Author Archives: Margaret Chodos-Irvine

Yoko Tanaka – Emotion In Detail

Y Tanaka holding ME 2

Looking carefully at one of Yoko Tanaka’s images rewards you with details that on a quick perusal you could easily miss. They are feather-light, with the delicacy of a dragonfly’s wing.

Yoko Tanaka Magician's Elephant 2 detail

I met Yoko through Rotem Moscovich, an editor at Hyperion Publishing who saw her in New York last Fall and thoughtfully introduced us to each other over e-mail. Yoko has lived in London since 2011 and Rotem knew that I had recently relocated here.

I have enjoyed talking with Yoko and learning a bit about her process and approach to imagery. She was kind enough to consent to my featuring her on this blog, and invited me to her studio.

yoko04_2

There is an ethereal, dreamlike quality to Yoko’s illustrations. Monochromatic in tone, the elements emerge out of shadows as if lit by the moon. Since her paintings are often dark with a limited, earthy palette, she says she receives many jobs whose stories deal with “winter, snow, night, death, witches and magic, and children with problem parents.” She is excited that her next picture book project has “100% happy components.”

Yoko Tanaka with Magician's Elephant Chap 1

There is a sadness in many of the pieces, but there is humor as well. Each face tells a story. There are no abbreviations when it comes to elements that convey emotion. Emotion is a word Yoko uses frequently when talking about her work. It is the element she strives to communicate visually. She succeeds.

Yoko Tanaka Magicians Elephant Chap 1 detail

It surprised me to learn that Yoko first studied Law in Japan, her native country, before moving to California in 2000 to study design. She was then accepted to Art Center College in Pasadena where she changed direction to study painting, intending to become a gallery artist. Her first painting was of a large coffee cup.

She enjoys painting on a bigger scale, but that isn’t practical for reproduction, and her current studio space is small. Her illustration work is done to size or slightly larger (which is tiny for the amount of detail she includes).

It was literary agent Steve Malk who first encouraged her to pursue illustration rather than gallery work. She has been working with Steve since 2005. One of the first book contracts Steve brought to her was to illustrate Kate DiCamillo’s The Magician’s Elephant for Candlewick Press in 2008.

Y Tanaka-ME cover_04

yoko03

Four months is Yoko’s ideal amount of time for a children’s book project; one month to sketch and three months to paint. She doesn’t like projects to go on much longer than that. One project at a time is better for her than overlapping jobs.

yoko02

Yoko says that ideas don’t come to her while she is sitting at her drawing table. Driving a car is where she prefers to do her thinking – in quiet isolation, following a well-known route. In London, she walks instead.

When she gets an idea, it comes to her fully formed, in 3-D, sometimes even with sounds and smells. She then sketches it with pencil and paper as quickly as possible. Revisions are relatively few. She will use Photoshop to add color and value for preliminaries to show clients, but her finished work is usually done in acrylic paints on illustration board.

Y Tanaka-ME CHAP9_01 Y Tanaka-ME CHAP9_02 Y Tanaka-ME CHAP9_03 Y Tanaka-ME CHAP9_04

Yoko recently completed a cover for a new edition of The Magician’s Elephant as part of Candlewick’s reissue of five of DiCamillo’s books in their Fall/Winter 2015 catalog. The publisher wanted a brighter palette with the animal in the center of the composition, in keeping with the rest of the paperback collection.

Y Tanaka-ME new cover

Yoko also showed me the art she created for the first edition of Tiny Pencil, an art-zine “devoted to the lead arts.” These illustrations are done in graphite, not her usual medium. She used stencils and chamois cloth to create the gradations of value. The images have a ghost-like quality that is both poignant and spooky.

Y Tanaka holding Tiny Pencil 1

Y Tanaka Tiny Pencil 1 detail

Y Tanaka Tiny Pencil 2

Y Tanaka Tiny Pencil 2 detail

I am grateful to Yoko for taking the time to welcome me to her studio, and for sharing her ideas and process, as well as her time. I look forward to seeing more of her work in the future, perhaps on a gallery wall as well as in books.

Y Tanaka balcony arrangement

 

 

 

Persevere

Sorry. No pictures this time. Just a little story:

There was once this girl.

She had many strengths and quite a few weaknesses.
She was shy, emotional, stubborn. She could draw and she liked to make things.
It turned out her weaknesses were also her strengths and vice versa,
but she wouldn’t learn that until she was much, much older.

Not the end.

I recently had to put together a curriculum vitae, or CV, of my work. As a freelance illustrator I don’t have the need to do this very often. Thank heavens.

I have a problem. When I have to list everything I have done that someone might want to know about professionally, my head freezes up. It’s like when someone asks you what your favorite song is, and all you can think of is the tune you liked best in 7th grade.

