CREATING WONDER:
SCBWI CHILDREN’S BOOK ILLUSTRATORS
“The Lost Place” by Kenneth Lamug
Renowned picture book writer and artist, Tomie dePola, states: “A picture book is a small door to the enormous world of the visual arts, and they’re often the first art a young person sees.”
“Letting Love Go” by Kathleen Kinkopf
When I consider Tomie’s pithy comment in relationship to this one by Sue Monk Kidd, “stories have to be told or they die, and when they die, we can’t remember who we are or why we’re here,” I see another significant value in picture books. They often introduce young people to visual art and also to themselves. They remind us, or perhaps inform us early on, of who we are and why we’re here.
I have been a member of the Society of Children’s Book Writers and Illustrators (SCBWI) for years, but my primary focus has always been from the perspective of a MG and YA writer. Picture books are a new endeavor for me and I have to say I am hooked! Whether it’s the work of writers and illustrators I have admired for some time, those I am embarrassed to admit I only just recently discovered, or that of very talented friends, this new world has been a revelation from the perspective of storytelling and the perspective of visual art.
After all, picture books are a magical blend of the two.
My interaction with SCBWI has always been from the point of view of an aspiring YA writer or, as Lin Oliver (accomplished writer and SCBWI’s guiding light) likes to say, a pre-published author. But recently I had the chance to experience some of the other layers of this wonderful non-profit organization “that acts as a network for the exchange of knowledge between writers, illustrators, editors, publishers, agents, librarians, educators, booksellers and others involved with literature for young people.”
This year, I attended my first SCBWI Winter Conference in NYC. I sat in on lectures and presentations from industry insiders (editors, agents, authors, artists) sharing some of their insights. But I also had a chance to interact with a number of illustrators and to view first-hand the portfolios of talented illustrators from around the world.
“Little Red Boubou” by Typhaine Le Gallo
There were so many people milling through the space that it resembled what I imagine speed dating to be like. There wasn’t enough time to savor illustrations, to settle in and experience the feeling or wonder some of the art would have otherwise elicited, nor to talk at length with any of the artists.
It did, however, offer me an amazing cursory glance at the work of artists I may have never discovered on my own. And I have asked ten of the artists who impressed me most to be part of a special feature on SCBWI illustrators.
Some have already worked on published books. Others are, like me, pre-published. They come from a diverse background of cultures and life experience. They have followed different paths. Some have been encouraged, while others just the opposite. But all of them are passionate about what they do. And each of them is quite talented.
I have mentioned before that I find color, juxtaposition, story, character personalities, emotion, and the interconnectedness of all those elements to be what resonate with me most when it comes to visual art. These artists deliver on all counts.
But don’t take my word for it. Take a look and see for yourself.
“Awaken” by Kate Adams
When I first encountered Kate Adams‘ art, I immediately thought of Lord of the Rings and the novels of R. A. Salvatore (some of my favorites). The work reminded me of medieval times and conveyed a sense of adventure, of mystery, and of strength.
Other Cool Birds: Young Adult author, Jacqueline Woodson says that writers tend to focus on the time in their lives they’re still working through. Is there an element of truth to Woodson’s claim as it relates to Visual Artists (or to your work)? If so, how?
Kate Adams: I think I can relate in some ways to what Jacqueline Woodson is saying. Though my work doesn’t always represent a certain time or character like a young adult novel would, there are certain themes present in my art that I’ve wrestled with from a young age.
For example, I used to have a lot of anxiety about growing up and facing new challenges. As we get older, we learn to live with that fear, to not let it stop us. Still, probably as a subconscious result of these anxieties, my work often has an underlying sense of danger or mystery, like something could happen at any moment to disturb the calm. Woodson calls it “working through,” but I think it’s more about acknowledging it and turning it into a point of connection. When a little bit of that unease seeps into my work, it adds a sense of tension and emotional gravity to the art. Viewers can latch onto that on a deeper level because it’s something we all experience.
