PRE-SEPARATED ART: Illustrating My Book THE BIGGEST LIVING THING

 

Black plate illustration for pages 6-7 The Biggest Living Thing (Carolrhoda, 1983) Pencil drawing by Caroline Arnold

Today's children’s books are printed with beautiful full color illustrations created with a vast array of artistic techniques—painting, drawing, collage, photography, mixed-media--basically anything that can be digitally color scanned. Those scans are then used to make the printing plates for the book. Typically there are four plates: black, cyan, magenta, yellow. (These are the same colors in the ink cartridges of your home printer.) On the printed page the colors merge to create a full range of hues.

Pages 20-21 of my book Five Nests (E.P. Dutton, 1980). Illustration by Ruth Sanderson.

But in 1980, when I first started publishing books for children, many were illustrated with black-and-white art, especially if they were nonfiction books, like mine. Digital scanning had not yet been invented and the cost of separating colors photographically to make each of the colored printing plates was so high that only the most established artists worked in full color. Many books were printed with black plus in some cases one or two colors. Five Nests, illustrated by Ruth Sanderson, was my first published book.The art was black, plus one color--green.

For most children’s books in those days, the artist was required to make a separate drawing for each printed color. Thus the art was “pre-separated” not needing expensive photographic separation. It was a technical process, converting the intensity of each color to shades of grey and then calculating how the colors would appear when overlapped on the printed page.

Cover of Sun Fun, an activity book.

My first opportunity to illustrate one of my books was Sun Fun (Franklin Watts, 1982) a book of simple projects about the sun and solar energy. It was a two color book. Obviously, I chose yellow for one of the colors. The other color I chose was red. As they overlapped in the printing I could achieve a range of colors from pink and orange to brown and grey.

Proof sheet for page 39. Squirrels help spread Sequoia seeds.

The second book I illustrated was my book about giant sequoia trees, The Biggest Living Thing (Carolrhoda, 1983.) This also was a two color book. I chose brown and green.

Black pencil drawing for pages 23-24. Space at top is left open for text. This Sequoia stump was so big it could be used as a dance floor.

The primary illustrations for the book were done in black pencil. Then working on a light table I created the pages for the two colors being careful to line up the registration marks to make sure that they would be in the correct places when the pages were printed.

Page 22. Two color art. Black plus green and brown.

The Biggest Living Thing was a 48 page book. I began by doing the black-and-white drawings—24 double-page spreads. With the additional drawings for the two colors I did a total of 72 drawings plus a full color painting for the jacket. It was a lot of work--for not a lot of money. After finishing the project I decided to focus my energy on writing books rather than illustrating them.

Jacket of The Biggest Living Thing. Watercolor painting.

Twenty years later the world had changed. Digital separation made it possible to illustrate without pre-separating. I began to illustrate again, this time using a cut-paper collage technique. But that is another story.

Note: The original art for The Biggest Living Thing is archived in the Kerlan Collection at the University of Minnesota.

OGE MORA: Keynote Speaker at the CLCSC 2021 Virtual Fall Gala

Oge Mora, Caldecott Winner for Thank You Omu

In an ordinary year, the Children’s Literature Council of Southern California would be celebrating children’s books at their annual Fall Gala, with delicious food, a keynote speaker, and awards to authors, illustrators, and people with distinguished service in the field of children’s literature. But this year, as in the fall of 2020, the Fall Gala was virtual, and was held on Saturday, November 13. While not as much fun as being there in person, it was a pleasure to attend virtually.

The featured speaker was children’s book author/illustrator Oge Mora (pronounced oh-gay), who gave an inspirational talk about the collage technique she uses to illustrate her books. Using examples from her Caldecott winning book Thank You Omu and other titles, she showed how she gets her ideas, selects her papers--sometimes creating them herself--and the secret of the tiny bits of paper that may look like scraps but can turn out to be the key to an illustration. Here are a few samples of slides she used in her talk.

 

After Oge Mora’s presentation, this year’s honorees of the CLCSC awards were announced: Masha D’yans, Cindi M. Alvitre and Carly Lake, Keith Calabrese, Ernesto Cisneros, Jordan Ifueko and Alana Weisberg. Carly Lake and Jordan Ifueko could not attend, but each of the others gave a thoughtful and gracious acceptance speech. The final part of the program was a panel discussion with Oge Mora and the award winners. 

Panel Discussion: Alethea Allarey, Moderator; Oge Mora, Keith Calabrese, Alana Weisberg, Ernesto Cisneros

Congratulations to the winners, and to the 2021 Fall Gala Committee and Awards Committee for a terrific program. Many thanks to CLCSC President Jennifer Driscoll for chairing the event.

