Will Hillenbrand In Conversation With

Our guest blogger Cate Lee interviews illustrator Will Hillenbrand.

What is the best part about being a children’s picture book author/illustrator?
The very best part is my audience. When I see the faces of young children who are engaged with books- my books- it delights my heart. To think that I might play a part with their becoming readers and thinkers is an additional benefit.

Have certain authors and illustrators influenced your work?
My favorite illustrator is Ernest Shepherd. I just love his work; it touches me so deeply. The first illustrator/storyteller that I remember from my childhood is Beatrix Potter. My grandmother read The Tale of Peter Rabbit to me; that book was my welcome mat to the world of children’s books. I have met and known so many talented and wonderful picture book creators that my list would be longer than Santa’s Christmas list, too long to share with you here.

What was your inspiration for the Bear and Mole series?
My inspiration was my relationship with my son, Ian. When he was little, my wife (Jane) and I read a book to him that he fell in love with- The Mole Family's Christmas by Russell and Lillian Hoban. Ian loved that book so much that he role-played the boy character by digging everywhere like a little mole. For his third birthday, I drew a picture of him as if he were a mole and we transferred that picture onto a couple of t-shirts and a book bag.

A month or two later, Ian tried to wake me up early in the morning to play (Jane was at school teaching Kindergarten). I was very sleepy and he tried everything to wake me up but nothing worked until he came up with a specific plan. He went to the foot of the bed, untucked the sheets, climbed underneath and tunneled, like a little mole, until he found my big fat toe which he then gave a gigantic tweak. That is what I call A MOLE ALARM CLOCK with no snooze button.

After making him breakfast that day we drove to his favorite playground where he played and played. When he was tired/sleepy, we drove home. Then he asked me to tell him a story. I told him that I couldn’t think of any. That made him very unhappy which in turn made me unhappy. So, I thought about the main character being a little mole. He then perked up, knowing that the coming story would be about him. I then said that the Mole had a best friend... and Ian suggested a bear. I thought, now I have two characters but no story, what to do? Then I remembered what had happened between us that morning and with a little embellishment I retold the morning's events adding sound effects including an enormous snore for the bear. Ian loved the story. I sketched out the story in my journal so I could remember it. Many years later, I made it into the book, Spring Is Here.
The first book was so successful that the publisher wanted to make it into a series. Spring Is Here was followed by Kite Day and Off We Go! 

What's your next project?
I’ve completed a fourth Bear and Mole story entitled All for a Dime! and Bear and Bunny written by Daniel Pinkwater. It’s a companion book to Bear in Love which was published two years ago. Both books will be out later this year. Currently, I’m working on the illustrations for Me & Annie McPhee which was written by Olivier Dunrea. It’s a fun, cumulative rhyme featuring an ever-crowded tropical island and is set to be released in Spring 2016.

Need more Will Hillenbrand? See this SCBWI Kite Tales Interview.

 

The Management would like to thank Will Hillenbrand and Cate Lee, SCBWI Kite Tales Illustrative Liaison - SCBWI LA Region Online Blog for this interview.

Nancy Thibert, A Painter's Interview

by Catherine Lee, Contributing Editor

One of the featured artists this month is Nancy Thibert, a Canadian painter and teacher, who creates beautiful collages mixed with a bit of realism - simply unique. Recently, she opened up painting classes and will have a solo show in May 2014 at the Leo Koo Gallery in Vancouver, B.C., Canada. I hope you enjoy this interview.

1.  When did you start your creative journey?
I started my creative journey the day I was born.  I've always been creative in one way or another, as nearly all children are, if they are given the slightest opportunity with materials in hand.  I did not consider art/illustration as a career until university, when it became clear I couldn't take the pressure of pre-veterinary medicine.

2.  What mediums and materials do you use for your artwork? 
I use a wide variety of mediums and materials for my illustrations and paintings - fabric dye, acrylic, oil, oil stick, charcoal, pencil, graphite sticks, canvas, various types of linen, and fabric.  I work with modeling paste, wax medium, sand, wood chips, paint chips, feathers, plastic netting and many other small objects and materials I've got floating around.

