Saturday, April 22, 2017

Connecting With Young Readers Via School Skypevisits: A Basic Intro For Children's Book Illustrators - by Debbie Ridpath Ohi



When my first children's book came out was published, I was torn. Part of me was excited about talking to young readers about it but the other part was terrified about talking to young readers about it. Why the latter? Because having no children of my own and little experience talking to crowds of young people, I didn't know where to begin. Other factors: I don't drive, which limited the number of schools I could reach locally. My work schedule is pretty busy these days, so using a local transit to visit a school on the other side of Toronto could mean spending 3 hours on subway and buses for a half hour visit.

And this is where virtual visits using Skype or Google Hangouts are so great in my situation. I can work in the morning, take a break during my lunch hour to do a Skypevisit with a school that is thousands of miles away, then go back to work.

As a nervous newbie, I found that speaking to kids from the comfort of my home office was easier than jumping into in-person appearances right away. I've since grown to love talking to kids in person and actually do prefer in-person appearances now. In fact, I leave on my Sea Monkey & Bob Book Tour tomorrow, woohoo!

Though I prefer in-person visits now, I find that time and geography still make Skypevisits my go-to when it comes to connecting with schools.


I am SO grateful to my children's book author friend, Lee Wardlaw, who generously offered me advice when I first started using Skype to connect with schools. Lee was actually my very first professional mentor as well! I strongly recommend you check out her Presentations page, where you'll find her tips for having a successful Skype visit. Her advice is geared toward educators, but children's book illustrators can learn a lot from this info as well.



Here is what I use for my own Skypevisits:

- A Logitech HD Pro webcam hooked up to my Mac. I am VERY happy with this webcam. Good quality video and sound, and I can tilt the camera.

- A Parrott headset microphone. Sorry for not including a link or model number, but I bought it many years ago, and I don't think it's available anymore. You can do Skypevisits with just your webcam microphone too, of course! I like the headset, though, because I figure it improves audio when I'm talking.

- A portable easel. I keep this folded up in the corner of my office and just take it out for Skypevisits. For the paper, I bought a couple of these easel pads in the beginning but since they're expensive, have just kept one for the backing and use other/cheaper paper for presentations instead -- I use painter's tape to tape up sheets in advance. My husband also found a giant roll of blank newsprint paper for me to use, and I've been ripping off sheets from that.

- Sharpie flipchart markers. I like these because the ink doesn't soak through to the next sheet of paper.

You also need to make sure you have a reliable Internet connection. I always try to do a brief test Skypecall with the educator or librarian ahead of time (also a fun way to connect with educators and librarians!).



Also double-check timezones when scheduling a visit! When a librarian and I were scheduling my talk with her students in Hong Kong (see above photo), we had to account for not only the time change but also the date difference!

What I include in my Skypevisits:

It depends on whether I'm giving a free 15-minute Skypevisit Q&A or a regular paid visit. Sometimes I do a reading (and if the school's connection is good enough, I sometimes have the students help me), talk about how I write and illustrate books, show sketches and materials and things in my office (another advantage of virtual visits), do a drawing demo or fun interactive drawing exercise, answer questions. I've also done art workshops, where students are prepped with their own clipboards, paper and drawing materials.


I lack the time and post space to include the details of how to do a Skypevisit, but there is a ton info online. Also see my post about what I learned after doing my first Skypevisit. If people are interested enough (please comment below if you are), I'm happy to do follow-up tips in future blog posts with more info including how to let schools know you're available for a virtual visit, etc.

If you're curious, you can find out more about how I do Skypevisits, what I talk about, what I charge etc.  on my virtual visits page. And if you have anything to share about your own experiences, please post below! Also feel free to comment below if you'd like me to post more about Skypevisits.

While nothing can replace in-person visits, I do believe that virtual visits can have an impact on young readers. Plus they're FUN. :-)


Some related resources:


Presentations by Lee Wardlaw (includes great Skype visit tips)



(Note: these are 15-20 minute free Skypevisit Q&A sessions. Most authors charge a regular fee for longer visits. Be aware that there are many authors and illustrators out there who make part of their living with paid school visits.)