If you are confident in yourself, with never any doubts about your abilities or self-worth, then you can stop reading at this point and go do something else today. I don’t want to bore you.

But if you have difficulty putting yourself forward because of what you haven’t done, then I counsel you to stop, and look instead at what you have accomplished.

If you think all of us who have published books, received awards and recognition, and generally produced some very cool work, don’t shake in our boots when we look at the next level of expectations we have set for ourselves, you are wrong. Every potential success is also a potential failure. And rejection hurts. Yes it does.

Take me, for example: I tend to focus on my failures; my inadequacies; the thing I want to do before I die, but haven’t managed yet. I don’t also see my accomplishments and what I am capable of. Sometimes I have to be reminded by someone who is not myself.

A number of years ago I went to a book-signing event for David Small and his wife and collaborator Sarah Stewart. I had published two children’s books of my own at that point, and was trying to figure out how to write my next book. I spoke with David and Sarah about the insecurity I felt about writing. Before she left, Sarah gave me a card on which she had written “persevere,” along with a sprig of rosemary from her garden.

I have kept that card with its now brittle, little sprig. It reminds me that stubbornness can be a good thing. When you grow up it can become determination. And being emotional can provide you with the empathy necessary to tell good stories and work well with others. Being shy, well, being shy won’t stop you from writing a blog or even giving a speech, and maybe it will keep you from boring others by going on and on about yourself. Maybe.

Unless you are in preschool and have yet to learn to tie your shoes, then you must have done something that took determination and effort. Think about it. What are you proud of having done, and why? Now remember those achievements. Put them into your CV notes before you forget again. When it is time to move forward to the next opportunity, hold your head up, even if you are nervous. Rejection hurts but you move on. You have faced down challenges before and done some impressive things. I am here to remind you.

And this too: Persevere.

Rosemary sprig

The Museum of Childhood

Museum of Childhood entry

Last Wednesday, I visited the Victoria & Albert Museum of Childhood in London’s Bethnal Green area.

This is not a simply a children’s museum, though many thousands of children visit here each year.  This museum houses the British “national collection of childhood-related objects and artifacts.” The extensive array ranges from the 1600s to modern times.

As you enter the exhibit area, the signage includes this quote from Plato:

“You can discover more about a person in an hour of play than in a year of conversation.”

So, Plato isn’t just talking about children here? He was implying that adults should be observed playing too? Those Greeks.

It would be a hardened and steely adult who would not feel the pull towards play when viewing this collection. No matter what age you are, you will see items that remind you of toys and games you played with as a child, and the rest will make you envious of the children who played with them before they became museum pieces.

Isn’t that writers and illustrators of children’s books are supposed to be able to do –  access the emotions and wonderment of being a child? This museum would be a worthwhile field trip for any of us.

Troll Dolls-Denmark(Troll dolls are what I played with as a child. I spent many hours making clothes for them and styling their luxurious hair.)

Viewing the collection as an illustrator, it was fascinating to see the progression of imagery through time and across cultures.

Game of Goose-Italy-1750The Game of Goose, Italian, 1750.

Cloth toy owlSoft toy owl, designed by Kristin Baybars for Ostrobogulous, England, 1964.

My favorite part of the exhibit was the Optical Toys section. Some of these toys use special visual effects – tricks of the eye – to make two-dimensional pictures appear to be three-dimensional. Others make pictures move, or appear to move.

Below are various views of a teleorama from Germany, circa 1800-1820.  teleorama 1-Germanyteleorama 2-Germany teleorama-GermanyI think making a teleorama of sorts could be a fun project to do with children. If I could figure out the telegraphing part.

P1020361 P1020363Magic lantern slides, 1890 – 1900. Made in Germany by Gebrüder Bing & Planck.

P1020368 P1020367Kaleidoscopic lantern slides, 1850-80. Using a double rackwork mechanism, these slides show a changing pattern of colors by turning a handle.

Le Phenakistiscope discs detail Le Phenakistiscope discDisks for a Phenakistiscope from the late 1800s.

viewing Praxinoscope 1880By looking through slits into a mirror while spinning the disk of a Praxinoscope, the pictures appear to move.

These and other such moving-picture toys led to the invention of modern moving-picture technologies,

Movie Makerwhich then led to the invention of toys like the Movie Maker, 1960-1970, made by the Arnold Arnold Toy Company, USA;

Star Wars slide setthe Star Wars Slide Projector set;

Early computer gameand, eventually, computer games.

And then there were the toys that really do move, like the amazing automata of the French company Roullet et Decamps, 1870-1880.

cat emerges from the hat, sticking out its tongye to the sound of a music boxThis cat emerges from the hat, while sticking out its tongue to the sound of a music box.

