiq Hybrid, the Cintiq Companion and the Surface Pro 3. Getting to try out one of the Wacom options proved to be impossible--I couldn't find one near me to test out. So one day I went to my local Best Buy to see if they had any Surface Pros on display. Luckily they did and I was very impressed! After a few days, my husband surprised me with one for my birthday and I was off to the races.

Now that I've had it for a good four months, it's safe to say I love it!

Specs:
  • Surface Pro 3 Intel i7, 1.7 GHz with 256 GB
  • Screen Resolution: 2160x1440
  • Uploaded Software: Manga Studio 5

Favorite Features:
  1. Compatibility Manga Studio 5 (my illustration preference) is perfectly compatible with this machine. It's interface is made for touchscreen units with the ability to rotate/scroll/pan with your fingertip (see video below). I have seamlessly worked back and forth between the Surface Pro 3 and my iMac/Cintiq using Dropbox to share my files. Also, the line quality and pen pressure in Manga Studio for my Surface Pro 3 is very close to what I get on the Cintiq. After some fooling around, I got the pen pressure on the Surface Pro 3 to match my desktop's Manga Studio pen pressure settings.
  2. Convenience It is super light and the battery lasts a good 6 hour work session without being plugged in. The plug itself is petite and not cumbersome at all. Plugging into an outlet at Starbucks is hassle-free.
  3. Ease of Use Being that I am an Apple person, the Microsoft interface was foreign, but only took a bit of exploring to get used to. Finding apps, saving documents and locating files is pretty straight forward.
  4. PALM REJECTION! I have had no hiccups with the Surface Pro 3 rejecting the palm of my hand when I'm working. No stutters at all. This makes drawing on the Surface Pro 3 about a million times better than my experiences with trying to draw on an iPad.
  5. The Kickstand The kickstand on my Cintiq 12 only locks in to one angle which at times feels too low. The kickstand on the Surface Pro 3 is firm at any angle you want to set it and will not give in to pressure from my arm while drawing. 
  6. The Screen The screen is WAY brighter and clearer than my Wacom Cintiq. The colors also match my desktop WAY better then my Cintiq ever has.
  7. Multitasking I can have one app open on the left hand of the screen and another open on the right simultaneously. It's nice to be able to see the manuscript I'm working on and Manga Studio open on the screen at the same time!
Yes, like any other art tool, it will take a few hours to get used to. But overall, for me, the Surface Pro 3 is the perfect machine for working on the go for final illustrations and/or for sketching. It is snappy and may be faster and stronger than my Macbook pro (which is a few years old now). I've taken it everywhere and (knock on wood) it has been flawless.

Brightness of my working screens: iMac (top), Cintiq 12 (middle), Surface Pro 3 (bottom). The SP3 wins!

 Any lag between stylus and screen? If so, it is teeny tiny.


Rotating, panning, zooming using fingertip control.






Friday, February 21, 2014

My Transition from Photoshop to Manga Studio 5

Hello everyone! It's been quite a while since I posted here! For the past few months I've been knee-deep in illustrating a new picture book set to come out in the Fall.

I've had my head down illustrating pretty much every spare moment I had since September, but I've finally emerged from my art coma and want to tell you all about my experience with Manga Studio 5!

I transitioned over from Photoshop to Manga Studio with this latest project, so I got four months of serious on-the-job training with the program. I went from ZERO knowledge of the program to it becoming second nature.

I have to admit that I had tinkered around with the program for a while last summer, but gave up because I just wasn't feeling comfortable with it. Then right before I started this last project, I fiddled with Manga Studio some more. At the same time, Photoshop started becoming finicky and began feeling super clunky. I went back to Manga Studio (with some nudging from fellow SMA illustrator Tracy Bishop) and gave it another try because I was just getting too frustrated with Photoshop feeling like it was laggy and slow.

When this last picture book project came along in September, I bit the bullet and decided to go for it--to try and complete a painting in Manga Studio. The cover was due first and I figured I could attempt the cover in Manga Studio and switch back over to Photoshop if things didn't pan out.

Well, let's just say I fell in love with Manga Studio and never looked back.

