Tonight in Boston

For those of you in the Boston area, Daniel Handler (of Lemony Snicket) and Stephin Merritt (from the band Magnetic Fields) are appearing tonight at 7 pm at the Natick High School. I hear they put on pretty fun book events! Its free, you can get more info at the Wellesley Booksmith, 781-431-1160.

find the spotted dog

Chris Van Allsburg has a new book out. Whether you love it, hate it, or are neutral about it is irrelevant to my little game, which I will call "find the spotted dog." In every book (I couldn't find him in one, but I know he MUST be there) there is a spotted dog. Even in the Two Bad Ants you will find this dog. Sometimes this dog is a piece of pottery... or a toy... or a tiny floating speck... and sometimes he's an actual dog. If you'd like to play my game, tell me where the dog is in every book you can get your hands on. I can't remember the book I can't find the dog in, but I'll let you know soon. That book, especially, I would like to know where the dog is.

Get hunting!

In a similar topic, do you illustrators out there feel the need to sneak something into your illustrations?

meghan

hola from Oregon

Alvina is in Oregon for an SCBWI retreat, but she left behind this
teaser from her speech:

So if I am to tell you about my path to publishing, I have to decide
where it all starts. Just as Scout and Jem discuss at the beginning of
To Kill A Mockingbird, I can take a broad look at what started it all,
or a narrower view, so I'll do both. One place where it all starts is
when I was a little girl. My father likes to tell this story to his
friends, especially now that I'm an editor, and to be honest, I don't
remember it at all. He talks about how he used to read books to me
when I was little, and that at one point I asked him, "Daddy, why do
all of the kids in the books have yellow hair?" And he didn't really
have an answer for that except to say, "Well, that's how the author
made them" and he says I said, very emphatically, "Well, when I grow
up, I'm going to change that!"

I asked my father recently if that story was really true, and he swore
that it was. I just think if I had remembered that as I was growing
up, I would have saved myself a lot of time...

the upside of being not focused

I present to you my top 5 great reasons for being not focused--

1: I wrote and recorded a song today. I can now blast this silly techno/chill out music complete with my own vocals using the new 150 dollar mic I bought yesterday, which I will write off because I'm going to make a dramatic audio version of my book Aliens Are Coming (yes, I know, this is very exciting... perhaps only to me)

2: I don't have any more dishes to wash

3: I've bought a lot of plastic bins to put things in. My new motto is the more containers, the better!

4: I stole some tintype photos from my parents' house and I have now arranged them in a pretty manner on my shelves

5: I've gotten myself all excited over my new makeshift studio. Okay, okay, I'm OBSESSED. I have a bad combination of ADD and obsessive compulsiveness. ALL I CAN DO RIGHT NOW IS MAKE MUSIC.

Ugh, it's all very draining. I tire myself out.

Now, this is the ONE reason I NEED TO BE FOCUSED! A book is due, damn it. What is wrong with me?

When I become more focused I'll write something proper. Probably in an hour... so stay tuned.

Lovingly,
meghan miss distracted super star recording artist

p.s - if I can figure out how to put my music on the web, I'll let you all know. Anyone know how to do that? it's on my itunes.

The down side of being focused

Shortly after I wrote my comment on Anna’s post last night (the one about the joys of being unable to think about anything other than one’s work), I went for a walk on the beach. The stars were out, and I was, as usual, thinking about my novel, my new one – really concentrating on it, concentrating so hard that I walked off the edge of a jetty (thinking the beach was on the other side) – it was, but about four feet below me. I stepped into air, like those cartoon characters.

Only I didn’t walk on air the way they do – I fell, heavily. I must have put my foot out, expecting it to stop on the sand a foot or so below – and when it landed on air, lost my balance. As I fell, my head, elbow, and back crashed into the wooden wall of the jetty. This really hurt!

It’s the kind of thing that happens a lot when I’m really into a book…but I don’t think (for me) there is any other way to write novels, useful as it would to be more balanced, literally and metaphorically.

