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By: Hazel Mitchell,
on 12/2/2014
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In my new book 'Imani's Moon', by JaNay Brown-Wood, I utilized traditional and digital illustration methods, much more so than in my previous books. This part-folk-part-fantastical story cried out for much more texture and depth of colour to reflect the diverse culture and life of the Maasai people.
Here's a look at how I worked up one of the illustrations ...
First thoughts on the layout for this spread. Mama is telling Imani about the legend of Moon Goddess, Olapa, I felt a great way to show the story would be in the swirling stars in the sky.
The sketch is letter size.
The finished graphite drawing, which is a little bigger than the finished book size.
I work on Archers 300lb cold press and with 2B-8B pencils.
I tape the paper and work over it with a wash of prussian blue (grumbacher) watercolour
to add value and texture, using salt, splattering, scraping and blowing techniques.
The hair dryer is a requirement to aid drying time! I try to keep the painting as loose as I can.
Here's the finished under-painting.
Next, I scan the image at 400dpi (not too high a quality as I want to keep some muzziness
and not have the art too 'sharp') and start to overpaint in photoshop, particularly paying attention
to getting the right levels in the sky tones.
I work with colour in photoshop 'descriptively'. The layers are light, mostly using 'multiply' mode so the pencil and watercolour textures show through. (I'm not into dense digital colour paintings, it doesn't work for me. And this is how I work in watercolour also ... lightly, letting the ground show through, so it is just the same way as I think, on screen). I don't use many brushes. I don't like to complicate things! Sometimes I will make notes on what I used and colour paletted. But mostly, I wing it. Usually I'm using a soft edged brush in different sizes, at 50% opacity or less. Sometimes a brush with a little texture, usually when I am burning or lightening. I use the dodge and burn tools a lot, with the same principles. I do use several layers, but I also mix colours on the same layers. For example in the skin tones and the landscape. I work in CMYK (and try and get a printer colour setup driver from the design department, to colour proof on screen, if I can). The actual colouring in photoshop takes me much longer than the drawing and underpainting. Probably 2 -3 times as long, depending on detail and size. (To those people who say painting digitally is cheating ... ok, you try it!) I love digital 'finishing', because it gives me immediate options to change and correct -er - mistakes. And I can also do things with colour much more easily than on one flat painting. AND it's fun! I've been using photoshop for over 20 years now. It's a major tool in my studio. But I'm also enjoying the fact that I can incorporate my fine art training and get the best of both worlds.
You may also notice a couple of changes in the finished painting. (That photoshop thing is handy again!) I wasn't happy with the profile of Imani, so I redrew and scanned and pasted over the first drawing. I also made the moon smaller, so it doesn't overpower the stars.
I added the stars last, and I did do them digitally. I tried them by hand first, but because the image was quite complicated, they were too lumpy and didn't look right to me. So I DID use the star brush in photoshop, then I added 'glow' around them and around the moon. I read a review that said that the watercolour images were 'enhanced' digitally (ie the stars and glowing bits). It made me chuckle as they failed to understand the extent of work I did digitally. So it quite pleased me! But digital or traditional, is the end effect pleasing? Does it serve the story? I do get tired of people trying to 'spot the digital'. So misguided in these days when so many top illustrators work with both digital and traditional methods.
Here's where the text went in the final image. Another changes along the way that worked well.
Thanks to my art director at Charlesbridge. Susan Sherman, who had so many great suggestions in the making of this book.
Toodles!
Hazel
Congratulations, Jennifer!
Congratulations to [drum roll please] Ms. Jennifer Whistler! You’ve won your very own copy of IMANI’S MOON, the beautiful new picture book by JaNay Brown-Wood and illustrated by Hazel Mitchell.
Written by JaNay Brown-Wood and illustrated by Hazel Mitchell/Charlesbridge Publishing/ISBN 978-1-934133-57-6, Ages 6-9
BIG thanks to everyone who entered and shared what you love about picture books–so many lovely comments. For example, here’s what Jennifer has to say:
I love picture books because of the bonding time they provided when my daughters were young. I read to them every day: at quiet time in the morning, at naptime in the afternoon, sitting on the window seat when it was raining outside, after bath time. Now that my daughters are grown, I still buy them picture books every so often, just because.
Many thanks to Hazel for visiting Frog on a Dime this week and to Charlesbridge Publishing for your generosity!