Here are a few of the main reasons Manga Studio is the clear winner for me:

  • The brush engine is a million times better than Photoshop's. There are way more options to finesse your brushes in terms of pressure and color blending, etc. Manga Studio also allows for creating brushes using multiple images at once which is something I have always wished that Photoshop could do.
  • The perspective guide/ruler is AMAZING. It came in handy SO MUCH. Manga Studio allows for your pencil/brush lines to snap to the perspective ruler which takes a lot of fuss out of drawing cityscapes (or anything in perspective, really).
  • The ability to create models of people in different poses and angles really helped for my latest project. I painted scenes where there were many, MANY people in them and my husband would only model for me for so long, so I had to build poses in Manga Studio (which is supremely easy to do).
  • You can set the fill bucket to close gaps in your line drawing, making laying on the first layer of color so much quicker than attempting that in Photoshop. 

Just one window of the MANY different brush options Manga Studio 5 has.

The poseable 3D models are an amazing feature. It isn't a memory hog and never slowed my computer down at all.

In all, I worked 100% in Manga Studio with this latest book project and just figured it out as I went. I have to say that my fellow Simply Messing About blogger, Tracy Bishop really, really helped me out if I found myself stuck. She's been using Manga Studio for a while and had the answer to pretty much all my questions! ;) Check out her wonderful Manga Studio tour video!

In case you're wondering, I never had to take any of my images back to Photoshop for any retouching or post-painting work. I suppose everyone paints differently, so there is a chance you might need to go back and forth for certain things, but I didn't have to. I pretty much found a solution to anything I needed to do in Manga Studio. However, if you do need to switch back and forth, Manga Studio makes it easy to export or even save your file as a Photoshop file!

If you have the opportunity to try out Manga Studio, I highly, highly recommend it. It's like Manga Studio's creators took everything illustrators and painters love from Photoshop, made them a million times better and then added more awesome stuff on top! All without having to deal with the bogged down feeling that Photoshop can bring. I must also mention that Manga Studio is a mere fraction of the cost of Photoshop. Yay!

In the weeks to come, I will be doing tutorials based on some of my favorite things about Manga Studio....keep an eye out for them! Until then, do yourself a favor and at least download a trial version of Manga Studio 5 if you can!

'Til next time!

~christina



Friday, January 31, 2014

Simply Messing About with Mediums

Over here in my head, there is always a debate over traditional vs. digital. Which is more appealing? Which is more fun to make? Which can get me more work? I switch back and forth all the time because my tastes change. My skills, however, differ in both methods. Sometimes I need them to influence each other.

Recently, I was approached to do a color sample in my sketch style and it turned my world around. It makes me ecstatic that this style may eventually be ready for publishing, but I still have a little ways to go. I wanted to show you a little bit of what my process looks like as I try to figure this out.

This sketch is what started me thinking about all of this again.

I've been drawing like crazy in sketchbooks for a little over a year now, and most often my drawings turn out looking like the one above. Recently, I started incorporating Prismacolor colored pencil and Copic marker into my usual pencil and ink brush doodles. My eyes needed to see more color and finish in the sketches I had grown to love making.

But that Alligator and Armadillo tea party got me excited, so I took it to Photoshop to color it as fast as possible. Why? Because my skills in Photoshop currently surmount my Paper skills...it's a crutch.

I liked this color, but it didn't have the same energy, so I left it as is...

In this particular case I was happy with the colors I chose, but it still wasn't working for me. I went back to the drawing board...quite literally.

That's better, but still not quite right.

But, I was missing the vibrancy and saturation. I know that it's possible to attain this with watercolor, but I haven't figured out how to get there yet. Then, I remembered the gouache set I got for Christmas and started to play again with yet, another new medium.

I started with a gouache warm up.

And this is where I landed.

My goal for what I post on the Simply Messing About blog was always to document my journey back into traditional painting...that's it. But with this particular project, I hit on an important fact, that it's ok to jump back and forth always letting digital influence traditional and vice versa. And sometimes, they work really well – together.

I added a background color to this gouache painting...digitally.

