I just heard the great news that my Squid Attack on the Nautilus got accepted to the Comics, Anime, Cartoons, and Fantasy Exhibition at the Las Lagunas Gallery Laguna Beach California! This is the first time I’ll be showing and selling my work in a international curated / juried exhibition. Pretty cool.
My family’s been saving up frequent flier miles, so I’ll even be able to attend the Artists’ Reception on April 5th. The exhibition will be open from April 5-27th. The opening also takes place on Laguna Beach’s First Thursday Artwalk. Say hello if you can make it!
I’ve finally had chance to work more on an animal version of Jules Verne’s 20,000 Leagues Under the Sea. Captain Nemo is a Great Horned Owl, Professor Aronnax is a rabbit and his dedicated servant Conseil is a badger.
I’m also working on a picture book dummy for my children’s book illustration class. I’ve chosen the Velveteen rabbit.
I’m really enjoying children’s book illustration class and my local SCBWI chapter told me that the wonderful children’s book illustrator Jerry Pinkney will be in Seattle next week at the US Board on Books for Young People conference. He’s also going to be signing books at the Secret Garden bookstore. I’ll try to report on the conference here. The illustrators and authors are pretty incredible. There’s also a pre-conference tour that University of Washington is giving of their special collection of children’s book illustrations.
Last weekend when I was working at the wildlife rehab center, we got to see a very cute saw-whet owl. I think he had been hit by a car, but seems to be recovering well.
This past week, we were studying wordless picture books. Here is my discussion post answering questions such as some favorite wordless picture books and whether we thought wordless picture books could be improved with words or vice-versa, whether there were picture books with words that could published as wordless.
A prime contender for my favorite wordless picture book is Shaun Tan’s The Arrival. It tells a metaphorical story about the immigrant experience, with a poor man leaving home on a steamship in order to support his family, and finding himself in a bizarre new world. Many aspects of immigration are reflected: confusion, frustration, tedious manual labor, and the dangers of war, but also the joys of making new friends, discovering new experiences, and finding ways to support the people you love. The world of The Arrival is visually set in the early 20th century, and the art style is modeled after the sepia photographs of those periods, making the strange creatures and environments feel all the more otherworldly. The lack of words helps to make the reader’s connection with the immigrant protagonist all the more direct, as he struggles to figure out an often difficult to comprehend new environment. In Tan’s own words, “Words have a remarkable magnetic pull on our attention, and how we interpret attendant images: in their absence, an image can often have more conceptual space around it, and invite a more lingering attention from a reader who might otherwise reach for the nearest convenient caption, and let that rule their imagination.”
A wordless picture book that I haven’t read in its entirety, but is pretty good from what I’ve seen, is Journey by Aaron Becker. I like it because of its sense of wonder, and its simple, positive message about creative works can break boundaries and reach out to other people. The lack of words in this book, again, helps to place the reader in the protagonist’s place, as they discover the possibilities of their creativity over the story’s course.
I kind of can’t name any wordless books that I think would be improved by words. Wordless picture books have their own strengths as a format; they have a certain element of discovery to them, as the reader pieces together events without the aid of a narrative text. There are some books could be adapted pretty simply, if not necessarily improved, into effective wordless books. Maurice Sendak’s Where the Wild Things Are comes to mind, as do some of Beatrix Potter’s works.
I’m starting my picture book dummy based on the story of The Velveteen Rabbit. I could tell the gist of the plot of the story without words, but I feel like some nuances, such as the point the Skin Horse makes about toys becoming real, would be at least partially lost.
I just found out today that I won a Charlene Cosgrove Memorial Scholarship at my university, Rocky Mountain College of Art + Design! It was very unexpected. It’s $825 that I can put toward tuition.
I submitted this painting a marbled murrelet (it’s actually still a WIP – some things I need to clean up) done in gouche and transparent watercolor and the crow that I recently posted here on the blog and Gerda from the Snow Queen (below).
