In Conversation with Christina Tugeau

Christina Tugeau

by Catherine Lee

Edited by L. Fernandez

Christina Tugeau is an artist's agent. She founded the Christina A. Tugeau Agency LLC in 1994.

Here's a happy terrific woman that loves her agency adorned with a full set of wonderful artists. Perhaps we can all get inspired to love the job that we do. I hope you love the read.

1. Start Agency 

I had been working for 3 ½ years with another agent in the industry, and when it became time for me to leave, I decided to start my own agency. I’d fallen in love with picture books and the people who make them! That was in March 1994. The first year I hustled a lot… but by end of the year I was making money and truly a rep! That’s when the ‘shaking nerves’ started for a time! I’d DONE it!

2. First Artist

Stacey Schuett was one of my first artists in the group…. She had done a bunch of books, and I just happened to catch her when she felt she could no longer rep herself well. My first blessing! I think the world of her as a person and an artist still! Over 18 years!! There are several still with me who came on early, but change is inevitable and not a bad thing for an artist or an agency at times.

3. ARTIST Qualities

There are several… but I have to NOTICE their style, and know it’s THEIRS! Whatever the style, it needs to be professional…comfortable and sure. The right sort of samples helps that of course. And then I have to believe they will be a team player…a pleasure to work with for me and my clients. Life is too short….

4. Man’s World? 

I was not scared of a “man’s world” at all. I worked with a woman agent before I left to start my own, and many of the editors and AD’s are women. The men are lovely to work with as well…I never felt any problem with my being a woman, or a bit older for the industry start up maybe, or NOT living in NYC. People were welcoming and open and helpful. Still are! 

I launched the agency with a mailing announcement and 10 artists, TONS of cold calls (we didn’t have the email and such then) and visits to meet people in NYC and elsewhere…still do that. Relationships and face to face is invaluable. 

5. START

I mentioned I started March of 1994 and it was sudden. An overnight decision to DO IT! I had save a few thousand dollars in case I decided to do this, but it was financially a brave thing to do. I was paying for one of my sons college education at Syracuse (my artist JEREMY!) at the time, and my husband had to pick up that last year’s slack! He did and that made it possible.

It’s been over 18 years now, and it’s ebbed and flowed. My very best years were 98-2000 (UNREAL!) and then things started slowing a bit. Of course in ’08 when EVERY biz crashed, we did notice a big slow down which is troublesome as it’s not a lot better yet! But I’ve been supporting us as my husband has been developing a new on-line biz, so it’s still ok. I want MORE WORK for my artists, but reps can’t MAKE WORK, only try to find it. The slowing of the educational market to a crawl has hurt a lot as it was about 50% of my biz, more of some reps. Thank god for my true love - trade picture books.

6. FAVORITES

I won’t answer that question, but can tell you some of the most ‘popular’ at this time with clients! And that changes with the years and what they think will sell. 

Patrice Barton, Priscilla Burris, Nicole Tadgell, Stacey Schuett still (!), Martha Aviles, Heather Maione and my son Jeremy Tugeau. 

7. OFFICE

I do work in an small pleasant, efficient office at home…always have, but for last 8 years it’s been in Wmsbrg VA instead of NY border of CT. It’s a wonderful commute! But I have to be, and am, very disciplined. Having your own biz is a 24/7 deal though….I can take off to play golf, or help out in one of my grandson’s K class, do the laundry, or take a biz trip and extend it to pleasure too, But then I have to still get everything else done! Each day is different…. I get over 100 emails every day so that is the first thing and a consistent. I answer everyone. Especially if it’s an artist looking for representation. Just a note, maybe a hint or two, but I owe the industry and the artists this attention! Many jobs come in by email now…or requests, so that IS my morning and my all day off and on. 