Until next time!
~Renee



Friday, September 13, 2013

SMA Interview Series: Illustrator, Jannie Ho

Hi, my name is Jannie Ho (pronounced Jane-nee) and I’m an illustrator specializing in children’s books and products. I’m also known as Chicken Girl.

I went to Parsons School of Design with a BFA in illustration. After graduating, I worked as a graphic designer and an art director at many fun places such as Nickelodeon, Scholastic, and TIME Magazine for Kids before going full time as a freelance illustrator.

I've illustrated more than 2 dozen books and my work has appeared in magazines, toys, crafts and digital media. I'm currently based out of Boston, MA.



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Q: Hi Jannie! Does your past as a graphic designer and art director influence the decisions you make in your illustrations? 

I think so, in many different ways. Illustrations can be part of an overall layout and I'm always thinking about that as I create. What can I do in my illustrations that would ultimately offer more for the art director to design around? Lately I've been thinking about how working at Scholastic book clubs had influenced my style and color decisions for quite a long time in my illustrations. I use to design the book club flyers and there was constant talk about making the book covers pop. Yellow as a background color was a very popular way to make things stand out, and for a long time, I had a hard time using other colors for a background. Also I was designing for a younger age group and the colors I ended up using all the time for my design ended up in my illustrations. And ultimately my illustrations geared more towards a younger age group too.



Q: Your characters are absolutely adorable. Where do you get inspiration for their clothes and colors?

Thank you! I use to often get feedback that the clothing style in my characters tend to be a little old fashion. But now that I have a child, I'm more aware as to how real kids dress, and what all the cute kids clothing stores are. Lately I've been into looking at Mini Boden (http://www.bodenusa.com/en-US/Mini-Boden-Clothing.html) for inspiration. Their color palettes are amazing too. I'm trying to keep a more edgier and sophisticated color palette but at the same time kid friendly and approachable. So keeping tabs on great colors I see on Pinterest, and using sites like colourlovers.com.


Q: Do you keep a sketchbook?

I don't really keep a sketchbook anymore. Only because the way my life is structured these days I have very little free time to do so. I do however, keep sketch files- little bits of file in Illustrator I play with. Sometimes when I'm working on a project and an idea sparks, I will start an illo on the side and eventually it gets cut and pasted to its own separate file.


Q: How important is it to market yourself? 

It is definitely very important part of being an illustrator. I'm always wondering if I can be doing more. My agent certainly helps me market and show my work to potential clients through illustration directory websites, catalogs, conferences, etc. But one thing I always like to mention is that I've never stopped marketing myself once I had an agent. Why not help myself? Why not double the efforts and hopefully cast a bigger net? It is my own career after all and I should take charge.

Some of Jannie's colorful, fun promotional materials!


Q:  How do you decide what work to show online? 

In my portfolio/website, I tend to show pieces that I enjoyed doing, hopefully attracting more of that type of work. And usually it ends up being a lot of personal or self promotional pieces. In my blog, I tend to like to keep an update of all my professional projects and what I've been busy with. I've been terrible with keeping up with my blog however. Facebook and Twitter really replaced my blog.




Q: What are your favorite tools?

I'm perfectly happy with a Wacom tablet and Adobe Illustrator! I always love hearing about new ways/tools to work, especially digitally. Keeping up with what is out there. But ultimately I do keep things very simple.


Q: Are there any exercises or experiments you do to keep your creative juices flowing? 

One great trick I've learned recently is a style analysis. Take a piece of art that you love, and write down all the elements that make up that piece of work. The way the lines are, the colors, etc. By doing this you can find out what you really love about the piece, and apply it to your work in your own way. Sometimes we see a piece that is amazing but can't really point out why we are attracted to it. This is a great way to get creative juices flowing. To get out of a rut, it seems to be a fine balance of knowing when to stick with it and when to walk away. Sometimes you just have to sit with the art till that eureka moment comes. Or sometimes I feel like I'm unbalanced in other areas in my life and I need to tend to that first before coming back to something creative. One thing I know is that everyone experiences it and its part of an artist's journey.






Q: Would you mind giving us a peek at your workspace? 

My workspace could use some more inspiration! I'm in a somewhat temporary situation so my space is currently not what I envision for myself in the long run. But I do have a lot of little toys and trinkets around that make me smile.



