Author Archives: Margaret Chodos-Irvine

Chiaroscuro

UA-Spring- L llustration-1928

Recently, I was looking through a French magazine from 1928 – L’Illustration – and came across a series of images of the seasons. The artist is not credited, unfortunately, but the work is a lovely example of the chiaroscuro printmaking approach.

Highlight and shadow. Clear and obscure. Chiaroscuro has always been one of my favorite terms and techniques in art. In printmaking specifically, chiaroscuro refers to the use of high contrast tones, usually in a monochromatic field, to indicate volume. The technique goes back to the early 1500s, and began as a method of mimicking in print the look of chiaroscuro drawings.

These artists created so with such a limited tonal palette. So simple, yet so complex.

Ludolf Businck-Moses with the Tablets of the Law

Since early books were typeset and printed by hand on presses, woodcuts were the best method of illustration. They could be inked and printed repeatedly using the same methods used for printing the type. As long as books were printed on letterpresses, chiaroscuro woodcuts continued to be used.

Bartolomeo Coriolano-Battle of the Giants

Bartolomeo Coriolano- Sleeping Cupid-mid-17th century

The Miraculous Draught of Fishes-c 1523-27

Each tone required a separate block to be cut. Here are three plates by Christoffel Jegher from The History of Wood Engraving that deconstruct a two-block chiaroscuro woodcut.

Chiaroscuro demo 1

Chiaroscuro demo 3

Chiaroscuro demo 2

Though now largely forgotten as a technique, chiaroscuro was common in illustrations through the early part of the last century, until offset and color lithography printing technology became more common. Woodcuts & Wood Engravings: How I Make Them, by Hans Alexander Mueller (1939), illustrates beautifully how to make complex images from only two layers of color.

H A Mueller

It is amazing to see how two flat images can create so much depth when combined.

H A Mueller 2

These two illustrations, from Designs For You – To Trace or Copy by F. J. Garner (1950), also use only two tones to indicate volume and pattern with concise efficiency.

F J Garner-bottle design

F J Garner- gay tie designs

“Bright Water,” by Elton Bennett, is a serigraph print from the later half of the last century. He used only two screens, with some color variation in the ink application of the lighter color, to create this print of water flowing through boulders.

Elton Bennett-Bright Water-1950s

I was inspired to try this chiaroscuro technique in lino-cut for an illustration I did for Unix Magazine many years ago (note the floppy disk).

M Chodos-Irvine-Unix Mag

I think you can still see the influence of chiaroscuro woodcuts in this relief print of mine “Minotaurus” from 2010.

Margaret Chodos-Irvine-Minotaurus

I’m not sure how chiaroscuro could be applied in illustration for children’s books. It seems too monochromatic for today’s day-glo, technically enhanced, 3-D world, but maybe it will be something worth exploring one day as a calmer alternative.

H A Mueller-Ex Libris

 

Days o’ The Week

Days o the week pattern

Routines don’t seem to be part of my genetic coding. My brain must be lacking the necessary programing that makes repetition easy and comfortable. I can do it, but it doesn’t come naturally.

Unlike my husband, who gets up in the morning and proceeds with his usual, ordered, getting-ready-for-work tasks, I get up, and invariably think, What now? Should I take a shower first, or go get some breakfast? Or maybe I could read a bit more in that book I started last night before I get up… There are so many possibilities.

Maybe being self-employed and able to set my own schedule is responsible for this deficiency, or maybe my inability to naturally settle into a routine is why I’m self-employed.

It’s different when I am working on a book contract or illustration job (when I know exactly what I need to do each day – work till the project is done), but right now I don’t have any deadlines pending, so when I get to my workspace, I often can’t decide what to do first. I should probably work on that story idea I’ve been playing with, but working on that print I started last week is so much more fun than writing, but I also want to decorate this box I have with cuttings from old cookie tins… Sometimes I feel like I flit around my studio like a butterfly in a rose garden.

