Showing posts with label 2014 mentee. Show all posts
Showing posts with label 2014 mentee. Show all posts

Monday, July 8, 2019

It's A Wonderful Life

As children's book writers and illustrators, we are a part of this amazing community that sees the world from the unique perspective of tiny humans. Something I hadn't considered until recently is the fact that many of the professionals working in this field are also balancing parenting (sometimes full time) while creating too.

Curious about this, I did a search for articles that would answer some of the immediate questions I had regarding the maintenance (and growth) of a creative career while being a parent to a little one. I started rifling through old SCBWI magazines that I had kept while perusing the internet and was surprised that I found more questions than answers. 

So I went to the experts and interviewed three Mentees who are balancing their creative careers while being awesome parents too! They had some wonderful insight I am excited to be sharing with you. Whether you are an expecting parent or a one that's already in the trenches, this article is a must-read on how to keep swimming.



Q: How do you balance staying home with little ones and still have time for your creative work?

CORINNA:  It’s tricky, for sure. I think it’s important to remember that this is a phase, and your children will grow up quite quickly. It may not seem like it at first, but as they say- the days are long but the years are short. This is SO true. 

I have found that it can be helpful to remember that limits are not necessarily a problem- they can also be your friend. Perhaps when your children are very young it is not the time to experiment with an overly complicated style.  Those early years are a great time to take honest stock of your strengths and weaknesses as a writer or illustrator and then play to your strengths! Embrace the things that you know you do well.  It can also be helpful to use materials or techniques that you can walk away from and come back to it without having to do major cleanup each time. Watercolor is wonderful for this. Or maybe it means working in small 20 minute increments, but learning how to string those increments together.  One tip that I learned for this, is to always stop when you are still slightly in the zone and have a clear idea of what you’re going to do next.  This gives you a quick and easy re-entry point the next time you are able to work on the piece again.  Because if you work on a piece until you have no idea what comes next, and you are interrupted often, it can be hard to find your way back into the flow.  But if you know what you want to do next, even if it is something as simple as making a pair of shoes red, you have a way back in.  

Also, you can surprise yourself.  I never thought I’d be able to work at night. But I found that I could put my daughter to bed at night and fall asleep with her, then wake up after 20 minutes or so and work from 9pm until 1 or 2 am.   This isn’t an ideal schedule for me, and as soon as my daughter entered kindergarten I went back to work during the day.  But it was definitely something that I could manage for a few years to make more uninterrupted time for art making.  I have found, especially when you’re tired,  that the first few minutes are the hardest.  But if you can just sit down in your chair and pick up a pencil and start working… you can find your way into a rhythm more quickly than you might think.  It’s mysterious in a way, but I have found that where ever you can make the time and space for creative work, it will meet you there. 

SUZANNE: I push a schedule to work earlier before everyone gets up.  Also during crunch time, my family leaves for weekend trips to let me focus for a few days.

I also bought a portable Cintiq I have used in the car, soccer practice, or anywhere in between.

SUNGYEON: I think it is super hard to do anything creative until the baby is two or three. I got help as much as possible like a food delivery service, grocery shopping service, a robot cleaning machine, a dishwasher, an air fryer, and an instant pot. I used my iPad as my main creative tool.  It is quick, simple and easy.  In this time, quality is not that important, quantity is precious. Quick doodling, quick sketch and a quick note kept me in a creative loop. 


Q: How do you manage to stay motivated when your brain is running on zero sleep?

CORINNA: Sleep is so important— for your body, mind and creative spirit… and not something that you want to sacrifice for very long. After about a year of working late at night and not sleeping very much, I started to notice it was affecting me.  As I continued to work at night, I made sure to take afternoon naps with my daughter.  This allowed me to work at night for a few more years without it taking as much of a toll.  Ultimately, this is something I think you can do for bits of time... on a deadline etc... but in the long run, it’s important to make sure that you have a healthy lifestyle and to keep the long view. Be patient. Be kind to yourself. Be realistic about your priorities at this stage- because it IS a stage. And it will pass. 

