CREATING WONDER:
SCBWI ILLUSTRATORS PART DEUX
This is the second of two posts showcasing the wonderful art by SCBWI illustrators I met at SCBWI’s annual conference in NYC. They have been influenced and inspired by such accomplished artists as Dr. Seuss, Maurice Sendak, Stan and Jan Berenstain, Tomie dePaola, Beatrix Potter, Dorothea Warren Fox, Bill Watterson, Chris Van Allsburg, Sophie Blackall, Bryan Collier, Lisbeth Zwerger, Rebecca Dautremer, René Hausman, Kinuko Y. Craft, P.J. Lynch, Alan Lee, Tim Burton, and others.
Chances are, someday, other illustrators as well as children will say the same about their work.
“Sweet Nothings” by Kathleen Kinkopf
Although illustrating for children is a relatively new endeavor for artist Kathleen Kinkopf, her work art is just lovely. It’s the combination of grace, color, story, and juxtaposition in her paintings that move me.
OCB: Is there an element of truth to Woodson’s claim as it relates to Visual Artists (or to your work)? If so, how?
Kathleen Kinkopf: This is true for some artists, but I think the majority of my imagery derives from places unknown to me. I am just the messenger. I consider myself a visual storyteller, whether in illustration, fine art, or graphic design. I enjoy creating work that causes a viewer pause, contemplate or step into, and possibly inspire them to reflect on their own story or personal journey in life. I don’t create work for myself, but for someone I have not yet met, whether they are readers, collectors, art lovers, educators, executives, or professionals from all walks of life. That approach, for me, encourages a free flow of unconditional creativity without expectations or limitations.
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?
Kathleen: I may have answered this in the first question, but regarding the reason why I paint or create? The short of it—it’s just ‘there’. It’s been there since I can remember. I have made many decisions in my personal and professional life because of my artistic genetic code, which is the underlying (and uncontrollable) current that drives me. As a professional artist, there are many things that motivate me: 1) the innate quest to be prolific yet maintain art excellence consistently, 2) be conscious that I’m only as good as my last piece or group of work, 3) practice the discipline of stepping back with an objective viewpoint of my own work from time to time 4) produce great work, whether illustration, fine art or design and thrive financially so I can continue doing what I do, 5) being incessantly curious.
“Double Dreaming” by Kathleen Kinkopf
OCB: What technique/media did you use to create “D Magazine,” and “Dreamworlds 5, 6, 7?”
Kathleen: These are all in acrylic. I worked in pastels for many years, but due to a number of reasons, and because the execution theory is similar, I began working in acrylics about 20 years ago and am currently still working in this medium.
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?
Kathleen: Strangely enough, I don’t recall either of my parents reading to me as a child. They were children of immigrants and grew up during the depression. Both also lost their parents when they were young, so survival for the family was priority — having food on the table and a roof over our heads (nothing frivolous like reading books or creating art, for that matter).
“D Magazine” by Kathleen Kinkopf
That said, many members of our family had creative tendencies in the arts, engineering and music. Had it been a different time, things may have played out differently. I do remember being a book-worm, constantly reading as a child and teen, even through the summer. I did have a horse and remember reading alot of books about horses, although I don’t remember any books of particular authors. I do remember writing my own version of Goldilocks and the 3 bears as a young child and would give anything to have a copy of that. I have a clear recollection of putting the pages in the typewriter and illustrating each scene in my own interpretation. While there are many authors and illustrators (too numerous to list) I greatly admire in the current marketplace, I have admired Chris Van Allsburg for many years (one of many influences for my work), as an author-illustrator, due to his vibrant imagination and his engaging, visual storytelling style.
OCB: Although you haven’t necessarily created art specific for young readers to date, what is it about the possibility of doing so that speaks to you (if there is anything about it that appeals to you, aside from being a potential source of income)?
Kathleen: I love the imagination and stories of the many illustrators I’ve studied and admired over the years. I feel my work has the potential to complement a number of publishing venues and opportunities. I would enjoy this new challenge for my work. While I’ve been working in commercial illustration for over 20 years, I respectfully observe publishing as a different industry. I’m interested in finding a viewing/reader’s niche where my work can be engaging and tell stories in a unique and powerful way.
As a girl, were their books or illustrations that resonated with you (if so, what ones/why)? If these questions don’t seem relevant, then maybe how do you think you can relate to young people through your art (or in what ways would you like to do so)?
I think my answer to this might be woven into some of my statements above. As far as young readers go, I never underestimate the power and freshness of their imagination. I think they can teach me how to see the world from a fresh perspective. My challenge is to translate this new vision into words and pictures that excite and engage the reader in a fresh and challenging way.