Kate Adams
OCB: What are you painting or creating art for (as in, what is the deep-down driving force behind your choice to paint in the first place)? What is it about the act of drawing or painting or illustrating that speaks to you or resonates with you most?
Kate: I find peace in the process of creating a world of my own, and making it convincing enough to viewers that they get drawn into that world, too. Working as I do with a very strong loyalty to realism, observation, and detail makes the process all the more immersive. As I work, I feel like what I’m creating could actually exist, like there’s more to the world around us than we can see or touch. I want viewers to feel that same wonder when they look at my work. By making it so life-like, I hope to capture viewers’ imaginations and inspire them to see a different kind of reality.
OCB: What technique did you use to create “Star-Crossed,” and/or “Awaken?”
Kate: I typically work in scratchboard, which is a white clayboard that’s been covered in ink. I slowly build up highlights and midtones by etching white lines into the black surface with a knife. It’s a slow process, but I enjoy the amount of control I have over each mark, and the progression from dark to light gives the final work a really luminous effect.
OCB: Since you illustrate books for young readers, did you have a favorite illustration or illustrator when you were young (or now)? If so, why?
Kate: I remember reading these very dream-like fantasy books by Patricia A. McKillip that were illustrated by Kinuko Y. Craft. Craft’s cover illustrations were such a huge inspiration to me as a young artist. They looked like renaissance paintings, but more surreal and rich with tiny details from the narrative. At that time I already loved drawing and telling stories visually, but Craft opened my eyes to the possibilities of illustration. Her paintings always felt so separate from the modern world and even from history, like they existed only in the world of the story. That timeless and imaginative quality is something that I still strive for in my own work.
“Manccordian” by Typhaine Le Gallo
I was struck by the lush colors and the story in Typhaine’s Le Gallo’s “Little Red Boubou,” the lines and possible story behind “Manccordian.” There’s a richness and a definite story being conveyed in each piece.
Other Cool Birds: Is there an element of truth to Woodson’s claim as it relates to Visual Artists (or to your work)? If so, how?
Typhaine Le Gallo: More than anything, to draw is for me an act of joy and it anchors me firmly in the present. When I draw I can compare my state of mind with what I feel when I attempt to meditate. There is no notion of past or future, I really live in the present in serenity.
That’s why it has definitely been a huge help to draw about subjects linked to difficult times in my life. I don’t tend to do it naturally, it’s more of a very conscious decision to use this “tool”, it took me courage and when I started it was painful. But at the end of the day, my mind was more peaceful. And I’m convinced that if you are brave enough to face it, it can be the source of very powerful work.
OCB: What are you painting or creating art for (as in, what is the deep-down driving force behind your choice to paint in the first place)?
“Carte Blanche” by Typhaine Le Gallo
Typhaine: As most of the creative people I believe, to draw is not just a choice, but a need. When I cannot draw for several days or sometimes weeks, I become quickly frustrated and impatient.
As soon as I can draw again, I feel better, immediately more relaxed and focused.
When a new illustration appears slowly in front of my eyes and my hands, the birth of a picture which popped up in my head and swirled in my mind for days, sometimes for months, I feel real joy but also almost a physical sensation of relief and deliverance. I think At last! It is here, now I can think about something else. And of course a new one pops up!
OCB: What technique/media did you use to create “Manccordian,” and/or “Little Red Boubou?”
Typhaine Le Gallo
Typhaine: I draw and paint by hand. It’s important for me to keep a strong connection with paper and traditional mediums: mainly watercolor pencils, gouache and ink. I usually only use a computer at the end to clean up and adjust color levels.
As “Manccordian” had to be black and white, here I only used lead pencils, and then Photoshop to enhance the contrast on the character and add a deep black layer for the background.