-------------

Debbie Ridpath Ohi is the author and illustrator of Where Are My Books? She has four new books coming out in 2017: Sea Monkey & Bob (Simon & Schuster),  Mitzi Tulane in The Secret Ingredient (Random House) Ruby Rose, Big Bravos (HarperCollins), and her second solo picture book Sam & Eva (Simon & Schuster). You can find Debbie on Twitter: @inkyelbows and Instagram at @inkygirl.

Saturday, April 8, 2017

Fresh Eyes

Sometimes it's hard to see the problems in your own work. We get too close to it, look at it for so long that mistakes can look normal. Here are several tricks to get a fresh look at your work: We'll use a couple of N.C. Wyeth's paintings as examples. 
1. Look at it upside down or in a mirror:
Flipping it around may help you see your piece differently, especially when it comes to noticing big compositional shapes. A mirrored version often will show if you've tilted the composition or if you have some asymmetry problems with figures.
2. Look at it across the room:
"Get back from your work" was a constant refrain in my figure drawing classes. A little distance helps you see the piece as a whole, and look at in terms of composition or proportion, rather than getting caught up in the details. If you are working on the computer, you can also try zooming way out.
3. Squint:
If you look at your piece out of focus, it melds the details into the larger shapes, once again helping you focus on the larger elements of your piece. This is very helpful for checking your values.
4. Change it to black and white:
This one focuses on your value structure. If the values aren't strong your composition is probably suffering, or it may even be hard to "read" the image.
I hope these tips are helpful! I was reminded of the upside down trick by Art Director Cecilia Yung, who likes to check artist's designs that way.
...............................
Jen Betton writes and illustrates for children. Her debut author-illustrator book, HEDGEHOG NEEDS A HUG will be published by Putnam in 2018. She is also currently illustrating TWILIGHT CHANT for Clarion Books. You can find her work at
 www.jenbetton.com
@jenbetton on Twitter
www.facebook.com/jenbettonillustration on Facebook

Monday, March 27, 2017

The Adobe Capture CC Mobile App as Pattern Generator

From the Adobe Website:
"The Adobe Capture CC mobile app lets you turn color themes, vector-based shapes, unique Looks, and custom brushes into a production-ready asset, all from a single photo. By combining all of the features and tools of Adobe Color CC, Shape CC, Hue CC, and Brush CC into a single app for iPhone, iPad, iPad Pro, and Android phones, you get our most powerful capture app to date."

How can I get Adobe Capture CC?
Adobe Capture CC for iOS and Android phones is available as a free download through the iTunes App Store and Google Play.

Do I need Creative Cloud account to use Adobe Capture CC?
You need either a free or paid Creative Cloud membership. If you’re not already a member, you can sign up for a free Creative Cloud membership.

How do I create a pattern (see images below)?

A Open the Adobe Capture app. Tap Patterns.
B Tap the + icon at the bottom of the screen.
C Tap the camera icon to take a picture using the camera, OR
D choose an existing image from your
E Camera Roll,
F Gallery, or Creative Cloud.
G Use the options to refine and edit your captured pattern. Tap Next to preview your pattern.
H Tap Next again to Name and Save your pattern to a CC Library.



Is there a practical application of this Kaleidoscope for big kids?

Yes! But I freely admit to spending hours upon hours playing with patterns after I first stumbled onto Adobe Capture CC. To start I was aiming the phone camera at my monitor and grabbing color schemes from videos, such as A Dr Who or C Song of the Sea. The best part of watching the app select 5 main colors from an image was also knowing I could override each color with my own selection if I did not agree.



Then I ran around my studio creating patterns and color schemes from my "pretties" and even pulled out my phone at the dentist office because I liked the interior colors in the waiting room (above D Row 7). I had to explain to a curious onlooker why I was photographing the walls, chairs, furniture and carpet.


After a few hundred of these E (above lower left) "found" color schemes and patterns I started uploading my illustrations into the phone, and spent hours moving the triangle around to discover hundreds, if not thousands, of complementary patterns to match the illustrations.


Perhaps these could be used in conjunction with logos for motifs on postcards, spot patterns on websites, business cards, or as I am planning, character's clothing and/or wallpaper in the illustrations themselves. 
Or matching t-shirts. Or totes. Or tattoos. Ok, maybe not, but you get the idea. 
The possibilities are endless!


