Category Archives: Illustrating Children’s Books

Who Was Randolph Caldecott, And Why Do We Have An Award Named After Him? (and a bit more from the V & A Study Rooms)

r-caldecott-photo

Most American illustrators know about the American Library Association’s Caldecott Award, but how many know anything about Randolph Caldecott? I received a Caldecott Honor in 2004, but I knew very little about him myself. My only reference was from Maurice Sendak’s essay in Caldecott & Co. which I read many years ago. There, he writes:

“Caldecott’s work heralds the beginning of the modern picture book. He devised an ingenious juxtaposition of picture and word, a counterpoint that never happened before. Words are left out – but the picture says it. Pictures are left out – but the words says it. In short, it is the invention of the picture book.”

r-caldecott-frog-wooing

I took these words to heart when I first read them. I realized that my favorite children’s book illustrators (of which Sendak is one) do just that – they augment the story rather than just retell it visually. I aspire to do the same. I thank both Sendak and Caldecott for that guidance.

Sendak goes on to state:

“Caldecott is an illustrator, he is a songwriter, he is a choreographer, he is a stage manager, he is a decorator, he is a theater person; he’s superb, simply. He can take four lines of verse that have very little meaning in themselves and stretch them into a book that has tremendous meaning – not overloaded, no sentimentality anywhere.”

r-caldecott-the-dish-ran-away-with-the-spoon

While I was in England I intended to write a post about Randolph Caldecott, but somehow never managed it. People in England are much more familiar with Caldecott’s work than most of us in the U.S. It’s not uncommon to see copies of books illustrated by Caldecott in used bookstores there. On my first visit to Foster’s Bookshop, I found a book illustrated by Caldecott on the sale table. I didn’t buy it, but I snapped a few photos, of course.

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Caldecott was born in Chester, England in 1846. He started working in a bank at the age of fifteen, studying art on the side. In 1872, he moved to London to pursue an art career full time. Five years later, he began his well-known work in children’s picture books.

r-caldecott-sing-a-song-of-sixpence

His work was also published in novels, travel books, and various periodical publications, and he was commissioned to design the British Afghan war medal.

He had suffered from poor health since childhood, and died in 1886 while visiting the U.S. with his wife. He is buried in St. Augustine, Florida. There is a memorial for him in St. Paul’s Cathedral, London. He was only forty years old.

The image below is a sadly prophetic self portrait from The Babes in the Wood (1879).

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Frederic G. Melcher established the Caldecott Medal for the “most distinguished picture book for children” in 1938, fifty-two years after his death. The medal features a relief of this image from The Diverting History of John Gilpin, an animated tale told in 253 lines of verse by William Cowper (1731–1800). It was printed by Edmund Evans in 1878 (the same engraver who worked with Walter Crane).

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Havoc. Falling babes. The women in Caldecott’s illustrations always look so calm and imperturbable. He isn’t usually so flattering of the men.

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When I went to the V & A drawing and print study rooms I requested to see a sketchbook of Caldecott’s from the mid-1870s.

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I also saw a box of loose drawings and paintings from their collection.

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r-caldecott-2-ladies-1-man-of-breton

r-caldecott-billiards-of-breton

r-caldecott-old-woman-of-breton

r-caldecott-craggy-man-of-breton

r-caldecott-girl-and-boy-of-breton

r-caldecott-gambling-group-of-breton

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His drawings of faces and hands are wonderfully expressive. His line and brushwork are both fluid and accurate. He excels at rampant gestures.

r-caldecott-man-chasing-horse-of-breton

r-caldecott-march-group-chasing-hats

He accomplished much in his forty years. It is easy to see how his work influenced Beatrix Potter and other illustrators as well as Sendak. I recommend The Randolph Caldecott Society UK and the Randolph Caldecott Society of America if you want to learn more about his life and art.

r-caldecott-memorial

 

A long, winding book road

croccover

It began as a ditty in my head over 25 years ago:

There once was a Christmas crocodile

A crocka-a-crocka-a-crocodile

Who said with a wicked and cunning smile

“I shall eat the Christmas tree

unless, you see,

I get exactly what I want.”