8. Most exciting: 

I still just love the industry! Probably the most ‘kick’ I get is when newly printed PICTUREBOOKS arrive from a publisher! To see the result of so many months/years of back and forth…it’s like Christmas! You’d think I illustrated them! I don’t find any of it dull or boring (oh yes…keeping my Quickbooks up to date…have an acct. to help me do that too) I even enjoy invoicing and contract viewing etc. I don’t like ‘fires’ or discord which is why I try to be firm but easy to work with. It doesn’t help my artists if the buyers don’t like working with me! 

9. SCBWI talent

I have found many of my artists at SCBWI events YES! I know they will be professional and knowledgeable! It’s always a wonderful surprise to find someone who I must have! I present at a couple of events a year just for the pleasure of the ‘maybe.’ …and I love to teach and help artists ‘get there.’ I write a blog and articles for SCBWI newsletters (mid Atlantic and NYC metro) as well…and just updated the SCBWI ARTIST GUIDELINES….out with their Aug. conference in LA.

10. HOW to get a REP

It can be as hard to get a rep as a publisher. There aren’t a lot of us, and several have recently retired. (trying times?) And it’s so subjective a match. I tell artists to contact us with samples in jpg and a link to website for more. NO need to MAIL samples unless we ask. EASIER that way today. We’ll often know in an instant if it’s a possible match or not….as do buyers. And it might not be a fit THIS year, but maybe with some more work, next year it might be. Market changes…our needs change. There are lists of agents/reps with SCBWI and other sources. STUDY them and their groups, talk about them to other artists, and clients. Find a match for YOUR type and needs… and go for it. Don’t give up…listen and learn! 

11. What want: 

I always want quality of drawing, color, composition, character, conception, and unique look. HUMOR is always big, and hard to find! I’ve got 33 artists now and I won’t take more then 35 (40 made my head spin on my shoulders!) But I make changes now and then as the year flows. (for reaching me, see above….) 

12. Writers: 

I DO rep writers too…but artists/writers. We hook with the art, but I’ve sold many books written by artists and their partners. LOVE THAT! I try to have dummies to show EVERY time I go to NYC. Editors want to see them, and I see editors more than AD’s I think! I was a lit minor (art major) in college, and I’ve read a TON of kids books but I’m NOT an editor. I admire what Lit agents do! 

Would I change industries? 

NO! this was a perfect match. And it came from something tragic in my personal life. When in late 30s I became very sick with Asthma, brought on by the oil paint and turp I used in my fine arts painting. I was just beginning to win local shows and get some interest in galleries. I was told that ENDED NOW. I went through some hard rediscovery for a few years, trying various ways to stay with the arts, but not use the materials I loved so, but when I started working for this other rep in 1990 I found my calling. I’ve felt especially grateful ever since. Something to keep in mind…. Be willing and able to alter paths in life!

13. Artist Tip

“LET THE ART DO THE TALKING!” “Can’t get hired if they don’t SEE you!” and “ Good drawing, Good color, Good composition!”

14. Info: 

No b/w photo! Attached a color. Also the AFTER BEA BLAST I sent out this week with books we’ve done this spring and some from FALL…showed at BEA. I added a recent one from Jeremy, my son too which is a book he’s working on and it’s his son George as model! Also my new Dir. Of IL. Add for this fall…. Several artists there. enough? 

I am married 43 years! To my first love and best friend Bill…HS sweethearts, but went to separate colleges and ‘expanded’…then got married Winter after my graduation. Three grown children and 6 ½ wonderful grandkid later! My son Jeremy is one of my artists, and his wife Nicole runs the agency www.Tugeau2.com check them out!! Wonderful. We’ve two ‘stray’ cats….Gorgeous tux male adopted us in 2001 and a starving female yellow tabby (rare!) 3 summers ago. Both fabulous personalities and friends! I have no favorite color…I love all color in its place…but YELLOW always makes me smile! Coffee ice-cream and Gray Goose martinis do the same! (not together!) I’m now 65 years old and a very happy, lucky, blessed person. Thank you for YOUR interest!