Q: What's the most fun thing about being an illustrator? 

I still can't believe I get to draw for a living! Getting to create my own worlds, having books out there to share my vision with others. That is pretty rewarding.


Q: Do you have any upcoming projects or news you're excited about and would like to share?

I have a wonderful Pop-up gift book coming out in the Fall published by Campbell Books in the UK. It is called Pop-up and Play Farm and I worked with the amazing paper engineer, Maggie Bateson. I'm also happy to share that the board book series I illustrated called Tiny Tabs are coming in the US! They are currently published by Nosy Crow in the UK and will be in the US February 2014 through Candlewick.







Thank you Renee and the rest of the Simply Messing About ladies! You are all very talented and I'm honored to have met ALL of you in person and be on your blog. :-)



Visit Jannie's website!
Follow her on Twitter and check out her Facebook Page!



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Thank you so much, Jannie! Your work is so bright and lovely and, I can say this having met you in person...it's just like you! D'aw. Congratulations on all of your new books, they're beautiful and fun and all the kiddos are going to love them!


It's been so great having some visitors on our blog the past few weeks. I, for one, have never been more enthralled by all the different answers we've gotten to similar questions- it just further goes to show that it's ok to make your own routine, do what works for you... 

But love what you do.

Some words of wisdom that have been consistent throughout our interviews: Never give up.

So...don't. :)

And that concludes the self help portion of this blog post. 
Thanks for following along with our SMA Interview Series, everyone! 

Cheers!
~Renee

Wednesday, September 11, 2013

The books that influenced me…

When I was a kid, I belonged to a book club. Every month, I'd get a new book delivered right to my house. It was awesome! I loved books so much that I really looked forward to that delivery.

Below are a few from that club.

Illustrated by Denman Hampson. Published in 1964.


Illustrated by Blake Hampton, published in 1967.
This tree has shown up in my work before.

By Wende & Harry Devlin, published 1966.
 I have always loved scribbly pen and ink drawings!





Published 1966.
This is one of my all time favorite books! Miss Twiggly is so wonderfully quirky 
and as a tree lover myself, how could I not love her!




I got my first Little House book from my aunt for Christmas when I was seven.
It has been the biggest influence in my career. I love Garth Williams and his Little House illustrations. Even as a kid I'd get lost in the pictures in these books. I just love the soft pencil shading.






Thursday, September 5, 2013

SMA Interview Series: Author / Illustrator Eric Barclay


Eric Barclay is an illustrator and designer, and the author and illustrator of I CAN SEE JUST FINE (Abrams Appleseed) and HIDING PHIL (Scholastic Press). 

Classic cartoons, modern art, mid-century design and everyday mishaps heavily influence his style. 

He has illustrated for American Greetings, Disneyland Paris, Hallmark, Papyrus, Peaceable Kingdom, Klutz, Toys R Us, and many others. 

Eric lives in Dallas, Texas with his wife, two beautiful young daughters, a dog and two cats. 







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Q: Hi Eric! How did you get started in illustration? 

Like most illustrators, I got started with a box of crayons. My parents encouraged my artistic abilities and paid for me to have oil painting instruction from the time I was 11 until the time I finished high school.

My first job out of college was with an advertising firm as an art director and copywriter. Many of my assignments required illustration and I found that I enjoyed those projects the most. After working in ad agencies and design firms for several years, I went freelance in 2002. Becoming an illustrator has been a very gradual process: illustration assignments slowly started becoming more and more common as clients would see my work. I started my illustration blog in 2008 and a lot of work came my way as a result of that.


Q: You make some really cool illustrations on found objects! How did you get started doing this? Do you have a special process?

I have always been interested in making my own sculptures and toys - my first sculptures were made out of wood. One day I noticed that the lid of a Coffee Mate container looked kind of like an English cap, and my initial thought was to use the cap on one my wood sculptures. And then it just hit me that the entire object had a great character shape, and that I could turn the entire container into whatever I wanted it to be. Once I realized that, I began to see the potential in all kinds of household objects.