I'm returning to working in a very small format again, so will be using watercolour, oil and chalk pastels, pencil crayons and water soluble wax crayons.  It just depends on which medium seems to suit my subject the best.  I understand it's wise to have Photoshop skills as well.  It happens that my new landlords teach Photoshop, so over time I'll be adding this skill to my tool kits.

3.  When did the interest and love for unicorns come? 
I do have a love for unicorns though it came as an adult.  I was never exposed to them as a child and didn't even know what they were, until I was in my teens.  My real love and interest in them came in 2001, when I discovered a photographic book called Unicorns I Have Known, by Robert Vavra.   He was a great friend of authors James Michner and Ernest Hemingway.  He got his career start actually by doing all the photos for the now iconic book Iberia, written by Michner.  Now in his mid-seventies, he was world-renowned in the 1970's and 80's for taking animal photography and making it an art form.  He created beautiful color changes and transparent collage manipulations long before digital photography ever hit the scene - a true master of the medium.  It was so easy for me to believe the stunningly beautiful creatures on the pages of his book were real unicorns.  And to top it off, Vavra is an exceptional writer as well, telling the story of how he came to photograph them, and how he wove an interesting and credible tale.  I was immensely captivated from cover to cover.  From that point on, I became quite obsessed with unicorns and learned everything I could about them, which fortunately isn't much.  I got copyright permission from Robert to paint the images in his book, which is where the subjects of my unicorn paintings come from.

Nancy Thibert and her dog

4.  What style does your art resemble? 
It's a bit of a Heinz 57.  It's eclectic, collagy, combined with realistic elements.  I'm not actually sure what it resembles, to be perfectly honest.

5.  Where do you find your inspiration? 
I find them from nature, animals, art history, history and children's and teen stories, mostly with the odd picture or photography book thrown in, as was the case with Robert Vavra's Unicorns I Have Known.

6.  What artists do you admire?
Many, many artists and illustrators, and I do try to incorporate similarities into my work, but it never works out the way I want it to, if I consciously try to incorporate their style.  So, I just do what I do and let their influence show up however it does in my expression.

7.  What do you like best about being an artist?
The freedom that it allow me to express my soul, i.e. . . who I really am.  The expression part of it is usually very easy.  After that, I find it very hard, a lot of times, when it comes to marketing and promoting my work.

8.  What advice would you give other artists, who are just starting their careers in art?
If you're an extrovert - go for it!  If you're an introvert - be prepared to do other jobs to keep a roof over your head as you build your career, because promoting and marketing yourself and your work is very difficult for introverts.  I'm an introvert, so I know what I speak of.  To everyone - learn how to market and promote your work or find someone who will do a great job of that for you and be prepared to pay them for that service.

9.  Where can you work be seen? 
Currently, my work can be seen at my retail studio on Main Street in the tiny town of Nanton, Alberta, Canada where I also teach classes to adults and children.  In May, 2014 I have a Contemporary Solo Show at the Leo Koo Gallery in Vancouver, B.C., Canada.

10.  How can people find you?
They can contact me by calling at 403-560-7860, by sending me an email to nanthibert1@me.com or by visiting my website, www.nancythibert.com.  I'm also on facebook as NancThibert, Peaceful Mind, Peaceful Heart Studio & Classes and Nan Thibert Fine Art.  My twitter page is nancythibert@peacefulmindnan.

Nanton, population 1800, is about one hour directly south of the City of Calgary, population 1,000,000, which is famous for the Calgary Stampede, one of the largest outdoor rodeos and exhibitions in the world.  People from all over the globe attend each year.  This is oil and gas, farming and ranching country, similar to Montana and Texas.  We also have a number of First Nations reserves in the province, one of which is the largest in Canada; and three of which are about an hour south of Nanton.  Alberta is quite literally the land of "cowboys and Indians".  You can see large herds of cattle and horses, giant farm machinery and oil and gas wells in the space of a mile as you drive along the highway south or north of Calgary.  Also, Nanton and Calgary are only 45 minutes from the Rocky Mountains, so think Denver, Colorado.

*********************************
Thank you Nan Thibert for your wonderful insight and interview.  Below is her symbol for her art courses available for both kids and adults.

The Management would like to thank Catherine for providing us with this interview. For more on Catherine Lee visit www.artistsandwritersinc.com

Writers can sign up on there...and get news...and also agency listings...and also exposure to publishing companies...they actually go in there to look at artists and writers.