Rabbit in a cabbage, French 1870-1880, Roylet et DecampsThis rabbit rises out of his cabbage while wiggling his ears and munching.

plays ‘Rigoletto’ and ‘Carmen’ opera tunesThis French monkey musician, 1870-80, plays ‘Rigoletto’ and ‘Carmen’ opera tunes. This wasn’t a toy for children. Adults got to play with this one.

cuckoo on wheelsThough far less elaborate in mechanism or decoration, this hand-carved and hand-painted wooden cuckoo on wheels is also beautiful. Pressing down on the bird’s tail makes the white-leather bellows create bird-like noises. A traditional toy from Germany, circa 1900.

Lajkonik horsemanThis ‘Lajkonik’ horseman is from Poland, 1958. When pulled along, a wire swings the horseman’s club.

Russian musical bearA clockwork Russian bear plays music on it’s balalaika.

wind-up toy monkeyA Chinese wind-up monkey, circa 1970.

Clockwork bugJapanese clockwork bug that jumps around when wound, circa 1950-70.

1940-ishMarx Company, New YorkTin Plate novelty toy1940s tin plate merrymakers. The Marx Company, New York.

animatronics 2 animatronics 1Lots of robotics. Even some robots.

Of course, an exhibit of toys that move must include toy cars.

Hillman Minx car The Hillman Minx battery operated car, made in the 1960s in England by the Tri-ang company.
Pedal carThe Royal Prince pedal car, also by Tri-ang, England, 1930.

Chevrolet blanc et noirThe sleek Blanche et Noir, made in France by Vilac, 1989.

And other vehicles with wheels.

wire motorcycle-Africa wire bicycle 3 wire bicycle 2-AfricaThese bikes were made in Africa from scrap wire, 1980 – 1983.

Puppets are moving toys that have taken to the stage.

PuppetsYellow Dwarf theatre, 1868The Yellow Dwarf theatre, 1868; a theatre made for one family and designed to perform one play, The Yellow Dwarf. The story comes from fairy tales published in France in 1697 by the Clountess D’Aulnoy.

St George and the Dragon puppet-1920-30A Saint George and the Dragon puppet, circa 1920-30.

paper puppetsA shadow puppet theatre, 1850s.

1963-70, EnglandAnd finally, one more toy that moves, as if by magic. England, 1963 – 70.

What I like so much about all the toys that move, or seem to move, or move with us, is the ingenuity and inventiveness involved on the part of the creator. The artists and craftspeople that invented these toys knew how to access their childlike imaginations to fill our hearts with wonder, which is something children, and adults, will always be drawn to.

Maybe creativity is really just another form of play. If so, it’s something I never want to grow out of.

Cloth Clown

The Illustration Cupboard

I must say, having to write a post every five weeks is getting me out of the house regularly. Each month I look for something to investigate that will fit into the realm of what Books Around The Table discusses (writing, illustration, children’s books, life…). Sometimes I have difficulty deciding which to choose.

This is more important than you may assume, as I find that as I no longer feel like a tourist here, I no longer head out sightseeing as often as I used to. Even in a city as exciting as London, one gets caught up in the regular, mundane tasks of life. It’s easy to miss out on something that comes to town for only a short while.

Someone in the local SCBWI group here posted on Facebook that Jane Ray was having a show at The Illustration Cupboard. I wasn’t sure if The Illustration Cupboard was a gallery, or someone’s closet, but it turned out to be a bit of both. It started twenty years ago in the spare bedroom of someone’s apartment, but it now occupies a space in the St. James’s art district of London.

Illustration cupboard storefront

I have been a fan of Jane Ray’s work for many years. She has a perceptive eye and a delicacy of detail that I enjoy, and a dark edge to her work that I appreciate, especially in the realm of children’s books.

These pieces are all spot illustrations from the book The Lost Happy Endings. They are exquisite in person. My poor pics do not do them justice.

Jane Ray-Birds in leaves and trees-The Lost Happy Endings

Jane Ray-Grey Squirrel Red Fox-The Lost Happy Endings

Jane Ray-Owl Frog and Other Such Creatures-The Lost Happy Endings

I didn’t realize until going to the gallery that Jane Ray is a London native. The gallery has works on display by other artists that are favorites of mine, as well as many whom I’m not familiar with. I am finding there are a number of children’s book authors and illustrators here in the U.K. that we in the states have seen little or nothing of. Some have made it across the Atlantic, but it would seem to be relatively few. It’s like discovering a library in an alternate universe – one full of wonderful books that I have never seen, yet all in English! We can get so isolated in the U.S.

Illustration Cupboard bookshelf
Here are a few other pieces from the gallery’s walls:

Shaun Tan is an Australian illustrator whose work is fascinating.

Shaun Tan-Bull & Grass

Check out his book of sketches and paintings if you can. It’s wonderful.

Shaun Tan-The Bird King

You will no doubt recognize the style of David Vinicombe from his work with Nick Park at Aardman Animations.