Marathon painting

I am a week short of a deadline and painting like a maniac. Recently a 9 to 5er pointed out that as freelancers we don't HAVE to do everything at the last minute... painting into the wee hours, and ignoring any and all other commitments to make a deadline. Its true and a really good point I think that many times there is an option, that a carefully planned out schedule could prevent the last minute crunch that often happens. Now granted there are times when a publisher will rush you, spend a long time with revisions and then expect that you can magically cut your work time in half to make the deadline. But that is not always the case.

Often times I think we illustrators (and writers perhaps too?) let this situation happen on purpose. There is something about the momentum of focusing ALL your time, energy and attention on one thing that is really gratifying. Its like a little break from your ordinary life where everything becomes really simple and your paintings become the only thing that is important. Even when you are doing other things... eating a meal, talking with a friend, making the occasional venture outside the house, your creative mind is still engaged. Sometimes in the middle of a conversation about, I don't know, the weather or something, I will bust out with "WAIT, thats what I need to do, a little more green!" Usually the comment is met with silence. Or if the person knows me, they'll just say "Go."

This kind of feast or famine intensity is something I've struggled with over the years. There is something satisfying about it, and yet as I get older, sometimes I don't want such an extreme lifestyle. Sometimes I want to be able to disengage and go to the movies, without obsessing about the project at hand. But its a tough balance to strike. Sometimes I just think this is the nature of the beast.

Guest Blogger: CHILDREN’S POETRY AND THE CINDERELLA SYNDROME, Part II

Guest Blogger: CHILDREN’S POETRY AND THE CINDERELLA SYNDROME, Part II

Elaine M. was an elementary school teacher and librarian for over 30 years. She is now an Instructor of Children’s Literature at BU, President of MA North Shore Council of the IRA, and on the advisory board of the Keene State College Children's Literature Festival, as well as a gifted poet. Elaine is a passionate enthusiast of children’s literature. This is Part II of her guest blog.

I am a passionate proponent of children’s poetry. I want to spread the word about the importance of sharing ALL kinds of poetry with our children. Too often their exposure to the genre is limited to the humorous verse of Prelutsky and Silverstein. Kids love it! I like it, too. But we should lead our youth beyond the confines of this popular children’s poetry and introduce them to the works of our finest children’s poets—and to poetry that will challenge them, to poetry that will stretch their imaginations.

Two questions: Would anyone think it best to expose children to one type of fiction—just fantasy, perhaps? Would anyone espouse the practice of reading children picture books written by just one or two particular authors? Not anyone in his/her right literary mind! Yet, it seems there are few individuals lamenting our children’s limited exposure to poetry. This disheartens me. Let me explain why I feel as strongly as I do about this subject.

There are things I learned from my experience teaching in an elementary school for more than thirty years. Most children enjoy—and many even relish—poetry when it is read or recited by an adult who loves it. They delight in the rhythm, rhyme, and clever wordplay found in poems written by such masters of the genre as Mary Ann Hoberman, Karla Kuskin, Aileen Fisher, Lilian Moore, and David McCord. Most will also grow to appreciate poems that do not rhyme—poems written by authors like Arnold Adoff, Janet Wong, Eloise Greenfield, Joyce Sidman, Alice Schertle, Tony Johnston, and Kristine O’Connell George. Children can be so inspired by a poem they have heard that they will write an original poem as an artistic response. And when children are immersed in fine poetry, they begin to internalize poetic elements and to develop an understanding of and appreciation for figurative language, imagery, and metaphorical thinking.

Over the years, I witnessed how the reading and writing of poetry with my students helped them to reach inside themselves, to unlock original ideas and thoughts, and to find their own unique voices. There were times when I was awestruck by the poetry they created. Some of my second grade students even modeled their poems after the works of such esteemed authors as Myra Cohn Livingston, Valerie Worth, Barbara Juster Esbensen, Marilyn Singer, and Alfred Lord Tennyson. Poetry definitely enriched my classroom and the lives of my students. I know this not only from what I observed in the classroom—but from letters I received from parents and students at the end of each school year.

