Yippee Skippy! I won an award!

Hi there creative friends! 

Last weekend I was delighted to attend SCBWI SanFrancisco's Illustration Intensive. It was absolutely brilliant!  (A big thanks to the SCBWI-SF South Team!)

 I was able to listen to Dan Santat, David Caplan and Kristine Brogno inspire us illustrators on how to approach our craft.  It was a lovely day and I am still digesting all the knowledge that was imparted by these industry giants. And I'm pleased to say that I won an Honorable Mention at the Illustrator Portfolio Showcase! 

Left to Right: Dan Santat, Honorable Mention Winner - Deborah Melmon,
Best in Show Winner - Jun Cheng,
Honorable Mention Winner -Me (!!), David Caplan 

Squeeeee! Happy dance!

2016 SCBWI-LA, Part 2: Illustration Intensive Brilliance

I am a big Illustration Intensive fan. Creative people, in this industry, have to be life-long learners. Sophie Blackall, this past weekend, talked about herself improving as an artist and compared it to yoga. Even when you are improving, you can always stretch deeper, reach farther... I love that analogy!

I was particularly excited for this intensive because I have never done am intensive that focused on character design.  I am sure you are familiar with #WeNeedDiverseBooks. This is something I feel really passionate about. I've moved around a lot, and many of my friends and their kids, that are from a variety of different ethnicities and races, are not usually represented in picture books. So this intensive started off by prompting us to draw someone from a specific race or ethnicity, from our imagination, and afterwards by reference. After using my imagination (which was occasionally reliable for this sort of thing), it was incredible to see reference of a broader spectrum and larger variety of people belonging to a certain race or ethnicity.

Next we analyzed facial expressions and were prompted to illustrate that emotion on an animal or object. This was all very fast paced... you had to be on your toes in this intensive! One of the prompts that I had a hard time wrapping my brain around was an angry barn. I wish you could have seen the other illustrators designs. There was so much talent in that room. Here is my very disgruntled owl for you. :)

Art director Laurent Linn, who worked in Sesame Street for many years, brought some puppeteers to act out some seenes for us. Something interesting I found out was that a majority of the puppets in Sesame Street are not built with a smile. So when you think you are seeing a smile, or a warm expression, or conversely an angry expression... it is ALL body gestures. 

Later on, we watched some live actors act out scenes or emotions. They emphasized that the less cliche their actions were, the more sincere and impactful the moment could be.

It really was a brilliant intensive. Before we came to the intensive, we were all asked to bring studies of 3 original animal or human characters. Here are mine:

We analyzed what was working and what was not working. Afterwards, we had some time to synthesize what we had learned and to sketch our characters. I think I want to develop a story out of this little witch. 

Anyway, it really was peachy. Next time I create a character, I will have a lot more to think about. Alrighty, back to work. Good luck to you and me on our projects!

Illustration Intensives: Intensely Beneficial

Lauren Rille 

Hi there creative friends! I was at an Illustration Intensive this last weekend, hosted by the SCBWI-San Diego Region, featuring the the insightful, and totally entertaining, Associate Art Director,  Lauren Rille, from Simon and Schuster.

(You can follow her on twitter, and if you would like a sneak peak at her design savvy, check out her blog.)

I love going to conferences, but I especially love going to illustration intensives. The purpose of an intensive is to bring you back to art school (only the knowledgeable professor is replaced with an insightful art director). The assignment is suppose to replicate what working with an art director is like.

Months before the intensive, Lauren sent us the text to a picture book. She asked us to create a thumbnail dummy  (or teeny tiny drawings that map out the pacing of the book). From those thumbnails she asked that we send her 2 roughs (or more finished drawings) of the spreads that we wanted to illustrate. Once we turned those in, she would email us a critique. We were to bring the revised thumbnails and 2 final spreads to the intensive, to be critiqued as a group.

The text we got was a sweet and very young picture book called Baby Love by Angela DiTerlizzi and illustrated by fellow Mentee Brooke Boynton Hughes. I'll be honest, I pulled a few hairs out trying to think how I could illustrate the text differently, especially since Brooke did such a gobsmacklingly wonderful job.


After drawing what seemed like a million and two families with babies, I finally decided to put this family in space... going on a spacewalk, with them bringing their baby home to sleep at their colony on Mars. (Everything is better in space, right?! ;)

Here's what I sent in:

Stick figures in.... SPAAAAACE!!!

This is one of the roughs I sent in. (I do my roughs... extra rough.)

Doesn't this sweet face make you weep?!

Lauren responded with a very helpful critique. She mentioned one reason she had prompted our group with this particular text was because babies are so hard to illustrate; people often get the proportions wrong. So I decided to do some more "research" on babies and ended up waxing nostalgic, thinking of my kid's infancy. Something that I noticed is the lack of neck and the adorable potbelly. Lauren also said babies barely have any eyebrows or eyelashes.

So armed with a refreshed knowledge that babies are not  just miniature adults, I went back to the drawing board and sketched another million babies. 

I redid my thumbnails and revised my roughs.

My sketches are starting to get tighter here. 

Next, I scanned my drawings in, printed them out on Arches 140lb, and painted with watercolor. 

Then I scanned the watercolor in and painted in some digital layers.

Finally, after all our blood, sweat, and tears, we went to the intensive, and had our illustrations critiqued. This is what I submitted:

(You can click on them, to see closer,  if you have ancient eyes like me.) 

If you are not already a believer, I strongly urge you to start doing illustration intensives. (You can check out if there are any intensives in your neck of the woods here.) I've been to many of them in different regions, and I've always learned something about myself as an artist, or about how art directors interact with illustrators, or even whether or not my style is right for that particular art director or publishing house. You have nothing to loose and everything to gain.

Alrighty friends, thanks for dropping by and happy illustrating!