David Vinicombe-Sheep Tower-Big

Brian Wildsmith is another British illustrator whose work I have long admired for it’s vibrancy and exuberance. He builds his images with both collage and paint. It is always a thrill to see works like these up close.

Brian Wildsmith-Tales from Arabian Nights Front Cover Brian Wildsmith-detail from The Arabian Nights front cover Brian Wildsmith-another detail from The Arabian Nights front cover

John Lawrence is a renowned English wood engraver. This piece was created especially for the gallery’s Summer Envelope Exhibition 2013.

John Lawrence-Envelope III

Neil Packer is a British artist whose work is new to me. I am now an enthusiastic fan.

Neil Packer-Odysseus on his way to Ithaca Neil Packer-The Stone Ship Outside the Harbour

Neil Packer-Tiresias the Blind Prophet-The Odyssey Neil Packer-detail from Tiresias the Blind Prophet-The Odyssey

So much to discover here in London. Looking forward to next month’s quest.

A Movement of Ideas

W Morris-book text

“Don’t copy any style at all, but make your own”  – William Morris

I have never had anyone tell me that they don’t like the designs of William Morris and his circle of artists/artisans, nor have I ever heard anyone complain that they are too ornate, too flowery or too pretty. You cannot deny the beauty of their complex patterns and rich colors. They transcend what usually would be considered merely decorative.

I don’t know if an interior decorator of today would choose a William Morris wallpaper pattern for a home that wasn’t undergoing some sort of period restoration, but in smaller amounts – calendars, cards, notebooks – the designs appear as delicate, ornate treasures. Somehow they combine the beauty and abundance of nature with the precision and control of design in a perfect balance.

A few weeks ago, my daughter and I took the train to the William Morris Gallery in Walthamstow, London. She is design student at Pratt in New York. This was kind of a pilgrimage for both of us. (Once again, I must apologize for the poor quality of some of the photos. I have no choice but to take them on the fly, and the lighting in this museum made it particularly hard to get good pictures. I hope that they will at least give you the feeling of being right there with me, looking over my shoulder, so to speak).

I knew of William Morris as a designer and craftsman, but I didn’t know his first fame came as a poet and writer.

He also was a translator, weaver, embroiderer, stained-glass artist, type designer, calligrapher, publisher, wood-carver, political activist –  and owner and manager of a highly successful interior design retail shop. Could he sing?

In the late 1800s, William Morris helped start what was to be known as the Arts and Crafts Movement; what he considered to be a  “movement of ideas’ rather than a distinct visual style. Members believed tin social reform, education, environmental sustainability and self-sufficiency, as well as hand-craftsmanship, designing from nature and sympathetic use of materials.

In addition, Morris believed that no one should design an object without a full understanding of how it was going to be produced, which explains why he was driven to master so many crafts himself.

Morris’s first wallpaper design was inspired by the rose trellis in his garden.

W Morris-Trellis wallpaper (1862)

You can see in this drawing how he drew and redrew as he revised his ideas, working the same piece until it was complete. He believed this approach was the best way to maintain the harmony and integrity of the work.

W Morris-Trellis wallpaper design (1862)

He hadn’t yet gained full confidence in his drawing abilities so he asked his friend and colleague Phillip Webb to draw the birds. He was 28 at that point.

Here are more of Morris’s drawings:

W Morris-Design for African Marigold textile (1876)W Morris-Lily and Pomegranate design for wallpaper (1886)W Morris-Wallpaper for Queen Victoria

As a printmaker, I can appreciate that Morris insisted that his wallpapers be hand-printed from carved wooden blocks. Even though the technique was slower and more arduous than machine-printing, the results were far better and thus were worth the extra effort. Printmakers are artisans at heart.

W Morris-Hand-carved woodblock was used by the M & Co printers to make Daffodil pattern

Morris also designed textiles and researched the use of organic pigments and dyes.

This copy of Herball or Generall Historie of Plants was Morris’ own book that he had studied since he was a child. This page shows the roots of the madder plant which produce the madder rose dye.

W Morris-herbal

Not only were the color tones of the organic pigments more natural and better suited to his designs, they caused less pollution than the aniline dyes that had become prevalent by then.

W Morris-Brother Rabbit printed cotton (designed 1882)W Morris-cloth detail W Morris-Strawberry Thief printed cotton (design registered in 1883)

At age 49, to the surprise of many of his colleagues and friends, Morris became a revolutionary socialist. He felt that the British government was an hypocrisy, taxing the poor while favoring the rich (sound familiar?). It bothered him that only the wealthy could afford the high-quality goods that Morris & Company produced. “To apply art to useful wares…is not a frivolity, but a part of the serious business of life.”

He became a well-recognized public figure.