One June a mother wrote: “When Kate sits in our window and responds to the moon and stars by writing poetry, I glow with happiness.” Another mother wrote: “Thank you so much for helping Alex discover his ‘new eyes’ in your class. Your love of poetry and music enriched him…” In his letter, Sam said: “…And I love the poems you read to us.” Noah wrote: “When I read poetry, that encourages me to write poetry. Writing poetry gets my imagination going.” Notes such as these reinforced my belief that poetry—all kinds of poetry—should be an integral part of every child’s education.

Poetry has been a genre too long neglected and too often overshadowed by other children’s literature. For years, I have been on a mission to bring it out of the shadows and into the limelight. Unfortunately, there is only so much enthusiasts like me and a few respected anthologists and advocates like Lee Bennett Hopkins and Paul Janeczko can do to achieve such a goal. I encourage all bibliophiles—teachers, librarians, authors, illustrators, editors, publishers, reviewers, parents, booksellers, children’s literature bloggers, and experts who sit on awards committees—to join in an effort to see that poetry for children is acknowledged as an equal, is invited to the royal ball more often, and when it arrives at the palace, is escorted down the red carpet to the grand hall where it can bask in the attention that it truly deserves.

Guest Blogger: CHILDREN’S POETRY AND THE CINDERELLA SYNDROME, part I

I’m happy to introduce our first guest blogger, Elaine Magliaro! “Elaine M.” was an elementary school teacher and librarian for over 30 years. She is now an Instructor of Children’s Literature at BU, President of MA North Shore Council of the IRA, and on the advisory board of the Keene State College Children's Literature Festival, as well as a gifted poet. Elaine is a passionate enthusiast of children’s literature. She is the kind of champion children depend on and authors are honored and privileged to call friend. This is her blog post:

CHILDREN’S POETRY AND THE CINDERELLA SYNDROME, Part 1

Poetry is the Cinderella—pre-fairy godmother—of children’s literature. It is often a neglected genre in the school curriculum. It is usually relegated to the servants’ quarters of education. Schools do not purchase multiple copies of poetry books for teachers to share and discuss with children in reading groups. Many teachers—and, sad to say, librarians—are unfamiliar with the names of some of our most accomplished children’s poets and their works. And most administrators consider poetry a frill, as literature to be shared with children—if shared at all—when there is that rare free moment in the school day.

Alas! Children’s poetry usually doesn’t get invited to the royal ball either. It is seldom honored with the “big” award. To my knowledge, just two poetry books have been recipients of the Newbery Medal since 1922: Nancy Willard’s A Visit to William Blake’s Inn in 1982 and Paul Fleischman’s Joyful Noise in 1989. Surely, there have been other poetry books published over the years worthy of acknowledgement. Am I mistaken to infer that the people who are most knowledgeable in the world of children’s literature also perceive poetry as a genre that is less important than fiction and other nonfiction? Why are there so few Prince Charmings willing to squire Cinderella Poetry around town unless she’s all dolled up for a special event? If I were Rodney Dangerfield, I might opine on the state of poetry for children: It don’t get no respect.

Furthermore, one is likely to find few poetry books written by authors other than Jack Prelutsky or Shel Silverstein on the shelves of chain bookstores. Me thinks children’s poetry is in need of a very aggressive fairy godmother! Well, I hope it will have a mentor with magical powers in the person of Jack Prelutsky himself. Prelutsky was recently named our first Children’s Poet Laureate by the Poetry Foundation. Maybe he will be able to wave a wand and do what no one has ever done before: Bring children’s poetry into the spotlight where it can shine and shimmer and have an abundance of positive attention bestowed upon it. Maybe he will raise the profile of poetry so it will no longer be treated like the stepchild of children’s literature.