Also keep in mind, that even when you are not making art, as long as you are parenting a small child, you are absorbing SO many influences for your art.  Your heart is growing and your understanding of children is growing.  It might help to think of it as the research stage of your bookmaking life.  Because no matter how tired you are, you will certainly be looking at TONS of picture books together.  And this will not always be the case.  On those days when you are SO tired, I think it also helps to keep your work loose and rough. To think of what you are doing as notes, quick sketches, and imagine that you are saving up some of these impulses and ideas for another day.  Now that my daughter is almost 10, I have more time for work.  But she’s no longer the perfect age to use as a model for most picture books and she no longer says and does all those strange, wonderful, surprising things that very small children say and do.  

SUZANNE: I try to read at least a few picture books every day and sneak in sketches with crazy materials.  This inspiration keeps me going.

SUNGYEON: Please sleep whenever you can. I went to urgent care a couple times for exhaustion and it was not worth it. Wait and think about what you will do when your baby goes to preschool. Meanwhile, go to the library with your baby and research and study children's books with them. It is a precious reference, and babies are experts with children's books. Learn from them. It is your research period. 

Bank your stories/ideas in a notebook as you research. In a couple of years, you will be ready to sit down and carve out these ideas.  


Q: What is one piece of advice you wish someone had given you when you were first trying to find time for creative work with a little one?

CORINNA: Be patient. You will have more time to work on art and books soon enough.  Your child will grow up SO fast, and they will want to hang out with their friends more than you.  So treasure this time.

SUZANNE:  That is was OK to be selfish with your time.  That I deserve to have this time and it doesn't make me a bad mom.  I struggle with this still.

SUNGYEON: You may not have the luxurious 3-5 hours of creative time, but you can still find it here and there. The longest time you may find might be less than 30 minutes if you are lucky.   So plan ahead for creative time when baby falls asleep.  I made lists of what to do for  30 minute blocks. When the time comes, don't look at dirty dishes or surf the internet. Utilize your precious 30 minutes meaningfully. 

Take turns with your partner.  Have baby-free time one evening, and give your partner baby-free time another evening.  


Q: Is there anything you wish you would have spent more time on or prepped more for before your little one arrived?

CORINNA: It’s such a difficult thing to “be prepared” for.  In many ways, I think it’s best to be prepared to be unprepared.  Make peace with the fact that life is going to surprise you and that those surprises and the messiness of it all are also the essence of life itself.  The truth is that being a parent (and balancing parenting with a creative career that will take as much of your time as you can give it) can be very difficult at times.  But being a parent also opens your heart up in an incredible way. And this can be a tremendous gift to your art making, in the long run.  Ultimately, making picture books might be your dream, just like it was mine, but it isn’t going to make you happy.  The more books I make, and the more my career grows, and the busier I get, the more this becomes very very clear to me.  Happiness or contentment—or whatever you want to call this thing that we are all searching for…really can only exist right here, right now, in all the tired and mess and hoping and wishing and failing and trying again.  

SUZANNE: Setting up childcare and not feeling guilty for wanting to do both.  I wish I would have felt comfortable spending the money on a good computer and a Cintiq tablet.  I felt all the money should go to the new family and that I could get by.  It was only after winning the mentorship I gave myself permission to stop using my 15-year-old tablet from college.   

SUNGYEON: Baby-proof your art space.  Organize art supply drawers, so that you can work efficiently. Donate unnecessary art supplies, and simplify your environment.  You will fill up space with lots of baby stuff, but don't give up your art corner.

Also, don't spend too much time decorating the baby's room. Babies don't care about their rooms and they will want to replace the beautiful elephant and flower mural paintings with superheroes and princess when they grow up, anyway.

I transformed my art room into the baby’s room before the baby was born and it took three years to convert it back to my own space. Luckily, I wrote some baby diaries to remind me of wonderful times.   I wish I drew more and took more pictures of my baby.  Enjoy the precious moments!  They don't come back until....... you have a second baby! :)



~Jeslyn Kate


Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at these different locations:
Website:www.jeslynkate.com
Instagram: Jeslyn Kate
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart


Monday, April 23, 2018

The Power of Routine: Part 2

Happy spring! In November, I posted the first part of this article which discussed the power of having long-term goals, breaking them down, and setting a routine for yourself so that you can be the most productive version of you in the studio. You can find it here if you want to refresh your memory.

