Saturday, November 6, 2010

Tuesday, October 12, 2010

Vancouver Antiquarian Book Fair



I'm pretty excited for this event this upcoming Friday and Saturday. The only problem will be that I'll probably end up having a total fit because I won't be able to buy anything due to my recent self imposed budget restrictions on books. So really it'll be a bitter sweet affair. But I'll compensate by hopefully taking lots of photos and then (also hopefully) posting them.
Here's the link for the site and here's all the important details in case you can't read the text on the flyer above:

Vancouver Public Library
Friday Oct 15th 3pm-9pm
Saturday Oct 16th 10 am-5 pm
$5 admission good for both days



Sunday, October 3, 2010

Homework Assignment #4 (NEW) Due: Oct.18th



Illustration by Helme Heine from 'Na warte sagte Schwarte'
Homework for my Class: "Learn through research and example"
Two parts:
A)
Take your dummy book home and sketch out a very rough layout for the story I will give you! (*or if you already have a story thought out use your own story! But I suggest you try your hand at this one I give you first anyway! Then do your own later or do both) This means you will first have to break the story down into images you want to illustrate. Employ the various Camera angels. You are the director of your movie/book. Get a feel for pacing and variation in composition…
B)
a) From the 3 books you picked out of the library, pick one image where you really like the composition. Take one of the sketches you’ve made in your dummy book and improve it’s composition using this example of composition as inspiration! (like the 'composition cheat exercise' we did in class)
b) Develop two images from your dummy further. These will be your two final illustrations. (Use good paper! I don't want to see any flimsy printer paper please! Go to Opus and check out what they have. Stonehenge paper is a very versatile paper for example! Just buy a sheet or two to try it out.) 
c) Bring your storyboard dummy, and your finished illustrations to class along with the book you picked your illustration example from!

TEXT FOR YOU TO ILLUSTRATE:
Here is the text for you to illustrate into your 32 page book dummy we made in class. Again, if you have text of your own go with that instead if you wish. But before you start have a look at some of the picture books you've been looking at and see how much a ratio of text and images there is. In other words, make sure that your text is not TOO LONG! However, for those of you who are really interested in illustrating other people's work, I suggest you illustrate this text I'm giving you seeing as this is what you'll be doing usually... illustrating a story that is not by you.

I will not give you the name of the story and also change the name of the main character because I don't want you to be able to reference the original book, so as to not have it influence your work.
I changed the name to Bob, but please feel free to change the name to whatever pleases you. THIS IS THE ONLY THING YOU'RE ALLOWED TO CHANGE IN THE TEXT, everything else must be included as is in your dummy. But it's up to you how much text you put where on the pages. Pay attention to this as it is the layout and the pacing of the book that we discussed in class.

This is Bob the Rabbit. Bob is a busy rabbit. "Bob! Where are you?" calls his Momma Rabbit. "Do you know what time it is?" says Momma Rabbit. Bob says: Is it time to follow a passing ship? Or time to stand on top of the world? Or is it time to make friends with a giant?I know! It's time to win a race. Maybe it's time to grow a mustache? Or time to use my flower-picking machine? Maybe it's time to throw some mudcakes? I think it's time to be the first pirate on the moon. Or is it time to fly across the city? Or is it time to drive a submarine? " Oh, Bob, it's just naptime," says Momma Rabbit. "That's what I was saying," says Bob, as he crawls into bed. Then he closes his eyes to dream of all the things he wants to do...
...and he did.


Here is a passage I thought might be helpful for you when it comes to deciding what to illustrate out of your text (that I will post next for you). This is written by Quentin Blake and is found in page 57 of his excellent book 'Words and Pictures'.

" Work on a book (one for which I haven't written my own words, that is) begins when the typescript arrives from the publisher; and it begins with reading. In a sense I'm reading the story as if I were two people at the same time: a normal reader, who is relishing a good story for it's own sake; and an illustrator, who is on the look-out for good subjects to draw, good moments. I probably read the story several times to get to know it, and I make underlinings and notes in the margin so that I can easily find the bits I want to refer back to later. Most of my choices I make by what feels like instinct; but when I look back on them I can see that what the illustrations are doing is not always quite the same thing on each occasion. [sic]"


Mrs Pepperpot





Whilst on the subject of my 'students' teaching ... I was asked by Amber who grew up in England if I knew the series 'Mrs Pepperpot' which I unfortunately did not. I have looked online for more on it, but have not really been able to find out too much about it other than some images of covers. Then I found one cover which looks different from the others leading me to think that as with so many series, the original series was continued by a different illustrator, and thus was never quite the same.... Here are the covers.
They look like they could be a lot of fun. Also, the cover with the original looking illustration was found on a japanese site, selling it right next to a German book I love called 'Die kleine Hexe' (The little witch) by Otfried Preussler who I covered a bit ago, thus making me believe that it has to be awesome ... obviously.... :) I guess I won't know until I get to see a copy.

