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Archive for the ‘Illustrators’ Category

Back in December of 2011 (so long ago, I was but a young lad…) I wrote a long winded post headlined “Can graphic novels make you smarter?” It discussed how combining the act of reading and looking at pictures to absorb a story activate different parts of the brain. You can read that post linked here.

At the time I hadn’t looked at the issue from the perspective of two interesting words which are usually used in the field of linguistics but have great resonance for the issue of using pictures and words together to tell stories.

Diachronic is a term for something happening over time. and ‘synchronic‘ refers to something that happens at a specific point in time.

In linguistics diachronic and synchronic have been defined as relating to the issues of examining language from a historical POV vs. a topological one. But I am interested in the broader meaning of the terms.

The big idea is that you gain meaning from language as it unfolds through time e.g. “Once upon a time there was a bear and a monkey who were best friends.”

Whereas you can absorb the impact from an illustration immediately e.g. an illustration showing a bear and monkey playing video games together.

Of course you can study the illustration, and gain more from it, but when you combine the experience of reading a story using words and have part of that story use visual imagery the brain is doing some extra work to build a larger meaning and context. Contradictions can arise and new levels of similarity can be gained.

I began to realize that a graphic novels and picture books activate different processes for a reader. And perhaps part of the intrigue and interest is that the brain is conceptualizing the narrative in different ways because of how we understand language vs. an illustration. (See this intriguing article from Science Daily about how a brain understands images) We read and gain understanding through time, while the image not only informs us in one ‘blast’ but they physically use different parts of the brain to gather meaning.

The brain likes to be surprised in a narrative. And by combining the use of language and image it’s a more dynamic experience.

I’m not saying that the more elements you add to a narrative creation the better it is. But it may explain why a graphic novel or a picture book brings such great pleasure and satisfaction to a reader.

I also suspect that better understanding how we experience words and pictures in different ways can help illustrators and writers better exploit what makes each form interesting and dynamic.

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I had a great time in LA for the SCBWI’s Illustrator’s Day. I got to meet amazingly talented writers and artists and heard inspiring and funny presentations. I did some portfolio reviews and I saw some of the best work I have ever seen from individuals who are just looking into what it means to write and illustrate picture books.

I gave a half hour presentation on the state of ebooks and Apps along with Joe Toscano, the developer who helped me with my Cave Bear and Duck application for the iPad. We answered a lot of questions and could have answered a lot more but time ran out.

Thanks to the SCBWI and all the folks down there who made it possible.

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This Oregonian is scraping the moss off and headed to the SCBWI’s Illustrator’s Day in sunny Los Angeles. See you there.

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What is Illustrator’s Day in Los Angeles?

 

Well, illustrators eat for free that day at any restaurant. They are attended to by an Illustrator’s Assistant all day as well. The assistant will carry your illustration gear. Brushes, varnish, laptops, wacom tablets. I’m not sure where they carry it all, but they do. And people are allowed to stop an illustrator and get books or baseballs signed at any time on Illustrator’s Day. Illustrators also have access to air conditioned rooms which are well stocked with cold drinks and free wifi access and paints.

Oddly enough illustrators also have to do most heavy lifting that day in Los Angeles. And they can’t get their haircut on Illustrator’s Day. Weird I know, but these are rules handed down from the Illustrator’s Days of old. The earliest one on record was celebrated in 623AD. All we know about that first celebration for certain is that each illustrator got a free rodent to eat.

Illustrator’s Day in Los Angeles, sponsored by the SCBWI, of which I am a member. I’ll be there. Will you? Most likely not as about 75% of the traffic on this blog comes from outside of the United States. And most of the rest of the traffic is my mom and dad trying to figure out what exactly a blog is and what I do for a living. I have the same questions…

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I came across an amazing quote from the composer Vangelis in a lengthy article linked here.

“Vangelis always prefers to use his first take whenever he can, even if the recording contains small mistakes, because he sees his first takes as more honest than rerecording the same music again.”

I found it inspiring that he tried to use his first take even if it had a ‘mistake’. It makes you ask – what is a mistake? If we are using art to communicate and we want communication to be genuine, honesty is worthy of a few mistakes, isn’t it?

A creative process is not just a process of refinement. It’s also a moment of inspiration. Of surprise. As a commercial artist you are paid to execute to an expected standard. In some ways you are paid to lie. Ones salable skill becomes reproducing something agreed upon as being inspired and excellent and making ALL your work inspired and excellent. To make every stroke, every page an act of inspired honesty and completeness. But good creative execution is not just a process of refinement. I wish it were that easy. Great creative execution is also about the moment. A string of ‘moments’. And simply refining, scrubbing, erasing and sanitizing does not always mean better. There is incredible value in the unmitigated act.

I’ve always been fascinated by the differences between the process and practice of writing and drawing. When I start to come up with a story my brain bounces between words and images. I may hear dialogue, or voice a particular dilemma that generates a story, but images come along and start altering and refining those words. And back and forth it goes.

Writing is a process that better embraces a series of refinements and editing. Obviously you still need the inspiration to create the story. And the inspiration to use the words as you see fit. But the visual arts gets more bang-for-the-buck from that immediate inspiration. It also depends on the genre or style of illustration you are pursuing. A formal portrait or landscape takes a certain amount of reworking and structure and editing. But for me artists like William Steig always captured my imagination and part of his process was definitely embracing the immediate.

Art By William Steig.