Since November, I have asked other artists how they tackle these same challenges.
Here are some thoughts from kid lit illustrators, Suzanne Kaufman and Pamela Goodman.

Suzanne Kaufman

Suzanne recently completed the beautiful illustrations for 100 Bugs! A Counting Book. It is the first nonfiction book
she has illustrated! Awesome! You can find more of her bright, expressive work on Instagram and Twitter.

Q: How do you break down your days? Do you have a specific set of tasks for
each day before you dive into work?
I try to work out before family gets up. I also sneak in a mom breakfast most weeks
before they get up for school.
Mondays, I still teach a full day as I love the inspiration my students give me.
Tuesday through Friday I break my day into hour and half chunks based on the
video by John Cleese.
I follow a lot of what John Cleese says about creativity and time management.
Check out this video: https://www.youtube.com/watch?v=Pb5oIIPO62g
Another great video about time management is by Jake Parker.
End of day on Fridays, I write a schedule for the next week.
I check email for only 15 minutes.  Later in the day. I do get pop up notifications, so I can
respond quickly to my editors/art directors but other than that I ignore email til
the end of the day when I feel unfocused.
Q: When do you feel most productive?
Right before my kids come home from school.  I wish I was kidding. Also, probably
before sunrise or early morning after my kids are off at school is another good time.
Q: How many hours, on average do you spend creating? Marketing?
This is tough...my recommendation is not to think hours but quality of work. I used to
think I wasn’t working enough hours or working hard enough
and my work suffered.  I never have a normal week, so I am more kind
to myself and I look at the quality of the work versus quantity. Just have the
faith that it will all get done and most times, it does.  This has helped me a ton.
Right now, in my career I am terrible at budgeting time for marketing.
I have decided to focus on my books and hope that doing great
work will get me more work versus sending out postcards or posting more on social media.
Q: What is your favorite kind of task to do?
I love to play.  This can’t be done under a tight deadline.  I would recommend giving
yourself daily sketch ideas that can be used to experiment with material, composition for future books.  This play time I have used later in production. Examples is the endpaper
for 100 bugs and the Christmas Tree in Naughty Claudine.  Both were
things I had never done before and used my playtime “Daily Sketch” to just go for it.
If you are not published I would use daily sketches to add the things that are missing.  
I did this to add animals, environments, kids etc to build my portfolio. Since these were just
sketches I was fearless and picked my favorites to build future stories
and my portfolio around.  I owe this idea all to Lucy Ruth Cummins an
Art Director at Simon and Schuster.
Q: Do you have a method for motivating yourself to do tasks you
really don't want to do?
Lunches with friends.  Also, it is perfectly ok to choose not to do something
and that is ok.
Q: Do you have a lull in your day where it's hard to focus? If so, what do you
do with that time?
Afternoon and before lunch I struggle as I love lunch and dinner.  I go to lunch,
call illustrator pals, take walks with illustrator friends
and just hang out with my daughters.  
This is a good time to reconnect with the real world.
Q: What is your favorite thing about freelancing?
I love not driving in the horrible Seattle traffic.  For almost twenty years I spent
sometimes a few hours a day instop and go traffic with a lot of angry people.
Also, I love I get to see my girls grow into amazing people.