In Conversation with Robin P. Glasser

Robin P. Glasser

by Catherine Lee

From one exquisite life as a professional ballet dancer, Robin turns the page in her career to become an illustrious illustrator. She is best known for illustrating the Fancy Nancy series of children's books. I hope you enjoy our conversation together!

1. How long did it take for you to decide to dive into illustrating for children's books?
I had a whole other career in the arts before I went back to school to study to become a children's book illustrator.  I was a professional ballet dancer until I hurt my back just before turning 30; I had to find another direction for my life.  I'd always loved to draw, and I was always drawn to children's books, so when I applied to Parsons The New School for Design as a (very old) first-time college student, it was with a very specific course of study in mind.  That, then, was the decision to dive into illustrating for children's books.  Actually being hired to draw my first children's book (Judith Viorst's Alexander, Who's Not (Do You Hear Me? I Mean It!) Going to Move) took another five years from when I graduated.  Five years and two babies.

2. It seems like you're doing some wonderful amazing things. Was it fun to do Sarah Ferguson book?
So much fun!  She's got a wonderful sense of humor and we've kept in touch over the years.  I've been very lucky to work with many amazing authors, from children's book icon Judith Viorst, to radio host and consummate story-teller Garrison Keillor, to the penetratingly sharp Lynne Cheney...and my wonderful and very clever baby sister Jacqueline Preiss Weitzman.

3. Fancy Nancy is such an adorable series, and will the series be an endless call? Can you give us a hint on the theme of the next one coming out?
We plan way ahead, so the cover of the next big illustrated book, Fancy Nancy and the Fanciest Doll in the Universe (which is coming out April 23rd), has been featured on websites for many months already, but I literally just finished the illustrations two weeks ago!  Now I am working on the cover of the third chapter book, Nancy Clancy Sees the Future...but Jane (O'Connor) hasn't even written the story yet.  Jane is amazing -- I'll keep illustrating Fancy Nancy stories as long as she keeps coming up with good ideas, and believe me, I don't think she will ever run dry.

4. How long does it take for you to do a complete book? And do you see the copy before print to make sure everything is good? But I bet the printed finished product is best!
Jane and I have a brilliant editor -- Margaret Anastas -- and a hugely talented art director, Jeanne Hogle.  We all work together, along with dozens of creative people at HarperCollins, to make each book as good as we can.  I recently had some health problems, so the Fanciest Doll had to wait for me to get better, and thus I completed it in four months, from start to finish.  That's crazy fast, but the circumstances were unusual and I had a deadline to meet.  The illustrations for A is for Abigail, by Lynne Cheney, took me two years to complete.  And with all the history I learned while drawing that book, I felt like I had completed a master's degree in American history!  The first time the book is in my hands is magical -- and it's even more fun to see it featured on a shelf in a book store!

5. Must be nice to do this while having a family too! How do you like that?
I work odd hours of the day or night, depending on my deadlines and who is actually at home (my children are now ages 21 and 18).  But I worked throughout my children's lives -- in fact, I was offered an audition for that first Judith Viorst book while I was literally in labor with my son Ben -- so I can't imagine my career any other way. I'm so lucky to have awesome kids, a sensational partner in my husband, and a career doing something I really love.  Sure it's all a balancing act, but isn't everyone's life?

6. It's been a over a decade of doing illustrations. Is there any other areas that you would like to branch out into?
While I was waiting to land my first book -- a very long five years -- I did other things in illustration, like greeting cards and theater programs and posters.  But I love to tell stories, and children's book illustration offers that opportunity.  I'm pretty happy in the niche I have found.

7. What would you tell someone that aspires to be a children's illustrator?
Know what's out there -- browse the shelves at books stores and libraries and figure out the trends.  Objectively compare your work to what you are seeing.  Try to attend panel discussions at book festivals or professional organizations to learn from other illustrators. Look into joining the Society of Children's Book Writers and Illustrators (SCBWI) to garner ideas about the field from editors, agents, and published illustrators and authors. Take classes and keep honing your craft. And keep positive and keep going -- it takes a long time to become an "overnight" success!