“The Tales of Bamboo Cutter” by Yuko Kato-Jones
Yuko Jones possesses that rare ability to convey a sense of simplicity while creating art that is by no means simple. The cultural elements, the subdued colors, and the lines of her work bring me into each story.
OCB: 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?
Yuko Jones: I’m not sure if there’s anything in particular that affects my creativity that way. But I do remember, as a child, I would spend hours poring over picture books. For me, it was the illustrations rich in texture and detail that expanded the stories as well as my imagination. I think about that a lot when I’m working on my illustrations.
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?
Yuko: I draw and paint because I want to see if I can turn my creative vision into reality. It always starts with an idea and I just follow my curiosity from there. Most of the time, though, my artwork doesn’t turn out exactly the way I envisioned, but that’s probably why we artists hustle everyday to improve our craft. I think my driving force is to fill the gap between what I envision and what I can actually create.
“Dream Catcher” by Yuko Kato-Jones
OCB: What technique/medium did you use to create “The Tale of the Bamboo Cutter” and/or “Dream Catcher?”
Yuko: For “The Tale of the Bamboo Cutter,” I did a combination of pen drawing and watercolor, which is a traditional approach to illustration. But I took an extra step to prepare the paper before I started the drawing process: I stained the paper with coffee to give it a slightly brown, vintage feel I was going after.
“Little Red Riding Hood” by Yuko Kato-Jones
For “Dream Catcher,” I started with watercolor, and then added some shading using color pencils to create depth. I completed the piece with a touch of soft pastel and acrylics to add some bright colors and texture.
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?
Yuko: I was always drawn to illustrations that are rich in texture and detail. I remember I was particularly drawn to black and white illustrations done in ink as a child. Now as an adult, I admire Lisbeth Zwerger’s and Rebecca Dautremer’s work. Their illustrations are classic and beautiful, but also offer a sense of modern whimsy that I like.
“She Wasn’t Afraid of Him” by Denise M. Cassano
Denise M. Cassano also has a wonderful “Red Riding Hood” illustration. Her work implies adventure and a fun story (like “Fishing for Love” which has so many things going on, and suggests regal qualities (the girl, the kite, the fox), as well as dystopian or steampunk (the tree, the heart).
OCB: 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?
Denise M. Cassano: Whether we like it or not, as writers and illustrators our experiences come through our work, sometimes obviously- other times it’s more subliminal. For many years I painted about the concept of fear (Crossroads, Kraken and Knight Time are examples.) Fear paralyzes you. There is an amazing book, Art and Fear, I recommend to artists and writers- it nails it. I’ve experienced people who don’t lead full lives and miss out on opportunities because they are afraid. I even know someone who, because she was afraid, didn’t get the medical attention she needed and by the time she did go, it was too late.
The themes in my art pose a question- “Is there anything to be afraid of? Or, maybe, is it something we just don’t understand?” Do we have all the information that we need, or are we simply afraid of the unknown? If we look more carefully, can we understand our world or does it just make us more confused? My characters (sometimes they are animals, people or even architecture) are all shown in context of what is around them, which I think changes the story. Setting, to me, is a character. (For an excellent example of this, watch Downton Abby. Highclere Castle itself is just as important as Lady Mary.)
I have a quote from Tim Gunn in my classroom- “Fear never conquered anything.” I love it
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?
Denise: What resonates with me when I paint is how it makes me feel, not only when I am in the process of making it but also when I .experience the final image. When composing images I am fascinated by two things: the concept of inside/outside as well as how the slightest detail can change the entire story, sometimes in a surreal way. (Many of my paintings contain a bit of surreal imagery). Most of my images are full bleeds, meaning they have a foreground/main character element, but they also have a background that is just as important and plays another character.
“Fishing for Love” by Denise M. Cassano
For example, in both “Fishing for Love” and “She Was Not Afraid” there are details in the distance that tell something in addition to the foreground message. In “Fishing” there are tiny kites in the shape of hearts and in “Afraid” there is a futuristic/steampunk type of cityscape- quite different from what we are used to. If you see something new each time you look at a painting of mine, and you feel something, then I consider it a success. I think for any writer or illustrator- our driving force is that you have something to say- and you need to get it out in the only way you know how.
OCB: What technique/medium did you use to create “Fishing For Love” and/or “She Was Not Afraid?”
Denise: I tend to use traditional and digital media- understanding that they both have qualities I am looking for. In “Fishing for Love,” it started out as a water color, then I scanned it into PhotoShop and digitally rendered the background and did some touch ups. The kite in the tree is graphite, digitally colored in. It was quite the experimentation! It is a more current piece, and I am more open to trying new things.
