FROGZILLA!!!! and other stories

Recently I've been working on one book project that has four stories within the book. Rather than illustrating every single page of the story we've decided to give each story one full page illustration and one spot illustration. I've come to believe this is going to make for  a much better book than most of my typical children's books as we have plenty of room for the text and plenty of room for the illustrations. I get to take the main action of the story and make two illustrations rather than trying to make twenty plus illustrations for each story which can sometimes result in a  lot of watered down illustrations. It also allows me to spend a bit more time with each illustration than I might normally be able to. Rather than trying to draw each character twenty times in different poses I can focus on each pose and facial expression until i feel it's right.

I've even found myself doing LOTS more ambitious spot illustrations than I would typically undertake. In the end I'm feeling that lots of things are coming together on this project that will allow me to produce my best work BY FAR to date. That's somewhat ironic as each new week presents challenges and i never really seem to know how much longer I'll be able to keep at this full time. Yet I've wondered about that basically since I started illustrating full time over six years ago! 

A Recap of Recent work and link to my Recent WCAX Appearance

I haven't posted much for a while as I've been going in all sorts of directions. The coolest bits of news for me are that I was recently on the VT news WCAX: The 30 with Kristin Van Aken to discuss our book " PIGS! Under the Post Office?"  (linked to vid at end of this post) and leading up to that I finally began a project that I'm working on in collaboration with my wife Barb.

      That project is a series of Illustrated products under the title of "Vermoosin'". She's the mastermind behind it really. I mentioned to her that I've been really wanting to do a line of t-shirts and products centered around a crazy VT moose character and she reminded me that she LOVE's Moose and the brain storming began. I think she thought of the name "Vermoosin'" , she also came up with the name "Kirby" for the moose. This project is in the veeeeery beginning stages still and I actually will likely still do lots of character design and maybe move into a different medium or change the look of the character entirely. I really didn't push the character as much as I wanted to yet. We just wanted to get out some initial designs before the news appearance.  I'll do an official launch once we feel everything is where we want it and have  a good series of products started with a good store, website etc. I have tons of marketing ideas waaaay above and beyond anything I've ever done for any children's books so maybe one day this could be something known by name across Vewrmont! There is  a link on the homepage of my website and I'll get one on my blog soon. To purchase some of the initial designs go to http://www.zazzle.com/sneezingleopard*

Other recent work includes, I recently finished my third book in the samantha series.

I did a quick children's portrait.

I did  some new spot illustrations for the samantha book and a logo for a special edition of those books.

I've been working on thumbnail sketches for my newest children's book " Brave Roger, Little Mumps and Me: Four Stories for Grins and Giggles" By James Mee

For those who weren't able to see it live, here's the vid of Kristin and I on the news talking about our book. http://www.wcax.com/story/22019258/pigs-under-the-post-office  It's always bizzare seeing myself on any sort of video but I'm just happy I was able to get words to come out of my mouth! LOL You can get a copy of the book on amazon but the author's preference for buying is through createspace at https://www.createspace.com/4018119

Character Designs for "A Cloudy Day"

Well, I've slowly but surely begun work on my new children's book "A Cloudy Day". Got the two main characters designed, figured out what the car will look like, and figured out the overall structure/ layout of the book complete with one round of rough thumbnail sketches. I probably won't reveal much of that stuff until the book is done or at least close to it. For now I just wanted to post some character sketches. These are just the initial motionless body poses to get a feel for the shape and size of the characters. In particular, the skin tone colors aren't correct yet. I may show more of the actual evolution of the character designs later. This book actually started out as a winter book but then i made a comment about maybe having the kids in the back of a convertible so we wouldn't be boxed into a small car in every scene. So now it will take place in the summer.