Seven years later it had morphed into a prose story about a crocodile who eats up Christmas and begins: The Christmas Crocodile didn’t mean to be bad, not really. Alice Jayne found him on Christmas Eve under the tree. He wore a red bow around his neck. It was lovely. Except he ate it.

A few years later Simon & Schuster bought it. Caldecott-winning artist David Small miraculously agreed to illustrate it and in the fall of 1998 it was published. It got a big glowing review by Judith Viorst in the New York Times; it was read on NPR by Daniel Pinkwater and on the QVC t.v. shopping channel; and it sold out that Christmas season.

Unfortunately, it was also orphaned. My editor, Stephanie Lurie, left Simon & Schuster. And without an in-house champion, The Christmas Crocodile was out of print by 2004.

And that seemed to be that.

banished-crocodile

But I kept hearing from people how much they loved the book. That it was a Christmas favorite, a Christmas tradition at their house. I just knew it was a good book. It was illustrated by David Small, for heaven’s sake. It shouldn’t have died so soon.

So I tried numerous times over the years to get a publisher interested in a re-issue, but it’s an almost impossible goal. Publishers generally don’t like to re-issue some other publisher’s book. If that publisher couldn’t make a go of it, how could they? is the reasoning. For a while, Simon & Schuster even considered reissuing it themselves.

But it seemed like good old Croc was doomed to out-of-print status until I happened to be chatting with Nancy Pearl at an event[i] and she mentioned that she had a new line of “rediscovered” books coming out.

Nancy is probably the best-known librarian in the world. She regularly comments on books on National Public Radio’s Morning Edition. She has written a number of best-selling books, including Book Lust and Book Crush, recommending books she loves. Perhaps her most fun claim to fame is as the model for the Shushing Librarian action figure.

shushing-librarian

She also finds out-of-print books for Amazon that she thinks deserve to be re-issued. A few years ago she set her sights on out-of-print kids books. You can imagine how eager I was to tell her about The Christmas Crocodile. Nancy asked to see a copy; she loved it and it went from there.

So my crocodile lives again re-printed by Two Lions Press, a division of Amazon. The team there, headed by editor Marilyn Brigham, did a beautiful job of it. With David Small’s approval, they developed a new cover for it, and it features a couple pages of introduction by Nancy. But otherwise it’s exactly like the original.

new-crocodile-cover

It just came out this September and here’s hoping the book finds a second life!

By the way, if you have an out-of-print kid’s book and don’t have a chance of running into Nancy Pearl anytime soon, there is one press that specializes in re-issues of out-of-print kids books, Purple House Press.

Also, if you buy the book and would like a signed book plate, just let me know who you’d like me to sign it to and where to send it. You can contact me by leaving a comment here or by messaging me on Facebook.

[i] So this is a pitch for seemingly thankless tasks. Nancy and I were volunteer judges for the University of Washington Bookstore’s annual bookmark contest where kids design a bookmark. We judges pick the winners out of many hundreds of entries and these are printed up by the bookstore to hand out over the year. It’s fun, but one of those things that you don’t expect to further your career.

Is There a Pattern Here?

Rob Gonsalves

Rob Gonsalves

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.
Alfred North Whitehead

I collect images of books in art. And, just as philosopher Alfred North Whitehead noted, I love to find patterns and motifs among them. I imagine that’s the pleasure of most collections.

Recently I was looking at some of my images and noticed a type of illustration that is relatively unusual. I think of it as the surreal image.

There are tons of images focused on books and reading that are fanciful and unreal. They might be charming:

Illustration by Beatrix Potter

Illustration by Beatrix Potter

Or metaphorical:

Illustration by Rafal Olbinski

Illustration by Rafal Olbinski

Or startling.

Illustration by Jacek Yerka

Illustration by Jacek Yerka

But they don’t quite have the quality I’m talking about. I can’t put my finger on it. Maybe the word is “unsettling.”

Perhaps the forest is a little too encroaching, a little too dark.

Rob Gonsalves

Illustration by Rob Gonsalves

Or the vines too silently creeping.