In “She Was Not Afraid,” it is an oil painting on board. I then scanned it into PhotoShop and worked on the mech wolf as well as details of the girl. What I have learned (the hard way) is that no matter how good the painting is, if the composition is off, the whole image is off. Sketching and working out all of those details of placement is key before color and texture can be applied.
Here is a blog post further describing my process.
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?
Denise: Some of my favorite illustrators are Chris Van Allsburg, Sophie Blackall, Bryan Collier (so excited to meet him at SCBWI this year!), Pamela Zagarenski, and of course Tuesday’s David Wiesner. Tuesday was what got me into illustrating for children. All of these illustrators consider the entire image, foreground and background, and each of their images is a story unto itself. They force you to keep looking, and isn’t that the point?
“Searching” by Denise M. Cassano
“The Woods” by Jana Curll
The art of Jana Curll is full of color, and of animated personalities. I love her use of curves and lines to create mood and movement, but also to suggest personality and relationships between her characters.
OCB: What do you think about Woodson’s claim?
Jana Curll: I think this is true for visual arts as well as writing. I think this is why abstract art is so fascinating and illustration so important (as just 2 visual art examples). When I see personal work I often see subject matter take the forms of: mantras (this is how it should be), mirrors (what feelings are being dealt with right now), or muses (what is inspiring to the person). Is the work complicated? Simple? Conflicted? Harmonious? It may not be a literal interpretation of an experience, but often the abstraction is where the connection happens with the audience. The line into mastery is a subtle one.
“The Woods” by Jana Curll
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?
Jana: The act of creating is simply the most comfortable space to be in. I enjoy challenge of capturing abstraction of feeling and form into an interesting composition. It’s also fun to wrestle with through the creative process.
OCB: What technique/media did you use to create the images from “The Woods?”
Jana: I thumbnail in pencil, compose in Illustrator, and then ping pong back and forth between digital and traditional medi for the colour and texture. There is a lot of trial and error.
OCB: Since you illustrate books for young readers, did you have a favorite illustration or illustrator when you were young (or now)?
Jana: Beatrix Potter, Dorothea Warren Fox, Bill Watterson . . .
“Poo Poo Fairy” by Joseph Cowman
Joseph Cowman’s illustrations convey humor, a certain sense of awkwardness and an adventurous spirit. I also have a soft spot for robots, automatons, and golems so “Gepeto” speaks to me on several levels (as a fan of the story of Pinocchio, and with the idea of creating life and the challenges that arise from such endeavors).
OCB: 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?
Joseph Cowman: The majority of my work is created for children. And so I spend most of my day reflecting on the way children see the world, how they respond to the challenging moments in their lives, and how they work through those times. Inadvertently I know I use my own experiences and aspirations to fill the gaps and hopefully connect with the reader.
When it comes to the actual act of illustrating, I spend a great deal of time focusing on the aspects of my visual storytelling ability that need improvement, and I continually strive to work through those problems.
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?
“Fly” by Joseph Cowman
Joseph: I grew up in a small town and there wasn’t a lot to do. Everyone knows it can get pretty boring. So, from a young age I heavily depended on my creativity and imagination for entertainment. Picture books were the first to fuel that fire in me and opened my eyes to an endless world of possibilities. As an adult I now have the opportunity to pass on the gift of imagination to children through my illustrations.
OCB: What technique/media did you use to create “Fly,” and/or “Gepetto and Pinnochio?”
Joseph: I spent years working in traditional media. My favorites being pencil and watercolor. About five years ago my wife secretly bought me a digital stylus (the Wacom Cintiq) to help me get through a huge project. Being a “purist” at heart and unsure about the emerging world of digital art, I complained and grumbled about it for a few days, but once I gave it a chance I was hooked. It gave me the ability to have every medium possible in digital form, all at my finger tips at any given moment.
Zero drying time, or endless drying time whichever is needed. No cleanup, no wasted paint or product. It’s amazing! I now work primarily in digital form and created “Fly” and “Gepetto and Pinnochio” using these tools. Photoshop is my favorite piece of software to use while painting digitally.
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?
Joseph: As a young boy I loved any illustrator that had the power to immerse the reader in their world. I loved Dr. Seuss, Maurice Sendak, Stan and Jan Berenstain, Tomie Depaola, the list goes on and on. As a young teen the art of Arthur Rackham, and Alan Lee caught my attention. Today some of my favorite artist include Christopher Denise, Oliver Jeffers, and Dan Santant just to name a few. They and so many more give me the inspiration and aspiration needed to continue growing and creating.
“Gepeto” by Joseph Cowman