 I'm finally starting to get better and faster with designing characters of young children. This is a task I have been trying to study and get a grasp on ever since my days at Massachusetts College of Art. I still have TONS to learn and really there are soo many amazing styles for drawing children's book characters. I'm just now starting to settle down a bit into a particular style while still trying to improve with each new book. Also since I'm currently doing a lot of self published material I find it's basically necesary to constantly let my style evolve as each book has drastically different needs.

       I think the first time I realized I would have to learn to draw and paint kids is when a friend in one of my illustration classes made a valid point during a class critique. With the whole class critiquing my artwork, he pointed out that the kid I had painted looked "Special". It caught me a bit off guard at the moment but i had to agree with him once I took a look from their perspective.

    The image for that critique was actually one of my main portfolio pieces and would later be printed up as one of my first ever mailer postcards to be sent out to publishers all around the U.S. I spent a couple hundred dollars to have thousands of copies printed. This is the painting when it was "corrected" after the class critique (the one on the right).

         There is still a lot to like about these images, in fact the one on the left landed my first children's book gig! Now I look back on these and realize I wasn't ready for the publishers at that time. It's likely that kids would still love the images but unfortunately in order to get my illustrations accepted by publishers and bought by parents and into the kids hands, I have to go through adults. Publishers see hundreds if not thousands of art submissions each week on their desk and most of that goes directly to the trash can. They look for unique styles, good handling of subject matter, great understanding of color, composition, the ability to tell stories through images, etc etc. but above all a children's book illustrators have to understand how to paint children in a  lively and fun way. That can be anything from the style of charlie brown comics or dora the exploror to a full on deatailed exagerated realism character like norman rockwell. I still struggle with that myself but have made huge leaps and bounds over the past few years.

     Sometimes it's hard for artists to look at their own art objectively. We spend hours and hours drawing and painting an image and redrawing and repainting, moving and shaping, pushing tugging, splatting, sloshing, rubbing, dabbing etc. we might spend twenty minutes just trying to get  a nose to look right or an hour painting the eyes with a tiny little brush that has bristles flairing out at the ends. It takes patience, a steady hand and the perfect flick of the brush to get just the right amount of hairs, with just the right amount of paint, to land in just the right spot and shape, to form the whites of the characters eyes ; on a face that is less than an inch in height on the canvas. Then when  you feel you got the paint in the right spot, you find that it's not the correct hue in relation to it's surroundings or that is the exact moment your little sister walks into the room to tell you one of the eyes is lower than the other, LOL.

    I feel I have started to retain some of the things I've been learning on the topic and hope to write some blog posts soon discussing how to draw and paint kids. Everything from what materials and mediums I find to work best, how to draw folds in clothing, drawing various hair styles, drawing the same character in different poses, designing the character, drawing emotions and facial expressions etc. All the stuff I still struggle with greatly! haha. But it should be fun to learn even more on the topics and put it all into written form for my own future reference and for yours. I'll be sure to reference books and websites on the topic whenver I know of any.


 

Digital Children's Illustration

Last night I spent some time reading some of the blogs I follow and came across one that actually moved me to action. You know how it is to read or see something that inspires you and motivates you to actually give it a try.    The blogger who gets the credit this time is Wilson Williams Jr. Here's the post that inspired me. http://kwankwest.blogspot.com/2011/09/lion-and-mouse-process.html

Well after seeing that and leaving a comment I couldn't just leave it at that. I immediately found an illustration I had already drawn in black and white and went to work on my second ever digital painting!

Now of course I wouldn't consider this done by any means but it was getting late and I had already spent the entire day working on art, so I was just about to stop for the night. At this point I'm still not happy with the result but I can start to see where I could eventually get a pleasing end result with more work.

The hardest thing for me to get a grasp on with digital art is how to chose good colors. Traditional mediums for me seem to lend themsleves more easily to harmonious color combinations. It's just a matter of reading a few tutorials and learnign to use color palettes and such, I'm sure.

Then I had another burst of inspiration and went to town on a small cropped section of the painting to get in a bit more detail and color.