Illustration by Chris Van Allsburg

Illustration by Chris Van Allsburg

Illustration by Nom Kinnear King

Illustration by Nom Kinnear King

With this one, I keep finding myself waiting uneasily for those eyes to open.

Illustration by Frances Cochiacchio

Illustration by Frances Cochiacchio

Although not all that is out of place is ominous.

Illustration by Michael Sowa

Illustration by Michael Sowa

The  most classically surreal image I have (echoes of Magritte for sure) is mostly just amusing.

Illustration by Patrick Desmet

Illustration by Patrick Desmet

Maybe what’s holding these together for me is the thing unnoticed. Something’s odd. Something’s off, but it’s only we, the observers, who are noticing.

Illustration by Rob Gonsalves

Illustration by Rob Gonsalves

In fantasy literature, there’s a type of story that fantasy writer and academic Farah Mendelsohn calls liminal. It’s a type of fantasy that’s a little hard to define, but basically it involves a protagonist who doesn’t quite cross through the portal into fantasy, but stays on the border between the real world and the world of the fantastic. Perhaps these images aren’t so much surreal, as “liminal.”

To pull this post back into the world of writing children’s books, I’ll just add a couple links here. One of the questions that almost invariably comes up when I teach classes in writing fantasy and science fiction is where someone’s story “fits.” Like most of children’s literature, there are defined categories in fantasy that are good to at least be familiar with. As a writer you may choose to match those characteristics or violate them, but it’s good to know what rules you’re breaking.

Here’s a list of 10 good terms to be familiar with if you read or write fantasy. And the other is a link to a little information about Mendelsohn and her books. She’s good to know about if you’re going to go deeply into fantasy writing.

In the meantime, don’t turn too quickly to find out about the rustling from that bookshelf behind you. Perhaps it’s best not to know.

In The Study Rooms at the V & A (Part II)

 

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When I wrote my last post for this blog, I had just moved out of our rented home in London. With most of our belongings headed to Seattle in a shipping container, my husband, daughter and I felt like tourists again.

Until two days ago, when we flew back home. My re-acclimation to American life has begun. But, for my next couple of posts I will be returning to London (in spirit at least) to write more about my visits (I went back a second time before I left) to the Victoria & Albert Museum’s Prints and Drawings Study Rooms.

The V & A has most of the original drawings by E. H. Shepard for A. A. Milne’s Pooh series. My mother used to read to me from Milne’s Now We are Six when I was young (the book made turning six sound very grown up) and I still hear my mother’s voice when I read it now.

Milne-The Good Girl

“Well? Have you been a good girl, Jane?”. . .

I was able to request several boxes of Shepard’s sketches. The drawings are all in pencil on the pages of a 9″ X 14″ sketchbook.

Shepard’s lines are fluid and confident.

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I like to see where he tried different options and erased or crossed out some.

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It’s also interesting to compare these drawings to the finished art from the published books.

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Screen Shot 2016-08-19 at 15.49.06Sometimes Shephard draws many lines till he finds the right ones (I can relate to that).

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On the sketches that were accepted for the final illustrations, you can see that Shepard rubbed a graphite pencil across the back and then traced over the image to transfer it to his drawing board.

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Shepard seems to enjoy drawing trees, especially the grand, gnarled ones.

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And of course, bears.

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THE END

When I was One,

I had just begun.

When I was Two,

I was nearly new.

When I was Three,

I was hardly Me.

When I was Four

I was not much more.

When I was Five,

I was just alive.

But now I am Six, I’m as clever as clever.

So I think I’ll be six new for ever and ever.

 

A New Childhood: Picture Books From Soviet Russia

The New Childhood entry poster House of Illustration

Last week I returned to House of Illustration to see their current show – A New Childhood: Picture Books From Soviet Russia.

It is an excellent, eye-opening exhibit. I snapped a few subversive shots to share with you.

Before the October Revolution of 1917, children’s books were beautifully illustrated but expensive. Only children of the upper classes were regularly taught to read. Children’s books were not for the masses.

bilibin feast cakeIvan Bilibin, 1895

After the end of the Tsarist regime, fairy tales were considered irrelevant. Children were reimagined as “builders of the new egalitarian future.” New children’s books would promote socialist beliefs and give practical instruction.