8. What was your best time, the beginning, middle or where you are now?
Oh, definitely where I am now.  My children are in very good places, and they have grown up understanding that finding one's passion is a big key to happiness.  I have a great life partner in my husband Bob, who lets me do my own thing at all the crazy hours I choose to do it.  It wasn't always like this -- for a long time I was a single mom always strapped for time and cash, and I am very proud that my illustration work has brought security and comfort to us all.

9. What do you enjoy your life the most about being an illustrator?
The projects I work on tend to be humorous; I crack myself up all the time as I sit at my drafting table.  It is very happy work.  I also love that HarperCollins has given me the opportunity to continue to "perform" -- a joy I have had since I was a young ballet dancer.  When I go out on book tours, I love to meet my Fancy Nancy fans who are, more often than not, dressed to the nines and totally adorable.  I get to share my love of books with them.

10. Must have been exciting being a professional ballerina. Could you tell us what that was like?
I was fortunate to be in a dance company -- Pennsylvania Ballet -- that had a tremendous touring schedule, so we did a lot of performing all over the country.  Ballet is hard work, often painful, with the drudgery of daily classes, sewing ballet shoes, and lots of laundry.  But you get out onto that stage, under the lights, with an audience before you, and you become truly alive.  Your body moves, the music moves you, and the experience is exhilarating. I was also fortunate to be in a company of people who were remarkable and fun as well as being talented dancers, so I was lucky in my friendships as well.  And, by the way, I was never a "ballerina" -- like a general in the army, the title "ballerina" is reserved for a specific level of attainment.  I was a "soloist"...and, as you might imagine, given my second career as Fancy Nancy's illustrator, I specialized in dramatic or humorous roles.

11. This is a silly question, but I like to always ask one. What is your favorite color? And what is your favorite time of hour and why?
My favorite color used to be blue, but Fancy Nancy has been good to me, so perhaps my new favorite color, like hers, is Fuchsia! My favorite hour of the day is when my husband brings me my coffee in the morning and we chat for a few minutes before starting our days.


We thank Robin P. Glasser for this lovely interview.  May her artistic success continue. For more about Robin Glasser, visit her website.

Catherine Lee is a contributing editor at Pen & Ink Blogspot.

Hot Links! All the Best LinksHot and Fresh for You

Photo courtesy of Illustration Friday & Melissa Sweet

by Kris Kahrs

Because we never have enough new friends around here at The Pen and Ink Blog, we'd like to share some of our favs with you.  The talented, the creative, the brave, the committed -- Illustrators and Authors alike.  They have been our favorite partners in crime:

Megan Frances - Illustrator and Writer
Megan is always a delight.  Her illustrations are imaginative and ethereal.
http://www.onbeyondwordsandpictures.com/

Amy Goldman Koss
Reading Amy is like eating chocolate.
http://amykossblogthang.blogspot.com/2012/08/fiction-happens.html

Judy Enderle, Stephanie Gordon - Writers
Judy and Stephanie have played pirates with us and mentored hamsters.  Their blog is as inspired as they are.
http://www.writersinkville.com/
Judy, Dawne Knobbe, Chheryl Zach and Laurie Knowlton started a new blog this week.  The Book Mavens  http://www.kidsbookmavens.com/

Ann Whitford Paul - Writer
Ann has a beautiful, playful blog.
http://annwhitfordpaul.net/

Catherine Lee - Illustrator/Writer
Catherine has a couple of well-done sites: blog, website & facebook page.  Beautiful to behold.
http://www.catherine-lee.com/

Paula Yoo - Writer
Always, always, fun and fab.
http://paulayoo.com/


If these sites don't inspire, then ye hearts be made of stone!  Enjoy.

Peter H. Reynolds In Conversation

Peter H. Reynolds

by Catherine Lee

The first book of illustrations that I ran into at Barnes and Noble was "Someday" by Alison McGhee and indeed it was profound and powerful. I admired the works so much that I purchased the book. Can you tell me how you make the impact in your illustrations so powerful?
Alison's text was a poem with a mission. As soon as I read it, I could hear the sighs, the tears splashing around the world. The same emotion people feel reading Someday is what I felt as I illustrated the book. I have experienced loss and channeled that into my art. 

Your style is very mild and soft, and the images are lined very non-textual, yet they have such a unique embrace. 