That’s not to say that you don’t prepare to do your work. I don’t just sit down and scribble something out, pronounce it ‘done’ and go get lunch. But the editing process happens on small bits of paper and sketches and in my head. When I start to build a final work I don’t want to ‘trace’ lines I already drew. I want a rough guide and then (I can’t think of a better word) I hope for the best. Often I end up reworking and refining. Getting notes and altering things. Getting a new text and changing the images. But if I need to do that for too long on a particular piece, I know I have blown it.

I have great respect for the comic industry inkers who do amazing brush work to bring intricate pencils to life. But I don’t feel close to that work. It can often feel overwrought. The process that motivates me is a little murkier. More subtle.

Trust your first take. But be willing to start over if you have to.

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The other day one of the Google founders talked about the opportunities for ‘content creators’ in regards to using their You Tube service. (Of course, it’s always about the possibilities that await you IF you use this or that of a companies’ tools and products and platforms and…) And while my first reaction is to agree that the possibilities of global distribution are unparalleled, something about the way he said ‘content creators’ unnerved me. Made me want to wash my hands…or make sure I never have that on an ID tag at an event.

Content Creators…Logically I can understand that. And I ‘get it’, as the kids say…Wait. I’m too old to know what the kids say. Plus I’d just be texting this or Tweeting it if I knew. Anyway, I’m probably as likely as anyone to be defined as a content creator. Work across mediums, work across genres, work across platforms..check, check, check.

But I didn’t like to hear myself called that. And I’m not sure why.

Maybe it’s my 20th century ego. Maybe it’s delusions of grandeur. Maybe I’m just too neurotic. But maybe it’s another use of language to separate humans from what they do. To abstract it to another degree. After all, maybe a ‘content creator’ is more likely to let Google take their ‘content’ and use it to build Google’s business, while a ‘writer’ might expect to be paid by said company for that activity.

I don’t have an answer to this dilemma. Not sure I can competently recite the question. But there is something unnerving to the description and the casualness with which it is championed.

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I will be speaking in Los Angeles for the SCBWI sponsored Illustrator’s Day in November. But I won’t be speaking about illustrating. I’ll be sharing my favorite under-10-minute cookie recipes.

OK. That’s not true. While I WILL be speaking at the SCBWI’s Illustrator’s Day and I do have favorite under-10-minute cookie recipes, I will not be combining said activities. Instead I will be talking about iPad Apps and what they offer illustrators and writers. Not just from a ‘sell your book as an app’ POV but from a marketing POV and some technical information about the process. I’ll be sharing the stage with one of the developers who helped me create the Cave Bear and Duck App for the iPad, which has enjoyed a steady pace of downloads over the past year. That’s probably because it’s FREE for the iPad so go get it. I mean it’s one thing for me to say it’s the BEST free iPad read-along comic book app ever. But quite another for Walter Jenorjustky to say it. And he did. “It’s the best free read-along comic book iPad app ever.” – Walter Jenorjustky *.

But THERE will be two great illustrators speaking. Peter Reynolds and Dan Krall. I’ve never met Peter but I have visited his bookstore in Massachusetts. He got like a hundred bucks off me when I stopped there…But Dan Krall used to knock books out of my hands in the hall in Jr. High. Maybe that was a different Dan Krall? Well, I think it’s him. I hope he demands my lunch money ’cause jokes on him – I’ll have no lunch money on me. Dad said just ignore him and he’ll stop trying to take my lunch money and in time maybe he will also stop drawing so darn well…

Anyway, see you in November in LA for Illustrator’s Day!

* – Walter Jenorjustky is a quiet person who mainly does reviews of my work when I ask him. For this he receives several Oreo Cookies. He lives beside the Willamette River near West Linn in a small house that’s inviting and not-so-inviting at the same time. He does not have an iPad but often pretends he can use a large flat stone as one.

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This is a much more painterly piece that was an early take for an upcoming picture book.

Ultimately it was decided that the style should be less painterly and the characters were redesigned as well. It’s cropped so you can’t see the far right because that would give too much away about the book concept and title ETC. Later this year I will post the final results, once the book is done and delivered. But I often start working on a book by painting in different styles. And working with an AD or editor I tend to find something everyone likes. Click on it to make it bigger.

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This week a favorite from the shelf. It’s never far from where I am working.

The Story of Everything, by Neal Layton. It’s a pop-up book that starts with the Big Bang. Really!

To me it represents the very best of picture books. It’s crazy-funny and the energy in the book is infectious. But infectious in a good way. Neal has drawn a lot of books. Of course Mammoth Academy is next on my Must Buy list. (You know Mammoths are my favorites critters)

Visit Neal Layton’s website.

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Mark Kennedy has an excellent post about using space in a drawing (he’s discussing storyboards) to create an attitude. How you design the composition of your scene can help define it for an audience as serious or funny, sad or happy.

It’s a great read and much of what he digs into works well when considering the composition of picture book pages as well. Why is one drawing ‘funnier’ than another? How do you design a scene (or a two page spread) to be as funny as it can? And what color palettes tip people off that something is supposed to be funny or not?

A lot of picture books go overboard using contrived and complicated angles in their drawings that don’t help tell the story. They often make things hard to visually understand and complicate the message of a given page.

He sums-up a similar point up the following way: “So flat visuals are great for setting a funny tone and visuals with depth are great for setting a dramatic tone.” And this point works not only in film but also on a page.

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