A challenge is only impossible until someone accomplishes it. ~ JaNay Brown-Wood/IMANI’S MOON
By: Vicky L. Lorencen,
on 11/4/2014
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Written by JaNay Brown-Wood and illustrated by Hazel Mitchell/Charlesbridge Publishing/ISBN 978-1-934133-57-6, Ages 6-9
Who isn’t mesmerized by the moon? Little Imani’s lunar fascinations go beyond enchantment to obsession as she wills herself to touch the moon. In doing so, she would prove her worth to all of the naysayers in her Maasai village who literally look down on her. Inspired by her mother’s tales of Maasai mythology, not only does Imani accomplish the feat, she proves to herself that “a challenge is only impossible until someone accomplishes it.” Imani is quite a someone.
Frog on a Dime is pleased to host the illustrator of IMANI’S MOON–the adorable Hazel Mitchell.
Hazel Mitchell is originally from England and now lives and works in Maine. When she wasn’t riding horses as a youngster she was drawing them. After attending art college in the UK, she spent several years in the Royal Navy and then worked as a graphic designer. Now she’s doing what she always dreamed of – creating books for children. Don’t you love it when dreams come true?
Welcome, welcome, Hazel. I’m excited to talk about your new book, written by JaNay Brown-Wood. What first attracted you to IMANI’S MOON? I loved the story and the fantastical elements. I also liked the idea of the setting in Africa and drawing a Maasai child! It was quite a challenge.
And now that it’s finished, what do you love most about Imani’s story? That it’s a book! (That’s always surprising.) I do love the way the colours and textures came out. Great job by Charlesbridge Publishing!
There’s been a lot of discussion lately about the need for greater diversity in children’s books. How do you think IMANI’S MOON helps to fill that gap? I think IMANI’S MOON is a great book to add to the diversity bookshelf. Imani is in her own environment. This is not a case of forcing a child of color into a story for the sake of diversity. She’s just Imani–in her culture with her trials and tribulations–just like any other child.
Hazel and her beloved friend Toby
People outside children’s publishing or those new to the industry are often surprised (even alarmed) to learn that authors and illustrators do not often collaborate on a book. Can you talk about that? When I was a newbie I didn’t realize authors and illustrators worked separately either. At first, I thought the writer might feel cheated. And some do, I think. But the more you work in the industry, the more wisdom you acquire. We have editors and art directors for a reason. Having a little distance between the author and the illustrator is good. And the input from an art director and editor can be crucial. If there’s an issue with artwork, I’ve found that they’ll refer to the author when needed. It’s a team situation. Without the freedom to create, the illustrator can feel frustrated and then the art might not be as good as it could be. You can feel boxed in. The writer has his or her vision, and the illustrator needs to be able to have their vision as well. A picture book is a collaboration; it cannot work without each part of the whole. That’s when the magic happens!
And we can see that magic in IMANI’S MOON, Hazel. It’s so lovely. Now, since Frog on a Dime exists to offer encouragement, could you tell us about what or who encourages you? Right. Oh, so many. First, all the books that I have read along the way and learned from. You can’t read enough. My peers – those I have met so far on the journey. It can be a lonesome profession and like minds are crucial to help you along. And those I have met who are further along the path and have been kind enough to mentor me. Going to conferences and workshops has been a great source of knowledge and inspiration.
Here’s your chance to be encouraging, Hazel. What’s one thing a writer or illustrator could do today to improve their craft? Create SOMETHING!!!
Love that! And what do you do when you’re “stuck” as you’re trying to create something? Make a cup of tea. Do something mindless (chores!). Work on something else. Read a book. Have a bubble bath. Talk to another creative.
I love those ideas, Hazel. I’m a big believer in the inspirational power of tea myself. Before you go, I’m curious to know what’s on the horizon for you. I have a busy year upcoming with three books I’ve illustrated – ANIMALLY from Kane Miller, WHERE DO FAIRIES GO IN WINTER? from Down East, KENYA’S ART from Charlesbridge and in 2016 by debut as author-illustrator TOBY from Candlewick Press.
How exciting! Thank you so much for visiting Frog on a Dime, Hazel. It’s been a delight getting to know you.
You can learn more about Hazel when you visit HazelMitchell.com. You’re welcome to purchase IMANI’S MOON directly from Charlesbridge.
__________________________________________
Enter a drawing to win your very own copy of IMANI’S MOON.
All you have to do is leave a comment about why you love picture books! It’s that simple.
The drawing will take place at Noon on Friday, November 7, so don’t dilly dally!
__________________________________________
Photo by Vicky Lorencen
And now, we’ll close with one of Hazel’s favorite quotes . . .