There was also a writing prompt with the scholarship and I had a chance to write on a Japanese artist Tabaimo who recently had an exhibition at the Asian Art Museum here in Seattle.
The question we were to write about was whether we thought the context of the artist was important for a full appreciation and understanding of art. For me, the context of the art is very important.
I’ll post my paper below for anyone who might be interested. Also here’s a short video interview with Tabaimo talking about the exhibition.
I had a great time at our Society for Children’s Book Writers and Illustrators Spring Conference. It was neat to be with such an enthusiastic group that were all interested in children’s books. I liked all of the speakers, but especially David Small and Kazu Kibuishi who shared a lot of their personal stories about how they came to be motivated to do the work they do. David Small is Caldecott winner and Kazu is a writer and illustrator of graphic novels like the Amulet and Explorer.
This was the first time I put together a portfolio. I searched on the web for examples of how to set one up. I use an inexpensive photo album on Amazon that had a window in the cover.
I liked being able to present my work in the portfolio evening, but I also liked seeing everyone else’s work. I’m thinking about doing more drawing with ferrets especially since my visit to the ferret rescue in Kirkland. Their fur is very soft. There were a lot of illustrators I also had a chance to discover. I especially liked Heidi Aubrey‘s mice.
After a week off, I’ll be starting animal anatomy and drawing (yay). I’m also a few weeks into volunteer orientation to work in wild bird rehabilitation – skills training starts in May.
I’m signed up for the Illustrator Intensive “Hard Things to Draw” with David Small (see some of his covers below) as well as participating in the Juried Portfolio show. I’m looking forward to seeing lots of portfolios and hearing from other illustrators and writers, art directors, and agents. I’ve heard these conferences are great for networking and getting started in children’s books.
Here’s my design for a business card:
I’m also doing film class this RMCAD quarter, so I’m putting together a short film discussion of the movie, Vertigo.
I had a great chance to interview author and film critic Jeffrey Overstreet and attorney and film lecturer Robert Cumbow, in addition to my family. I even attended a 6-hour Cinema Dissection of Vertigo at the Seattle International Film Festival Center which gave me an even deeper understanding of the film.
Here’s my final project for Still Life Painting. It was a great fun. The assignment was to create a composition that included ceramic, glass, and metal. I included Otis, who is a bird that I grew up with on our front table. He was molded by talented ceramicist Stephani Stephenson of Revival Arts Studio (her Facebook page is here). It was nice to be in touch with her after all these years.
From Otis, I learned a lot more about handling acrylic. For this piece, I used Ampersand Aquabord, Golden Acrylic, and Holbein Fluid Acrylic.
I’m also excited to share that I sold my first work through my website (thanks Garret!) and two additional works through the Gage Small Works show.
Here’s my finished (I think) ink wash illustration from my concept class. Now I’ve begun Still Life, so it’s back to paintbrushes.
I did want to share some photos from our Western Washington SCBWI Keep It Simple Show. I’m lucky that it’s such a great group. Everyone was very generous and it was incredibly helpful seeing other people’s work, their tear sheets, and business cards. I’ve put in links to their websites on their works below. Check them out to be inspired. The artists are David Joaquin and Liz Wong in the top row; Maja Sereda and Tracy Wallschaleger of Red Dog Images.
The keynote speaker for the night was Jennifer Soloway of the Andrea Brown Literary Agency. She gave a fantastic talk on how to stand out from the slush pile, great first lines, and some of the ins and outs of being an artists’ representative.
After sketching thumbnails for my Gerda vs. the Snow Queen’s Snow Bees painting, I created 3 quick 3-value thumbnails to decide on the final composition. I found it really helps separating out the composition and value decisions before committing to a final work. Because I wanted to base the painting on the original Hans Christian Andersen story, I also want to work in the detail that he had about the palace being lit by Northern Lights.
Although I liked the extremes of values in the value study, I settled on the 3rd study because I liked the idea that the shadows on the hill would be pointing to Gerda, my focal point. I added some hills in the background to create greater depth and also added more complex branchwork in the final.