Galina & Olga Chichagova 1925-posterGalina and Olga Chichagova, poster design with text by A. Galena, 1925.

“The images of old storybooks. Out with the mysticism and fantasy of children’s books!! Give a new children’s book!! Work, battle, technology, nature – the new reality of childhood.

On the positive side, during this time there was a blossoming of creativity in children’s literature. The influence of folk art as well as past art movements and picture books from Europe converged in these new books.

Eduard Krimmer 1926-How The Whale Got His ThroatEduard Krimmer, How the Whale Got His Throat (Rudyard Kipling) 1926.

Illustrators explored new styles and techniques. The Soviet government lifted a Tsarist ban on Yiddish publishing.

Issachar Ber Ryback 1922-In The Forest coverIssachar Ber Ryback for In The Forest (Leib Kvitko) 1922.

Books were considered valuable tools in disseminating new ideals. Publishers flourished.

Eduard Krimmer 1925-NumbersEduard Krimmer, Numbers, 1925

Vera Ermolaeva 1925-Top Top TopVera Ermolaeva, Top-Top-Top (Nikolai Aseev), 1925

Absurdism proved useful in communicating the regime’s ideas.

Iureii Annenkov 1918-The FleaIllustrations for The Flea (Natan Vengrov) by Iurii Annenkov, c. 1918

Konstantin Rudakov’s work was humorous and zany, but considered “bourgeois dregs” by Nadezhda Krupskaya, noted theorist and Lenin’s wife. Some of his books were banned.

Kostantin Rudakov 1926-TelephoneKonstantin Rudakov, Telephone, 1926

Picture books would show children how to build the future.

Evgenia Evenbakh 1926-The TableEvgenia Evenbakh, The Table, 1926

Aleksandr Deineka 1930-ElectricianAleksandr Deineka, Electrician (B. Uralski), 1930

Tevel Pevzner 1931-The Cow ShedTevel Pevezner, The Cow Shed (Evgeny Shvartz), 1931

Tevel Pevzner 1931-The Poultry YardTevel Pevezner, The Poultry Yard (Evgeny Shvartz), 1931

Georgii Echeistov 1930-What It Carries Where It Travels 1 Georgii Echeistov 1930-What It Carries Where It Travels 2 Georgii Echeistov 1930-What It Carries Where It Travels 3 Georgii Echeistov 1930-What It Carries Where It Travels 4Georgii Echeistov, What It Carries Where It Travels, 1930

Unknown 1934-First Counting BookUnknown illustrator, First Counting Book (F. N. Blekher), 1934

The circus was still popular, but the Lion was no longer portrayed as King of the beasts. Instead he was President.

Maria Siniakova 1929-CircusMaria Siniakova, Circus (Nikolai Aseev), 1929

Vladimir Lebedev 1925-CircusVladimir Lebedev, Circus (Samuil Marshak) 1925

Marshak quote

Some illustrators were still determined to show children at play and having fun. Some got away with it.

Vladimir Konashevitz 1925-Unpublished illustration-Pictures For Little OnesVladamir Konashevitz, unpublished illustration for Pictures For Little Ones, 1925

Vladimir Konashevitz 1925-MugsVladamir Konashevitz, Mugs, 1925.

Others delved further into the new reality of childhood.

Aleksandr Deineka 1930-Red Army ParadeAleksandr Deineka, The Red Army Parade, 1930

The atmosphere of experimentation ended in the mid-1930s when “socialist realism” became the assigned aesthetic ideal. Children’s books could only support Soviet approved aspirations. State censorship was enforced. Yiddish publishing was no longer tolerated and high taxes caused many Russian publishers to close. Many illustrators continued to work but ceased experimenting. Some fled to Europe. Others were arrested.

I visited Soviet Russia when I was a child in 1970. What I remember most about Moscow was how bleak it was. Saint Basil’s Cathedral rose like a glorious fantasy out of the concrete. Everything else, including the people, was grey and heavy. Our guide was afraid to answer any of our questions. People spoke to us in whispers if they spoke to us at all. They were the children who had grown up under the Soviet regime.

