Category Archives: Children’s Books

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.

Getting Bear to the Library

Those who have followed the adventures of Mouse and Bear may have noticed that Bear has never left his cozy Tudor cottage. He’s barely set even a claw out that front door.

The trouble with Bear is he’s a recluse.

He likes his peace and quiet. He likes his privacy and he likes his cottage and pretty much sees no reason to leave it.

The dynamic is much the same in each book. Bear is a grouchy loner who is reluctantly drawn into life and its various celebrations by exuberant Mouse.

The latest book, A LIBRARY BOOK FOR BEAR is the fifth book in the Mouse and Bear series. The trouble with writing sequels about a character who’s a recluse is how to get your character out and about and into different adventures.

I wanted to talk a little in this blog about how I got Bear into the bigger world and about the challenge of writing sequels.

In some ways sequels are easy:

You know your characters and for a picture book it’s easy to follow a fairly similar story arc once you’ve set one up. The young reader is looking for the familiar and so is the editor. So it’s tempting to deliver the same story over and over with minor variations.

Writing each book is, in some ways, as simple as asking myself “what fresh hell can I create for Bear.”

Fortunately I’ve never had any trouble figuring out different ways to bug Bear. I grew up with five siblings, which pretty much makes one an expert on bugging people.

So I’ve had Bear have to deal with this mouse who won’t go away and with the horror of having a birthday party and with a first ever sleep-over with a guest who isn’t as quiet as Bear requires. Bear gets sick and has to deal with the much too cheerful ministrations of Mouse.

But how do you keep the familiar from turning into a formula? How do you keep it fresh, not only for your readers, but for yourself. I didn’t want Bear to simply be bugged and to respond the same way time after time. I hope to move his relationship with Mouse forward bit by bit through the series. And for Bear to change just a little.

So for this sequel I went through a number of scenarios—Mouse and Bear bake a pie together; Mouse and Bear go on a picnic and Bear can’t settle until he finds the perfect spot. Or they could go fishing. I wasn’t sure yet what would bug Bear about fishing but I know enough about fishing to know there’d be plenty of frustration.

But these all felt like I would cover pretty familiar territory. I did get Bear out of the house in a few of these ideas, but it was still just him and Mouse interacting. I wanted to turn things on their head a bit.

Then I remembered one of Bear’s main characteristics. In every story, he is inevitably driven to bellow out his frustration, rather like Donald Duck working up into one of his tantrums.

DC_2506951_Page_16

And that inevitable process gave me an idea. What if Bear were in a situation where quiet was required. A church, some solemn occasion… I was half-tempted to try out Bear at a funeral. I would love to see him bellowing mid-funeral (ideally about some annoyance he had with the corpse.)

But really what better quiet place than a library? And a library would get Bear out of his house and interacting with at least a few other animals

There was a problem with that idea, however, because I love libraries and books. What could Bear possible be grouchy about?

I grew up in a household with hundreds and hundreds of books. There were bookshelves in virtually every room. One room was a library with shelves from floor to ceiling. Even with all of that, we went to the library once a week and I would walk out with books up to my chin.

Libraries have always had a special place in my life. I still remember being the school library aide when I was in the fourth grade. How I loved to turn the numbers on the rubber date stamp to the correct date and decisively stamp the checkout cards.

My mother was on the Wenatchee, WA library board. My siblings and I even created our own library at home taking all the kids books we had and numbering and labeling them and creating library check out card for each.

So how could Bear not be interested in the library!? Fortunately, Bear is so persnickety and stubborn that he was convinced he already had all the books he needed right at home: he had three about honeybees, three about kings and queens and one about pickles. Who could ask for more?

Of course, Mouse knew you could ask for a whole lot more. He just needs to convince Bear of that. Eventually he does (with the help of a friendly librarian and pickles) and Bear goes home with seven new books. And I’m sure with more visits to the library in his future.

I’m glad I got Bear to go to the library. The book is already in its third printing. (It came out in July.) It’s been reviewed in the Wall St. Journal and Huffington Post, along with the usual children’s book review sources.  It received a starred review from the School Library Journal and was selected as an autumn must-read by Scholastic’s Instructor Magazine.

It will be on the cover of American Booksellers Children’s book holiday catalog. Some 275,000 copies will be printed and distributed to independent bookstores nationwide.

IMG_0969

What’s next for Mouse and Bear? Having gotten Bear into the frying pan, I’m putting him into the fire next time with A HALLOWEEN FOR BEAR. Imagine how much he’s going to love having all kinds of animals come to his house demanding candy!

 

 

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.