Funny Folks-W Morris cartoon

Morris envisioned an “ecotopia” society, where people lived communally with no central government, private property or currency. He attended protests, gave lectures, and published books.

He founded the Kelmscott Press:

W Morris-Kelmscott frontispieceW Morris-PsycheW Morris-Troy type Parlement of Foules   W Morris-Amonges thise povre folk

His youngest daughter, May Morris, also became an accomplished designer and textile artist.

May Morris-Honeysuckle wallpaperMay Morris-embroidery detail

Morris & Co. also sold ceramic ware and tiles.

the Martin Brothers-bottle  William De Morgan-Bottle with design of cranes killing snakes (1888 - 1907) Sands End Pottery, Fulham, London, England   William De Morgan-Lion Rampant

What I have shown here is a very small sampling of what the William Morris Gallery has to offer. Next, my daughter and I hope to visit Kelmscott Manor in the Cotswolds. That will be another pilgrimage for another day!

Library Love Revisited

BL signage

Two years ago I wrote about my deep appreciation for my local library in Seattle. Now I live in London, where public libraries as we now know them got started.

Founded in 1753 as part of the British Museum, The British Library is the grandmother of them all. It was originally intended as a kind of national museum created to build on its initial collection of books, manuscripts and prints. Over time, as it’s collections increased to include drawings, scientific materials, maps, music, stamps, coins, periodicals – anything printed with historic significance – it became clear that it needed its own facility to house and exhibit its treasures. The current British Library was formally opened in 1998 near St. Pancras station.

In planning my first visit to the British Library, I scheduled myself a (free) tour of the Conservation Center. There, I saw the staff working on a number of current projects: preparing 19th century maps for an exhibition in India; repairing the disintegrating bindings of letters of state from Oliver Cromwell’s era; building boxes for a Franz Kafka award for magic realism and a torch from the 2012 London Olympics; mounting original, handwritten lyrics by John Lennon. Sorry, no photos allowed, but I did take pictures of some of the Royal binding stamps in the hallway.

BL royal binding stamps 2 BL royal stamp

I also visited the library’s permanent exhibit on the first floor. There it displays some of its most impressive treasures. These include a Gutenberg Bible, pages from Da Vinci’s notebooks, and Shakespeare’s first folio. The Magna Carta is usually there, but it is off display for a future exhibit. Some of my favorite items there are: Jane Austen’s writing desk; a page from the 11th century Beowulf poem; a letter from Anne Boleyn and Henry VIII to Cardinal Wolsey, dated 1528; a Kufic Qur’an from AD 850;

BL Kuric Quran

The Guthlac Roll, a 12th – 13th century scroll showing events in the Life of saint Guthlac of Crowland;

BL Guthlac Roll-Angels Visit Guthlac BL Guthlac Roll-Demons Attack Guthlac

The various scripts and handwriting were fascinating to see all in one room. From Florence Nightingale’s wispy report on her nursing staff in the Crimea (1854-56), to John Lennon’s lyrics for “A Hard Day’s Night” scrawled on the back of a birthday card for his son, Julian. Sorry, no photos here either.

In the center of the building is the King’s Library, a towering glass-encased structure that houses the foundation of the library – King George III ‘s book collection. It consists of 65,000 printed books and 19,000 pamphlets from Britain, Europe and North America from the mid 15th to the early 19th centuries. I guess he was a bookish sort of king.

BL Kings Library wall

Then there was the “Terror and Wonder: The Gothic Imagination” exhibit which ends later this month. The history of British Gothic literature from its beginnings  in 1764 with Horace Walpole’s The Castle of Otranto, to present day Whitby Goth culture. It appears to be true that Goth with never die.

The items chosen for this exhibit included some I expected, and others I didn’t. I took a few photos of pieces that intrigued me. If there was a no-camera sign posted, I failed to see it…

“The Nightmare,” by Henry Fuseli (1782). It combines “the supernatural, the macabre and the erotic to brilliant effect” and “highlights the importance of the unconscious,” all classic Goth elements.

BL Henry Fuseli-The Nightmare

William Blake’s Time “in his character of destroyer, mowing down indiscriminately the frail inhabitants of this world.”BL William Blake-Time as Destoyer

The Wicker Colossus of the Druids from a 1771 travel guide to England and Wales, illustrating the legend that the Druids made human sacrifices by burning people inside giant wicker effigies. Is this where the idea for Burning Man came from?BL Wicker Colossus of the Druids

Caricaturist James Gillray’s “Tales of Wonder!,” (1802) is a satirical look at the excesses of Gothic novels and the “excitable imaginations of those who read them. “BL Tales of Wonder-James Gillray

The original manuscript of Frankenstein (1818) by Mary Shelley, with comments in the margins by Percy Shelley.BL Frankenstein ms-Mary Shelley w comments by Percy Shelley

Arthur Rackham contributed to Gothic literature, as in this illustration for Edgar Allen Poe’s short story, “The Oval Portrait,” (1842).BL The Oval Portrait-Rackham

“The Man of the Crowd,” another short story by Edgar Allen Poe, here illustrated by John Buckland Wright (1932).