One thing I noticed immediately when capturing patterns from my illustrations, was the similarity to 19th century Eastlake design, The Arts and Crafts Movement and Aesthetic Movement, mainly because my home and head is full of it to begin with. I also collect red and white transferware china from the 1860s to the 1890s and have an affection for that time period

Wall tapestries, rugs, pillows, china. . . seriously, William Morris would have gone crazy with this app! 

With that in mind, I wanted to be able to create a repeating pattern but be able to alter it with a complementary but divergent series so the designs did not feel so predictable, similar to the asymmetry of the Aesthetic Movement. And while I was not able to use the app to create the level of asymmetry I was searching for, by taking the pattern pieces into Photoshop I will be able to paste the best bits together and create repeating patterns.

Another thing I love about this app is the absolute ease at which I created a large library of patterns. I can imagine someone loading a couple of target illustrations into their phone or tablet in the morning and generating a load of patterns on their subway or ferry commute. Don't forget to disembark! I think I hypnotized myself a couple of times.


While I have not pushed these patterns to the "finished illustration" level, I have spent a bit of time working with particularly plain patterns to create more interest with contrast of shape, size, or texture by pasting several images together. It is incredibly easy to scroll through the CC libraries in Photoshop, select a couple of patterns, then using layers and masks combine to create the optimum pattern for a project.

And by far my favorite part is knowing all these designs originate from my own sketches and illustrations. It is admittedly all too easy to go online and search for quick copyright free patterns instead of coming up with my own. Back in the day we all had Dover books in our studio libraries for making a quick stat and adding to our designs. But without straining my brain to create patterns, I have generated new material that is original and matches my existing body of work because it is actually cloned from it. How cool is that?

After the "new" wore off, eventually my brain started asking how; how does the app create the pattern and how can I set up a file that will predictably create desirable patterns?

How would I lay out a series of motifs in a planned manner instead of merely loading it up, making popcorn, streaming a scifi movie and playing around until I found something useful? 



First off, A I noticed the app took a square out of the middle of any image I loaded in the phone gallery, not the whole thing. So to utilize the app effectively, I needed to pre-crop the image into squares for uploading into the phone. B Rotate and Scale the Image for more variety. Leave the tip free for a white pattern center. Overlapping the tip into the surrounding black leaves transparent areas.

The next step was going from just discovering the patterns within an existing color illustration, to actually creating a black and white square with the parts laid out in a manner I could have more control over.  

This required checking the positions of the triangle within the app, it's minimum and maximum rotation, and understanding what area of the triangle corresponded to the created pattern.

It was not hard to figure out the base of the triangle created the outer portions and the tip created the center. So if I wanted an empty center, I needed to leave white space in the triangle tip.


So I quickly scribbled in a couple of squares with divergent motifs, mainly so I could easily see where each one ended up. The "evergreen" wreaths were a fun surprise and filled my head with holiday possibilities.

Part of my "learning process" was also taking a pattern I liked, looking back at the illustration it came from and trying to figure out exactly where the triangle had been positioned to create the pattern. 


I reverse engineered it by copying and pasting the portion of the illustration inside the triangle. Eventually my pattern became all wibbly wobbly because the triangle was not perfect, but in the end I was able to create a useable pattern. So now I know, a cap sleeve and arm made an interesting shape passing under/through another.

And finally I took one of the icons to use as a guide to resketch with a digital pencil, giving it the hand-drawn look I enjoy. By sketching only a portion (indicated in yellow below) Photoshop makes flipping and rotating the cloned parts a simple process. 



The resolution of these files is not at a level I would use straight up on a project without redrawing, but as a resource I am thrilled. If nothing else I have generated over 500 patterns in my Adobe CC library that can be used as inspiration for future projects. I have never considered myself a surface designer, but the simplicity of this app is certainly going to make the patterns I create from this point forward feel more authentic.

Tuesday, March 21, 2017

Peerless Transparent Watercolors...Wow!  

In 1885 Chas. F. Nicholson developed a revolutionary way to offer transparent watercolors in sheet form. The saturated watercolors are infused onto a sheet of paper. Just a small drop of water releases bright transparent colors. 