The Management would like to thank Christina Tugeau for granting this interview. For more about Christina: www.catugeau.com and http://catugeau.wordpress.com

In Conversation with Dutch Illustrator Margot Senden

by Catherine Lee

Margot Senden

Edited by L. Fernandez

Margot Senden, once a junior designer for Hallmark Cards, illustrates children's books. She has two books coming out in August 2012. She's a wife and mother to two children, working on her childhood dream, and is doing a wonderful job. I hope you enjoy the interview. 

Please tell me about yourself.

My name is Margot Senden, I was born on February 9 1968 in the Dutch town Kerkrade. I am married to an Englishman, who makes me laugh out loud. We have 2 beautiful daughters and a lovely German Shepherd. We live in the most beautiful rural part of the Netherlands (at least I think so) in a small village called Mechelen. It is close to the Belgian and German border. 

What makes you laugh? 

What makes me laugh: my husband... whenever I am in a sad, bad or grumpy mood, he is the one that is able to make me laugh. And so many other things as well.

And what makes you cry? 

What makes me cry: I am so sentimental. Even a Disney film can make me cry. 

And as a child, what did you enjoy most?

I love stargazing with my 8 inch telescope, I love my Zumba an Sh'bam and I enjoy playing the piano, accompanying my daughters. My eldest daughter plays the guitar, my youngest the Cello.

What is your favorite color?  

My favorite colours: blue & lilac.

When you decide that illustrating children's books, and was it difficult to get your first project?

As long as I can remember, I wanted to become an artist. What kind of artist wasn't very obvious to me as a young girl. Ballet dancer, musician, painter. I liked all three. After secondary school, I went to the Conservatory or Music Academy to study piano & teacher's training, During the music lessons the notepapers were filled with sketches and doodles instead of music. So after 2 years of sketching I decided it was time to follow my heart. 

I went to Art academy and loved every single bit of it. From that moment on I then knew that I wanted to become a children's book illustrator. 

After I got my degree, I started working as a graphic designer and also as a junior designer for Hallmark Cards. 

Nowadays it is 50/50. I have a part-time job as a graphic designer and work part-time as a freelance children’s book and editorial illustrator. 

What was your first project? 

My first project? Let me think.... I think that was when I was still studying at Art academy. An author saw my illustrations and asked me to illustrate his book. My first assignment for an editorial illustration was in 1996 for a company called Hago. 

It looks like you use traditional method, perhaps watercolors. What method do you use? Do you use digital illustration? 

I love to work traditional and use traditional methods most of the time. I use acrylic, watercolours and do collage's as well. Every so often I use my art board to add details or collages to the traditional illustrations.

The editorial illustration I make however, are digital. Made with Adobe illustrator.

What inspires you to wake up every day, and enjoy what you do?

Everything, especially the small everyday things in life that can be so touching and special. My children giggling, long walks with our dog Darwin in the beautiful environment I live in. Birds singing, People I meet. Stargazing, daydreaming and keeping in touch with my childhood. Being able to giggle out loud with my daughters. 

I know that you live in Europe, and would you say that your illustrations differ from Americans?

I really don't know. Inspiration is taken from familiar surroundings and yes, maybe therefore there will be differences between American and European, or in my case Dutch illustrators.

What style would you say that your illustrations resemble? 

I hope my own unique style and of course I hope they resemble whatever I am drawing.

There are so many aspiring artists/illustrators that would like to be published. What is your advice to them? 

Stay yourself, look around, notice, receive, sketch and work hard. And very important: stay positive and make sure that you have a good network of friends and illustrator's. Also one last advice: illustrating should be like writing. Everybody develops his own handwriting, it is not something you go and look for, it is something that is already in you. So keep on going and the style will float to the surface and will find you.

Are you agented, and if so, what agency to do you belong to? What advice would you give about finding an agent or going freelance? 

No not yet, I am the wrong person to ask. In fact I would welcome any advice. 

What is the most difficult part about being an artist/illustrator in the children's market?

The most difficult part? The amount of absolutely brilliant illustrators. 