This is not something I am proud of, or even particularly happy about. I envy people who don’t have to think so hard about how to proceed with their day.

For example, consider the early American settlers (well, the women anyway) who followed the prescribed adage that divided their existence into seven tasks, one for each day of the week:

 

Monday = Wash

Tuesday = Iron

Wednesday = Sew

Thursday = Market

Friday = Clean

Saturday = Bake

Sunday = Rest

 

Iowa State historical society

Granted, that was a time when doing the wash took from dawn till dusk, and this arduously tedious life was probably not terribly fun, but can you imagine having only seven things to worry about accomplishing each week? No emails to answer, no dance lessons or soccer practice to take your kids to, no meetings to prepare for and attend. And a whole day set aside just to relax, without your needing to feel guilty that you aren’t being more productive.

I’ve been thinking about this idea – having one chore for each day of the week – but instead of household duties, I wonder if I could organize it to be a more work-related guideline for someone like me, who has a lot of creative things I want to do, and even more that I should be doing, but who has difficulty making decisions and getting into a regular routine.

So, how about a week that looks like this?

 

Monday = Write

Tuesday = Draw

Wednesday = Design

Thursday = Make

Friday = Sell

Saturday = Read

Sunday = Rest

 

Only one task per day, like a pioneer woman who has to sweat away at drafting her designs before sunset. I will still have to figure out how to still get all my emails answered and errands run and meetings attended, plus the other twenty-three items on my to-do list – not to mention housework! – but maybe I’ll try this new schedule out, at least during my usual working hours.

Simplify. Concentrate. Limitations can be useful. Narrow walls make it easier to focus straight ahead.

Is this idea even possible in our modern, hectic world? Am I crazy to attempt such a strict regimen considering the lack of imposed structure I am used to?

We’ll see. I’m not going to start embroidering it on any tea towels quite yet…

Sunday dishtowel detail

Another Look at Steig

The Steig Album-cover

When I was visiting my parents recently, I pulled The Steig Album off their bookshelves. My father bought this book when he was a student at Alfred University in upstate New York. He said Steig was popular with his colleagues in the 50s.

What surprised me most about the images in this book was how different the majority of them are to the work we know from his later children’s books, some of which Julie Paschkis mentioned in her post Ode To Steig.

steig sylvester

His earlier work was darker, often presenting a sardonic look at human nature, like these drawings from “About People.”

W Steig-Spiteful little man.

W Steig-Woman desiring to attract friendship.

His depiction of relationships is accurate and insightful, but hardly flattering, like his section, “Till Death Do Us Part: Some Ballet Notes on Marriage.”

W Steig - Darling – Hold me tight.

W Steig - When you and I were young, Maggie.

W Steig - You live your life and I'll live mine.

W Steig - Impasse

W Steig - Reconciliation.

You get the feeling from this book that Steig understands every aspect and conundrum of human existence –

W Steig - About People: Ennui

W Steig - Embarrassment

– and had little patience with us.

W Steig - Persistent Faces: Hero Worshipper

But the humor was always there.

Steig’s many drawings of children indicate his keen eye for capturing moments of  juvenile inquisitiveness and camaraderie.  These cartoons appeared in The New Yorker in the 40s.

W Stein-Worm

W Steig-Espionage and–  counter-espionage.

W Steig-"Toity more years we'll be toity-seven."

He underscored the pain, frustration, and anxieties of childhood as well, as in these pieces from the section, “The Agony In The Kindergarten.”

W Steig - Mother knows whats best for you, dear.

W Steig - Well Speak up, what is it?

W Steig - We don't play with that sort of children.

W Steig - "Willie!"

Steig didn’t begin to write children’s books until he was 61. His first children’s book was published in 1968. Somewhere in his first six decades, I think he softened a little.