Jennifer Driscoll, CLCSC President

For more about the program and winners please go to the CLCSC website: www.childrensliteraturecouncil.org .

REMEMBERING CHILDREN'S BOOK ILLUSTRATOR ERIC CARLE (1929-2021)

Renowned children's book illustrator Eric Carle, most famous for his book The Very Hungry Caterpillar, passed away this week at the age of 91. In honor of his passing I am republishing my article written after a visit in 2017 to an exhibit of his work at the High Museum in Atlanta.

Picture Book Art Exhibit at the High Museum of Art, Atlanta, Georgia

Colorful caterpillars greeted me as I entered the High Museum of Art through the revolving doors and made my way downstairs to view I See a Story: the Art of Eric Carle, a fascinating exhibit of author/illustrator Eric Carle’s work. The Very Hungry Caterpillar, a children’s classic, was published in 1969. The exhibit shows various factors in the creation of a lifetime of work since then. It is a delight for both adults and children.

The Very Long Train (a wordless picture book)

The art is hung low enough to be at eye level for most children and in the corner of the room there was a bin of Eric Carle’s books available for reading. Children could also play a “seek and see scavenger hunt” following a guide they could take home. For adults, and artists like me, it was fascinating to get a glimpse into Eric Carle’s working method. 

Sampling of art supplies

One display showed a sampling of papers, brushes and tubes of paint and another display had a photograph of him applying the paint to the paper with a broom to create unique patterns. 

Dummy page from Friends

I was particularly intrigued by samples of his artist’s dummies–the label noted that each book goes through many dummy stages.

Illustration from Have You Seen My Cat?

To date, Eric Carle has published 70 books for children, all illustrated with his signature style of art–cut paper collage created from pieces of colorful painted tissue paper. They are amazing. The exhibit at the High Museum of Art ended February 12th. You can see more art by Eric Carle at the Eric Carle Museum of Picture Book Art in Amherst, MA.

PHOTO TIP #5 for Illustrating Your Next Book: THINK ON YOUR FEET

For many years I worked with professional photographers who illustrated my books with their photos. We worked as a team--I wrote the text and the photographer took the pictures. I learned a great deal about photography from them. Recently, I have been both author and photographer for several of my books, including Hatching Chicks in Room 6 and Butterflies in Room 6.
As I was cleaning out files recently I found a list of photo tips from my friend and fellow Grinnellian, Martha Cooper, a professional photographer best known for her photographs of subway art in New York City. She is also the illustrator of three children's books, My Two Worlds, Lion Dancer and Anthony Reynoso: Born to Rope. 

At a class we taught together some years ago she handed out a list of photo tips. Today, almost everyone is a photographer--we carry cameras in our pockets in our phones. Whether you are illustrating a children's book, creating a magazine story, or assembling a slide show or family album, or even just sharing a favorite photo with a friend, I think you will find her advice useful. She says:

LOOK and THINK before you shoot. A good eye is more important than a good camera.
Tip #5:  Be prepared with all equipment you will need and ideas for shooting. Many subjects have little time or patience for photography. However, be ready to think on your feet. If your pre-planned ideas are not working, be open to other options. You may not have a chance to come back. It's up to you to make the best of the existing situation. Editors aren't interested in hearing excuses about why you couldn't get the shot. (Martha Cooper)

Example: My 100th published book, African Animals, an overview of African wildlife, is illustrated with a single photo of each animal. As the author of the book, I was responsible for obtaining all the photos. Many of them were taken by me or my husband Art when we spent four months in Africa in 197l. But there were some animals for which we did not have good pictures. So, my solution was to get the photos from other sources. Most are from our good friend Owen Floody, who had traveled to Africa several times and has a special interest in animal photography. Here is his picture of two ostriches battling one another. He had the luck and patience to be at the right place and the right time to get this amazing photo. 

PHOTO TIP #4 for Illustrating Your Next Book: DIFFERENT SETTINGS, ANGLES and ACTIVITIES

For many years I worked with professional photographers who illustrated my books with their photos. We worked as a team--I wrote the text and the photographer took the pictures. I learned a great deal about photography from them. Recently, I have been both author and photographer for several of my books, including Hatching Chicks in Room 6 and Butterflies in Room 6.
As I was cleaning out files recently I found a list of photo tips from my friend and fellow Grinnellian, Martha Cooper, a professional photographer and illustrator of three children's books, My Two Worlds, Lion Dancer and Anthony Reynoso: Born to Rope. At a class we taught together some years ago she handed out a list of photo tips. 

