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Collage illustrations

 
A cat’s journey to find the meaning of her name leads her from her Kyoto home to the pine trees at the foot of Mount Hiei.

And there from a wise Zen monk-ey, our questing cat learns ‘a way of seeing’ that is at the heart of the culture of her land. 

Wabi Sabi, the Japanese and Tao zen concept that is also the cat’s name, ”finds beauty and harmony in what is simple, imperfect, natural, modest and mysterious.”

“It can even be a little dark, but it is also warm and comfortable.”

Wabi Sabi, by Mark Reibstein and renown illustrator Ed Young (published by Little Brown and Company) was named one of The New York Times “Ten Best Illustrated Books” of 2008.

A native of Tientsin, China who was a child in Shanghai during the World War II years, Young  came to the United States in the 1950s and worked as a graphic designer before turning to children’s book illustration. He has illustrated 8o books, several of which he has written.

He has worked in many mediums, from authentic Chinese paper cuts to the soft, bright pastels of Lon Po Po, his 1989 telling of a Chinese “Red Riding Hood” fable, in which three sisters outwit a wolf who comes to their house.  The book published by Viking Penguin imprint Philomel won the Caldecott Medal.

How To Be A Children’s Book Illustrator  recently interviewed Young about his pictures for Wabi Sabi.

Here, Young employed standard and some not-so-standard collage techniques.
“I’ve always used it in doing other mediums, because it’s easier to lay out compositions and make decisions with collage,” he said from his home in Hastings on the Hudson, New York on a Saturday morning in early November. 

(A collage is a work of art created by gluing bits of paper, fabric, scraps, photographs or other materials to a flat surface, often combining the imagery with painting and drawing. Young has cited the collage designs of Henri Matisse as a major influence on his work.)  

“It’s easier to change around, nothing is permanently pasted down,” Young said. “It’s flexible and alive. With other mediums you often get tight too quickly, then you get attached to it and it’s hard to change. Collage was something I used for sketching in the past. Now I use it to finish my work.”

Conversely, he drew pencil thumbnails in his sketchbook to get the idea formation process going for Wabi Sabi.  When he begins to work on an actual collage illustration, Young will place an item such as “a piece of bow” on the paper, and adds from there. For this he keeps several boxes of scraps, ribbons, colored tissue  — arranged in color schemes.

“I work flat until they are arranged in a way that’s satisfactory, then I’ll fix them to the paper with a little dab of Gluestick on the corner so the pieces won’t fly all over the place.

“It’s really play. You don’t get down to make something firm until the [pieces] start to talk to you.  Then you listen. “

“Illustrating children’s books is like making a movie,” Young said. “You’re making a series of pictures that tell a story. Those pictures are also like words made by you to lay out the moods.

“When you have the pictures together it’s like phrases. The phases have their own spirit and that becomes a poem of some sort — if they hang together right. But it’s very different than making a singular picture.

“In the concept stage, I am placing things down to start telling the story. Then several stages down the line, I introduce the colors. I play around with colors when the composition is right.

“These [colors and shapes] shift around. They have to work with the page. They have to flow from one to the other one so that when you flip the page, you’re either surprised by something, or staying in the mood for the next picture.”

The sequence is something to behold in Wabi Sabi. The viewer does indeed  feel like he’s moving from mood to mood, experiencing all the contrasting sights and emotions, epiphanies and wonderment of this cat on her journey to find who she is.

The story behind the illustrations should be made an epilogue to the book in the second edition.
Young’s first set of illustrations,  which took him two years to complete, mysteriously disappeared after he dropped them off on the front porch of his agent’s house.

(While taking his wife to the hospital, Young had dropped the bundled illustrations in an envelope at the agent’s doorstep, but they never showed up at the N.Y.C. office of his editor Alvina Ling. The agent never saw the package. Police and parcel delivery services were called. Locations were scoured to no avail.)

A few months later, when everyone came to grips with the idea that the art truly was lost, he had to start over with only weeks until his deadline. In the meantime, his wife had just died of cancer.  “I was in crisis mode,” Young said.

He had already cleaned out and re-organized his studio. The brightly
colored paper and tissue scraps and slivers that had been the raw materials for his pictures were gone. He had also tossed all of his visual references — except for some angled, distorted  snapshots that Ling had made of the collages in his studio.

By now, though,  Young knew that in his second go-around he would take a radical approach.
The look of the book would be quite different.

“Wabi Sabi is a term used for celebrating the common things that people overlook and seeing beauty in them,” Young said. “When I did the first round, I used beautiful new things, many done from scratch. And fresh things, although the pictures were beautiful, didn’t really develop the idea of wabi sabi.

“So when I started my second version, I decided to use wabi sabi materials.