Ode to Steig

steig painter

Spring induces a feeling of joy, and in that spirit I offer this ode to William Steig. Steig was born in Brooklyn in 1907 and lived until 2003.
He was famous for his work in the New Yorker and for his many wonderful children’s books including Dr. DeSoto ,steig doctor desoto

Sylvester and the Magic Pebble,steig sylvesterShrek,

steig shrekand Zeke Pippin.

steig zeke pippin

He was famous for his drawings and his language. Steig loved wordplay and even letter-play.

steig fn l

He came from a family of immigrants with strong (Socialist) political views. It was a wildly creative family. His parents, brothers, in-laws, wives, children and extended family painted, wrote, sang, made jewelry, drew and expressed themselves in myriad ways, as did Steig. He stitched…

steig stitcheryand he carved.

steig sculpture

Recently I spoke to students in Pocatello, Idaho. Over a few days and many talks I realized the nugget of what I wanted to say to them: that creativity is a habit, not a gift. Sometimes people say “I don’t have a creative bone in my body.” But creativity isn’t a bone – it’s a muscle, and it grows stronger with use. Steig’s creativity,empathy, and wit were limber and strong.steig carnival Steig was a follower of Wilhelm Reich and believed in unleashing his energy,  sometimes sitting in an orgone box in order to do so.
His work vibrates with energy. He evokes a wide range of emotions, often starting with but not always ending with humor.

steig eternal sea

steig insect

steig turkeysteig axolotl

 

I am grateful for all of his work, but most blissfully for his images of bliss. Who could not love this painting of a Sweetheart, a Swain, a Swine and Some Swans?

steig sweethearts

 

If you are hungry for more Steig you can read The World of William Steig, written by Lee Lorenz.

steig gorky rises

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

 

 

CALLING THE MUSE

Seattle hosted the national AWP (Assn. for Writers and Writing Programs) conference for four days last week. My fellow BATT-blogger Julie Larios and I were on a panel entitled, “Calling Your Muse,” along with authors Zu Vincent and Debby Dahl Edwardson who we know from Vermont College of Fine Arts.

For my part, I hoped to leave our listeners with an easy-to-follow, How to Call Your Muse list.

In our audience were over 100 writers. Surely these people had some ideas how to call a muse. If I’d known anything about crowd-sourcing, I could have crowd-sourced a good list.

Or I could have based my list on my experiences over the past 20 years, creating 17 picture books and a middle grade novel.

But I felt more research was needed.

So I imagined hiring George Clooney to lead an investigation. Yes, he looks hot in a lab coat, but this would be strictly scientific. He’d film me writing, then do a frame-by-frame analysis. Maybe the Muse would even be caught on camera?

moose

mousse

George’s research would reveal exactly how I do it: Eight Easy Ways to Call the Muse

    • Snuggle your dog
    • Nibble dark chocolate
    • Look out the window and squint
    • Tap out a few words.
    • Check your email
    • Sip tea
    • Google something, possibly related to the project
    • Scratch your ear
desk

On location for George Clooney film.

That’s it: snuggle, nibble, squint, tap, check, sip, google, scratch.

But the more I thought about it, I realized what’s actually happening when I SNSTCSGS is not only calling the Muse, but also answering the Muse’s call. Or maybe – more exactly – conversing with the Muse. It’s a two-way street. I gather the storybits and tools that call her. In turn, she calls to me, urges me to use all this stuff. That’s how the Muse works.

The 12,000+ writers who attended AWP have gone home but I’ve continued to muse on this muse thing. I’ve decided there must be more than one muse, that it takes a village –  well, at least a Swiss army knife of muses –  to get the work done. For starters:

THE ILLUMINATOR MUSE – How else to explain why a writer’s attention is drawn to stuff that is charged with story? She shines her light on ideas, objects, memories, experiences, words themselves, art materials, research, juicy bits of overheard dialogue. The list goes on and on. For instance, my attention is drawn to my #4 watercolor brush and naples yellow gouache and I want to paint something. It will be sunny. Oh, already a story starts to gather.

Making stories depends on assembling material and tools, on gathering quirky facts and notions, on laying seemingly disparate things side by side, on comparing, contrasting, connecting. Sometimes the Illuminator Muse carries a candle like Wee Willie Winkie, and other times she holds a Klieg light high above her head. “Pay attention,” she says, “And report back.”

GESTAPO MUSE – This one has a big glue pot and keeps me in my chair. I almost wish she’d carry a cattle prod, too, and deliver a jolt when my attention wanders.

MARSHALL McLUHAN MUSE – The Marshall McLuhan Muse calls with the seductive nature of the creative zone itself. The medium is the message. Work comes out of work. Or, as Julie Paschkis puts it, “Put in the drudgery and the alchemy happens.”

CRAFT MUSE – A practical gal, the Craft Muse inspires with conferences like AWP, classes, SCBWI talks, and, of course, through other people’s writing. I’m especially inspired to create books that become part of the circle of parent and child reading together, a circle I loved dearly.