My daughters loved the Dr. De Soto books, Sylvester and the Magic Pebble, Abel’s Island. Another of our family favorites was The Flying Latke, by Arthur Yorinks. Steig created the background illustrations for this wacky holiday book, and played a cameo role as the newscaster in the story. The book came out in 1999. He was ninety-two.

The Flying Latke news page

Long live William Steig.

William Steig as "The Newscaster"

 

Fishtails

Eleanor Fortescue Brickdale-mermaid

Contemplating bird wings for my last post got me pondering other animal attributes we humans envy, which then led me to thinking about mermaids.

Arthur Rackham-To Hear the Seamaids Music-A Midsummer Nights Dream

I’m not sure what it is about mermaids that is so alluring. Is it our fascination with beings that can exist in multiple realms? Why else would we fantasize about having fishtails instead of legs? Personally, I think I’d rather be able to fly like a bird.

Fortina

Yet, when I was a young girl I dreamed of being Marine Boy‘s helpful mermaid friend, Neptina – or at least getting hold of some of that oxy-gum . . .

Marine Boy and Fortina

The mythology of mermaids goes back thousands of years and across multiple cultures.

Russian print-mermaid and merman

Mola-mermaid fishing

Mexican folk art hanging mermaids

Jose Francisco Borges-Iemanja

Often they were considered dangerous, luring men to their doom with their sensual beauty and seductive voices.

Medieval mermaids besiege ship

They were known to be vain, fond of looking at themselves in mirrors and combing their hair.

Medieval mermaid with mirror

Some theorize that what early mariners saw as mermaids were actually manatees.

National Geographic-manatee love shot

Really? Those poor sailors . . .

But by the 17th century mermaids had moved from the feared to the fantastic,

Merbabies birdbath at Versailles

Mermaid fountain at Versailles

the romanticized,

John William Waterhouse-A Mermaid

landing eventually in the realm of fairy tales, the most famous being Hans Christian Andersen’s “The Little Mermaid.”

Vilhelm Pedersen-The Little MermaidAndersen’s story was a tragic tale of misguided love and sacrifice, a subject of many beautiful illustrations.

Arthur Rackam-Fairy Tale mermaid sillouettesJeannie Harbour-Little Mermaid

Maxwell Armfield-The Little Mermaid

Edmund Dulac-She Held His Head Above The Water

And then Disney got hold of her and she became the insipid creature many girls now idolize. At least Neptina had some spine.

Disneys Little Mermaid Wallpaper

One day at an outdoor community pool about five summers ago my daughters and I watched, mesmerized, as a young girl wearing a mermaid tail lowered herself into the water and started swimming around, mermaid style. From a distance, she looked amazingly realistic and the scene, in spite of it being set in a chlorinated, square enclosure, was charming. After she removed her tail (the pretense looked like hard work) we went up and spoke to her. She said she got the idea and the DIY mermaid costume instructions off of YouTube.

Currently you can find thousands of videos online of people “mermaiding.” My teen-aged daughter follows a site called Project Mermaids where models and celebrities pose for photos in elaborate mermaid costumes to demonstrate “how precious our ocean and beaches are.”

Maybe it’s not just the idea of being able to exist in multiple realms that makes us envy those with wings and tails, but also the idea of defying gravity, either underwater or above ground.

I guess it’s human nature to want to be more than human.

Unknown artist-mermaid

 

 

Wings

Birds placemat

“Birds have wings; they’re free; they can fly where they want when they want. They have the kind of mobility many people envy.” – Roger Tory Peterson

I must be one of those people to whom the famed naturalist was alluding. I find that things with wings, especially bird wings, have a special attraction. Real birds fascinate me. How they have evolved, the way they communicate, their behavior. And of course, how they move. This attraction extends to other winged creatures as well – angels, putti, mythological characters. Anything with wings on it seems imbued with magic.