“Wabi Sabi does not occur when something is newly made because it hasn’t got to that point where the soul is revealed. New things don’t have stories to tell.

He would have to work very fast. He recruited his 12 year old daughter to help him.
“In the end papers, you see cat foot prints, for example. When they were pouring concrete on my garage driveway, the cat actually walked on it. I wanted the images because that said something about the journey. So I had my daughter photograph that.”

Pine needles that Young’s daughter brought home from summer camp clump and adorn the trees of the forest on the book’s back cover and elsewhere in the pages. (In the original first set of collages, the pines were merely tree stem shapes cut from colored paper.)

The tree bark texture is actually from a large weatherworn outdoor thermometer in his back yard.
(Young is fond of this artifact.)

The autumn leaves on pps 17-18 are … autumn leaves, collected by Young and his daughter.

Other bits of photographed foliage and nature and urban scenes were –in time honored collage tradition — clipped from the covers of Smithsonian and other glossy magazines.

The bamboo leaf shapes are scissored from real corn husks.  A rug mat the cats in the story sleep on is made of lint scraped from the Youngs’ clothes dryer. The speckled cover of a college composition book provides the textured background for our cat heroine in one of Wabi Sabi’s epiphany moments near the conclusion.

The mottled brown pattern of the cat herself throughout the book comes from the rusted surface of a portable cook stove Young owns.

All of these materials  — the leaves, the pine needles, the dryer lint, even the big thermometer and the stove! –were  taken down to a neighborhood copy shop, layed on top of the glass of a color Xerox machine– and photocopied!  (”It probably isn’t something you could do at Staples,” Young offered.) Then he and his daughter merely cut around the myriad shapes and patterns in the color copies — to create the images for the story.  

“I try to take the time to find the soul of a story I illustrate,” Young said. “And, well, Wabi Sabi gave me the theme I needed to make use of that challenge,” Young said. “We were using things people have discarded, things people don’t want to celebrate. And I was reminded that this — and everything — is part of a process.

“With illustration, it’s no different. If I lose this set, I’m not the same person any more — so I’ll do another set.  One round is one telling. The next round is another  telling. I’m just finished for this round.

“The lesson is that nothing is frozen. If the book is ever to be made again, it can be retold by another person in a different way.  And it could be just as good, or better.”

                                                               * * * * *

 The missing set of originals have been alluded to in press releases, a review in School Library Journal  and other sources. I got additional details from Mr. Young and a video he loaned me of a talk he gave this fall at the Hastings on the Hudson Public Library.  The talk was in conjunction with an exhibit of the Wabi Sabi artwork at the library — All the art, Both sets!.  The once-missing original pictures showed up almost a year after they disappeared — in a Lutheran church where Young teaches Tai Chi classes!

“I’ve had Individual pieces of my art that were lost before, and even whole sets of illustrations.
But I never had a set of illustrations that was lost — and then found!”  Young told his appreciative library audience. 

                                                                        * * * *

My warm thanks to Mr. Young,  Tara Koppel with Raab Associates Inc. and Celia Holm, Children’s Librarian at the Spicewood Springs Branch of the Austin Public Library for their help with this article.  Mark Mitchell

Lon Po Po (inside illustration)

Who is the creature lurking in the library in Erik’s comic strip? I think I know, and I’ve entered Erik’s contest, but I can’t share my guess with anyone. But I will say this much — it’s a character from a book we know. After all, the strip is Hex Libris, in which Kirby, the main character is charged with taking care of a ginormous enchanted library. 

Ever read a novel that just comes to life before your eyes? Well you can expect Hex Libris to take that theme and … ramp it up a little for you. 

The serial web comic by designer-writer Erik Kuntz of Austin, Texas began as a New Year’s resolution. So did his illustrator’s blog A Dog a Day  that features Erik’s unstop able canine imagery — with a doggy bite of daily commentary.  But that’s a subject for the next post. 

Erik was thinking of the classic Nancy Drew stories of the 1950’s, mulling how they contrasted and compared with the Nancy Drew graphic novels that are being designed for today’s teens.

“I wondered, ‘What if there was a place where characters could wander out of their books?’ ” Erik says. ”‘And what would happen if the real Nancy Drew ran into the punky Manga style Nancy Drew?’”

Our hero Kirby meets them both as a result of his new archival responsibilities. And so it is inevitable that the trio and who knows who else (stay tuned…)  join forces to solve a mystery, or two.

The story unfolds in  semi-weekly panels that move us easily, cleanly and sweetly through time and space. We care about Kirby and Amy (a girl who likes him) and girl detective Connie Carter ( the “original” Nancy Drew) and even the little old lady (or is she a witch?) who leases Kirby the uptown apartment that somehow, magically contains a Library of Congress-like basilica within its tiny walls.