Do you also do artwork for the educational market? If so, how does that differ from creative illustrations for children's books?

Yes I work for the educational market as well. For the educational market there is precise instruction on what to draw, where as with children's books there is room for own interpretation in of what is worded .

What is your favorite children's book? And why?

Not an easy question... I love so many children's books.

I love the original "Winnie the Pooh", Julia Donaldson's "the Gruffalo" and Roald Dahl's "Matilda", Books written and illustrated by Tony Ross as well as so many other children's books, my bookshelfs are overloaded with them.

What is your newest work coming out? And what did you enjoy about doing this work?

My newest work will be released in the autumn of 2012. A lovely non-fiction book for children up to 6 years old about horse riding. it is written by Netty van Kaathoven and will be published by Clavis Publishing

At the moment I am still working on this book. I just finished the cover illustration yesterday.

What I love about working on this picture book? Animals, I love drawing animals. 

Pen & Ink would like to thank Margot Senden for this interview. For more on Margot Senden, see her blog. It's in Dutch, so turn on your Universal Translator.

Illustratration Story Prompt - Results

by The Management

Congrats to our Story Prompt contestants! The Pen and Inkers and illustrator, Catherine Lee, had a very difficult time deciding on which text they liked the best. There was much hair pulling, hand wringing and latte chugging as we selected our favorites for 1st, 2nd and 3rd place. We are publishing them all here so all our readers can enjoy them too.

Now for the goodies: As 1st place winner, Mary Esparza walks away with Hilde’s famous chocolate chip cookies. Lesser mortals have killed for these.

Lora Mitchell in 2nd place is the lucky recipient of The Pen and Ink Blog t-shirt. Didn’t you just know we have our own?

In 3rd place, the talented Tanja (no last name given), will also make off with a The Pen and Ink Blog bookmark and pen.

We will send out emails to notify each of the winners personally, but if you see this and want to send us an address on where to send the swag, then please do so. Thanks!

1) Mary Esparza-Vela

A young sparrow headed for shelter one afternoon. A heavy storm was brewing and the dark clouds were ready to burst. He flapped his wings wildly and tried to maintain his balance. Suddenly, from out of nowhere, three unusual creatures appeared before his eyes. They had huge, round bodies and no eyes. As they glided by, their tails swished back and forth. The sparrow warned them about the storm but the strange beasts never said a word. They simply chose to ignore him. The little bird watched them scurry into the clouds and then they fizzled out. “Too bad,” he said. “I did try to warn them.”

2) Lora Mitchell

LITTLE CHICK
An array of colored balloons are bundled together waiting to be hung in the hay barn for Susie's birthday party. During the hustle and bustle of preparations, a brisk northern breeze loosens three balloons from its cluster and, as if delighted to be free, two of them sail away to play tag in the sky. The third balloon, a blue one, wavers to and fro on its own; its tail trailing behind in a lazy manner. When the breeze calms down, it floats to a powder landing and settles in the rafters near a haystack where newly-hatched Hummingbird chicks lay warm in their cozy nest of freshly-stacked grass and dry, golden hay. During the happy festivities, mother Hummingbird keeps close watch and circles the rafters to protect her brood. Frightened by the children's laughter and noisy squeals, she carries her sightless chicks one-by-one to a safe hollow in a nearby willow tree. In haste, she loses count and accidentally leaves the smallest behind. When Little Chick opens his bleary eyes, the first thing he sees is the stray blue balloon resting softly beside him and chirps out with glee, "Mama."

3) Nicole Popel

“I’m flying to the moon,” chirped Tweet as he sped past several lazy balloons floating in the afternoon sky. He could just imagine the headlines on the Bird Watcher Gazette: Astrobird Makes Space History! Small Sparrow does Moon Walk! Soon he would be shaking his wing with VIPs everywhere. Then, crash! Tweet got dizzy and began tumbling in the air.