Cherubs-Neopolitan-mid 18th c

Have you watched the PortlandiaPut A Bird On It” skit? Now, I enjoy the humor in that show as only a true urban Northwesterner can, but since that episode aired, I can no longer indulge my bird love without a twinge of shame. Damn them. Don’t they understand that we just envy birds’ mobility?

M Chodos-Irvine -Get Out Of Jail Free charm

So bear with me while I bare my feathered soul.

There is something about birds that I find comfort in. I don’t collect birds like a philatelist collects stamps. Rather, such items accumulate around me like pigeons around a cafe. They inspire me. Why shouldn’t I want bird imagery on things I have around me in my nest, so to speak?

Such as outside my window, on a metalwork piece by artist Deborah Mersky.

Deborah Mersky-Crow metal hanging

Or on the walls of my home, as in one of my favorite paintings by Joe Max Emminger, “Bird Moon.”

Joe Max Emminger-Bird Moon

And on jewelry.

MOP bird pin

Blue bird and moon pin

Winged school bus pin

Japanese bird badge mount set

I also have amassed a large number of bird related postcards.

I H Jungnickel-Der Hahn als Festordner

Bill Reid-Haida-Raven and the First Men

Pablo Picasso-The Dove

Claude Coats-Disney production image for Snow White and The Seven Dwarfs

Crows-detail of Japanese screen-c 1650

Ruan Sidi-Jinshan folk art-Ducks Eat Rice

Along with this page from a Mary Poppins “Magic Paintless and Dot-to-Dot” coloring book by J. LaGrotta and E. Eringer for Disney Inc.

J LaGrotta and E Eringer-Disney Mary Poppins Magic Paintless and Dot-to-Dot

Of course, the works some of my favorite children’s book illustrators have wings too.

Julie Paschkis:Julie Paschkis-Word Bird-Flutter and Hum

Leo Lionni:Leo Lionni-Tico and the Go copy

Lizbeth Zwerger:Lizbeth Zwerger-Swan Lake

Wood engraving is a beautiful medium for portraying the delicacy of feathers. These are some of my favorite prints in that medium.

Sarah van Niekerk:Sarah van Niekerk-Jacobins in a Bay Tree

Eileen Mayo:Eileen Mayo-Two Doves-1958

John Buckland-Wright:John Buckland-Wright -Endymion-1943

This is a wood engraving of the sculpture of the Winged Victory of Samothrace by an uncredited illustrator, used as an advertisement for air power. It came from the now defunct scrap file at the Central branch of the Seattle Public Library.

Winged Victory of Samothrace-Airlines determine the destiny of nations-artist unknown

There are wings of inspiration in all sorts of places. I took this photo of some old airline signage from the Boeing Museum of Flight.

Boeing logo bird arrow

I went to Paris recently. Paris has wings everywhere you look.

Winged monument Paris

Winged Victory statue Paris

Wall decor painting - Louvre

So by now it shouldn’t surprise anyone that bird imagery shows up often in my work.

M Chodos-Irvine -Dreamer

M Chodos-Irvine -Cycnus

It helps to have some good reference materials. I have accumulated a number of  bird books, but there are a few that I use often. Birds In Flight, by Carrol L. Henderson, has excellent photos of birds on the wing. Any bird book by Roger Tory Peterson will be good. The World of Birds, by Peterson and James Fisher has good structural information, such as this page on the anatomy of the wing.

R T Peterson-wing anatomy

The “How To Draw” series from the 40s includes a handy instruction book on drawing and painting birds.

How To Draw and Paint Birds cover

Hunt makes it look so easy.

Lynn Bogue Hunt-How to Draw and Paint Birds-pg 14

Audubon’s illustrations are fun to peruse. His birds are placed in the most awkward positions, yet they are graceful in their own torqued way. I guess this is what you get when you are drawing from death, rather than life.

Audubon-White-tailed Kite

Birds and wings and feathered things. They tell a story of flight, of soaring, and of freedom. May they inspire you to make great art. Or at least put a bird on something.