BL John Buyckland Wright-Poe-The Man of the Crowd

Oh abhorred Monster! Frankenstein, illustrated by Lynd Ward (1934)BL Frankenstein-Lynd Ward

Sir Arthur Conan Doyle’s “The Hound of the Baskervilles” in lurid technicolor!BL-Hound poster

No Terror and Wonder show would be complete without zombies. BL-Zombies poster

Even Gothic drama has its humorous side. “The Curse of The Were-Rabbit” (2005), is described by co-creator Nick Park as “the world’s first vegetarian horror film.” BL Nick Park-Were-Rabbit

I finished my full, bookish day with a round through the British Library Bookstore. I bought a dozen or so postcards to send to my American friends (and some to keep for myself). The world of books is a place in which I am quite happy to linger. If you are a library lover, you will enjoy it too.

An Afternoon at Foster’s

Fosters Books-Master Stephen

Imagine what the quintessential British bookstore might look like. If you picture a little shop in an 18th century building stocked untidily with old and unusual books from floorboards to rafters, then you could be thinking of Foster’s Bookshop in Chiswick, London.

The owner Stephen Foster is a second generation bookseller who bills himself as a purveyor of “outmoded educational tools and antiquated entertainment devices.” He looks the part, don’t you think?

I had stopped in the shop a few times since moving here, and thought it would make a good blog post source, so I made an appointment with Stephen to come in and photograph some of his children’s books – if he wouldn’t mind.

What I had thought would be a half-hour visit turned into the better part of an afternoon, talking and viewing.

The first volume he took down from his shelves was a 1906 (U.S.) edition of Peter Pan in Kensington Gardens, by J. M. Barrie, illustrated by Arthur Rackham.

Rackham-Peter Pan-book coverRackham-Peter Pan-title page

Stephen told me that he grew up near Kensington Gardens and that he and his siblings visited the park often when they were young. Walking through the park where Peter Pan’s stories took place must have been wondrous for a child. Would that not make you believe in fairies, too?

Rackham-Peter Pan-little boatRackham-Peter Pan-hoursRackham-Peter Pan-web

Most Americans think of Peter Pan as Disney portrayed him in the 1953 animated film – an impish young boy in a pea green suit and elf slippers. That is nothing like J. M. Barrie’s original character as shown by Rackham – an infant wandering the park and befriending it’s otherworldly denizens after closing time.

Rackham-Peter Pan-boat under bridge Rackham-Peter Pan-kite Rackham-Peter Pan-swansRackham-Peter Pan-tulipRackham-Peter Pan-flying Rackham-Peter Pan-king Rackham-Peter Pan-Broad WalkRackham-Peter Pan-fairies Rackham-Peter Pan-hidingRackham-Peter Pan-stars

I clearly remember the first time I saw illustrations by Arthur Rackham. It was in a little bookstore owned by a friend of my parents, and she carried a number of publications from Green Tiger Press, which specializes in reproducing antique and vintage illustrations. I was a pre-teen who was still enthralled by fairy tales, and who drew a lot. Rackham was like God.

A few years later I visited London with my parents, and was ecstatic to find whole books about Arthur Rackham that I could purchase and take home with me. I spent hours looking at the illustrations in those books, wishing I could see more of his work, but 19th century picture books were not something a teenager could easily access in the U.S. in the 1970s, at least not in my home town in California. I had to be content with the few images that had been chosen for reproduction.

Until last week.

Next Stephen pulled down a 1905 edition of Rip Van Winkle, by Washington Irving, also illustrated by Rackham.

Rackham-Rip V W-cover Rackham-Rip V W-title page Rackham-Rip V W-intro page

Because there were so many illustrations in each volume Stephen showed me, only a few of which I had seen before, I was determined to take as many pictures as possible to share here. The photos aren’t great – I was taking them under poor lighting on the only space in the shop that wasn’t piled high with books and prints – but I hope they will still give you some of the thrill that I felt turning those pages to reveal so many wonderful images.

Rackham-Rip V W-certain biscuit-bakersRackham-Rip V W-kite Rackham-Rip V W-These fairy mountains Rackham-Rip V W-hen-pecked Rackham-Rip V W-daughter and grand daughterRackham-Rip V W-window Rackham-Rip V W-his knees smote Rackham-Rip V W-Kaatskill MountainsRackham-Rip V W-making friendsRackham-Rip V W-new moon Rackham-Rip V W-postscript

I learned a few things from studying Rackham as a teen that I still keep in mind when I work: Don’t just illustrate what the author describes – imagine scenes beyond the text; if you limit your palette to a only three or four colors, nothing in your image will “clash” with anything else. It is part of why Rackham’s illustrations are so pleasingly quiet, visually.