J.J. Grandville













Thanks to one of my 'students' of my Illustration for Picture Books class, I have once again learned something else. This something else is J.J. Grandville. Lynda kindly let me borrow her book 'Grandville's Animals- The World's Vaudeville'. In this book are featured a collection of lithographs from two of Grandville's major books 'The Metamorphoses of the Day' (1829) and 'Scenes from the Private and Public Life of Animals' (1842).

From the introduction by Bryan Holme:
"It has been said that if it hadn't been for J.J. Grandville there would have been no John Tenniel and no Edward Lear. And if it hadn't been for the ancient Egyptian mystics who drew animal heads on human bodies, perhaps there would have been no Grandville either."
"Nothing like this had been seen before: birds, cats, dogs, elephants, tortoises-even beetles-behaving as well as looking like humans. Adding to the novelty of Methamorphoses, which became the rage in Paris, was the new lithography process by which the illustrations were printed. Clothing his animals in the fashion of the day and giving them human airs, gestures, emotions and thoughts, Grandville assigned each of his characters a role in the world's vaudeville" as Charles Blanc so aptly put it."
"Together with the Grimm brothers' collection of fairlytales, which had been published in Germany in 1812 and in England in 1823 under the title of 'Household Stories' Grandville's two books represented milestones in publishing that se the stage for a whole new trend in fairytale and animal story books."
"Grandville was to influence hundreds of illustrators. By 1850s, Charles Bennett had illustrated his bizarre Aesop's Fables, a book which could amost be taken for the work of Grandville, and George Cruikshank was drawing Grandvillesque cartoons like his 'Fellows of the Zoological Society' for The Comic Almanack. In the 1870's Walter Crane's Beast in Beauty and Wolf in Little Red Riding Hood were in the same Grandville genre. Later came Arthur Rackham, and after the turn of the century, Beatrix Potter, and later still Walt Disney and so very many other young illustrators, each depicting animals as humans in his own particular way. Until recently however, the far-reaching influence of Grandville's books was never fully recognized outside France except by artists, illustrators, and connoisseurs. "
"For professional reasons-his father also being an artist- Grandville adopted the stage name of his grandfather, who was an actor of repute. His real name was Jean-Ignace-Isidore Gerard. "
"In 1823 the family scraped enough money together to send him to Paris, where he was to study art and make his own way. Within a short four years his first illustrations, Four Seasons of the human life, were published and and - shortly thereafter, Voyage to Eternity, inspired by Holbein's series of woodcuts The Dance of Death. "
While looking Grandville up I also came across his series of 'Les Etoiles' (The Stars) and 'Les Fleurs' (The Flowers). I have featured a couple of these in the images above. They are pretty unique and I am really glad to have found them! Also, here's a good blog post on Grandville at Love for Books.... and ... here's a good piece giving you a glimpse into a specific image of Grandville's and how to make sense of it. So yeah, thank you Lynda Cameron! Way to teach me something!

Sunday, September 26, 2010

Shaun Tan: 'Who are Picture Books for?'











Here are the first two pages from Shaun Tan's essay 'Picture Books: Who are they for?' You can read the whole essay on his website here.

PICTURE BOOKS: Who Are They For?
By Shaun Tan

"One of the questions I am most frequently asked as a maker of picture books is this:
‘Who do you write and illustrate for?’ It’s a little difficult to answer, as it’s not
something I think about much when I’m working alone in a small studio, quite
removed from any audience at all. In fact, few things could be more distracting in
trying to express an idea well enough to myself than having to consider how readers
might react!