Jean Honore Fragonard-The Cage

Another Alice

R Steadman-Through The Looking Glass 1

A few weeks ago, Maria Popova published a post in her wonderful Brain Pickings blog featuring the illustrations by Ralph Steadman from a 1972 edition of Lewis Carroll’s Alice In Wonderland.

Before you go any further, read her post. Then come back here. Then go read more of her posts if you haven’t already.

I didn’t know Steadman illustrated Alice In Wonderland, but I should have,  because I own a copy of his Through The Looking Glass, also published in 1972, that I bought on a trip to England in 1975 (Steadman’s Alice In Wonderland is mentioned on the book jacket flap, but what 15-year old reads  jacket copy?). It is one of my Most Valued And Beloved Books. Here are more of my favorite images:

R Steadman-Through The Looking Glass 2The Jaberwock, with eyes of flame. Steadman is also a political satirist.

R Steadman-Through The Looking Glass 3

R Steadman-Through The Looking Glass 4

R Steadman-Through The Looking Glass 5Notice how he uses the gutter split to advantage. Perfect for a story set in a world of reflection.

R Steadman-Through The Looking Glass 6

R Steadman-Through The Looking Glass 7

R Steadman-Through The Looking Glass 8 Steadman takes the commonly accepted view that the White Knight is Lewis himself.

R Steadman-Through The Looking Glass 9

When I was first starting out as an illustrator, nearly thirty years ago, I tried out pen and ink as a medium, a la Steadman. The image below was for The Clinton Street Quarterly, a small publication from the 80s out of Portland, OR. It is humbling to look back that far in my professional history, but take it as a tribute to my love of Steadman’s work.

Chodos-Irvine Marcos

Season’s Greetings!

BATT holiday 2014 card

To all of our wonderful Books Around The Table readers – here’s to another creative, courageous, resourceful, inspired, productive, and successful new year. Thank you for joining us!

Anthropomorphing

Denslow-Mother Goose-Humpty Dumpty Anthropomorphism is the act of attributing a human form or to a non-human object or being.

I have been trying my hand at anthropomorphizing (it is as hard to type as it is to say) but I have yet to be hired to illustrate a book with non-human characters. So far my books have always portrayed children (with a few semi-sentient toys).

M Chodos-Irvine -Ella Sarah Gets Dressed cat toy

A few years ago I created some sample illustrations for “Zoo Shoes,” a charming story by Amy MacDonald.

M Chodos-Irvine-ZooGiraffeHighHeels

Amy and I pitched the manuscript and the illustrations around for a while but we failed to find a publisher for the project. Still, it was a good exercise for me to play with anthropomorphization (that’s as hard to type as it is to read), and someday, I hope these two lovelies will have a story of their own.

M Chodos-Irvine-Isadora and Martha

Anthropomorphism probably goes back as far as storytelling. It is standard practice in mythology and folk tales – Coyote, Raven, Spider, Mother Nature. It must be innate for humans to project human psyches into everything we perceive. Aesop’s Fables, Mother Goose, Br’er Rabbit –  these tales allow us to critique human foibles without offending anyone specifically. It’s like seeing someone else’s reflection in your mirror,

JJ Granville- Dog Days

which is very useful in storytelling to children.

Dr Seuss-Yertle the Turtle

Perhaps children can see themselves in animal characters more easily than human ones because animals are often small and misunderstood and vulnerable.

Plus animals are cute and kids like cute things (and so do their parents).

The Provensens-The Giant Golden Mother Goose-3 Little Kittens 2

Garth Williams-Bedtime for Francis
Ian Falconer-Olivia

L M Kvasnosky-Zelda and Ivy and the Boy Nextdoor

Another advantage is that animals can be identified by their characteristics without bias or prejudice. An aardvark with self-esteem issues can then help us learn the value of accepting oneself and one’s nose.