I started out with pencil and watercolor on Arches watercolor paper, but finished the piece digitally using Procreate and an Ipad Pro because I could play around with different color combinations before deciding on a final. I really like Procreate and the Apple Pencil because the process of illustrating with them is so close to real pencil, paper, and paint – but with much more flexibility with materials and undo’s. I had an earlier version, but Phil my teacher and classmate China suggested good feedback about brightening up the colors among other things. Our next assignment should be fun – drawing caricatures. I’ve picked my subject already…Edgar Allan Poe.
This past week my class has been looking at the drawing of expressive hands. We’re still working for the most part in charcoal which is getting easier to handle for me. I like Strathmore Toned Paper and I’m finding it easier to get darker tones with a softer Nitram charcoal. I had started with Strathmore 500 charcoal, but it doesn’t have the smooth look of toned paper.
Besides drawing practice (whole body gestures) and these hand drawings, we also have a discussion post where we post examples of expressive hands. Everyone always shares very different examples – it’s a great part of the class.
The three I shaerd this past week were from Rackham, Wyeth, and Earl Oliver Hurst. In the Rackham, I thought it was an interesting contrast between the knobby hands of the old woman and the simple open hands of the children. The Wyeth also showcases contrasts in this Heidi picture. The grandfather is tanned and has a commanding gesture. It’s contrasted with Heidi’s fairer and more tentative post. The Hurst I liked because he seemed to contrast the confident face of the man with the nervous lines in his jacket and hands.
I had a great time in a 1-day pastel workshop at the Cole Art Studio. I used Nupastels on LaCarte paper for this painting of a dik dik, a small antelope that lives in Africa. I worked on this in the afternoon.
In the morning, I painted an African hornbill.
Pastels seem almost effortless. I’m looking forward to doing more.
I dropped my Hornblower in the Crisis of at the Washington State Convention Center on Wednesday and got a sneak peek at other work that will be on display from the Society for Children’s Book Writers and Illustrators now until September 30th. It’s a fantastic show and I’m honored to have work in it. We’re going to go down tomorrow with our family and my grandparents and take it all it. There’s also a Meet the Illustrators and Family Draw Along September 17th which I know will be great.
Art History III is over for me now and it’s nice to get more drawing together. The past week I’ve been trying out new methods of adding color to my pencil drawings. This crow (we like crows in house) was based on an old photo of Fred Astaire.
I’m trying watercolor, colored pencil, and pastel over printed versions from the Artisan 1430 printer.
My new course this quarter is Life Drawing IV. It feels good to be working in traditional media again. I’m also started working with charcoal powder for the first time. It’s messy, but I really like what can be done with a light touch. I’m also seeing what a difference it makes using a fine grade of charcoal paper.
Here’s a skull that was this week’s homework. This holiday weekend I’m going to be traveling down to Monterey for the annual meeting of the Guild of Natural Science Illustrators. Looking forward to it! It’ll be my first art conference. Jack Laws is one of the keynotes. I admire both of their work.
My parents were on the East Coast to give some talks at Landmark College in Vermont. They stopped in at the R. Michelson Gallery in Massachusetts, a gallery famous for its children’s book illustration.
Here are some great photos of watercolor work by Caldecott Award winner Jerry Pinkney. They knew of him because he had talked about his dyslexia, but we’re all familiar with his beautiful animal work. There’s a lot to be inspired about in his work – dynamic composition, expressiveness, and brushwork. It’s especially helpful to see the works close up because I could see how he combined pencil and watercolor in a way that looked effortless.
I hope to post more of my own work soon. I’m doing more sketches of the Snow Queen with the iPad Pro and Apple pencil but nothing to show yet. I recently read a new translation of the Snow Queen by Hans Christian Anderson. It’s very different any of film adaptations. I’m setting my illustrations in Sweden because my father’s side is mostly from Sweden and Norway.