“Little Red Boubou” is the only exception to my “80% traditional, 20% digital” rule. I wanted to experiment a project mainly done digitally, to be fully aware of the pros and cons. I drew the lines with black ink, scanned these black and white drawings and some textures on paper done with watercolor pencils, graphite or pastels. Then I digitally composed the final colored images in Photoshop by assembling all the parts. I learnt a lot and enjoyed it… but not as much as traditional mediums.
OCB: Since you illustrate books for young readers, did you have a favorite illustration or illustrator when you were young (or now)?
Typhaine: The first memory of a children’s book that struck me is “Le Roman de Renart,” illustrated by the French illustrator René Hausman. Beautiful vivid illustrations of animals and fable characters in watercolor. My dad offered me his own copy after making me promise that I would take really good care of it. I was so impressed by the illustrations that I definitely did!
Now my favorite illustrator is Rebecca Dautremer, also a French illustrator. Everything in her illustrations is just perfect, the composition, the movement, the colors, the light… every drawing is a real gem.
“Bad Jack” by Kenneth Lamug
The illustrations of Kenneth Lamug (aka Rabbleboy) are playful, fun, yet also express something deeper. “The Lost Place,” for example, speaks to the misfit in me, the one who is different. Images like “Waiting Room” also have a quirkiness and humor which I love.
OCB: What do you think about Jacqueline Woodson’s claim?
Kenneth Lamug: That is a great quote – I think tha t our art and stories are created within the context of our past and present. As humans, we grow and mature. Our life experiences dictate our passions and beliefs. And this directly translates to the things we create. As our knowledge, experience and perspective changes, it drives the emotions and thoughts we put into our craft.
In my first picture book A Box Story, I talk about imagination and creativity, and how each of us has a box where we keep our secrets, emotions, memories etc… We do the same for our creative box. What’s inside of it influences how, what and why we create.
Years ago, I wrote a several stories but was not able to finish them. I just wasn’t mature enough to internalize and bring life to the idea. I could not execute it in a way that it deserved and I recognized that. I hope that in time I’ll be able to pay proper respects to those ideas and bring them out into the world. I still need to grow.
“Kite Parade” by Kenneth Lamug
OCB: What are you painting or creating art for (as in, what is the deep-down driving force behind your choice to paint in the first place)? What is it about the act of drawing or painting or illustrating that speaks to you or resonates with you most?
Ken: As a child, I was fascinated by Sunday comic strips. I stapled scrap paper and made comic books based on Garfield, Indiana Jones, Transformers and many others. I took out our typewriter and wrote pages and pages of stories. I always thought that I’d be a cartoonist but life took a different turn when my entire family moved to the US (from the Philippines).
I was told by the grown-ups that art was not a viable career choice. So I went an entirely different direction — computer programming.
It took another 10 years before the creative fire was rekindled. With the help of friends I explored the arts through filmmaking and photography. Long days and nights were spent writing, filming, editing and interacting with other creative minds – I was hooked.
After a few years, I found myself a husband and father and could not commit time to my filmmaking pursuits while maintaining a day job. But once the fire was started, it was not so easy to tame. My creative monster took me back to my first love — writing and illustrating. I had worlds to share and tall tales to tell.
“Gone Fishing” by Kenneth Lamug
At first I was drawn to fairy tales, then I studied various artists and looked at their style and philosophies. I made many mistakes along the way as I re-learned things that I had long forgotten.
Rules are made for suckers — so I did things my way and self-published my first picture book. Then I moved to comics, publishing various genres including steampunk, all-ages adventure and even a hidden-objects book. I had a goal that if I could finish one book a year, I was doing great. It just so happened that I was making about three books per year.
Illustrating and writing is a fun and challenging pursuit. Publication was just an added bonus to the activity and not the end goal. I actually tried to stop creating and I couldn’t do it. As odd as it sounds, art keeps me sane. And the creative journey has been kind, rewarding me with friendships, accolades and joy.