Marc Brown-Arthurs Nose

Animals also have no racial identities, so any child looking at a picture book can identify with a little bear,

Sendak-Little Bear

and animals can be foreigners in Human-Land without having to be identified by their nation state. They are clearly from Animal-Land, and that is enough.

Jean de Brunhoff-The Story of Babar

In case you want to take a stab at this approach yourself, the steps to anthropomorphization are simple:

Give upright posture, some cute clothes, a hat.

Paul Schmid-Pearl

Kevin Henkes-Chrysanthemum

R Scarry-Lowly Worm copy

But most importantly, give whatever non-human subject you’ve chosen the facial and emotional expressions of people.

Hardie Gramatky-Little Toot

Pretty much anything can be, and has been, anthropomorphized in picture books.

Laurie Keller-Arnie the Doughnut 2

David Small-Hoovers Bride
Glasses Who needs em-Lane Smith-Viking 1991

Are there disadvantages to using anthropomorphism in picture book illustration? Not that I can think of, except perhaps running the risk of making your characters too cute, or worse, too human.

However, let it be known that there are dangers inherent in anthropomorphism itself. We must not expect everything we portray as human to behave accordingly.

Garth Williams-Push Kitty

Some restraint is wise.

All Hallows

What a strange conglomeration Halloween has become. It’s such a weird mixture of fear, horror, candy, naughtiness, and dress-up.

Though it originated in rituals marking the passing of harvest season into winter, Halloween melded with religious beliefs and became the last chance the dead have to visit the earth, and therefore a day for the living to watch out. But Halloween now has morphed into a day to celebrate one’s alter egos. And eat bucketfuls of candy. Is that not creepy?

Even so, I can’t resist the Halloween spirit. With half a roll of black butcher paper, some colored tissue, a craft knife and lots of tape, I worked fiendishly fast yesterday afternoon to put together some Halloween decor for our front window.

IMG_2795

It seemed to be successful. We went through 200 pieces of candy in an hour-and-a-half. One trick-or-treater told me she liked our window.
I said “thank you, I made it myself.” She replied “you must be very artistic.”
I took that as a compliment.

While most of the ghouls and goblins and superheroes who came to our house last night wore store-bought costumes, I most enjoy the home-made get-ups. The Doctor was here.

IMG_2798

As were this black fairy and killer bunny. The girl made both costumes. I was seriously impressed.

IMG_2802

My neighborhood has some freakishly inspired souls that keep the rest of us on our toes as far as Halloween decorations are concerned. Down the street there is the “Big Scary House” that transforms its front yard into Horrorsville.

IMG_2780

This includes two wooden outbuildings, a smoke machine, lights, numerous gravestones, skulls, bones, an entire hedge covered in fake cobwebs, and about fifteen strategically placed statues of horror figures, some of which turn out to be alive and jump out at you when you walk by. It is terrifying, believe me.

IMG_2776

When my youngest daughter was little she wouldn’t even walk across the street from that house on Halloween. The screams start at around 6:00 and continue steadily till 10:00.

Then there is a friend of mine who lives a few blocks away. She constructs a facade for her front doorway every year. Past years have featured a robot, an enormous spider, a man-eating plant, a demonic clown (that was super scary), and a giant chicken with a missing leg giving out chicken drumstick candies. This year it was a huge rat coming out of a sewer pipe. A black light brings it all to life in a frightful kind of way (note the severed plastic arm in the rat trap coming out of its mouth).

IMG_2810

But if you really want to see who sets the creative bar devilishly high in my neck of the woods, you must visit the Skeleton Theatre – a fifteen minute repeating show that involves animatronics, video footage, professional lighting, and of course, skeletons.

IMG_2824

This guy has been seriously bitten by the creativity bug (or zombie). In his day job, he works as a sound designer and composer for live theater, but after hours, he dreams up shows that star skeletons. This year it is the voyage of the Ulna 13. Here’s a preview if you’re curious.