Another artist whom i have mentioned many times before is Dani Jones, as she's done a lot to inspire me in the world of digital art. she got me interested enough to try out my first digital painting below. I suppose for now I will keep trying to squeeze in some of these practice paintings on the side and eventually i will feel comfotable enough with the medium to use it on some final artwork.

Black and White Line Drawing Kids

I really don't plan to post all of the illustrations from my current books but I just finished off another yesterday and can't resist the urge to post it. So here it is.

The first is the thumbnail sketch, then the pencil line drawing of "gerti" and the turtle. Then the last is the near finished image. The dark black pen and ink lines were working good for the other  spot illustrations of objects but looked horrible for kids faces and hair. I tried a couple fo times and couldn't get a pleasing result with the pen and ink. SO I did a bit more digging looking into other artists. Then I found Denise Brunkus who uses a dark graphite pencil for the line drawing and then fills the drawing in with ink. I loved the soft edges of the pencil for the face contours and the gentle gradation in the hair and the fact that the pencil seemed to be easier to draw lines of varrying width and leave breaks in the line without looking bad. This final image is inspired by that medium and artist.

Character Designs for New Children's Book

            Below I've posted a quick introduction to my two newest characters for my current book "Allegra, Friend to all Monsters". A ton of work went into the monster character in particular even if it's not necessarily evident from the final design. But collectively the client and I are happy with the final design.

I'm planning to post some of my process work for designing that character sometime to show how involved that process can be from the initial forty rough designs sketches up through the various fur patterns and appendages and body shapes .

I always wonder how different a given character would have turned out if I had the opportunity to design something completely on my own, without client guidance and having to stick to the words of a story. It's not that I feel I could necesarily do a better job on my own as I really do feel that client or art director input is vitally important to help me see things I can't see on my own. However I would be lying if I said I never wanted to chose other thumbnails or character designs over those chosen by clients. The important thing is that by the end of the book i usually agree full heartedly with the final product.

Other posts about these characters here

For a great book on character design check out the link below.

Drawing Children

I don't know exactly when it happened but at some point in my days as an art student I decided I wanted to illustrate children's books. As strange as it may seem, it took me much longer to realize this would include drawing and painting children. Not only should these children look healthy, non scary, happy, loving, normal etc. but they should depict an age, an ethnicity, and flow rather than be stiff. Publishers often want to see illustrations of children in action. I had no idea how hard it would be to achieve this outcome when I first started but I enjoyed the challenge. I first realized how hard children are to depict in my Senior year portfolio class. I brought in a painting of some children playing in the snow and a few people pointed out that the children looked stiff and even a bit retarded. I've often heard it said that an artist is there own worst critic. As an artist I tend to criticize my art so drastically that I don’t want people to see it until I’m happy with it. There have been times I worked on an image for hours and think it looks fine while someone else will come in and immediately spot problem areas. This happens when I look at individual parts of an illustration but don’t take the time to step back and look at the work as a whole. One good technique to help see problem areas is to either turn the drawing upside down or look at it in a mirror.
Over the past couple of months I have tackled what I feel is the most crucial element of any children’s illustrators portfolio, the children. I worked a bit on drawing children and plan to continue this process until I feel confident drawing children in any pose, and ethnicity, any age, gender, perspective etc. without reference. I will be happy to receive any advice or techniques that people have discovered in there own art making process. Some samples on the right.
These are all under one hour sketches and they are freehand drawings from photos. Click on the image to enlarge.

Just a few quick things I’ve learned to keep in mind. The younger the child, the rounder the face. Children have bigger eyes, ears and mouth in comparison to size of face than adults. Children have bigger foreheads. Children’s heads are bigger in proportion to their bodies than adults, often having four to five heads height while adults are seven to eight heads tall. Their eyebrows and hair tends to be very light and thin, particularly on young children. The line under children’s eyes tends to be less pronounced. Teenagers tend to have longer faces with more chiseled features, not so round. Younger children have short necks.