OCB: What technique/media did you use to create “Kite Parade,” and/or “The Lost Place?”
Ken: “Kite Parade” and “The Lost Place” were both created digitally. Not having any background in traditional painting, I gravitated towards the computer, a tool that I was already familiar with.
As with any tool, there is a learning curve and time must be put in to achieve a certain look.
For my paintings I try my best to give the images an organic feel. With digital art there are fewer “happy accidents”. You only get the strokes and texture you intend to place. So the approach is a little bit different. But working with publishers and tight deadlines I’ve learned that using the computer makes the workflow much faster.
When I want to work traditionally, I always go back to my watercolor and pens (something I need to do more).
“Waiting Room” by Kenneth Lamug
OCB: Since you illustrate books for young readers, did you have a favorite illustration or illustrator when you were young (or now)? If so, why?
Ken: I consider myself a young student in the craft. And as my mood and taste changes so does my favorite art or artist. Participating in the SCBWI conference opened my eyes to many wonderful talents. It was an inspiring and humbling experience. Six years ago, I looked to Shaun Tan, Edward Gorey, Tim Burton as my early inspirations. And while I still admire their work, I’ve now entertained a wider range of artistic influences.
One thing that I do look for in a person is the work ethic and dedication that they put into the craft. The ones that inspire me are the blue-collar artist who we haven’t heard of yet… the ones who clock into their 9 to 5, takes care of the family and stays up late to work on their stories. I think those are truly the inspiring ones. Art is a subjective thing and it changes with the times, but the ones who last are the ones who keep creating and keep working no matter what happens. They’re the ones that inspire me.
Sketch by Sybil Cohen
The illustrations of Sybil Cohen, one of the first SCBWI artists I spoke with at the event in NYC, has a tenderness to it, an innocence, a sense of yearning that resonated with me. There’s a familiar world element and an alien or fantastical world element as well.
OCB: What do you think of YA author Jacqueline Woodson’s claim?
Sybil Cohen: Oh yes, definitely! I would totally agree with Woodson on this. As an illustrator, I use art rather than words to tell a story. I like to think of myself as a visual storyteller and as storytellers, we regularly need to tap into our personal emotions to help convey genuine feelings. The strongest emotions are usually a time or a situation in our lives we are still working through. Using these emotions, helps define the essence and struggles in our story in an authentic way. We all have struggles, and being able to put those into my characters helps make them relatable. While digging deep into my emotional well, I end up working through some really great stuff!
OCB: What are you painting or creating art for (as in, what is the deep-down driving force behind your choice to paint/illustrate in the first place)? What is it about the act of drawing or painting or illustrating that speaks to you or resonates with you most?
Sybil: What a great question! I believe everyone has an emotional expressive language. For musicians, its sound and music. For dancers, it’s movement and dance. We all have a preferred language to express our feelings. I imagine, for the majority of people it’s words, but for me it’s visual. I feel in images. When I want to create an image I put myself into that feeling and work on getting that emotion onto paper. When I’m drawing, time disappears and I lose myself in the art. One of my favorite quotes is by Thomas Merton “Art enables us to find ourselves and lose ourselves at the same time.” If you find the thing that does that to you… do it, and do it a lot!
“Don’t Wake a Sleeping Dragon” by Sybil Cohen
OCB: What technique/medium did you use to create the Sleeping Dragon image and/or the Alien Looking Up at the Latterns/Stars (and if those images have titles, please share those as well)?
Sybil: Sure! I work in pastels. I use pan pastels, which are basically pure pigment (I love color!;) )
I end up using my fingers to move around the pigment. My husband jokes, that I’m a professional finger painter! But I just love the feeling of pastels on my hands. After I’ve done a fair amount of finger painting, I use color pencil (Prismacolors) to add in the details. Then, I scan in my image and do some digital tweaking and more detailing to get it ready for print.