For those of you who aren’t able to make it to London to see this show before it closes in September, you can look for the book, Inside the Rainbow, Russian Children’s Literature 1920-1935: Beautiful books, terrible times, which inspired House of Illustration to exhibit works from this collection.

Gwen White’s Book of Toys

Book of toys038

While researching for my last post, Gwen White’s Pictorial Perspective, I discovered that she had written and illustrated other books as well. That led to research into whether I could buy any of them. Most were not available or beyond my budget, but I did find one copy of White’s A Book of Toys that was affordable. Gwen White and toys. I bought it based on that combination, and the cover, without knowing anything about the interior contents.

Book of toys037

I am happy to report that the book is as wonderful as I’d hoped. The images are simple and grand at the same time. The writing is straightforward yet playful. This is part of our heritage as children’s book illustrators and authors.

I want to share it with you here and I couldn’t decide what to leave out so I have scanned the entire book. It feels an appropriate companion piece to my earlier posts on A Book of Pictorial Perspective and Folk Toys -les jouets populaires

Book of toys003Book of toys036Book of toys004Book of toys005Book of toys006Book of toys008Book of toys009Book of toys010Book of toys011Book of toys012Book of toys013Book of toys014Book of toys015Book of toys016Book of toys017Book of toys018Book of toys019Book of toys020Book of toys021Book of toys022Book of toys023Book of toys024Book of toys025Book of toys026Book of toys028Book of toys029Book of toys030Book of toys031Book of toys032Book of toys033Book of toys034

I may have to go back to the London Museum and Kensington palace to see if any of the toys White has illustrated are still on exhibit. The museum at Bethnal Green is now the Victoria & Albert Museum of Childhood which I wrote about here.

I hope you have enjoyed reading this little book as much as I have.

(Maybe you figured this out already, but the Penguins on the cover aren’t just toys. The publisher is Penguin and the book is part of a King Penguin Books series)

Book of toys035

Puss in books

 

cat holding reader

No credit found

As some of you know, I collect images of books in art. I now have many hundreds of images I can peruse. And it’s fun to see the themes and motifs that show up over and over with books like birds, clouds, the moon, butterflies, oh, and Cats. Hundreds of cats, thousands of cats, millions and billions and trillions of cats.

Illustration by Emma Block

Illustration by Emma Block

Cats and books just go together like tea and hearths, rain and solitude.

Sometimes the cats are a subtle presence, barely there:

Illustration by Shawn Fields

Illustration by Shawn Fields

Illustration by Christina Tsevis

Illustration by Christina Tsevis

Illustration by Helen Oxenbury

Illustration by Helen Oxenbury

Sometimes it’s all about the cat:

Illustration by Blanca Gomez

Illustration by Blanca Gomez

Illustration by  Charle Vysotsky

Illustration by Charle Vysotsky

Illustration by Yusuke Yonezu

Illustration by Yusuke Yonezu

Illustration by Celestino Piatti

Illustration by Celestino Piatt

 

Sometimes they’re just part of the ambience:

Illustration by Jun Kumaori

Illustration by Jun Kumaori

Illustration by Karen Hollingsworth

Illustration by Karen Hollingsworth

Illustration by Christopher Silas Neal

Illustration by Christopher Silas Neal

No credit found

No credit found

 

But often, it’s the human, cat and reading experience all entwined:

Illustration by Alexander Sokht

Illustration by Alexander Sokht

Illustration by Sultanov Yuriy

Illustration by Sultanov Yuriy

No credit found

No credit found

Illustration by Linda lee Nelson

Illustration by Linda lee Nelso

Probably the most famous cats in literature are T.S. Eliot’s cats from Old Possum’s Book of Practical Cats. I particularly like his “Naming of Cats.”