To be continued (Part 2 tomorrow!)...

my book gets political!

It's not often that I get THIS giddy over stumbling upon a book mention in the news. This one, though, makes me smile. A lot. If you know me, then you'll know why. I won't get into a long political rant on George W. but I will say this--no, I didn't vote for him and yes, I've attended several protests. So, this is just the best thing ever. George really is upside down.

http://www.azstarnet.com/sn/related/148111.php

Just scroll to the end. You won't be disappointed!

Long live the book that I thought was dead! Doing the political dirty work! Yes!

Bid!

Grace and Anna's art for Pet Project is NOW on auction.

Grace's February Lanterns HERE.

Anna's Spring on a Leaf Mound HERE.

Both pieces benefit The Dana-Farber Cancer Institute where Grace's husband is treated. Please BID!

Check out the question of the week...

Everyone (well, everyone but me since I couldn't figure out how I'd answer) has now responded to the question of the week, and I find it so fascinating and cool to see how people's styles have shifted and changed over the years. Check it out here!

Do you remember your second?

"The work of Liao, a beloved Taiwanese cartoonist, offers a meditation on blindness that will stay with readers long after they have closed the paper-over-board book."--Publisher's Weekly (starred review)

I'll always remember my first, and I'll always remember my second, too. After that things get fuzzy.

My second book acquisition, back when I was still an assistant editor, was The Sound of Colors by Jimmy Liao. This book was unlike anything we had ever published, and it took a long time for us to figure out how to publish it the right way, which is why, even though it was acquired back in early 2003, it didn't come out until March of this year. I meant to write about this back then but never got around to it, and since I was casting around for a topic to write about today, I thought I'd take the opportunity.

Sound of Colors was originally published in Taiwan as a 128-page graphic novel for the adult market. Jimmy Liao is somewhat of a superstar in Asia, and his books have been made into major motion pictures (Wong Kar-Wai!), plays, and all kinds of licensed materials (bookmarks, toys, mugs, snowglobes, etc.). But he was virtually unknown here in the states, with just one book published in English, A Chance of Sunshine published by a graphic novel publisher for the adult audience.

The agent thought that Sound of Colors would make a wonderful children's book, and gave the original Taiwanese edition to my boss to review. My boss, knowing that my family is from Taiwan, passed it on to me to review. This was right during the crazy time after our move to New York, so submissions were the last thing I was concerned about. I glanced through it quickly and loved the illustrations which I thought were similar to one of my favorite illustrators, Peter Sis. But because of its length, I didn't think it would be something we could publish on our list, and so I added it to my reading pile to deal with later. Eventually the agent called to tell us that there was an offer on the table from another publisher. So I sat down with the book and took a closer look. And...wow! I was mesmerized by the illustrations, page after page. I read the rough translation the agent had supplied, which didn't seem quite accurate, and also didn't really make sense, but it was haunting, and melancholy, and beautiful. It was about a young blind girl dealing with her recent disability. She travels through the subway system with her little white dog, and each stop is a different and magical world. She lies on the back of a whale, swims with the dolphins, flies in the air like a bird, and even travels to the end of the world. I knew I had to publish this book, and so I wrote a long memo to my boss about why I loved the book and why we should sign it up.

The next day my boss brought the book and my memo back to me and said, "I'm not going to say no, but you're going to have to figure out how to publish this. Show me your vision for this book, and then we'll see about bringing it to pub comm." I said okay, and got to work.

I spent hours color copying the entire book, then deciding which spreads to keep. I had permission from the agent to cut the book down to 96 pages, so I chose the images carefully--it was so hard, though, because I loved every illustration. I rewrote the text myself (not very well, but good enough for now), cut it out, and taped it to the color copies. When I was satisfied, I showed it to my boss who gave her approval to bring it to our acquisition meeting, but I could tell she was skeptical about its chances. This was to be my first of many attempts to use pure passion to get a project passed.