In any case, I suspect that much art in any medium is produced without a primary
concern for how it will be received, or by whom. It often doesn’t set out to appeal to a
predefined audience but rather build one for itself. The artists’ responsibility lies first
and foremost with the work itself, trusting that it will invite the attention of others by
the force of its conviction. So it’s really quite unusual to ask “who do you do it for?”
Yet it is a question inevitably put to my work in picture books such as The Rabbits,
The Lost Thing and The Red Tree, which deal with subjects such as colonisation,
bureaucracy, whimsy, depression and loneliness, typically in a strange or unusual
manner.
The reason of course is quite obvious. The idea of a picture book, as a literary art
form, carries a number of tacit assumptions: picture books are quite large, colourful,
easy to read and very simple in their storyline and structure, not very long and (most
significantly) produced exclusively for a certain audience, namely children, especially
of the younger variety. Picture books are generally put on the shelves of bookstores,
libraries, lounge rooms and bedrooms for young children, where they apparently
belong. Picture books are synonymous with Children’s Literature. But is this is a
necessary condition of the art form itself? Or is it just a cultural convention, more to
do with existing expectations, marketing prejudices and literary discourse?
The simplicity of a picture book in terms of narrative structure, visual appeal and
often fable-like brevity might seem to suggest that it is indeed ideally suited to a
juvenile readership. It’s about showing and telling, a window for learning to ‘read’ in
a broad sense, exploring relationships between words, pictures and the world we
experience every day. But is this an activity that ends with childhood, when at some point we are sufficiently qualified to graduate from one medium to another?
Simplicity certainly does not exclude sophistication or complexity; we inherently
know that the truth is otherwise. “Art,” as Einstein reminds us, “is the expression of
the most profound thoughts in the simplest way.”
And it’s clear that older readers, including you and me, remain interested in the
imaginative play of drawings and paintings, telling stories, and learning how to look
at things in new ways. There is no reason why a 32-page illustrated story can’t have
equal appeal for teenagers or adults as they do for children. After all, other visual
media such as film, television, painting or sculpture do not suffer from narrow
preconceptions of audience. Why should picture books? It is interesting that observe
that when I paint pictures for gallery exhibitions, I am never asked who I am painting
for. "


Saturday, September 25, 2010

Homework Assignment #3: (NEW!)


Images by Lili Scratchy

Homework Assignment #3 (NEW!)

Hello, hello! Since last weeks homework was fairly easy, this weeks is going to be a more challenging. Please note that this homework has 2 parts! A and B. This is not a choose which one assignment, but a 'please do both' assignment. Part A really shouldn't be very time consuming though, and really it should be an overall good time!

Part A)

1) Go to the library downtown (preferably, or the closest one to you) and spend at least (!) half an hour in the kids book section.

2) Check out at least 3 books you love. Closely look at them and study the illustrations. Try to figure out what it is that makes you love this particular book so much.

3) Look up the illustrators online.

4) Note the publisher of the books and the publishing date

Part B)

Make at least 10 illustration SKETCHES for the following text. And pick one of the sketches and turn it into a FINAL illustration!

I Don't Want to Travel (by Emmanuelle Houdart)

I Don't Want to Travel

Except in the hand of a giant

Except on a witch's broomstick

Except in the jaws of a wolf

Except in a bottle of raspberry syrup

Except on the back of my tortoise

Except with my catfish

Except by the light of the moon

Except under the sea

Except with my favorite book.

You can choose any size of paper you'd like, and any medium you'd like to use. Think of this assignment as if you were asked to provide a full set of sketches for a short story called 'I Don't Want to Travel', that is going to be published as a picture book. Since this is your first time making a series of images fit together coherently in combination with text, this does NOT have to be 32 pages. It does have to be at least 10 pages. Please don't spend a lot of time refining your images since they are only to be SKETCHES for final images. Here are the specs for the assignment in bullet form.

-At least 10 pages (loose,single sided, please don't staple yet), you can make it longer if you want

-Any format or size you want (but you have to be able to bring them into class obviously)

-Incorporate the text into the images, because this text is short I'd like you write it on the page and think of where you're placing it.

-Try to keep it loose and do what feels right. We will be talking more about how to go about this in our next class.

- Please bring at one of the picture books you got from the library along with your 1Final illustration and 10 sketches to Class.


Tuesday, September 21, 2010

Riquiqui Roudoudou le journal qui se deplie


I found these amazing kids magazine covers at Emma's blog something I stumbled upon while searching for something else as per usual. They are sooo great! Check out the whole entry on the magazine on her blog. Thanks Emma! I now want this magazine very badly.