My favorite image of Rackham’s as a teen was from Undine. The coquettish creature coming up from the sea had a lot of appeal to me then. I wondered what that look in her eyes was about, and what story the other pictures from the book would tell. I had only seen a few.

Rackham-Undine-Undine

And there it was, between Spike Milligan and The Hobbit.

Rackham-Undine-cover of 1912 US edition

Okay, so I went all out here. I took photos of pretty much every image in the book, just in case there was another teenager out there who wondered the same thing about this girl.

The story is similar to The Little Mermaid. Lots of romance and melodrama and a moralistic ending.

Rackham-Undine-frontespieceRackham-Undine-Contents tableRackham-Undine-webbed pair Rackham-Undine-list of illustrations headRackham-Undine-This is the story Chapter I How the knight came to the fishermanRackham-Undine-fearsome forest Chapter IIHow Undine had come to the Fisherman Rackham-Undine-beautiful little girl Rackham-Undine-infancyRackham-Undine-flood Rackham-Undine-Knight Rackham-Undine-false goldRackham-Undine-storm “At length they all pointed thier stained fingers at me” Rackham-Undine-Little niece and KülhlebornRackham-Undine-framed spotCHAPTER X HOW THEY FARED IN THE CITY Bertalda Rackham-Undine-a mark“Bertalda in the Black Valley” “Soon she was lost to sight in the Danube” “He could see Undine beneath the crystal vault” CHAPTER XIVTHE BLACK VALLEYRackham-Undine-Chapter XVIIRackham-Undine-bearded spotCHAPTER XVIIIHOW THE KNIGHT HULDBRAND IS MARRIED CHAPTER XIXHOW THE KNIGHT BULDBRAND WAS BURIED

Even the endpapers are beautiful.

Rackham-Undine-endpaper

I hope this wasn’t too much of a good thing for you.

If you like old books and happen to be in London, you should add Foster’s Bookshop to your sightseeing list. It will be worth the tube ride to Chiswick.

Fosters Books-more books

I plan to go back and peruse the shelves further, and I’m sure another blog post will come of it. At least, that will be my excuse for taking more photos…

 

Boom Boom Arrives

Boom Boom by Sarvinder Naberhaus

Some of you may remember me working on a book titled BOOM BOOM (by Sarvinder Naberhaus) from some of my earlier posts here and here. I finished the illustrations in June, 2013. The book came out on October 7 of this year. That’s roughly 15 months of waiting. Long enough for me to almost forget about it. But not quite.

I received my artists’ copies last week. Opening a book that I’ve illustrated for the first time is like revisiting an old friend in a new house. I feel excitement, as well as a bit of trepidation. The art can no longer stand alone; it must work as part of a BOOK. Will it all come together? Will readers enjoy the pictures? Did I miss something when I sent it off to press, that now will be painfully obvious?

Most important: Do the images speak the way I intended them to? The biggest challenge of this particular book was that there is no story, no characters, no narrative arc to follow. Naberhaus’s text consists of sixteen words, each repeated twice. The only thread which links them together is how the couplets progress through the seasons:

Boom
Boom

Flash
Flash

Drip
Drip

Splash
Splash

This isn’t the first time I have created a visual story to accompany a non-narrative text. I did the same with Light Up The Night, among others. While having a story to follow can simplify the process of illustrating a book, my aim is always to augment a story through the illustrations, so my approach with BOOM BOOM just meant taking that idea to it’s full extent.

So what story did I want to tell? It needed to be a story that I felt an emotional connection to in order for the images to tell a compelling tale. When I thought about the stories that I have written thus far, I saw a common theme between them: Friendship. Finding, making, losing, keeping friends . . . these were the most valuable lessons I learned growing up. Who doesn’t remember those experiences which teach us about how we may, or may not, fit in?

BoomBoom6-7 Chodos-Irvine WS

So I had sixteen words and thirty-two pages to get my story told. The text opens with the onomatopoeic first few lines suggesting a potentially frightening storm. I saw a shy little boy terrified by the loud thunder and flashing lightening, and a more outgoing, slightly bigger little girl enjoying the excitement, yet feeling concern over her preschool-mate. After the storm passes, she brings him out to share in the fun of splashing in puddles.

BoomBoom10-11 Chodos-Irvine WS

But the best friendships travel on two-way streets, so in the following sequence, the boy is the one to comfort the girl.

Bloom
Bloom

Buzz
Buzz

Blow
Blow

Fuzz
Fuzz

Boom Boom pg 14 Chodos-Irvine

BoomBoom15 Chodos-Irvine WS

The seasons progress to Winter, and through their friendship, they enrich their larger community and establish their place within the group.

