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Viewing: Blog Posts Tagged with: Illustrating for Children, Most Recent at Top [Help]
Results 1 - 7 of 7
1. New Projects - Illustrating Children's Books

New projects, a new blog, and back to College I go tomorrow for a new year. The exciting news? I have a whole year in which to work on illustrating for children, and it's all been accepted as part of my work for the course this year, so there's a lot of fun waiting to be had. Just pop over to my new site for a look and follow me there! Just click here: Mariana Black Illustration.

 

2015-BLOG-BANNER

 

I've been working towards this dream for years now, so it's truly wonderful to be sharing this news for you. A lot of visualization and a lot of hard work ... and the possibilities are unlimited. Dream big. Cheers.

 

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2. Elephant Sketches and New Projects

I've been hugely busy, and at the moment my life has been turned upside-down while I explore new horizons that lie before me, but I'm also slowly getting back into my work routine ... with exciting projects coming up that I'm already in love with.

I'll elaborate on those projects (that will be incorporated into my coursework for next year as well) a bit later on, but here's a hint:

 

Illustrating-for-Children

 

I'll just add that it's something I've wanted to do for years but never quite had the confidence to tackle before ... It's going to be a lot of fun!

With that in mind, I enrolled in a couple of online classes as refreshers and also to learn something about the practical side of illustrating children's books. I've just started on the first one, Picture Book Illustration: Animal Characters by Eric Johnson, on Craftsy, and have been sketching elephants for the first class. Still need to do more drawings and still need to learn a lot more about them, but here's a bit of a start:

 

Elephants-by-Floating-Lemons

 

I'm also being reminded of how grounding and therapeutic just having a pen, pencil, or brush in my hand is. I've missed it these last few weeks. As it is, I shall be moving house very soon so things will get slightly chaotic once more, but I'm sticking to my art therapy - I need it.

Cheers.

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3. Working with traditional and digital illustration methods - Imani's Moon

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.


Imani's Moon is available at all good bookstores online and on the high street.

Find out more about the author at http://www.janaybrownwood.com/
Find Imani's Moon on FB
Check out the teacher's guide! 
Check out the publisher's page.


Toodles!
Hazel

0 Comments on Working with traditional and digital illustration methods - Imani's Moon as of 12/2/2014 11:27:00 AM
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4. 1,2,3 by the Sea - publication day giveaway!

'1,2,3 by the Sea' is officially here!


And to celebrate I'm having a giveaway for 2 lucky winners!
TO ENTER
FOLLOW THIS BLOG 
AND LEAVE A COMMENT ON THIS POST. 
(Alternatively send me an email if your comment will not post, to [email protected])
Open internationally - draw will be made from entries 10pm ET March 8th 2013.

There will be TWO great first prizes ...

Prize ONE will be a signed copy of the book
and the ORIGINAL cover sketch, also signed!


Prize TWO will be a signed copy of the book
and a signed giclee print of the first page.


 Which one would you like to win?
Good luck!

(remember you must be a follower of the blog and leave a comment on this post to be in the draw!)
 
Toodles - Hazel
'1,2,3 by the Sea' is available to buy on line at 

 and the print is available on my ETSY store.





140 Comments on 1,2,3 by the Sea - publication day giveaway!, last added: 3/4/2013
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5. My first book in Korean!

I think it's a lot of fun when you see your book in another language. Here's 'Why am I Here?' that I illustrated a couple of years back for Matthew Kelly.




I like that they took time to use a fun Korean typeface. It's great to show at school visits!

Next time - what I got up to at Highlight's Foundation Advanced Illustrator's Workshop, in Boyd's Mill, PA.

Toodles!

Hazel

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6. What's My Style?

HOW DO I KNOW WHAT MY STYLE IS?
and the second question
HOW DO I GET ONE?
And here's the thing - most of us already have a style. 
Writer's call it VOICE. 'What is our voice? Where does it come from? 
How do we capture it and nurture it and grow it?'  
As a writer VOICE is the choices we make, the words we use, the cadence, the point of view, 
the quality that makes the writing unique - and recognizable.
And emerging illustrators struggle with all the same issues, especially the 'recognizable' one. 

The one that will make us 
STAND OUT FROM THE REST.
 Arthur Rackham


Toodles!
Hazel

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7. How much will you spend on your writing and illustrating career?

I'm going to get a bit personal and rant on a bit ... about me and about you. I'll tell you why. I just read a post that hit home with me, so first you have to go and read that:

http://twitpic.com/85rhv2

Right.

What I am going to talk about is debt and what it does to you. How it can twist up your whole outlook and limit your work. We are all trained to get into debt from a very early age. It's part of our culture. We can't function without it. When I was a kid, there were no credit cards. Maybe in your house there WERE credit cards or bank loans or overdrafts. Or maybe you had everything you needed because you were rich? However you lived, you probably learned that you could get what you needed now and pay for it later. In my life there was a man who came to our house every week with his little book to collect payments from my mother for the sofa and the TV and very probably Christmas presents. To get my new bike I ordered it from the shopping catalogue and I got a job in a corner shop after school to pay for it. (And I did pay for it). What it taught me was instant gratification. Now that gratification is taken for granted by nearly all of us. But do you ever consider what it does to your creativity?

The first writer's conference I went to I heard Sheldon Fogelman speak. And what he said has stayed with me for the last two years. 
It was this: To do your best work you need to be in a secure place financially.

It struck me that this great agent, who I'd expected to talk about writing and submitting and the whole 'making it' thing, was laying into us (like a great headmaster on speech day) about finances. And it made a lot of sense. Something clicked into place in my head. Call me naive if you like, but I'd never been told me that to create to the best of your ability you have to be on the level financially. And I was 46 for goodness sake. I must have missed this lesson in college. (Probably in the bar).  Or maybe I just wasn't at the right college. Maybe it was just how I grew up. Whatever.  Somewhere in my foggy career I had learned that I had to be always striving, starving, fighting and then .. one day ... I would MAKE IT. What ever MAKING IT was. Possibly being plucked from oblivion, get the BIG DEAL, get all THE STUFF. Turns out it is not so. Turns out it took me nearly 3 decades to understand.


To understand that putting myself under STRESS financially is not helping me be the best, creative ME. POW!

Here's the irony - I'd put myself under financial pressure to get to a national writing and illustrating conference to hear this simple truth. And I am glad I did! It's probably written in a hundred books. I probably could've have heard it from writers and illustrators right in my back yard. On blogs. On Facebook. From my dentist!  But I heard it at an SCBWI conference and I am thankful I did. To get there I maxed out what was left on my credit card. I ate cheap and filled up on the free pastries (oops) before the conference. I couldn't afford to stay in the conference hotel, so I stayed in the YMCA (somewhere in deepest NY miles away) in a foul room with a bed with wheels on that shot across the room every time I turned over. So give me points for not maxing out my my credit cards on expensive rooms. Of course, a million motivational speakers will tell you to do whatever it takes to get the information you need. I'm not knocking it, and hell I needed to hear what I heard. Even if I couldn't really utilize that information until now.

Alright, I'm not trying to tell you how great I was for doing this. I don't want to preach to the converted ... I know many of you are striving and scrimping and saving because you too need the inspiration to reach the next level, get you THERE, keep you going. And that is just fine! (Are there levels? Yes, we all have levels and we know them when we see them. But your levels and my levels are different,

18 Comments on How much will you spend on your writing and illustrating career?, last added: 3/3/2012
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