I subscribe to the "less is more" philosophy. Only the lines needed to convey the essence of the story are needed. 

Did this take long to develop? 

When I was about 25 I found a mentor, Aldo Servino. He was twice my age and pushed me to be less careful. At first it was a shock. All these years of art school trying to "perfect" my technique and here comes a guys who tells me to be less perfect. We had to paint 17 murals together on a very tight schedule. Through that experience, I was jolted into a much freer space. I plan on writing a book about some of the specific things he said and did to help relax and allow loose lines to spring out without worry.

Your work is watercolor-based? Do you blend other mediums?

Watercolor is a great medium for me. It is always at the ready no matter where I go. However, I am not averse to using technology. My recent collaboration with Amy Krouse Rosenthal "PLANT A KISS" was all done on my Mac using Adobe Flash. I'd like to do some books with NO color - just done with my Sharpie extra-fine. I also love the "China Marker." Would love to do a book with that someday.

You said that you had been doodling and drawing since you were a little child. Did you know already then that that is what you wanted to be doing? Do you have an art educational background? 

I have indeed been drawing since I was old enough to hold a crayon. I fell in love with making markers and never stopped. My art education has happened over the last fifty years. While I have taken courses, my best research and learning comes from working with children directly.

Can you tell us a little more about www.fablevision.com, a company that you created with your twin brother, Paul? 

FableVision is an amazing studio perched above the Boston Children's Museum overlooking the beautiful harbor. FableVision is a trans-media studio meaning that we develop everything from no-tech to high-tech - from books to mobile apps for organizations needing their message, story, content to be shared. Jim Henson Productions, The National Archives, The National Fire Protection Agency are just a few of our clients. The bulk of what we do now is web and mobile app development. We love technology, but we know that learning is blended. It might be a combination of a book, a game, a mobile app - and the element so may forget in this day of hi-tech blur - the human element. We actively design with that in mind.

When was it created, and why did you feel the need to create the company, or was it something that you just wanted to do? 

FableVision was created in 1996 with my twin brother. We had a particular vision of what we wanted to do - as we say "stories that matter, stories that move." We wanted to focus on non-violent, meaningful media for all ages - not just children. Most other companies seemed to have a narrow focus. We felt that FableVision was a company that had to be created.

Is you twin brother a writer or illustrator too? 

Paul is a great writer and artist, although he has been busy building our studio and not doing as much as I think he should in the creative writing and art arena. I have been nudging him along!

Does he have anything published as well?

Paul soon will be published. Simon & Schuster will be publishing a book called "Above & Beyond" which encourages us all to go beyond just what is expected. He also wrote a book called "Sydney & Symon" about twins who are aspiring scientists, but also artists and creative thinkers. I have the honor of illustrating both books. 

Are you repped by anyone right now? If not, would you like to be repped?

I have the best agency in the world: Pippin Properties. I am biased, but Holly McGhee, founder of Pippin, happens to have done amazing things for me in the past decade, as well as my fellow "Pips" - David Small, Kate DiCamillo, Jef Kaminsky, Harry Bliss, Doreen Cronin, George Booth among others. 

Can you tell us a little more about the school visits that you do? 

I don't do many school visits these days as I am always busy with new book and film projects, but when I DO - I adore the whole process. Typically I'll read The Dot and have students help me act it out with a big blank pad of paper. It is the after-talk chatting that really is wonderful though. Hearing what part of what I said, or drew, or read - sparked ideas, questions and creative thinking - THAT is magic. I leave wishing that I was able to return as a full-time teacher.

And do would you want to do educational books in the future? Or do you do them now?

Well, I like to think my books are educational -or at the very least, a very welcome addition to any classroom bookshelf. I have lent my art to more content focused books, such as, Charlie and the Kiwi (Simon & Schuster) and to books for educators, such as the upcoming "Fall Down 7 Times, Get Up 8" by Debbie Silver.

There's a wonderful world of educational books that would love illustrators that have a subtle, gentle childish view, yet have is powerful in delivering and teaching an ideas or formulas and also stories in text books. 

I agree. The world of learning is aching for creative ways to share ideas and knowledge.

Another book that I purchased of yours was The North Star, one of the first books that you written and illustrated. Was this fun for you? Did this story have a spiritual quality?