Pamela Goodman

Pamela illustrated this beautiful book, Love You From Right Here about foster kids and parents. (It is so sweet I still cry when I read it.)
You can get a copy here. Look for more of Pamela’s adorable illustrations on Instagram and Twitter.

my schedule:
keeping it consistent is the hardest, but once I get into a rhythm (doing it for at least a week)
it gets easier. My schedule is usually (ideally) like this:
- wake up, have coffee/ eat
- walk the dog
- shower/ get ready for “work” (getting dressed in non-pajama clothes
has really helped me get into Work Mode!)
- arrive at “work” usually by 10am, put on some music with coffee/tea
- sit at my art desk (not my computer!) and do some sketching warmups
(either ideas I have in my head, doodles,
or using a prompt word) Sometimes these doodles will turn into a story or illustration later
- lunch
- check email (just once a day! not all day long! it’s too easy to get lost on the computer )
-  return to a long-term ongoing project
- OR if I have major errands, or its my grocery shopping day I do it in afternoon after lunch
-try to wrap up my day by 5pm/ start dinner

other notes on schedule:
To avoid the feeling of house chores or laundry staring at you during the workday I assign a
day for cleaning. Friday is my cleaning/ laundry day- I try not to let any
kind of chore or cleaning distract me until Friday.
(its HARD but it has really helped!! plus its done for the weekend and
I can relax on Saturday) Tuesday is grocery shopping day-
same thing try to finish what’s in the fridge all
week and NOT run out to shop every other day.

my approach to marketing:
so far the marketing that has worked for me (gotten me actual jobs) has been word of mouth
through other illustrator friends, people finding me on facebook and instagram
and childrensillustrators.com I have also done postcards, but nothing
panned out from them so far

my best advice to freelancers starting out full-time:

Stick to a schedule, once you’ve found something you like. and set your working hours.
Don’t answer the phone or texts from friends/ family unless its work related
(you are at WORK duh! so they gotta wait)
- you have to make work to get work, so if you don’t have an immediate paid project,
make one up. Make it look like you’re busy and in demand, pretty soon you will be
- don’t wait around for someone to take you seriously as a professional, take yourself
seriously (that goes for how much you charge too. )
Someone once told me this saying: “Act like a Pro, bill like a Pro"


~Jeslyn Kate


Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at these different locations:
Website:www.jeslynkate.com
Instagram: Jeslyn Kate
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart

Monday, May 23, 2016

A Little About Printmaking


Welcome back to the blog! Have you ever tried printmaking before? It is a great method not only for completing entire illustrations, but for creating unique textures and patterns as well. Prints can be used in drawings, paintings, and collage.

In this post, I am going to share my process of creating illustrations using the linocut printmaking technique. But first a little history….

Printmaking is an ancient technique that originated in China around AD 105 after paper was invented. It all began as stone rubbings so that the Chinese scholars could study their holy scriptures. They started creating woodcarvings in the 9th century and their method spread throughout the world by the 15th century. Since then, the process has evolved to include linocuts as well. 

The linocut printmaking technique was first used in 1905 by a German artist named Die Brucke. It has provided relief printers with a quicker, cheaper alternative to the woodcuts that have been used to create art for centuries. I often use the linocut technique when I am creating prints for illustrations. It is a much quicker process because the material is easier to carve. 
Here are the supplies you will need to create a linocut print.

Supplies from left to right: rice paper, japanese carving tools, linoleum, glass with 
the edges taped, oil-based ink, water based ink, brayer, baren, Cobalt dryer


Like all illustrations, this method begins with an idea and a LOT of thumbnails.

                                                       

After you have a solid composition it’s time to work out a final sketch. I like working on tracing paper for my final sketch because it is easier to transfer to the linoleum piece (or pieces) I use to make the finals. 


After the final sketch is finished, I cut my linoleum to the size that I need with a sharp knife (if you use a dull one, you might lose part of a finger….) and tape my tracing paper, face down onto the block. Using a mechanical pencil, I carefully trace over all of my pencil lines. I use a mechanical pencil because it creates darker, sharper lines on the linoleum.

When I am finished with this step, I remove the tracing paper (I normally save it just in case something goes wrong later on down the line.) and re-trace the lines with a thin Sharpie. Sharpies is the only material I have found that holds up through multiple layers of oil based ink and clean-up. Every other ink dissolves during the clean-up phase.