Crinkle
Crinkle

Crunch
Crunch

Fall
Fall

Bunch
Bunch

BoomBoom20-21 Chodos-Irvine WS

BoomBoom22-23 Chodos-Irvine WS

It sounds better in pictures.

Swirl
Swirl

Blow
Blow

Silent
Silent

Snow
Snow

BoomBoom 24-25 Chodos-Irvine WS

Boom Boom pg 26-27 Chodos-Irvine

BoomBoom32 Chodos-Irvine WS

I enjoyed the freedom that the sparse text gave me to explore my own visuals, and I think it came together well. If you have the time, go check it out at your local bookstore or library and see what you think.

And if I do see anything that I missed before, well, I’m not telling!

In The House of Illustration

blake-arrow sign

I have been living in London almost three weeks now. My jet lag has worn off. My post-flight cold is gone. I am settling in and learning how to get around this amazing city.

For my first post as “foreign correspondent” for Books Around The Table, I chose to visit Sir Quentin Blake‘s “Inside Stories”, the inaugural exhibition at the recently  opened House of Illustration gallery space.

House of Illustration was begun in 2002 by a group of UK illustrators, led by Blake, to establish the world’s first “home for the art of illustration.” Over the next decade, the founders worked to raise awareness and garner funding to find a permanent home. In July of this year, they opened its doors in Granary Square, near King’s Cross, London.

House of Illustration’s gallery and education space is the place to see, learn about, and enjoy illustration in all its forms, from adverts to animation, picture books to political cartoons and scientific drawings to fashion design.”

Blake pledged his massive archive of original drawings and illustrated books to House of Illustration, so it is fitting that the opening show be of his work.

I know Sir Quentin Blake’s work best from his illustrations for Roald Dahl’s books, but he has done hundreds of others (not all of them for children) that many of us from the US aren’t as familiar with. It was a wonderful opportunity to see so many of his illustrations at once, but even more valuable to see his thoughts, notes and preliminary sketches included as well.

blake-entry

The entry to the exhibit immediately immerses you in Blake’s world with a floor-to-ceiling drawing of his studio space. The case beneath presents you with insights into how Blake approaches his art.

Blake-What does

(You must excuse the poor quality of these interior photographs, as I was surreptitiously snapping these shots with my smart phone on the sly. I risked admonishment for you, so please don’t turn me in to the authorities).

blake-clown

blake-the essence

Q Blake-sketches for the Twits

Q Blake-Mr & Mrs Twit

One entire room was devoted to Michael Rosen’s Sad Book. This was the part of the show that impressed me most deeply. Blake managed to balance sadness and joy with delicacy and subtlety. Perfect in its gentleness. I’m still thinking about those images.

Q Blake-Happy Sad face

Blake-Sometimes sad

Blake-one candle

Blake-many candles

Blake defines illustration as “drawing with a purpose.” That is the most accurate, least condescending definition that I have heard to date. It doesn’t try to fit it somewhere along a hierarchy between fine art and craft. It just says what it is.

And this is just the beginning at House of Illustration. There are four more exhibitions scheduled through June 2015, and I plan on being here for all of them. Stay tuned!
To view two BBC interviews with Sir Quentin, visit this page, and this one.

Editing

Screen Shot 2014-08-22 at 11.14.41 PM

“Boldly and bluntly simplify the subject so as to reveal its true essence.”
– Kiyoshi Saito, (1907-1971)

I have spent the last three months preparing to move from Seattle – where my husband and I have lived since 1986 – to London, England. I fly out at the end of the month. These last few weeks have been a lesson in letting go.

I have been going through everything we own to clear the house for incoming renters. I have picked up every object, pondered it, and decided whether to ship, store, or discard it.

This has gotten me thinking about the process of editing.

Editing your life is like editing your own personal narrative. I am an accumulator by nature, but not a collector, nor a hoarder. The difference is that I enjoy getting rid of stuff, if only to clear the clutter to let the better bits shine.

When I am writing I follow the same process. I have less confidence in my words than my imagery, so I don’t mind keeping my words to a minimum. If I can prove to myself that every word has a reason to be there, I feel I have created the cleanest, least cluttered prose possible. It’s less risky that way. Clear the knick-knacks off your literary shelf.

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In my artwork I am constantly editing and revising. I strive to follow the words quoted above. Kiyoshi Saito is a contemporary Japanese woodblock artist and a master of selective visual editing in his imagery. Choosing what details to include and what to leave out reveals the aspects most elemental to an idea.

Get rid of the lesser bits. Pack them away or let them go. Only set your choicest pieces out for display.

My next post will be written from the UK. Just think of me as the Books Around The Table foreign correspondent for the foreseeable future. I look forward to exploring new territory and sending back the best bits to share with all of you!

And now, back to packing!

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