Do we have a few days to chat about this book? There is so much to share about this special story. It was really inspired by my mission to remind all of us to listen to our own "inner compass." I am a big fan of self-directed learning -of course, with caring guides along the way, but too often kids' real instincts and interests are missed by the current educational system that seems to value memorization over life-long skills. I wrote it to inspire and to help recharge the readers spirits and in that sense, it is spiritual book. The North Star is an allegory which allows the reader to interpret the story in their own way.

Can you tell us the process of picture-booking? 

That's another big question. Whew. There are a lot of ways to do -especially now with e-books.

How long does it take? 

On average - it takes me 4 months from start to finish, but those four months of work might be sprinkled over a year or so.

And you still have editors or directors that refine or critique you before the final published book? Seems wonderful.  

My art directors and editors are still a big part of crafting my books. Sometimes though, it is just a nod of "that's it" from them when the story and art just flows out. Great editors know when to tweak and when to just leave it alone.

Revisions: I'd love to ask you about it. Do you like revising? And does polished work seem better than originals? 

I am not a huge fan of revising. It suddenly turns art into work. I prefer my art that flows out without any pencil sketching. Having said that, I don't mind the revision if it ends up helping my reader understand the ideas I am trying to convey. I often will create four or five pieces of the same art so that I can then sift through to find the one with that spark that just makes it stand out.

What is your favorite line that you would love to tell the adult world of writers and illustrators that have entered the children's market? Well, the line from my book, The Dot "Make your mark and see where it takes you" really sums it up. Just start. Get something down and start sharing. I also suggest to make your story matter - to you. Convey some wisdom you can swear by.

What future endeavors would you like to journey on? 

I'd very much love to explore the world. India, Japan, Africa are just a few places that are rich in human experience and culture. I want to soak it all in and have it inspire my work.

I am working on a musical version of The Dot at the moment. I'd love to co-write more songs, such as "I Want to Dream" (by Nathan Meckel, Burton Collins and myself). There are a lot of ways to share ideas and stories.

Thank you so much for this interview. 

My pleasure!

Please let me know about recent published or publishing works that are coming out soon. 

Sky Color, the third book in my "Creatrilogy" which includes The Dot and Ish, will be released this September. My recent collaboration with Amy Krouse Rosenthal, "PLANT A KISS" has just hit the top ten on the New York Times bestseller list. I am working on a Christmas story and of course, a few new Judy Moody books. Always something on my desk in my studio!


For more info, go to www.peterhreynolds.com and www.fablevision.com
Twitter: peterhreynolds

Illustrative Story Contest

by The Management

Our Illustrator-In-Residence, Catherine Lee, has generously provided a Story Prompt image. 

 

Look at it.

Ponder it. 

Now write a first paragraph. 

“Why?” you wonder. 

The Management will publish our favorites, after vigorous review and many cookies later, and give away some swag like Genuine The Pen & Ink Blogspot book-markers, Mrs. Garcia’s Amazing Chocolate Cookies – they’ll make you forget all your troubles, and an interview of you, yes you, to appear on this blog.

Rules:

1. Use illustration as inspiration. 
2. Write a paragraph, regardless of length.
3. Submit paragraph to penink04 AT gmail DOT com.
4. Deadline is the 3rd Week of March.

At the end of March, we will annouce our choices.

Oh, you lucky people.

Rules and Restrictions:
Members of The Pen & Ink Blogspot management, their children, spouses or pets are not eligible for entry. We reserve the right to praise your work and write nice things about you. Contest not valid on the Moon, Folsom Prison, or where ever those cheap knock-off brand toys that look like the real thing but contain lead are sold.

Scott Magoon In Conversation with The Pen And Ink Blogspot

Scott Magoon

by Catherine Lee, Contributor to The Pen And Ink Blogspot
Edit by L. Fernandez

Scott Magoon, Art Director at Houghton Mifflin Books for Children is a Boston man in a publishing industry that finds the time to write and illustrate his own stories. His eclectic sense of style brings heart-warming stories alive.