4) Teri Fox

Clouds. You can't see them when you're in them.
Was there ever a song, 'Let's go fly a cloud?' Well, there is one now. It's delightful up here. I won't ever come down. Look. A baloon. And another and another. Ah, this is fun but I'm getting hungry and forgot my lunch. Will you bring me lunch? No? Can I come back on my cloud if I come down? Why not? Who wrote these rules? Let's change them so we can keep flying our clouds. Mmmm, that pizza smells good. Just one big bite. Think of it. Yum. I don't want to leave, but . . . Well, it's been nice flying with you. Bye.

5) Tanja

It was soon after he heard the Flight of the Bumblebee that Chickadee decided to experiment. After all, his type of hummingbird was smaller than a bumblebee, and he’d read somewhere that according to the laws of aerodynamics, the bee was not supposed to fly, and yet it did. Why, someone had even written a book about it. All his brethren and sisteren had hied off, out of the nest, days before. Yet he was afraid. They called him chicken, but he insisted that he was a hummingbird, like them… In the event, he waited until he felt the Empty Nest Syndrome… mother and father were off searching for grubs, siblings off to play in the Great Beyond, and then – he flew!

6) Kim

Planning a garden party is a lot of work. I had just stepped back inside my burrow to gather the tablecloths and streamers when I heard Sheila Sparrow calling "Gretel Groundhog, your balloooooons!" As I turned to look out the window, I saw Sheila and some balloons being whisked away by a powerful burst of wind. I'll never finish in time now!

7) Farida Mizra

“Invasion! Aliens!” called out the bee-watch-bird guarding the skies.
Three balloons were floating up.
Flocks and flocks of birds flew in immediately to drive away the invaders.
“Free at last! Free at last!” two of the balloons laughed as they bounced and waved upwards.
The third balloon was quiet as it trailed behind.
The birds looked curiously at the balloons.

We Interrupt This Post...

... for a Special Bulletin. The deadline for the The Pen And Ink Blog: Illustrative Story Contest is Friday, March 23rd.

"What?" you protest, "Only one week left! That's not enough time to write a paragraph inspired by this illustration by Catherine Lee."

Well, get on it.

March 23rd. Submit to penink04@gmail.com.
Resistance is Futile

This has been a Special Bulletin from The Management. 

We now return you to your regularly scheduled post Writing in the Copy Room Moms and Other Parental Figures Who Write While Making Copies at the Kids’ School 

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.

Janee Trasler In Conversation

Janee Trasler

by Catherine Lee

Janee Trasler lives in Grapevine, Texas with her husband and two little pet Bucky and Max, while juggling a an artist's life, mixed with lots of deep solid rich colors and prints for illustrations. Her works have made it to publishers such as Simon and Schuster, Random House, Houghton Mifflin Harcourt, Little Brown and Company just to name a few.

For more information on Janee Trasler go to her website and blog.

Here's a little Texan interview for your enjoyment for artist's that are passionate about reading the life of . . .

1.What is a day in an artist's life?
It all depends on the day and what projects I’m working on. If I’m on a tight deadline, it might be 48 hours long and include a lot of caffeine and cursing.

If I have a more leisurely deadline or am working on personal projects, I will spend a lot of time on the thinking and planning phase of a project and allow myself more room for experimentation (which sometimes puts me back on the 48 hour caffeine and cursing schedule by the end).

Most days will find me doing some brainstorming, some writing, some drawing, and a little procrastinating.

2. What medium do you us? You seem to be experimenting with new mediums, can you let us know a little more about that? 
Other than doodling, I’m 100% digital. I use mostly Painter, but also use Illustrator, Photoshop, and Flash at times. Most of the experimentation you see is me playing with new brushes, styles, or techniques within those applications.

I need that UNDO command.

3. I love the rich, definitive colors, the depth and quality of the work. How long does it take for you to do one illustration?
Thank you. I love color. Again, it’s hard to pinpoint how long I spend on one illustration. When I’m working on book projects, I work in an assembly-line fashion in order to keep consistency across the spreads. For instance, I will paint all the backgrounds, then all the skin or fur of the characters, then the clothing, then I work on the details.