I am sure a muse team assembles for each writer, offering skills as needed. For instance, a journalist friend reminded me about the Deadline Muse. How could I forget this muse that calls me every month when it’s time to post here?

What we were really talking about at our AWP panel was twofold: where do ideas come from and how do you sustain motivation?

Muse-assisted or not, my ideas come from paying attention, a habit of mulling, and from savoring stuff that amuses me. (Ah, “muse” is hidden there.) And why write? Writing’s how I figure out what I think. It makes sense of my world.

So I’ll stick with my snuggle, nibble, squint, tap, check, sip, google, and scratch.

But I wonder. Maybe we could sort of crowd-source with our BooksAroundThe Table readers. How do YOU call the Muse?

Mosaics

picasiette exterior

Last week my husband discovered a book at Goodwill about Picassiette. From 1938-1962 Raymond Isidore covered his home and property in Chartres, France with mosaics.

picasiette summer house picasiette patio picasiette interior

He was given the nickname of Picassiette which means both “plate stealer” and ” Picasso of plates.”

picasiette coupleHe created beauty from materials that would otherwise have been thrown away.

picasiette detail

In 2004 I illustrated a book by Melissa Eskridge Slaymaker called Bottle Houses: The Creative World of Grandma Prisbrey. (It is out of print now, but still available used.)

Bottle Houses coverTessa Prisbrey also created a world out of materials that she scavenged – bottles, old dolls, pencils and broken dishes. She called it Bottle Village. You can see a video about her on line.

Bottle Village 1973

She made buildings from old bottles and filled them with her collections.Paschkis Prisbrey pencils

Paschkis Prisbrey pencil house

I visited Bottle Village before working on the book. Much of it was damaged by an earthquake, but much of it survived. While we were there a hummingbird followed us through the site, so I included it in many of the illustrations.

Paschkis Bottle Houses p.15

I didn’t get to see the kittens that she dyed with food coloring but I could imagine them.

Paschkis Bottle Village wall

Grandma Prisbrey transformed trash into treasure. Her life included a lot of sadness, but she seemed to transform that grief into creativity.

Prisbrey portrait Paschkis

Here in the NW corner of the map, Tim Fowler is creating a wondrous world.
Here are some of the figures in his yard.Tim Fowler mosaicTim Fowler mosaic

Tim Fowler sculpture

He has been working on a great mosaic wall for years.

Tim Fowler wall

Tim Fowler wall

Eventually the wall will surround his lot, but it includes windows.

Tim Fowler wall

If you are out of town you can visit Tim through this videoIf you are in Seattle, wander by 26th and Howell in the Central District and say hello.

Tim Fowler sculptureI hope this post will inspire you to make mosaics and to be happy when a beautiful dish breaks.  Here is a how-to video for a mosaic picture frame;  you could adapt the technique to other surfaces.

Tim Fowler gate

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

More Magic

If you played along with my post about drawing your way into a story by sketching animal characters, (https://booksaroundthetable.wordpress.com/2014/01/11/magic-formula-how-to-write-illustrate-a-picture-book/), you have a couple of likely suspects ready and waiting in the wings for the action to begin. I bet your characters are already making suggestions and you have some ideas about where this story’s going.

lilac663

A character ready for center stage.

Next step is to focus on your characters’ “out-of-balanced-ness,” the aspect of the character(s) that the story will grapple with and depend upon. Norma Fox Mazer, who I was lucky to teach with at Vermont College of Fine Arts, called this out-of-balanced-ness the character’s “deprivation.” I like her term because it points to a need or void in the character that the story will address.

So think about it. What do your characters need? This could be anywhere on Maslow’s pyramid: basic needs like food, water, and sleep; safety needs; need to belong; need for esteem, and/or self actualization needs like morality, creativity and justice.  Be as specific as you can. Then craft a story situation that puts this deprivation front and center.

You already have clues in your character sketches. Keep drawing as you think about what your characters need. It helps to give them names and special objects. For instance in Zelda and Ivy, Zelda’s baton is important to both Zelda and the story. It becomes the symbol of power.

Z&I"2Let'splaycircus."447

“You can be the fabulous fox on the flying trapeze,” says Zelda. “I will announce your tricks.” From Zelda and Ivy.

You can summon more pieces of your story by drawing your characters in their surroundings, or by collecting photos of the place the story will take place. For instance, for Frank and Izzy Set Sail, I collected photos of Lake Magiore in Italy.

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F&I.lkmagiore665

From Frank and Izzy Set Sail.

At the same time, make notes about how they might talk to each other, keying in on points of contention and agreement. Can you put this in dialogue?

The machinations of story do not require you to know the whole when you begin. As you keep gathering images, and drawing, and writing snippets that you think might belong, eventually you realize you have enough on the page for the story to begin to speak.

Then all you have to do is listen. It really is kind of magic.