Today, almost everyone is a photographer--we carry cameras in our pockets in our phones. Whether you are illustrating a children's book, creating a magazine story, or assembling a slide show or family album, or even just sharing a favorite photo with a friend, I think you will find her advice useful. She says:

LOOK and THINK before you shoot. A good eye is more important than a good camera.

Tip #4: Try different settings, angles and activities. Move your subject around or move around your subject. Shoot wide, medium, and close-up shots as well as horizontals and verticals of the same shot so that you (or the editor) will have choices for a layout. 

Example: During the years I worked with Richard Hewett, my role was both writer and photographer's assistant. I helped carry equipment, spot photo opportunities, and sometimes posed as model to give human scale to the picture. For the photo that we used for the cover of our book, The Ancient Cliff Dwellers of Mesa Verde, I agreed to climb a ladder in one of the cliff dwellings so viewers could see the relative size of the structures. In another photo, a close-up of my hand holding pottery fragments gives the reader a sense of the relative size of the pieces. The Ancient Cliff Dwellers of Mesa Verde is available as an ebook on Amazon.

Photo by Richard Hewett

PHOTO TIP #3 for Illustrating Your Next Book: TELLING A STORY

For many years I worked with professional photographers who illustrated my books with their photos. We worked as a team--I wrote the text and the photographer took the pictures. I learned a great deal about photography from them. Recently, I have been both author and photographer for several of my books, including Hatching Chicks in Room 6 and Butterflies in Room 6.
As I was cleaning out files recently I found a list of photo tips from my friend and fellow Grinnellian, Martha Cooper, a professional photographer and illustrator of three children's books, My Two Worlds, Lion Dancer and Anthony Reynoso: Born to Rope. At a class we taught together some years ago she handed out a list of photo tips. Today, almost everyone is a photographer--we carry cameras in our pockets in our phones. Whether you are illustrating a children's book, creating a magazine story, or assembling a slide show or family album, or even just sharing a favorite photo with a friend, I think you will find her advice useful.

LOOK and THINK before you shoot. A good eye is more important than a good camera.

Tip #3: Your photos will probably tell some kind of story. Even if there is no inherent chronological order, you will need strong opening and closing shots and logically sequenced photos in between.  (Martha Cooper)

All of the books in the zoo animal series published by Morrow Junior Books are life cycle books--beginning with the birth of a young animal and concluding with the animal's independence. The logical sequence of the photos was the real time development of the story. I worked with photographer Richard Hewett on these books.

Pages 4-5, Penguin, photos by Richard Hewett

In Penguin, the story of Magellanic penguins at the San Francisco Zoo, we began with the parents building a nest. The story then proceeded to show the egg, baby chick, and the young chicks ready to be on their own. The final photo looks to the future and shows an adult penguin, bringing the story full circle.

Page 45, Penguin, photo by Richard Hewett

Penguin is no longer available as a print book, but you can find it online as an ebook.

PHOTO TIP #2 for Illustrating Your Next Book: Double Page Spreads

For many years I worked with professional photographers who illustrated my books with their photos. We worked as a team--I wrote the text and the photographer took the pictures. I learned a great deal about photography from them. I have been both author and photographer for several of my newest books, including Hatching Chicks in Room 6 and Butterflies in Room 6. The first book for which I was both author and photographer was Easter Island (Clarion, 2000)

As I was cleaning out files recently I found a list of photo tips from my friend and fellow Grinnellian, Martha Cooper, a professional photographer and illustrator of three children's books, My Two Worlds, Lion Dancer and Anthony Reynoso: Born to Rope. At a class we taught together some years ago she handed out a list of photo tips. Today, almost everyone is a photographer--we carry cameras in our pockets in our phones. Whether you are illustrating a children's book, creating a magazine story, or assembling a slide show or family album, or even just sharing a favorite photo with a friend, I think you will find her advice useful.

LOOK and THINK before you shoot. A good eye is more important than a good camera.
Tip #2: Keep space restraints in mind. Sometimes a single photo is enough to tell a whole story. If your photos are likely to be used small, keep your compositions simple. If there is a chance of a double page spread, be sure to shoot some horizontals. (Martha Cooper)

 
Example: When I visited Easter Island, I purposely shot the picture of Ahu Tongariki, the row of stone figures at one of the historical sites, as a horizontal leaving plenty of room in the sky for text, anticipating that it would work well for the copyright and table of contents at the beginning of the book. (Easter Island is out of print but available as an e-book at Amazon.)