We are all lying in the gutter, but some of us are looking at the stars. ~ Oscar Wilde
By: JOANNA MARPLE,
on 10/31/2014
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Title: Imani’s Moon Written by: JaNay Brown-Wood Illustrated by: Hazel Mitchell Published by: Charlesbridge, Oct. 14th. 2014 Themes/Topics: Maasai, being little, big dreams Suitable for ages: 6-9 Fiction, 32 pages Awards: winner of the NAESP Picture Book Competition Opening: “Look at tiny Imani!” the other children … Continue reading →
By: JOANNA MARPLE,
on 10/27/2014
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One of the fun things of being friends with illustrators is getting sneak-peaks at art spreads before the book is published. I fell in love with this story back last Christmas when Hazel was busy working on the front cover, … Continue reading →
By: Hazel Mitchell,
on 10/16/2014
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This week is the book birthday for my new book with Charlesbridge Publishing
'Imani's Moon by Janay Brown-Wood.
You can win a bundle of goodies by sharing this port online!
Message me to let me know you did.
Toodles!
Hazel
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I cannot express how excited and proud I feel to be writing this blog. And of course, it’s all because of a small African girl who strived to touch the moon—and succeeded. Little Imani: the girl with the big dreams.
It’s such an interesting thing when you set out to write a story, and it takes on a life of its own. Imani started off male, Elijah first then Ayubu. All either boy did was jump and jump and jump and succeed. Not much of a story arc, right? But I knew there was something more to this story. As I dug deeper and fine-tuned the story, the voice that called resoundingly from the page was not a boy’s, but was that of a girl, a small girl, with a big story to share. I think this is something I am most proud of regarding how Imani came to be. Hearing her voice and realizing how her story is one so many can relate to, a story of setting “impossible” goals and working hard to reach them in the face of opposition. Most of us have been in situations like that, when something seemed insurmountable, but we persevered anyway.
Can I be honest? That has actually been my experience in this world called publishing. Pushing, pushing, pushing, and never giving up.
The more I polished Imani and incorporated aspects of the regal Maasai people, the more I saw the parallel between Imani and my own goal of becoming a children’s book author. I actually had the ambition of becoming a writer ever since I was in grade school. I loved getting lost in the stories of my mind. Writing and storytelling were authentic parts of me. So much so that my 6th grade teacher, Mrs. Welch, predicted that I’d become a published author (best-selling, to be precise) when I grew up, based on the stories and poetry I’d write in her class. That want was ingrained in me from a very early age.
Once I finished college, I decided to give it a try. Write, perfect, publish. One, two, three. Simple, just like that. Of course, any author who has attempted to publish can probably tell you how it actually happens. Well, yes, there is writing. And of course, there’s “perfecting” as best you can. But the publish part was often replaced by rejection instead. The form letters or no response at all, time and time and time again, kind of like the teasing children or naysaying animals of Imani’s story. “You’ll never make it!” “That’s impossible!” “Give up! Give up!”
Sometimes I ask myself, what if I had just given up? What if I had let those “Nos” define me and place me in a box that would be locked, and remain locked, indefinitely? What if I had let them ground me by accepting the thought I would never touch the moon?
This is where the belief part comes in. The word “imani” actually means “faith” in Swahili. That was the last piece of Imani’s journey to a finished manuscript. Her name. Imani. Faith.
And that’s what I had to do: believe in my craft, my abilities, my story. Believe in Imani.
I remember when I received the email from the National Association of Elementary School Principal’s Children’s Book of the Year committee member, telling me I had won the contest and that Imani’s Moon would be published. I cried. Big happy tears falling down a smiling face. (And then I called my mother and we screamed together in sheer, concentrated excitement).
So now, each time I see Hazel Mitchell’s beautiful illustration of little Imani in her orange robe, reaching her arms out in triumph, I see myself. But not just myself, I see all the women who had big dreams, and all the little girls who have big dreams, who may have been told or may be told that they can’t do it, but who shut out the negativity and aim for the moon.
And I am so grateful. Grateful that I made it to my metaphorical moon. I’m also so grateful to NAESP and Charlesbridge and to my editor Julie Bliven and my fantastic critique group family (especially Rosi Hollinbeck and Elizabeth Varadan who’ve been there from the start) for helping bring my story to where it is today. My heart is as full as the moon shining behind Imani on the cover.
In closing, my hope is that someone somewhere will pull inspiration from Imani’s story, from my story, and push on, preserve, succeed. Even if no one else believes he or she can. Because, just as Mama tells Imani as she sits on Mama’s knee, “A challenge is only impossible until someone accomplishes it. Imani, it is
you who must believe.”
Believe, and you will get there!
JaNay Brown-Wood is the author of
Imani's Moon, illustrated by Hazel Mitchell.
 |
978-1-93413-357-6 $17.95 Ages 6-9 <!--[if gte mso 9]> Normal 0 false false false EN-US X-NONE X-NONE <![endif]--> |
The winner in the recent photo contest for a free print from my husband's Galicia Gallery is:
JaNay Brown-Wood. Congratulations, JaNay!
Congrats to JaNay!