I'm sharing what I discovered about these surprising old paints. I've also included instructions on how to make your own Travel Peerless Watercolor Palette Book- perfect for sketching on the go. 

They will not replace tube or pan watercolors, but for transportability and ease of use, they might prove to be a fun addition to any artist's toolbox.





I was so excited about these paints for several reasons:

1. Bright transparent colors.
2. Inexpensive (40) colors for ~23$.
3. Lightfastness is good. (Review) 
4. Compact and lightweight for everyday sketching small - medium sketches. 

Travel Peerless Watercolor Palette Book
(*I made four books at one time. They make great gifts for artist friends. Your book can be adapted any way you like. Below is how I assembled mine.) 


















Supplies:
2- 5" x 7" Mat Board (Cover)
3- 5" x 7" Card Stock (To adhere paint squares)
4- 5" x 7" Acetate sheets (Dividers-Front -Back)
Mounting Putty
Scissors
Exacto Knife
Double Sided Roll on Tape
Scotch Tape
Duck Tape (Any Color) Phew... Lots of tape
1- 5" x 7" WC Paper (WC swatches) 
Elastic String ( Hobby shop- I think it is used for funky jewelry) 
40- 1.5" Watercolor Paper Squares 
Water-brush


Directions:


Open Peerless Watercolor Bonus Package- Print name of color on each sheet.
Cut it in half twice to get 4 squares.

 ( If you are only making one book, store other 3 for future when colors need replaced.)







Use Mounting Putty to attach color swatch to watercolor paper.  With Water brush, wash color on WC paper, print name of color and tear or cut to size.  


Do this with all of the color squares and attach them to the card stock pages.  









When all of the color squares are attached to card stock. Using Scotch Tape, attach acetate between each color page. Do this for all pages so that the color pages flip like a book. This will help to keep colors separate so they will not bleed into each other when the book is closed.  









Tape the edges of the cover with Duck Tape and attach it to the color pages. I photocopied the history of the paints and attached it to the inside cover.   



I also added a color wheel  for  reference and taped an acetate sheet to the back cover to use as a mixing palette.  





Loop the elastic string and tape it to the edge. (This will hold your water brush)   
I added an elastic closure on the right. Use Duck tape to attach.
At this point the book is complete. 











But to personalize them, I painted the covers with Daniel Smith Watercolor Ground. 
You can remove each color square from the book and use the acetate back cover to mix paints. Replace when you are done. To keep the colors pure, wipe water brush on paper towel each time you change colors. 






The colors are transparent, bright and fun to use. I hope you enjoy. 


~Dorothia Rohner illustrates and writes stories for children about nature,  magic of imagination and humor.
Represented by: Laura Biagi- JVNLA.com
Twitter: @dorothiar
Instagram: @dorothiar

Monday, March 13, 2017

Composition Is...Like An Aquarium



Composition is a word we hear frequently in the art world. It is a word to help describe what is and isn’t working in a piece of artwork.


I have felt, for many years, that composition is an elusive little creature that looks more like intuition than an idea. When creating a piece of artwork I often step back to see if the image in process “feels right”. Is any part of my image cut off that shouldn’t be? Does my image look static? Is there anything I can move around to make it more exciting? These questions are a natural part of my process; however, I never connect them back to the word “composition”. For me, that colossal word never had a solid definition outside of: the act of combining parts or elements to create a whole


The implementation of the idea was still unclear by this definition alone; but recent exploration and experimentation have helped to break this complex idea into bite sized pieces for me. When I think of composition now I think of it like a walk through an aquarium (or other attraction that brings guests). A visitor needs a focal point, a map to follow, and a place to rest.


What are people coming to see? In the case of children’s books a character is what/who people come to visit. They are the reason people turn the pages again and again. They are the focal point, the main attraction and should be given lots of attention.

The next thing that needs to be addressed is the map. Visual maps in images direct people to the main attraction and are essential to its success. There are plenty of existing templates for maps such as:


These templates are tried and true for generations of creators; but it is possible to create an even simpler map than this. Using simple methods such as symmetry, asymmetry, diagonal lines, straight lines, pattern, and rhythm any artist can build a solid map that is tailor made for visitors.