Once the Sharpie has been used to go over all of the pencil lines, it is time to start color studies!
When printing, I often try to keep my color palette very limited (1-3 colors). Color studies really help me see how few colors I can get away with so that I can keep my carving to a minimum. Deadlines can come up pretty quickly and if I spend too much time carving multiple blocks or carving away from one block more than twice (this is called Reductive Printing) then I tend to rush the rest of the printing process in order to meet the deadline set. Color studies help me to plan all of this ahead of time so that I am spending less time carving and more time actually printing. Here are a few of my color studies for various projects:


I normally struggle with limited palette color studies a bit because there are so many options! A lot of times, I will complete a set of 3 or 4 studies and hang them up where I can look at them over and over again before making my final choice. If you are struggling, Pinterest has a lot of great information. Also, the Color Index (http://www.amazon.com/Color-Index-Revised-Jim-Krause/dp/1440302626/ref=sr_1_2?s=books&ie=UTF8&qid=1462825385&sr=1-2&keywords=color+index) has been an invaluable resource for me.

After my color studies are complete it is time to start carving! I hand carve all of my prints using Japanese carving tools that I bought here: http://www.imcclains.com/catalog/woodblocktools/namiseioriginalsetof4.html.

I have also found that Speedball makes a pretty good starter set if you are interested in experimenting with printmaking, but don’t want to invest in a high end carving set. You can find it here: http://www.dickblick.com/products/speedball-linoleum-cutters/. This set does not work for wood, but it works great for rubber and linoleum.

Although carving often ends up being the most time consuming part of the printmaking process, it is my favorite part of the process. When carving linoleum it is wise to think about every gouge made. I often create spirals or straight lines going a specific way because when the linoleum is inked up, the carved places can still pick up some ink. If those places have been carved into a pattern, it will just contribute additional texture to a piece rather than ruining it.



After the carving is finished, I prepare for pulling the final prints. When pulling prints, I often use rice paper or Mulberry paper. The traditional way to prepare paper is to wet and tear it…





but sometimes I cheat and cut it with an x-acto blade instead. The clean lines help me with my registration (especially if I am pulling a multi-colored print). Normally, I cut my paper the exact size of my block so I can line up all of the edges when I lay the paper face down on the inked linoleum piece.

Once the paper has been prepared, I mix the ink.  I use Graphic Chemical & Ink Co oil based relief printing inks, but Speedball works pretty good too and it is easier to clean up because you can use water instead of vegetable oil. When mixing,  I use  a palette knife to help loosen up the ink (it gets stickier the more you scoop it around) and then roll it onto a brayer (which is like a fancy rolling pin covered in rubber). After the brayer is completely covered in ink, I roll it all over my carving and place on of my pieces of paper on top.



Using a metal spoon or a baren (a flat, handheld tool traditionally used by the Japanese), it is time to pull the print! I hold the paper in place with one hand and move in smooth circles with the baren my other hand. I try my best to apply the same amount of pressure to the entire piece to get a nice, graphic finish. If you are trying this and your first print comes out a little light or fuzzy don’t worry. Prints are like pancakes: the first one is always a bit funky. Just ink up your block and try again.



When I am printing for children’s illustration, I typically pull 5 prints before cleaning everything up. This way I have lots of duplicates in case I make a mistake. That is one of the really great things about printmaking!

If you have never experimented with printmaking before, I would encourage you to try it! You can use this method to print all kinds of unique patterns and textures for collage; however, you can get crazy and print with found objects glued to a board for unique collagraphs. You can even use foam pieces cut into shapes for quick, easy stamps! Once you know the basics, the sky is the limit. Take a day to play and let me know what you think. 


 ~Jeslyn Kate
Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at 
these different locations:
Website:www.jeslynkate.com
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart
Blog: http://jeslynsart.blogspot.com/


Monday, August 3, 2015

Camera, Action!!

Have you ever watched your favorite movie and thought "Why do I like this so much?" Have you ever thought about what makes it great?

At the 2014 LA conference, I had the honor of having my portfolio critiqued by editors, art directors, and fellow illustrators who let me know that I needed to push my point of view in my illustrations. "Point of view?" I thought, "What does that mean?" It wasn't until Cecilia Yung said "You need to be the director of your own story. Show me some more camera movement!" that I understood precisely what everyone had been saying.