The Naming of Cats is a difficult matter,
It isn’t just one of your holiday games;
You may think at first I’m as mad as a hatter
When I tell you, a cat must have THREE DIFFERENT NAMES.
First of all, there’s the name that the family use daily,
Such as Peter, Augustus, Alonzo or James,
Such as Victor or Jonathan, George or Bill Bailey—
All of them sensible everyday names.
There are fancier names if you think they sound sweeter,
Some for the gentlemen, some for the dames:
Such as Plato, Admetus, Electra, Demeter—
But all of them sensible everyday names.
But I tell you, a cat needs a name that’s particular,
A name that’s peculiar, and more dignified,
Else how can he keep up his tail perpendicular,
Or spread out his whiskers, or cherish his pride?
Of names of this kind, I can give you a quorum,
Such as Munkustrap, Quaxo, or Coricopat,
Such as Bombalurina, or else Jellylorum-
Names that never belong to more than one cat.
But above and beyond there’s still one name left over,
And that is the name that you never will guess;
The name that no human research can discover—
But THE CAT HIMSELF KNOWS, and will never confess.
When you notice a cat in profound meditation,
The reason, I tell you, is always the same:
His mind is engaged in a rapt contemplation
Of the thought, of the thought, of the thought of his name:
His ineffable effable
Effanineffable
Deep and inscrutable singular Name.

Illustration by Francois Knopf

Illustration by Francois Knopf

 

 

Gwen White’s Pictorial Perspective

Pictorial Perspective cover

My favorite books to find in used book shops are those that are fun to look through, useful, and not easily available. Gwen White’s A Pictorial Perspective is that kind of book. I found it at Foster’s Bookshop (actually a visiting friend found it but didn’t buy it – thank you, Rachel!). It was published by William Morrow and Company in Great Britain in the 1950s. According to the jacket copy, “Miss White” presents all the fascinating tricks of Perspective “in the pleasantest possible way.”

Perspective has never been my strong suit. I learned only the barest basics when studying art in college. I think the style of my work has evolved to avoid perspective. It is still evolving in that direction.

However, sometimes I can’t avoid perspective. This book will be excellent reference.

At first glance, I thought the book was a children’s picture book. The images are colorful and charming, although they did seem oddly placed on the page.

G White-A Street-image

But then I realized their placement wasn’t arbitrary. It corresponded to the line art on the opposite side.

G White-A Street-line

So if you hold the image up against a light source, (like my window), it shows the perspective used to create it.

G White-A Street-both

Each concept has a diagram and explanation,

G White-Birds Flying-line

and an illustration demonstrating its usage,

G White-Birds Flying

which you can hold to the light from either side to see how the perspective works.

G White-Birds Flying-image

Brilliant!

Gwen White writes in her introduction to the book:

Just as a study of verbs is necessary in order to speak a language, … so is a knowledge of Perspective helpful if you wish to convey a feeling of depth. It is not concerned with Flat Design or Decoration, but it enters into outdoor sketching, scenery, film backgrounds, dioramas, and many book illustrations.

For example, if you wanted to illustrate a book about rabbits in moonlight…

G White-Moonlit Rabbits-imageG White-Moonlit Rabbits-line

or pigs in sunshine…

G White-A Pig In Sunshine-imageG White-A Pig In Sunshine-line

Or mice playing…

G White-Mice PlayingG White-Mice Playing-iline

or a variety of other scenes, Pictorial Perspective will help you.

G White-Another BoxG White-Another Box-line

G White-View Through A Window-imageG White-View Through A Window-line

G White-A Street-imageG White-A Street-line

G White-Going Down and Round-imageG White-Going Down and Round-line

G White-A Road With Brows-imageG White-A Road With Brows-line

G White-A Greenhouse-imageG White-A Greenhouse-line

G White-A Lodge With Gables-imageG White-A Lodge With Gables-line

She called this technique of holding the pages to the light her “lift up” idea.

G White-Mice Playing-imageG White-Another Box-imageG White-A Street-bothG White-Going Down and AroundG White-A Long Straight Road-image

Even the endpapers are explanatory.

Gwen White EP2pinkGwen White EP2 blue

I tried to find out more about Gwen White, but there doesn’t seem to be much on her that is easily accessed. She did illustrate children’s books, and authored a book about patterns as well as others about dolls and toys. She was also a painter who exhibited at the Royal Academy and was ARCA (Associate Royal Cambrian Academy). She dedicates this book to her three sons. I hope to find out more with continued research.