Different objects require a different approach. Glass is easy to work with and can usually be primed and painted right away. Plastic requires a lot more work to get things smooth. Each piece requires a different solution so the process changes from object to object.

This gives a whole new meaning to recycling, doesn't it?!


Q: Do you keep a sketchbook? If so, how is it helpful for you? If not, is there a reason? 

I do keep a sketchbook, but it is nothing pretty. I use it to not only sketch ideas, but to work out ideas and layouts as well. If I draw something on a napkin at a cafe I'll often tape that into my sketchbook as well. Seriously, it's a mess, but it is very helpful. I keep my old sketchbooks in a drawer and I'll often go back and look at them to get new ideas.




Q: How do you decide what work to show online? Portfolio VS. blog...

I view my website, blog, Pinterest, Instagram and Facebook pages as part of my portfolio. Social media (especially Pinterest) makes it so easy for anyone to re-post an image, so I'm very careful about what I post online. Once something goes viral you can't take it back, so most of my posted work is pretty polished.  If I do post a sketch, I make sure it's tied to the final image so that it can't be taken out of context.


Q: What are your favorite tools?

I love retractable pencils, Prismacolors, and flat acrylic paint. Most of my personal work is done in pencil and acrylic, but my professional work is usually produced digitally. For digital work, I usually work with a scanned pencil drawing and then 'paint over' it in Photoshop or Illustrator.


Q: Are there any exercises or experiments you do to keep your creative juices flowing? How do you get out of a rut?

When I'm in a rut I like to just get out of the studio for bit. Long runs, and visits to bookstores, museums, and thrift shops often help get me unstuck. I tend to do my best work when there's a healthy balance between work, play, and time with family and friends. 


Q: Would you mind giving us a peek at your workspace? Is there anything special you keep around you while you're working for inspiration?

My workspace is a small, stand-alone studio in my back yard... just a 50 foot walk from my house. My brother, dad and I built it together. I have a bulletin board next to my desk where I post my kids drawings and anything else that inspires me. 









Q: What is an unexpected thing you've learned in your career?

I've really learned to appreciate brainstorm meetings. Art directors, editors, publishers, and project managers contribute so many great ideas that can be incorporated into the final artwork.


Q: What's the most fun thing about being an illustrator? 

I love the variety of projects that I get to work on: greeting cards, books, toys, puzzles... it's all so much fun.


Q: Do you have any upcoming projects or news you're excited about and would like to share?

I'm really excited about the recent releases of my first two books, I CAN SEE JUST FINE from Abrams Appleseed and HIDING PHIL from Scholastic Press. I CAN SEE JUST FINE is a funny book about young girl who needs glasses but is clearly in denial. HIDING PHIL is the story of three siblings who find an elephant named Phil at bus stop and take him home... and then try to hide him from their parents.


An adorable interior spread from HIDING PHIL.

A really fun interior page from I CAN SEE JUST FINE.


Thank you so much for taking the time to interview me, Renee. I'm a big fan of your art, and I also love Christina's, Laura's, and Tracy's work as well. 


Visit Eric's website and blog: http://ericbarclay.blogspot.com/ 
Follow Eric on Twitter: @ericbarclay
Like his Facebook page!



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Thank you so much for taking the time to chat with us, Eric! Your art is so colorful and alive, we are all huge fans of your work as well! (Clearly, I CAN SEE JUST FINE was written about my life in third grade... )

Most importantly, Eric, your sense of humor is totally "spot on"! 


"Missing, by Eric Barclay"

I'm sorry, I couldn't resist!

I hope this post inspires lots of people to think outside of the box and to not be afraid of bright colors. :) 

Friday, August 9, 2013

SMA Interview Series: Art Resource Coordinator, Anne Moore

Although I am the Art Resource Coordinator for Candlewick Press, I call myself a treasure hunter because I am always searching & discovering new talent or new art that illustrators who are already published or seasoned. The illustrators we publish are certainly treasures, and we love showcasing their work. 

I support the creative director along with the art directors and editors who are acquiring new texts that need visuals. That includes picture books, illustrated middle-grade novels, poetry collections, biographies and young adult novel covers. I keep a visual archive and also share incoming samples and submissions with the art and editorial departments.