As illustrators, it is our job to make the "script" (awesome story) into a series of visuals that makes our audience think "Holy Toledo! What happens next?" There is nothing more important than giving the reader the itch to turn the page.

Take a look at the image below:



It is very simple. Two boys are playing football, but there is no question here. There is no reason for a reader to turn the page, but if I start changing the angles....

                                           Bird's Eye View                       Worm's Eye View

Isn't that more interesting? Although these sketches still aren't ready for the final stage, changing the point of view gives each image a different feeling and encourages the reader to ask a question.

If you are struggling with an image, I would encourage you to push it! Push your size relationships using point of view. For example, the image from worm's eye view pushes the front character forward so that he looks significantly larger than the second character. The focus on this particular character makes us feel like he is the most important part of the image. We can even speculate that he is the main character and there you have the beginning of an image that tells a story!

Now, what happens if you see this image from the boy's point of view? What happens if you tilt the ground so that it is diagonal?


It is so important to play and have fun in this stage of your drawing. Try creating at least 8 different images that push your point of view in some way. Think outside the box! You might end up with something that you wouldn't have even thought of before that really brings your work to a new level. Go for it!!

Are you ready for a challenge? I challenge you to put in your favorite movie (it can be a cartoon or a live action film). Make sure you have the remote, a few pieces of paper, a drawing surface, and drawing utensils of your choice. As you are watching your movie I want you to pause it at least once every 20 minutes and draw what you see! It doesn't need to be a super fancy, detailed image. A sketch will do. The goal is to capture the composition on the screen. Who is closer? Who is farther away? Is there an interesting point of view that you might not have noticed before? Try it out and you might be surprised at the inspiration that strikes you!

Happy drawing, everyone :D! I would love to hear what your movie of choice was in the comments below. Did the challenge inspire you to create a new piece? Do tell :).

 ~Jeslyn Kate

Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at 
these different locations:
Website:www.jeslynkate.com
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart
Blog: http://jeslynsart.blogspot.com/





Monday, June 1, 2015

Sketchbook - The Adventure of Discovery

Are you having trouble finding the words for your next story? Do you have a character without a setting? Are you swimming in a sea of ideas without being able to spout out a single one? Open your sketchbook! All of the things that you are struggling with can be worked out between the pages of this wonderful little book that most of us carry everywhere.

"I don't feel like drawing.", you say... Well then look back through the pages that you have already filled. You will be surprised by the elements that are waiting for you to rediscover them.





Just recently I found my new favorite character tucked away in an old corner of a sketchbook that I finished years ago. I carefully collected and dusted off this character and look at how she shines!

  


 She came fully equipped with a story too, handing it to me as I placed her on a brand new white sheet of paper.

Last year in August I attended my very first annual SCBWI conference in L.A. One of the essentials was a tiny little sketchbook and it turned out to be one of the most important items that I packed! When I got home that little book was filled with notes, doodles, and the makings of at least 3 stories.



 I got to thinking that if I hadn't had my sketchbook where would these thoughts have gone?! Would they have ended up in the margins of a notebook? On a napkin? Would they be lost entirely? I shudder to think of it!

A sketchbook is like a source of inspiration. It is a place where we can brainstorm or work through ideas that aren’t quite fitting into a story. It is a place to study the make-up of picture books. It is a stream of consciousness where we can record thoughts, notes, and quotes that we love. I follow other artists to see their sketchbook drawings. I love them because it gives insight to their process and thoughts at the time that those doodles/sketches/notes were created. Here are some great ones:





Try drawing once a week, once a day – any little bit helps and you never know when the muse will strike! Try sketching in different places as well. The coffee shop is a great place to practice sketching people! You could also try the park, the public pool, the mall, an amusement park (this is great for food and setting too!), or the library.

I wish you the best of luck in all of your creations and leave you with a challenge: A 30 day sketch challenge! Are you up for it?




I would love to hear back from you. Did you try the 30 day sketch challenge? Did you find your new story? Tell me what your sketchbook means to you!



 ~Jeslyn Kate

Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at 
these different locations:
Website:www.jeslynkate.com
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart
Blog: http://jeslynsart.blogspot.com/