PHOTO TIP #1 for Ilustrating Your Next Book: Point of View

For many years I worked with professional photographers who illustrated my books with their photos. We worked as a team--I wrote the text and the photographer took the pictures. I learned a great deal about photography from them. For several of my newest books, including Hatching Chicks in Room 6 and Butterflies in Room 6, I have been my own photographer.

As I was cleaning out my teaching files recently I found a list of photo tips from my friend and fellow Grinnellian, Martha Cooper, a professional photographer best known for her photographs of subway art in New York city. She is also the illustrator of three children's books, My Two Worlds, Lion Dancer and Anthony Reynoso: Born to Rope.

At a class Martha and I taught together some years ago, she handed out a list of photo tips. Today, almost everyone is a photographer--we carry cameras in our pockets in our phones. Whether you are illustrating a children's book, creating a magazine story, assembling a slide show or family album, or even just sharing favorite photos with a friend, I think you will find her advice useful. She says:

LOOK and THINK before you shoot. A good eye is more important than a good camera.

Tip #1.  Think carefully about how and where and with what text your photos will be used. Are you aiming for specific documentation or evocative illustration or a combination?
Shoot with a point of view. Concentrate on situations which best express the proposed or existing text. No matter how picturesque or graphically interesting a photo is, it will wind up in the reject pile unless it is relevant to the particular story you are working on. (Martha Cooper)

Example: Both Hatching Chicks in Room 6 and Butterflies in Room 6 are photo essays. In both books I needed to document the growth process in real time, which meant photographing each step of the life cycle--from egg to adult. This involved some close-up photography. But I also was documenting the children's participation in the process and their emotional reactions. This involved wide-angled shots placing the activity within the classroom. One of my favorite pictures in the butterfly book shows the children clearly entranced as they observe the chrysalises in their enclosure.

Photo for p. 15, Butterflies in Room 6

Look for more of Martha Cooper's tips in coming weeks on this blog.

DIVE INTO BOOKS: Humboldt County Children’s Author Festival 2019

The theme this year at the Humboldt County Children's Author Festival, Eureka, CA, was Dive Into Books

I am just home from the bi-annual Humboldt County Children’s Author Festival in Eureka, California, and it was as fabulous as ever. This was my seventh time to participate, and each time it gets better and better. The theme this year was Dive into Books. A giant octopus welcomed people to the library on the day of the book signing.

With my cut-paper illustrations  at the Morris Graves Museum of Art

The four day festival (October 16-19)  included author visits to schools, a gala banquet, book signing at the library, and an exhibition of children’s book art at the Morris Graves Museum of Art. I had two pieces of original art from my book A Day and Night in the Rain Forest in the exhibit.

The Morris Graves Museum of Art is located in the beautifully restored Carnegie Library building

On the opening day of the festival there is always a welcome reception for the authors and volunteers at the museum--a chance to see the art exhibit, to meet the wonderful volunteers who organize the festival and to mingle with the other authors. This year there were 25 of us!

Display of my books at Jacoby Creek School

Thursday and Friday are devoted to author visits in the schools and I had two wonderful school visits. The first was to Jacoby Creek School (grades K-8.) Librarian Marci Barker had done a great job preparing the students. I spoke to two groups of students in the morning, then had a delicious lunch from the restaurant across the street from the school, and then two presentations after lunch.

Joan Williams, Festival volunteer; Marci Barker, Librarian at Jacoby Creek School; Evelyn Bertell, my driver to the schools.

My driver for both days was Evelyn Bertell, an enthusiastic supporter of the Author Festival and whose children attend Jacoby Creek. On Friday afternoon, after we finished, she took me for a lovely walk at the bird sanctuary in Arcata.

Student performers and Alexis O'Neill, whose book The Recess Queen was one of the stories performed.

Thursday evening at the festival is always a potluck dinner (yummy food provided by the many festival volunteers) followed by a Readers Theater performance by students from the arts high school in Arcata, who did a brilliant presentation, weaving together stories by three of the Festival Authors and a book by Festival Committee member Byrd Lochtie, based on a story her mother told her when she was a child.

With Vicki Childress, teacher at Arcata Christian School

On Friday morning I went to Arcata Christian School where I did three presentations, one to the kindergarteners in their room, one to grades 1-4, and another to grades 5-8. Teacher Vicki Childress coordinated my visit and did a great job, including making a most impressive cake decorated with a large painted lady butterfly. The children in all the classes did artwork and writing projects that filled the walls in the room where I was presenting.