What is it about the gut-wrenching mixture of too much candy and (almost) dead people? If it wasn’t so much fun it would make you sick. I’m not sure I get it, but I still find it amusing. Especially the chocolate.

Almond Joys and Heath bars aside, what I like best about Halloween is the creativity it brings out on parade. That, and having people brave the urban mythology to take candy from strangers. What other excuse do we have to drop in on our neighbors these days and comment on their decor?

Beginning and Endpapers

Golden Book endpaper

When I was looking though my books from childhood, this image from the endpapers for The Golden Book of Children’s Literature, pulled me in again, just like it did when I was young. People who live to read (can you find them all?) is the world this book invites us into. And that got me thinking about the special place endpapers hold in books.

Endpapers are the opening and closing of a book. They can be as simple as a well-chosen tint of colored paper stock to set the mood, and palette of a story, or they can provide another surface for the illustrator to use in their storytelling. I like including illustrated endpapers in my books. In fact, when I was hoping to win my first picture book illustration contract, for BUZZ by Janet Wong, I included a description of the endpapers in my initial notes to the editor. She told me later that that helped convince her that I was the right artist for the job.

Some endpapers are purely decorative, yet still reflect the book’s theme, as in Maud and Miska Petersham‘s charming endpapers for The Poppy Seed Cakes, by Margery Clark.

The Poppy Seed Cakes-Petersham

And Eric Carle‘s endpapers for Bill Martin, Jr.’s Brown Bear, Brown Bear, What Do You See? (“I see a red bird looking at me.”)

Brown Bear-Carle

Others serve to book-end a story, as in this array of “photos” from Marla Frazee‘s A Couple of Boys Have The Best Week Ever.

Best Week Ever-Frazee

Best Week Ever-Frazee 2

I took this approach for my own Best Best Friends, which takes place during business hours at a preschool. The cubbies are full when everyone arrives,

BBFfirstendpaper

and empty (almost) after they leave.

BBFlastendpapers

Endpapers can also be a handy place to put interesting but extemporaneous information that could otherwise bog down the story, as in Virginia Lee Burton‘s Mike Mulligan And His Steam Shovel,

Mike Mulligan-Burton

plus extra funny stuff, like in Laurie Keller‘s The Scrambled States of America Talent Show.

Scrambled States Talent Show-Keller

Chris Raschka and Vladimir Radunsky instruct you on proper dining etiquette in their book, Table Manners, and use the endpapers to advertize the advantages of observance, before and after.

Table Manners-Raschka Radunsky 1

Table Manners-Raschka Radunsky 2

Some illustrators use the endpapers to extend the story to it’s fullest possible extent. In David Small‘s illustrations for Sarah Stewart‘s The Friend, they function as prelude, setting up the scene of the lonely little girl in the big house,

The Friend-Small

and as epilogue.

The Friend-Small 2

Keith Baker‘s endpapers for Hide and Snake begin and end the game where we have to find the snake hiding amidst the other patterns.

Hide & Snake-Baker 3

The colored bands continue to the title page,

Hide & Snake-Baker 1 copy

and carry through to the last page where we see that the turquoise line that reads as the ground throughout the book is actually toothpaste. Ha, fooled again!

Hide & Snake-Baker 3

And as if the rest of the book isn’t beautiful enough, Peter Sís‘s exquisite endpapers for The Tree of Life: Charles Darwin could function as separate, additional picture books in and of themselves. I mean really.

Tree of Life-Sis 1

Tree of Life-Sis 2

Unfortunately, endpapers are often left out of later editions of books if they go to paperback or board book formats. While these editions are more affordable than hard cover, it’s a shame that the endpapers are seen as expendable. It’s like getting a hamburger without the bun.

Nevertheless, when you set out to illustrate a picture book, keep the endpapers in mind as part of the whole package. Who knows, it might even get you a book contract some day.