It’s an idea Erik hatched at last year’s Summer Arts Workshop at California State University. He studied comics and animation in the summer program. One of the teachers, Trina Robbins (a comic book writer and illustrator since the 1960s) encouraged him.

“As much as I love comic books, it’s the comic pages in the Sunday paper that I most enjoy and try to emulate here — their sequential nature and the art style and sense of humor — especially from the 40s to the 50s, where they could work bigger and  there was more possibility,” he says.

Kuntz blends his pop knowledge with early 20th century literacy, opening his ”chapters” with such verbiage as “In which our hero acquires new lodgings and meets a mysterious young woman ….” 

“It tells you what will happen without giving it away,” he explains. ”With a serial web strip, just like in the Sunday funny papers, you kind of need to have a stop every day. You want each page of the comic to be a beat  Each one has to be a sort of mini cliff hanger. And each chapter must have its own arc. That’s the other thing I work with to get right.”

Erik begins by writing a synopsis of what’s going to happen in the chapter, without the dialogue.
Then he begins to sketch and figure out the panels and individual frames,” he says. 

“I scanned [pencil on paper] sketches for the early strips, but now I’m working directly on the computer, starting with rough sketches in Corel Painter using my Wacom Cintiq tablet monitor,” he says. “I stay with Painter through the inking process, then I bring the whole thing into Illustrator to do the lettering. Once in a while, when I’m out and about with my sketchbook, I capture a pose I want to use and scan that in and mix it in with my computer sketches.

“To be more precise,  I use Painter’s Mechanical Pencil brush set to a light blue color. When I ink I use a variety of Painter’s Ink Pen brushes, mostly the Smooth Round Pen one. For the next one, I’m going to experiment with the tools that more closely imitate traditional comics inking brushes: it’ll be looser and I am not certain whether I’ll like it.

“I’ll know in a day or two when I get to the inking. “

Here’s Erik’s ‘pencil rough’ for the March 13 panel of ‘Hex Libris” — except he’s done it digitally. 

“They look a lot like my traditional sketches look, since I use a col-erase blue to do my roughs on paper,” he says.

“I’m most of the way done with this roughing, I have some poses to adjust, some faces to finish and I’ve got to fix the perspective on the backgrounds, which are currently just scribbled in.  Oh, and I need a background in the final panel. Painter has a perspective grid,  which is useful for simple 2-point perspective, so I’ll be using that to get the kitchen sorted properly.

Erik has been a student of

 I’ve done so much study over the last few years as to what makes a comic a comic as opposed to an illustrated story,” Erik says. ”It’s a constant struggle between what needs to be put in the picture and what needs to be said ‘out loud’ in words.”

For inspiration, Kuntz looks to the late “father of Manga” Osamu Tezuka (”Kimba the White Lion was my favorite show as a kid,” Kuntz says. “It was cartoony without being overly simple.”

He also draws from the late E.C. Seegar, the creator of Popeye and Thimble Theatre. “I like the older style of newspaper comics, where the adventure strips had a more realistic look.”

There are a huge number of ppl doing them now.
Early days, doing tremendously.
Most of them are very poor. You won’t get it if you weren’t out drinking the night before.
There are quite a few brilliant child-friendly comics.
Some people thew business model is web advertising, especially if you’re drawn to a certain one,.
Penny-Arcade.com..
If you don’t lnpw anything about video games you’;lbe mystified by the strip,

Advertising art.
Others are off advertising on their site, or sales of merchandize, T-shirts and print versions of ytheir work, and their artisitic expression and online portfolio.
I wouldn’t think that ppl doing the webcomics,
Aren’tmakiny money,

There is a stunning amount of good work out there, on the web, and a much
Web an ideal way for me to do a serial.

Web is an inexpensive way to put the work out there and much easier way to get it in front of somebody.

With the web and the social network everyone’s sharing things, pointg it tout toe each other, it’s a new milleu, an old art form anbut a different way of delivering it.

 could do it free,
I think every artist that does children’s stuff, cartoony stuff.

Kids are more ., kids are reading comics on the web.
My web brouwser, opens all the comics I want to each in tabs. I don’t read them in the newspaper.
Traditional newspaper strips,
Calving and Hobbes being run again and again on the web. They syndicate.
Kidsa nolw reading Calvin and Hobbes on the web.,

Hald of them are newspaper strips and half are web only strips.

The interesting thing about comics is it could be a way to get ppl to your site,
Comic and the dog thing, anything they want to like and put elsewhere they can put ,
Imbedded my website address into the picture,
Then they canb
Its hard for everyone to say, content is not as sacred than it used to be.
url on the left, name and copyright infor