“Don’t Wake the Sleeping Dragon” was a fun picture to create; I love the suspense and tension that this image eludes. There is a moment on the road to pursuing your dreams or ambitions, where you pause and ask yourself “Is this worth it?” “Can I do this?” “What if I fail?” This was what I was trying to convey in this image. The teddy bear is what’s at stake (it’s obviously important enough to trek into a mysterious cave to get) but the obstacle is a huge dragon! So the question is – “is this worth it?” To me, the answer is “yes.” 😉
If you’re interested in seeing how the pastel painting is done on “Don’t Wake the Sleeping Dragon” follow the link.
“Fickle” by Sybil Cohen
The Alien picture, “Fickle,” was created using the same technique as “Don’t Wake the Sleeping Dragon. I work mostly by hand. In this story, my alien, Fickle, goes on a personal journey of curiosity which ultimately leads him to creativity. His new found creative skills do not align with that of his fellow aliens who follow specific routine, day in and day out. In this scene, Fickle is looking at his world with clarit”y, from a far. He is setting himself apart from his clan, and is a turning point in the story, where being true to himself brings out a spark that not only touches him.
One thing that I find to be super exciting and interesting is how one piece of art can be looked at very differently by each person. I may have a particular emotion and direction in my mind while creating an illustration, yet it may evoke a completely different feeling and emotion in someone else. That’s what makes art so beautiful. And while the meaning and feeling may be different for each of us, it is the shared experience that bonds us all.
“Wild Swans” by Erin Beachy
Erin Beachy’s work is elegant, yet has a fairytale quality to it. Several of the artists have “Red Riding Hood” in their portfolios, including Erin. I love her use of line and muted color and the magical, mystical, wonder(full) relationships between her characters.
OCB: What do you think of YA author Jacqueline Woodson’s claim?
Erin Beachy: I imagine this is true for some visual artists, but not for me personally. My art is usually just influenced by whatever stories I’ve read recently and/or how I’m feeling at the moment.
OCB: What are you painting or creating art for (as in, what is the deep-down driving force behind your choice to paint/illustrate in the first place)? What is it about the act of drawing or painting or illustrating that speaks to you or resonates with you most?
Erin: I’ve been drawing ever since I can remember. It really doesn’t feel like a choice to me, it’s just something I need to do. I feel most like myself when I’m making art. My favorite thing is trying to interpret visually the stories that I love; it’s an outlet for expressing how I feel about them. Books and art usually go hand and hand for me. And the process of starting from nothing and creating something beautiful is incredibly satisfying.
“Little Red Riding Hood” by Erin Beachy
OCB: What technique/media did you use to create “East Side of the Sun and West of the Moon,” and/or “Wild Swans?”
Erin: Both are drawn with Blackwing pencils and then scanned and colored in Photoshop. “East of the Sun and West of the Moon” was colored with Kyle T. Webster’s watercolor Photoshop brushes, which I highly recommend.
OCB: Since you illustrate books for young readers, did you have a favorite illustration or illustrator when you were young (or now)? If so, why?
Erin: Growing up my favorite illustrators were (and still are) P.J. Lynch and Alan Lee. We had a couple of picture books that P.J. illustrated when I was a kid and they were my favorites; his work is gorgeous. I found Alan’s work through obsessing over The Lord of the Rings. I spent a lot of time marveling over his Tolkien concept art and watercolor paintings. My relatively newer favorite is Arthur Rackham. I absolutely love everything about his work, the style and tone are perfect for fairy tales. All hail Rackham.
“East of the Sun West of the Moon” by Erin Beachy
There was so much content to this post, that my website wasn’t cooperating so I had to split the post in half. To view the remarkable work by the other five illustrators from the SCBWI conference, click here.
I’m so excited and honored to have all ten of these exceptional artists join the flock. But please don’t be satisfied with the mall sample of illustrations found in this post, click on their names and the images above to visit their respective websites. Follow them on social media. Savor and share the wonder yourselves!