If I’m working on a single piece, and consistency isn’t an issue, timing depends on the style, the technique and how much detail there is in the illustration.

4. You're agented with Andrea Brown Literary. How long have you been there? And is there any advice on aspiring artists on finding a rep in the industry? Did you have former education in art?
I have been with Jamie Weiss Chilton at Andrea Brown Literary for three years. She is fantastic, and we are on the same page about my career goals.

I was with a wonderful illustration rep before that. When my focus changed, and I wanted to concentrate more on my own books and projects, I felt it was a good choice for me to move to a literary agency from an illustration representative.

As a matter of fact, I have two posts on my blog about finding a rep/agent:

To Rep or Not to Rep
Another Milestone

I was in the Visual Communications program at a local community college. I got some very solid basics there. Much of my practical education came from working at an advertising agency. I am always taking some class or workshop though. I just finished an advanced layout class to brush off my rusty design skills. I enjoyed it immensely. And now, I am in an Actionscript class getting my geek on. I’ve also taken many writing classes and workshops.

Benny Bunny

5. What was one of your favorite works and why?
As with many illustrators, my latest is usually my favorite. I’m super psyched about my two newest books, Benny’s Chocolate Bunny (Scholastic/Cartwheel) and Caveman, A B.C. Story (Sterling) because, at heart, I’m a cartoonist, and both of these books afforded me the opportunity to stick close to that sensibility in humor and illustration style.

6. What is your favorite one liner if you have?
One of my favorite quotes is from Malcolm Forbes — "Too many people overvalue what they are not and undervalue what they are."

Caveman

7. How long have you been in the business? You have wonderful companies that work with. Must be nice.
I've been in commercial art a while, but I’ve been in children’s illustration and books since 2003. That feels like the beginning because that’s the moment I felt as if I was on the right path for me.

Yes, I have been very fortunate to work with some wonderful companies, editors, and art directors!

On behalf of The Pen & Ink Blogspot Management, I would like to thank Janee for this interview.

Jana Christy and John Seven In Conversation with The Pen And Ink Blogspot

Jana and John

By Catherine Eun Lee, Contributing Blogger
Edited by L. Fernandez

Here's a wonderful couple doing amazing things. Illustrator Jana Christy and Writer John Seven sign their books just "jana and john." They are doing some neat things in the children's world, including their regular books! This husband and wife group that you can't seem to separate creates soft and wildly-fun stories with sometimes cute, crazy, yet amazingly beautiful paintings! She's terrific, and the stories will keep you coming back for more. Jana's blog is www.janachristy.com. Enjoy.

First of all, what is it like to collaborate with your husband? Does it come easily for the both of you to work together? 

Jana: It's our favorite way of working and comes extremely easily. When we work on a project together everything is collaborative. John will work on an idea, then we sit down with it together. I may pipe in with writing suggestions, and he'll help out with pacing and layout. We often work side by side during the beginning stages of a book, go our separate ways then meet up at various stages of the process. 

John: We’re together almost all the time and spend a lot of it cracking each other up, so working together isn’t that big of a stretch. 

Your blog www.janachristy.com is amazing. It's like a historical view of your works and it's breathtaking. What art medium do you use? And do you use different art mediums together? Does your husband also help in your illustrations? What is your favorite way of working? 

Jana: Thanks! I work digitally, using an Axiotron Modbook and Corel Painter, Photoshop and digital collage. My favorite way of working is sitting on a comfy couch with my digital studio in my lap, a cup of tea next to me, music playing, and to know I have lots of uninterrupted hours ahead of me! 

Does writing come easily for you? What would one of your favorite first liners from one of your stories that have been published be? Were you always a writer, and always writing for children?

John: That depends on the day! I write something just about every day, since I am also a journalist, so I alternate between that work and personal projects. Sometimes stories just come out of me at rapid pace, other times it’s a more precise process that takes a lot more time. It comes easiest when the writing is in a voice that more reflects my own, but different stories have different needs.

