I was asked to design the poster and t-shirt for a folk concert tour benefit for the Jesuit Refugee Service called Lampedusa, named after the island that most refugees pass through upon entering Europe.
It had been a while since I had been given a shot at illustrating an advertising campaign, and since it was for a good cause, how could I say, “no?”
The branding (logo and colors) had already been decided by the PR Firm promoting the event, so I needed to design the picture around what was already in place. Since Lampedusa is an island and many birds also migrate there besides refugees, I decided to play with those elements to see if I could connect it to music. (click on the picture to see detail!)
Whether it was a bird on a bobbed wire fence turning to written music, a paper boat transporting music across great distance, or the African Wild Flowers allowed to bloom on the island, nothing was quite hitting the mark. I tried a message in a bottle but that didn’t work. Then I tried something playful: a guitar playing music, morphed into an island with migratory birds.
I was delighted to hear they chose this concept! Behold: the poster for the tour!
The tour is traveling to several cities including New York. Check the Jesuit Refugee Service Website to see if the tour is stopping near you!
In 2009, the Common Core State Standards were launched for public schools across the United States. The goal was to get students to read informational text. With librarians scrambling to order non-fiction, publishers met their demands by producing more non-fiction picture books.
Since publishers have shown an increased interest for informational text, more non-fiction manuscripts have been produced, and some of them are pretty innovative. These manuscripts are generally more sophisticated and targeting an older child, so the artwork in narrative non-fiction picture books has also become more complex and experimental.
After combining three different illustration techniques in the non-fiction, Mr. Ferris and His Wheel, and having favorable results, I wanted to push my illustration style further for the next book.
I looked at a lot of cool non-fiction published in the past five years, and the artists I especially liked were those that pushed the boundaries into photographed 3-D environments.
Yuyi Morales’s Frida resembled a Frida Kalo Barbie doll photographed in 3-D environments.
Melissa Sweet combined her pencil and watercolors with found objects and created a relief artwork that was later photographed in Bullets Over Broadway. She played with the typography and the graphic layout in The Right Word:Roget And His Thesaurus, marrying several hard-to-achieve skills into a seamless book.
Although Carin Berger has not done non-fiction, I had my eye on her cut-out collages she married effortlessly with found objects in the graphic layout of Stardines.
For The Marvelous Thing…, I knew I wanted to come up with my own method of working 3-D that was different from the other artists mentioned above. After I made a diorama for the title page of my book, Atheneum asked me to do most of the book that way.
Although I work in both traditional and digital media, the end result is always digital. This freed me up to do just about anything, as long as the digital photo met the expectations of the publisher. For this project, I optioned to draw everything on a cintique where I could make corrections easily, and print out the characters from my color Canon.
This strange mix of digital art turned to printouts turned to 3-D models turned to digital photos, became the basis for how I worked. Although the drawings give a definite nod to the past, this method could only be created in the digital era, where desktop publishing works seamlessly with digital photos of high quality printouts. Even the semi-gloss sheen of the printer paper for the floor reflecting the shadows of the characters is a reminder that this artwork could only be made today.
I’ll post more about my process for how I created the art the closer we get to the September 13th release date.
The SCBWI only has one requirement for their covers: a kite must be incorporated somewhere on it. I knew that I wanted the kite to represent more than a kite at face value, so I sketched three concepts: A kite that could be a book, the tail being a bookmark; a kite as a portal, an escape from winter; and a kite as a lucky star, a new year wish. They chose the new year wish!
Here is a cover I illustrated for Lerner called The Maypop Kidnapping by C.M. Surrisi. The story is a fun mystery about a girl who is convinced her teacher has been kidnapped. Since it takes place off a coastal town in Maine, I was art directed to showcase the setting in the sketches. After several twists and turns (just like the book!) we ended up with a final. It was only after I completed the cover that I discovered the true identity of the author was Cynthia, who attended grad school with me at VCFA. Talk about a Scooby Doo-ending!
This cover image was created in doc martin dyes, adobe illustrator, and brought together in photoshop on my wacom cintiq. Below are some of the sketches leading up to the final cover.
In 2013 I enrolled in Vermont College of Fine Arts for my MFA in the Writing for Children and Young Adults Program. Although I already had a career illustrating children’s books, I wanted to be able to generate work for myself during my down time. Since the school is low residency, I was able to work from my apartment in Brooklyn (giving me further credibility as a “shut in”) and commute to Vermont twice a year for 11 days at a time.
And so began 2 years of balancing school with my illustration career. With only 15 hours of free time a week, I lived and breathed children’s literature. On weekends I wrote stories. During weeknights I read books and wrote essays. I used my lunch breaks for revising, and I listened to audio books whenever I drew, shopped, or exercised.
I’m happy to say that not only do I have an MFA with a bunch of manuscripts to pitch, but I am also a master at doing two things at once.
Here is a book cover I illustrated for Nancy Paulson Books under Penguin. Although it had a different title when I illustrated it, Lisa Tyre’s Last in a Long Line of Rebels has plenty of Southern charm.
Here is the cover I illustrated for Adam Shaughnessy’s middle grade book, The Entirely True Story of the Unbelievable Fib. for Algonquin Books.I created it with water color dyes, photoshop and adobe illustrator.
This assignment was exciting not only because I had a long, quirky title to hand letter, but the story had giants,a mysterious hut in the woods, and gods from Viking mythology. There were so many options to propose for the cover:
Here are two covers I did for the reissue of Short and Shivery and More Short and Shivery books for Random House Delacourt.
I decided to link the series with a hidden skull on the front cover and tie in a blue palette and a green palette to set the books apart. Here are three initial sketches.
The art director also asked me to try a title treatment so I gave several options and we chose the title that “shivered.”
Here is a middle grade cover that I illustrated for Shelley Moore Thomas’s Secrets of Selkie Bay. This assignment was fun because Anne, the creative director at Roaring Brook Press, gave me a lot of freedom to do what I wanted in terms of subject matter, type treatment, and execution. After reading the story that was beautifully told in first person narrative of an Irish girl, both Anne and I thought we needed to show the rocky islands of Ireland and give the book a sense of magic.
We combined some elements out of two of the sketches. Anne liked the drama of the splash against the rocks and the details of the town.
After the next sketch was approved, I painted the final using dyes:
Then I scanned the painting and did the rest of the image using my cintiq for photoshop (linework) and illustrator (type treatment):