In the meantime, I will continue to enjoy learning perspective in the pleasantest possible way.

THE SPELLBINDING MOMENT

The first time it happened I was at Girl Scout Day Camp, in the oak ravines of Tuolumne county. Camp Apalu. I was 11. We were standing in the closing circle, baking in the sun, when I noticed how beautiful Mrs. Walsh and her adopted daughter Donna were, right there beside me. I grabbed my trusty Brownie Starlight camera and turned it on the diagonal to capture this mother-and-daughter image bathed in sunlight.

I was careful to conserve my film, so I only took one photo of Mrs. Walsh and Donna. But I knew the love of a mother and her daughter would shine through with the intensity of thestainedglassma&child Madonna and Child in the stained glass window of the Little Red Church where I’d spent a few Sunday mornings daydreaming.

I was shocked when I opened my envelope of developed prints and saw Mrs. Walsh in curlers. daycampphotoNot at all what I had seen when I snapped the picture.

 Making art is about creating a vehicle that transfers the image in your head into someone else’s head — through photography, music, dance, art, story, film, etc. On that day at Camp Apalu, the yawning chasm between what I thought I saw and what the photograph recorded was disconcerting.

So you can imagine my delight when the spellbinding moment of imagination did come true.

In the process of creating artwork for LITTLE WOLF’S FIRST HOWLING, John and I traveled to Yellowstone last September, scouting locations. I had my sketch dummy in hand, based on images in books and Googled.

We watched for wolves in the LaMar valley during the day,jklamarheard them howl across the ridges in the evening, saw the full moon rise.

lamarnight

Then, driving through the park, I saw a ridge that looked just like the place I imagined Little Wolf first howled. How amazing! Luckily, this time the photo was the same as what I imagined I saw.

LW bench

We walked up and looked around, taking photos of the sage and grasses, the snags of dead trees and rocks. The specificity of these photos has informed the final art.

GHOSTYTREE

 

I have stood on the grassy bench where the Little Wolf of my imagination first howled.

I wonder if any of you have experienced this convergence of imagination and art in a life experience?

 

LISTEN

I spent a lot of time playing the ukulele in 2015, including ukulele camp at Fort Worden where one of my teachers was Aaron Keim. Aaron and his wife Nicole form the duo The Quiet American, picking and singing their way through the folk Americana songbook. He’s a gifted teacher, too. While leading us through his transcription of John Fahey’s Sunflower River Blues, he advised: “By the time you start working on a piece, you should listen to it so much that it is already living in you.”

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The duo called The Quiet American: Nicole and Aaron Keim of Hood River, OR

I like that idea: listen until it is living in you. I know how that feels for a song and also for a story. In fact, I think songs and stories dwell in the same heartful place.

It is a mysterious process, bringing a story into the world. You head out with a few phrases, a character maybe, a situation. You tell yourself your story, imagine it into the world scene by scene. Pretty soon, if you listen closely, that story you are making begins to make itself, you meet anew the story that has been living in you.

I know I am not alone in this way of looking at the writing process. Back in the early 2000s when I was teaching at Vermont College of Fine Arts, Katherine Paterson often came by. She told us that after a certain point in drafting a novel, she feels her attention switch from generating characters and plot etc. to listening to the story that is already on the page, and shaping the book as that material dictates.

My sister Kate McGee, who is a pastel painter in Philomath, OR, is collaborating with me on illustrations for LITTLE WOLF’S FIRST HOWLING. I ran this listening idea by her. She said she comes to a point in every painting where, if she pays attention, it starts bossing her around in its effort to become what it is meant to be.

We talked about this while looking at the black and white layer I’d just painted for one of the spreads. We were both listening and paying attention to what the piece still needs. I will make the changes digitally, then email that layer to Kate so she can add the color. We are new to using Photoshop for our artwork and are swimming upstream – but how fun to work together on a project!

And it’s great to have another pair of ears to listen as we find our way through the woods.

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Final spread for Little Wolf’s First Howling, due out from Candlewick Press in 2017.

(to hear The Quiet American play Sunflower River blues on the ukulele click here)