I’ve been writing stories since I could first hand write. The earliest stories I remember doing were in one of those blue test books that you get at school. It was a series of stories called “Somewhere In Space” which was my version of the old television show, “Lost In Space.” That was typical of my goofy early efforts. When I was a kid, I also made tons of my own comic books.  I did that for years, but I was a horrible artist. I wrote all kinds of short stories through my teenage years, but never children’s stories.

As I got older, I thought I would go into film, but that really didn’t suit me and I settled back into writing. Jana was working on a children’s story of her own at the time and asked for my help. I ended up rewriting it and that was how our partnership began, as well as how I first wrote a children’s story. We worked on a few others together that were never published, but eventually moved onto doing comic books together for awhile, but creating children’s books together has always been our goal.

Do the stories come from personal experiences or just observation?

John: I’m sure there are little bits of personal experience in any of them as well as observation. They do reflect my world view and also my feelings about childhood. My general sense is that kids are usually more complex than they are given credit for and the entertainment they are given can reflect that complexity, either in portraying their emotional depth or their perception of the world. That’s at the very least what I try to do in any book I write for kids. 

Does observation mean a lot when thinking of illustrations, or does it just come to you through imagination? 

Jana: Observation does mean a lot, but not in a direct way. I mostly use my imagination when drawing, unless the subject is one that needs specifics, like some of the unusual creatures I painted in The Ocean Story. For those memory or imagination wouldn't do-- i needed reference material! 

What would your art most resemble? What style? Are there artists that you admire that you try to blend into your work? How long did it take you to develop your own distinct style? 

Jana: I think I have a variety of styles-- I really let the story dictate how the art will look. I just finished a book for Random House, which included fabric collage element- so texturally it was very interesting and had many layers, and my style needed to work with that. I don't think the illustrations look digitally rendered at all, but the process felt very non-traditional, very aided by technology. The book I'm currently working on for Abrams is for much younger kids, and I'm approaching this one totally different — in a more traditional way — digitally, but really just a large canvas with paints and pastels.

I don't consciously try to blend other illustrator’s styles into my own, but anything that I see and love probably registers way back in my art brain somewhere. I love the classic Golden Book illustrators- Alice & Martin Provensen, Tibor Gergeley, Mary Blair, Richard Scarry... I love Maurice Sendak, Paul O Zelinsky, Barbara Cooney and Giselle Potter. I don't think my art has actually changed all that much since I started working professionally — a bit more fine tuned through experience, but the essence of my characters, landscapes have always looked pretty much the same. What changes are the techniques that I learn and experiment with.

When you first got represented by Kid Shannon ... was that exciting? When was that? How did that happen for you? 
Jana: I’ve been repped by Kid Shannon for 3 years — it's been incredibly exciting! I simply sent them an email with a link to my blog and got a phone call about a half an hour later. I think I needed a few minutes to calm down before I could return the call. They take their job as seriously as I take mine, and that's exactly what I was looking for in an agent. They've been able to connect me with excellent publishers, greeting card companies and ad agencies. Illustrating the World's Largest Children's Book as part of a promotion for Carnival Cruise and having it showcased in Rockefeller Center and on The Today Show was especially exciting!

What is your favorite book together, and where can they get a hold of it? 
Jana and John: We’re very proud of The Ocean Story, which is a book we were asked to do by Capstone Publishing. It was after the BP oil spill, and they wanted a book that could explain that story to kids as well plus other dangers to the ocean as well as the wonders of it. Jana began the illustrations in a cottage overlooking the sea, in New Brunswick Canada where we were vacationing. Watching whales, porpoises, seals, as well as all of the plastic detritus that washed up on the beach every morning added an extra dimension of inspiration to the art. The book is available through Amazon. The Ocean Story received amazing reviews, including one from the School Library Journal, which meant a lot to us. We recently found that the book was honored with Creative Child's Magazine's 2011 Seal of Excellence award. We'd love to do another story along these lines.