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Q: How and when did you start working at Candlewick Press?

I came to Candlewick in 1995 from Little, Brown and Company where I was a senior book designer. Candlewick was "the new light in publishing" and was much smaller; there were only 3 of us in the art department at that time. We were just beginning to originate Candlewick titles. I designed picture books, young adult novels and poetry collections.


Q: What is your work day like?

My day consists of researching on the web, contacting agents and illustrators about their work or sending a new text and making an initial offer for the project. I also facilitate a weekly meeting with editors and art directors to suggest ideas for new projects needing illustrators.

 
Q: Besides having some of the most gorgeously designed books in publishing, the Candlewick office is a really fun and well-designed workspace! Can we maybe, just maybe have a tour?


Bigbear is always snuggling up to friends in the office.

Award winning books welcome visitor in our lobby.

We love to surround ourselves with art.

Jon Klassen's prints are proudly exhibited in our gallery.

Everyone loves printing at Candlewick.

Q: Do you have any career moments that you're particularly fond of? 

Meeting and working directly with the illustrators has been a joy. I've worked with some amazing ones including Marc Brown, Ed Emberley, Jane Dyer, Melissa Sweet, Scott Nash and Christine Davenier

One interesting moment I remember was when I visited Melissa Sweet's studio years ago in Maine, and as I walked through her kitchen I was stunned to see she had illustrated her kitchen cabinets ~ they were just enchanting. 


I think a highlight of my career was finding and sharing Jon Klassen's work when we were looking for an illustrator for House Held Up By Trees. That began quite a love affair for us all.



House Held Up by Trees: written by Ted Kooser, illustrated by Jon Klassen.
Always such a treat when original art is delivered for an entire picture book. 
These color saturated pieces are Timothy Ering's from The Almost Fearless Hamilton Squidlegger.



Q: There's a lot of talented folks out there! What's your favorite way to discover new talent? 

I find blogs are a gold mine. An illustrator not only shares process and things they love [or hate], but they usually share other artists' work whether it be on their links page or just in a post. That has been an amazing source of discovery.


Q: Do you write and illustrate as well? 

Over the years I've had ideas for picture books, but I only began to take time to write stories about 2 years ago. I met with a friend monthly to share and cheer each other on. I am excited to send my little babies out into the publishing world soon to see if they'll fly. I now am much more empathetic with people who have shared their work online or through submissions. It's certainly a vulnerable step into the unknown. It certainly is a step of faith.

Q: How do you get inspired? 

Nature is my first inspiration ~  I always look up! The sky is an ever amazing palette of shadow, light and color. I also look down too… especially on the ground. I love textures and earthy gritty, not-so-perfect things that are worn or cracked or faded. I collect textiles and vintage objects that are rusted or discarded. Color and music are also amazing avenues of inspiration that I pursue, whether I gaze at a beautiful watercolor or I get lost in a voluminous cavern of sounds. Taking walks or sitting by moving water tends to energize and inspire me most.


Q: Any tips for picture book illustrators or authors looking to work with Candlewick Press?

Follow what you love. Soak up and surround yourself with things that bring you life. The more we can see that someone loves what they're doing or is passionate about a certain subject, the more your work will be memorable and draw us in.

And, as a practical exercise, kids books need emotion, interaction with friends and the world, and the ability to carry a character through time and space from various perspectives and with varying degrees of emotion. So, just don't show one rhino, show a rhino dancing or pouting or singing. This gives the editor and art director the information they need to feel confident to hire you for a project.

They need to see that you can create a memorable character that connects with the reader and you're not just illustrating the words, but you are interpreting the story in such a way that you add to its meaning.


Follow Anne on Twitter: @childbookart

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Wow.

It's such a special job you have, Anne, and I think I speak for every illustrator when I say, "thank you." There are so many great reminders here that I'm sure will inspire illustrators and writers alike. 
I also hope that everybody who reads this never forgets to look up, down, and all around!

Thank you, as well, for the tour around your super fun office space!


I don't know about you guys, but I'm very much looking forward to seeing Anne's stories soaring around the kidlitosphere!!