When creating an map, it is important to ask: Do I want my map to be strong, stable, and calming or do I want it to be dynamic and seem like it is in motion? Strong, stable maps often use symmetry and rhythm to create a sense of security and peace while asymmetry and diagonal lines are used to create dynamic images that seem to leap into life!


Lastly, it is important that visitors have a place to rest to digest the amazing sights experienced! At an aquarium this resting place might be a bench or the dining area. In an image it needs to be an element that adds balance or negative space that has been created so viewer’s eyes have a place to pause.  


If you are looking for more information on composition, I highly recommend Picture This: How Pictures Work by Molly Bang.



 ~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/

Tuesday, February 21, 2017

Putting Together a Dummy the Smart Way

Ok. So you've poured your blood, sweat, and tears into a picture book dummy and it's time to present it to an art director, an editor, or maybe at a conference. How in the worldy world do you put that blasted thing together?!  Here are a few tips and tricks that have helped me and that hopefully will help you too. 

Woohoo! I've finished my roughs. Now what?!


1. Scan your roughs and label them.

After you've completed your rough sketches for your dummy (big pat on the back to you), scan them in full sized at 300dpi. In my case a spread's full size is 11x17. I try to label my roughs in the least confusing way possible. I use the picture book's initials and then the page number so that I can easily identify them and organize them. (So an example for my dummy would be MMWCUHB_4-5.tif)


2. Open up InDesign.

Truthfully, I knew next to nothing about Indesign before putting together a booklet. The program seems pretty intuitive, for this simple task. Create a 'new document.' Put in the number of pages you need in your dummy, and click the facing pages button.



When you open up your new document, it should look something like this.


3. Place Roughs in the empty pages

You can drag and drop files into the empty pages that you see above. Once you've inserted all your spreads, make sure that you right click on your rough -> click on Display Performance -> click on High Quality Display. If you don't some of your illustrations may end up looking pixelated. 




4. When emailing your dummy, export it as 180 dpi as a PDF.



And congratulations! You are done. Let's go celebrate with a cookie!


...oh wait. You want to print your dummy?!  Ok. Hold on. Just a few more steps. 

This is where it get's wacky, so pay attention!


5. Open up your individual spreads in Photoshop.

Open up the spreads and cut them in half. (No, really!) 

So this 11x17 spread will become...

two 8.5x11 pages.




















6. Open up Indesign and create a New Document.

Only this time don't click 'facing pages.' 


Your document should look like this.

7. Drag and drop your divided spreads into the pages.



8. Export your pages as a 300 dpi PDF.

Do not click the spreads button.



9. Take the file to FedEx Kinkos to print.

Tell them to print your PDF file as a booklet

I am not sure why you need to have the pages separated, but anytime I have tried to print a booklet at Kinkos, they have always had me separate the spreads. The nice thing about having Kinkos print the dummy, is that they have a printer that will perfectly align the pages, the paper is nice and not too costly, and it gets stapled for you. Easy peasy. (Somewhat.)

Perfectly aligned pages. Yippee!

Now if you are heading to a conference, all we need to do is attach the dummy to your portfolio. (For this example, I'm using a screw post portfolio.)


10. Attach a string or ribbon to the dummy.

Take the printed dummy and open it at the centerfold. 

Use an x-acto knife and cut a slit in the pages about a 1/4 of an inch down.

Attach the string.

Tie a loop at the other end of your string.

Place the loop on one of the portfolio's posts.

Screw the portfolio back together.

Gently pull the string.
VoilĂ ! All done. That wasn't too complicated, was it? ;)


Now, about that cookie... Nom! Nom! Nom!


--------------------------------------------------------------------------------------------------------




Meridth McKean Gimbel is a freelance writer and illustrator who loves anything art related, story infused, and chocolate covered. When not working on her illustrations or writing stories, she is busy building a time machine so she can hang out with her pirate buddies and find buried treasure. 

Meridth is happily represented by Linda Pratt at 
Wernick & Pratt. You can follow her work at:
 Portfolio | Blog | Sketchblog | Facebook professionalpersonal Twitter | Instagram | Pinterest