What other journeys do the both of you see together, and separately?

Jana and John: We're very interested in exploring different methods of storytelling. In 2011 we did a web comic called Happy Punks, self published A Child's Guide To Anarchy, created a handmade mini-accordion book called Occupy 1.2.3 in coordination with Occupy Boston and signed a deal with Abrams to do a picture book tentatively titled A Year With Me that uses comic book sequential story telling. We're working on some other sequential storytelling books- that's an area we'd like to work in further. We'll also be creating more handmade books to sell at the MOCCA Festival in NYC this spring. We're looking in creating iPad apps as another way to tell stories. 

We also love creating music together! We've been so incredibly busy this past year with our various publishing ventures, we haven't had as much time to goof around with our collection of instruments as we'd like. We're planning on spending more time doing that in 2012, for sure.

Can you both give me a quote that you love? 

John: “I only want to live in peace and plant potatoes and dream." - Moomin Papa
"Stop pretending art is hard." -Amanda Palmer

The Kidney Thing: will you ever come out with a book about this? It has a personal touch to me because my brother is going through kidney dialysis, and I was not a match for him. It's a touching story. 

Jana: Thank you! It's great that you tried to become a donor for your brother-- I hope he's doing well. I was really just journaling as therapy during the donation process- it can be very nerve wracking, emotional time and drawing pictures and writing down the experience helped. It allowed me to view every appointment as an art assignment instead of one step closer to having an organ removed! I would love for The Kidney Thing to become a book. I might want to tinker with it a bit- I have some extra material I'd like to add. I'd love more people to see it to help the cause of live organ donation! 

Animation: I saw two of your animations, and I love "I offer prosperity and eternal life" Where do you find all the time to do this? And is there a link where people could see this animation work? 

Jana: Here's a link to my animation page. I'm far from really knowing what I'm doing, animation-wise, I'm still just playing around, but it's fun! I love playing with different forms of storytelling, including animation. I'm not terribly great with words, so it’s fun for me to tell a story in an exclusively visual way. As far as time goes---I'm happiest when I'm creating, so as soon as I have a break between assignments I draw or paint. Our house is like one big art studio- john's writing all day, I'm drawing, and our kids, whom are home-schooled, spend most of their day drawing, writing, composing music, playing instruments or making films. It's just what makes us happy. 

A Rule to Break: was this work with your husband? It's so extraordinary. Its illustrations are lively, active, and emotional. I love this style about your work. Was this fun to do? And can you explain the book? And where can people find this? 

Jana: A Rule Is To Break is available through some local bookstores and museums and can be ordered through Amazon. John and I wanted to create a story where the child taught a lesson to adults as opposed to the traditional dynamic in children's books. The lesson being, that sometimes rules are stifling and need to be broken. That's pretty much how we've lived our lives and raised our kids so the book also functions a personal manifesto, which is why we self published it. The art was a complete hoot to do-- it needed to reflect the little Wild Child's complete freedom and was very liberating to paint! We're working with a fan in Argentina who is translating the book into Spanish for us- that will be exciting! We'd love to do other language translations as well.

I’d like to thank Jana Christy and John Seven for granting this interview.

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

Catherine Eun Lee

The Management would like to take this opportunity to introduce our contributing blogger, Catherine Eun Lee.

“I graduated California State University of Fullerton with a BA in Communications majoring in Print Journalism, and worked as an Assistant Editor for a trade publication until taking care of my ill mother at home for years. Now, I work in the fashion industry managing a lounge-wear manufacturing company, while working at nights and weekends on children's stories and illustrations. This past week, The LA Times just published my story called Mustard and Pea, and I am currently working on illustrations for a pre-school book called The Cookie Jar that will be released in 2012. Although this is not my REAL job yet and I’m still dipping my feet into this nice reservoir, I plan to swim and play in there more in the New Year.”

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/