1. Where do you find your inspirations for your writings and illustrations? Does some of it come from being a father?
Inspiration can come from anywhere for me; I always remind myself that it's a matter of staying open to the possibility. Inspiration is much like anything for which you watch out intently: if you're keeping your eyes peeled for it, you're more likely to recognize it when it comes your way. My boys are definitely a guide for me in making books that kids will love—they are at their most inspiring to me with their expressions and body language and the way they interact with a world that's just a bit too large for them.

2. What is your favorite part of putting a book together? Writing or Illustrating?
Putting me on the spot! For me, I love all aspects of writing (I was an English major, after all) and magic for me comes at the sketch stage where the characters start to come up from the paper and reveal themselves. It's the first manifestation of what the physical book may look like and I find that visual discovery not unlike following a hidden trail in the woods: where does it go?

3. What is it like to be working for a publishing company and also writing/illustrating your own books?
If I didn't love both, I wouldn't be able to do both. I have been blessed to have worked on both sides of the fence for as long as I have with the countless talented people I have—but it means a great deal of time and work as you may imagine. This all comes with a sacrifice for other parts of my life: socially, family, etc. Perhaps most notable, though, is how I still feel as though I'm a bit of an outsider, living in two worlds but never fully in one. That feeling can be liberating or it can be isolating. I like to think this dynamic keeps my inner artist hungry to connect.

4. Can you tell us what your favorite book is that you both written and illustrated? Please tell me a little about your upcoming books?
Man alive! Again—you are putting me on the spot (laughs)! I love all of my books, each for a different reason: one I may like the way I solved the character design; another its the line work I most treasure. Another's colors may work wonders to my eye. I try not to pick and choose my favorites but instead I glean what I learned from each book; its a way of improving for future books. And speaking of which, I have another book with Ugly Fish author Kara LaReau coming from Roaring Brook called Mr. Prickles: A Quill-Fated Love Story just in time for Valentine's day. It's a pointed story about a porcupine who finds his true love. Also, early next year is coming a sequel (well, more like a change in place setting) to Spoon by Amy Krouse Rosenthal called Chopsticks. It's about working together but perhaps more importantly—working on one’s own.

5. What work of yours are you most proud of and why?
My family first and foremost, if I may choose something so unrelated to picture books and my family could be considered 'works.' They certainly are a lot of work, so...hopefully you'll allow me that conceit (laughs). Again, I can't possibly choose one piece of work as they each have tremendous worth to me: technically, creatively and sentimentally.

6. What do you find most exciting about being an author and illustrator? What art method do you work with? And can you tell us a little about how you start and end an illustration? This also goes for writing? Do you find revision fun?

Most exciting thing is seeing kids enjoy my books—which usually come by way of the school visits I do throughout the year. I am blown away and then re-invigorated by their enthusiasm and zeal for my work. I work almost entirely digitally in Photoshop using a Wacom tablet and an iMac, sometimes my iPad to sketch but I almost always prefer sketching on paper. My illustrations are the result of many, many previous drawings; I am not one to draw it once and have it work; instead I need to build up my drawings over time, flip them over, look at them reversed, step back from them see what's working, etc. Writing picture books also doesn't come easily—but follows a very similar process to that of my drawing: many drafts, lots of revisions which I love—when they go well. Which is rarely (laughs).

7.  Do you have a regular work time for you to work only on your writing and illustrating? Or do you doodle whenever you have the time?
I work usually 9-5 at Houghton in Boston then work on my own illustration around 10-12 every weeknight; then for a number of hours on the weekends. Working digitally concentrates the actual production-of-art-time in that there's no time spent cleaning up, mixing paints, etc. I doodle, but I really wish I had more time to doodle. My resolution this year was to do more loose sketching and I have fallen WAY short of that goal, sadly. There's always next year!

8. What advice would you give to authors and illustrators just starting? And as art director, what do you look for?
There is a danger in equating success in this industry with "getting published." I think it can lead to a pub-lust so intoxicating the challenges that lie beyond being published are forgotten: The truth is that being published is merely part of the beginning. A zillion other hurdles await. Steel yourself and take a hard look at the other side of being published as you'll need to be 110% in this if you want it long-term. As an art director I always look for something different, I look for excellent character design and I look for heart, humor and thoughtful composition. It also helps to be easy and collaborative to work with.

9. If you had any one sentence quote what would it be?　
"To achieve great things, two things are needed; a plan, and not quite enough time." Leonard Bernstein said that. I like it.