The Ingomar Club where the banquet was held

On Friday evening everyone gathered at the Ingomar Club (the historic Carson mansion) for a gala dinner. Entertainment was from the authors–each of us got three minutes at the podium--a challenge to decide what to say, but everyone always manages to be entertaining and different. Our timekeeper was Shirley Santino--dressed in keeping with the undersea theme.

Shirley Santino with her undersea props

The final event of the Authors Festival is a book signing on Saturday at the beautiful county library. Many thanks to Eureka Books for ordering and supplying all the books! We all wear our festival t-shirts as we chat with visitors and autograph books.

With author Mary Nethery at the book signing at the library

I do many author events but nothing is quite like the Humboldt County Children's Author festival. I can’t give enough thanks to all the people who put so many hours into planning and coordinating all the different moving parts. (The Festival website has a complete list of these amazing people and much more.) You all do a fantastic job! Thank you for making me a part of this unique and wonderful festival!

Theme poster for the festival.

Watching Wildlife Up Close at the Huntington Botanical Garden

Cut-paper art illustration from A Day and Night in the Desert

In my book, A Day and Night in the Desert, I illustrated a scene with a barrel cactus, a desert dwelling squirrel and a red-tailed hawk flying overhead. A sidebar reads: Antelope ground squirrels often climb barrel cacti to eat the fruit. No one knows how they keep from getting stuck on the cacti’s sharp spines.

Squirrel plucking ripe fruit from a barrel cactus

On my recent visit to the Huntington Botanical Garden in San Marino, California, I had the chance to observe this unusual behavior in real life. The cactus and succulent section of the garden has a large display of barrel cacti, and they were plump from recent rains and covered with ripe fruit. I watched a squirrel nimbly hopping up the cacti to harvest the fruit. The squirrel (a common grey squirrel) seemed to be able to balance on the spines and had no trouble reaching the fruit.
On the same page spread the main text of the book reads: A red-tailed hawk circles the sky. It is looking for something to eat. The squirrel sees the hawk and dashes to safety inside its burrow.
Rather amazingly, I got to witness this part of my story too. As my friend and I walked through the garden we had seen several red-tailed hawks soaring in the sky and perching in the trees overhead. Suddenly, one swooped down beside us and just ahead attacked an unsuspecting squirrel. We could hear the thud of the impact and the squirrel squealing. Luckily, it managed to escape.

When I research the information for my books I use all available sources including other books, the internet and talking with experts. But when I can see my subject with my own eyes it becomes part of my experience. In my books I hope to convey the same wonder of discovery.

SCIENTIFIC ILLUSTRATION IN THE 19TH CENTURY: The Animal Kingdom Illustrated by S.G. Goodrich

I love this drawing by S.G. Goodrich for the preface of his book, The Animal Kingdom Illustrated, published in 1867. The elephant doesn't look too thrilled about having his portrait painted! But perhaps S.G. Goodrich identified more with the owl as he worked to accurately portray the animal subjects of the book.
The rest of the 1400 drawings in the book are serious scientific illustrations, providing an exhaustive look at what was known about the animal world at that time. I came across the drawings in a box of old books when I cleaned out my attic. In the days before photographs, drawings like these were the only way that people learned about exotic animals except for those that they saw in zoos.

I SEE A STORY: The Art of Eric Carle at the High Museum of Art, Atlanta

Picture Book Art Exhibit at the High Museum of Art, Atlanta, Georgia

Colorful caterpillars greeted me as I entered the High Museum of Art through the revolving doors and made my way downstairs to view I See a Story: the Art of Eric Carle, a fascinating exhibit of author/illustrator Eric Carle’s work. The Very Hungry Caterpillar, a children’s classic, was published in 1969. The exhibit shows various factors in the creation of a lifetime of work since then. It is a delight for both adults and children.

The Very Long Train (a wordless picture book)

The art is hung low enough to be at eye level for most children and in the corner of the room there was a bin of Eric Carle’s books available for reading. Children could also play a “seek and see scavenger hunt” following a guide they could take home. For adults, and artists like me, it was fascinating to get a glimpse into Eric Carle’s working method. 

Sampling of art supplies

One display showed a sampling of papers, brushes and tubes of paint and another display had a photograph of him applying the paint to the paper with a broom to create unique patterns. 

Dummy page from Friends

I was particularly intrigued by samples of his artist’s dummies–the label noted that each book goes through many dummy stages.

Illustration from Have You Seen My Cat?

To date, Eric Carle has published 70 books for children, all illustrated with his signature style of art–cut paper collage created from pieces of colorful painted tissue paper. They are amazing. The exhibit at the High Museum of Art ended February 12th. You can see more art by Eric Carle at the Eric Carle Museum of Picture Book Art in Amherst, MA.