Sunday, September 19, 2010

Last image reminds me of...


Marc Boutavant illustration I remember seeing... next feature artist will HAVE TO BE MARC BOUTAVANT! One of the best artists in this field today in my opinion.

more Thomas Baas...



Saturday, September 18, 2010

Children's Literature Roundtable...Breakfast!


This is something I've been meaning to post for a long time, but then kept on waiting on it until it got a bit closer to the actual event. Two very talented students from my first session teaching at ECUAD made me aware of this event. I am thinking about attending this next month, but haven't registered yet...Check out the website for the Vancouver Children's Literature Roundtable and have a look at featured illustrator Pierre Preatt's portfolio should this be something you're interested in attending. Prices are $55 for non members (you can also become a member for an extra 15$) and 25$ for full time students. Priscilla Holmes who is working for this event has kindly sent me the following info about the organization...I wish they would also list what the actual breakfast menu is... I know that this is probably not as big of a concern to most and that the idea is to meet other people interested in the subject....HOWEVER... I do like a really good breakfast and if I'm going to spend 55$ I wanna make sure that there are some pancakes or waffles in there somewhere... hmmmm... pancakes and waffles...

*The Vancouver Children's Roundtable:
http://www.library.ubc.ca/edlib/table/index.htm*
is* *a Canadian organization for librarians, teachers, and writers and
illustrators of children's literature (and a good number of students from
UBC, and now some from Emily Carr) to get together, learn and talk about
children's books and publications, celebrate new publications, and explore
new ideas and new media. Events in the past few years have included talks
and breakfasts with the likes of Sean Tan, Gregory Macguire, and others. So
mad I missed Sean Tan.

Website is under total reconstruction and missing most current info, but
hopefully will be updated in the fall.

Pierre Pratt Breakfast: Registration Form for Pierre Pratt breakfast on
October 16, and Pratt's bibliography, is available on the website. Paypal
is coming, but not up yet, so mail-in is the only option for now.
*
*
*Other upcoming events: *(I expect more info about these sometime this fall)

*Graphic Novel Event (*part of Serendipity)
*Serendipity:* Big conference of writers, illustrators, librarians and
teachers of children's literature -- probably plenty of academic
perspectives
*Authorfest:* Panel of authors/Illustrators
*Hycroft*: Something to do with CWILL -- children's writers and
illustrators of BC

Friday, September 17, 2010

Thomas Baas




Ok, this is the last artist represented by Costume 3 Pieces I will showcase. Seriously. Reminds me of my hero Marc Boutavant and also a bit of Jean Jacque Sempe who illustrated Goscinny's Petit Nicolas. ... I should cover Jean Jacque Sempe next... also: I am aware that this is technically not illustration directly pertaining to Children's Picture books, but rather editorial and ad illustration, however, the style is fitting and the artist amazing, ... so 'hu-why' (as Helen Man from CBC would say) not? :)

Thursday, September 16, 2010

Olivier Goka






Another amazing artist represented by Costume 3 Pieces. I wonder how he creates his characters. Would be really great to find an interview on him!..... Wait, I just looked and found this here on Koikoikoi. He makes them out of found materials, then hires a friend photographer for capturing the final image.

Sunday, September 12, 2010

Julia Wauters




Just came across this illustrator the other day while looking online. So beautiful! The whole raster of this agency is definitely worth a look at. Some really fantastic innovative work on this site.

Saturday, September 11, 2010

Judith Kerr

















While searching for images for Helen Oxenbury I had come across an image which I love but knew was NOT Oxenbury but from a book called 'The Tiger who came for Tea' by Judith Kerr. While I have never actually held a copy of this book in my hands I have seen illustrations from it in several places and most recently also in an edition of one of my favorite magazines on the topic of illustration VAROOM. Here is an interesting link on Kerr and above a bunch of images of hers I have found.
Also, when revisiting the article on her in the Winter 2009 edition of Varoom I noticed that there was an image of a book I had just raved about a couple of entries ago namely 'It's a secret by John Burningham. It was included by Kerr under the category of 'Illustrator I admire'. Wouldn't you know it. How's that for a good segment from Oxenbury and Burningham to Kerr? Also: Her admiration for Burningham obviously shows through in her work which is why someone had mistaken the image of 'The Tiger who came for Tea' for Burninghams' or Oxenbury's to begin with.