Watch out for his stories.
I’d like to thank Mr. Magoon for granting me this interview.
For more about Scott Magoon, visit www.scottmagoon.com/

Catherine Lee In Conversation with The Pen And Ink Blogspot

by Lupe Fernandez

“Once I slept through the night and I saw a cow jump over the moon with a crayon and a blank heavenly lighted book. I started writing and drawing.”

Catherine Lee is illustrator and a member of SCBWI. “I was introduced to drawing...with my first pack of big crayons of primary colors.”

Was this the Crayola 12 box or the 64 crayon box including a sharpener? 

“I've always been drawing since elementary school. It's what I liked doing. I lived in a part of Los Angeles a few years. My Japanese neighbor bought me crayons and coloring books for me to color. And that was the first experience. And in school, they would always compliment me of my drawings, and that's how it started. And it was Crayola 8 box and not 12. Really huge crayons, and then when I got the 20 something box it was heaven because I could trace and line it and then shade and color the images!”

What medium do you use for your artwork? 

“It is all digital now. I used to use pigment pens and markers with different types of paper to give a different look. Digital because you have infinite choices. 

When you say “It is all digital now”, do you mean you scan your artwork or do you create art using software? 

“I actually do both now. Initially, I used to work straight from the computer, but now I am also doing penciled work, scanning them onto the computer and making changes and coloring them. It's wonderful!”

The Teddy Bear Test

The Teddy Bear Test

What are you artist influences? Did you study art?
“I didn't study art as a major in college but took a few courses. One of my art teachers asked me to see him, and told me that I have such a unique talent and that I should major in art. However, my father had a different view. He didn't want me to major in art, because he felt that I would not make money.

“Art influences: I didn't particularly have any growing up, but just did loose drawings of my own style. I do have some women artist that I adore now though. One of them is Patrice Barton and there's so many other artists that I adore and would like to implement their style in my work, but it's not easy at all.” 

Catherine is part of the art team of the Los Angeles Times for The Kid's Reading Room

What is the LA TIMES Kid’s Reading Room?
“It's a feature of the Los Angeles Times, both in newspaper version and online. It's like a family feature of stories. It's very nice. There's one section devoted to poetry and prose by children, and it's just absolutely neat -- some of the things that these children write, so just wonderful. Their minds are so advanced these days.”

I thought it would be cute to see these to animate and converse.

I will be working on more of this in several scenes.

How did you get involved with the Kid’s Reading Room?
“I actually attend a bi-monthly meeting in Orange County of writers and illustrators, and they are all SCBWI members. I met a writer, who periodically submits stories, and she gave me contact information because I was interested in sending my illustrations. I spoke to the editor of the section there, and she reviewed and gave me a story to work on. And welcomed me to be a part of the art team for that section. My heart leaped and I felt like a child.”

Catherine’s first project was for the Children's Better Health Institute, publisher to Children’s Playmate. She did illustrations for a poem called Pumpkin Patch. 

How did you get involved in this project? “I actually worked on a book dummy of a story between a girl and boy. I called the art director there, and submitted via email. A few days later, I called to see if she reviewed the samples of artwork and the book dummy. She loved the book dummy I did, and thought of a story that needed an illustrator. She chose me to do that. I actually had to do a little research on pumpkins on this - funny.”

What are you working on now? “Well I have a family business that keeps me busy, and still working to do some better things to set on my website, and also to find more art projects. I just recently finished the LA Times piece and that will be featured on August 14, 2011.”

Do you have a dream project (this is what do you want to be went you grow up question)? “I'm quite grown up already, but still a child at heart. I would love to get a book project. I've been waiting for this whole life. That's four decades! My gosh.

“I found an immense fun, care-free, delightful world called the children's literature world and I'm dabbling into it, feeling wonderful with a child-like sprite and once I'm totally immersed you just don’t ever want to wake up from it. I'm also going to mention that when you’re older, it's more cherished when you love the thing that you do, and I love to illustrate and write.”

I’d like to thank Catherine participating in this interview. Her story "Mustard and Pea" will appear in the Los Angeles Times The Kid's Reading Room in November 2011.

For see more of Catherine’s work, visit her website at http://www.catleepictureseeds.com/