I spent hours...days, even, on the proposal. Writing the cover letter, honing the text, making copies, writing and practicing my presentation, getting costs and running different P&Ls (profit and loss). Well, I needn't drag out the suspense, since obviously you know we published the book. Everyone loved it, knew it would be a risk, but wanted to publish it anyway. One of our Sales managers, who is now a Sales Director, went absolutely crazy over the book, and she had just been looking at a black and white copy.

As I mentioned earlier, it took a long time to figure out how to do it right. We needed to figure out the production costs--how to publish this long, full-color illustrated book in hardcover, and be able to charge less than $17 so that it could go on the picture book wall. We finally settled on an 80-page, paper-over-board book. We hired an adapter to help choose the illustrations and shape the text and make it sing poetically in English, and also make it appropriate for the picture book audience while retaining the tone and message of the original. Sarah L. Thomson did a wonderful job, and I think this book is just as much hers as anyone's. Credit also goes to the designers: art director Alyssa Morris, and the freelance designer, Sue Dennen (who used to work in our Boston office).

I am incredibly proud of this book, partially because it was such a challenge. And I'm even more thrilled that we've gotten such a great response to it: a starred review in Publisher's Weekly, a Book Sense pick, and a Borders Original Voices nominee. And perhaps best of all, it received a glowing review from Fuse#8, before I knew who Fuse#8 was! (I first read her review on Amazon.com, and it wasn't until a month or so ago that I connected the two.) It's doing quite well, and is in its second printing. We've signed up two more books, with The Blue Stone set to come out in Spring 2008.

One of my favorite things about this book is that it works on so many levels. Young children will just delight in poring over the illustrations. Older children will understand that this is about a young girl overcoming her disability. And adults will have their own interpretations. There are so many layers to the work.

I hope you guys don't mind that I occasionally write about the books I edit. I enjoy telling the behind-the-scenes stories, and want to help introduce the books to the world. And so hey--if this inspires you to go out and buy the book, I'm not gonna stop you! You won't regret it. As I said in the back cover copy on the book, "Jimmy Liao celebrates the power of the human spirit. This is a moving, magical journey readers won't soon forget."

ON THE BESTSELLER LIST

Joy Behar's book is #3 on the NYT bestseller list. That didn't take long!

CELEBRITY BOOKS KEEP ON COMING!

Who's the latest celebrity to jump into the kids' book ring? Queen Latifah. Last week it was Joy Behar with shitzu-caca-poopy-pants or whatever it's called. I haven't read either of these books so I won't make comments about them, but for the most part, celebrity PBs S-T-I-N-K. I wonder what the editor was doing. Perhaps he/she was making paper doilies or playing solitaire on the computer to fill the void. I don't know. The thing is that the well-known children's book authors, the ones who got well known without prior status via Caldecott, etc., do the same things sometimes. I have to wonder about Sendak's collaboration with Kushner.

So my question is--is this industry about making good books or knowing how to market bad ones? Unfortunately, I've concluded it's the later. Every time I hear about how a book hit the bestseller list I then hear the rumors of how it got there. I'll hear "Oh, well that book was done by so-and-so's husband" or "They decided to make it a bestseller before it was even created and talked it up at every conference and used lots of stickers and toys that made noises..."

Do you guys think famous faces are helping the book industry by getting parents who would normally go buy a Sponge Bob book for their toddler to think more about more quality picture books instead? Or do these potential buyers race right into the bookstore and refuse to look at other options? Are bad books making shoppers think that ALL kids' books are bad? I have concluded, since I work in a bookstore, that CELEBRITY BOOKS DON'T HELP. Please tell me if I'm wrong because I'd love to hear it.

What I'd like to do is start a campaign called STOP THE CELEBRITIES. I will do so but showing up at their jobs. I will go on Good Morning America and shove Mr. Weather Man off his chair. I will then BADLY predict the weather by announcing that it will be sunny for 2 straight years and demanding that all umbrellas be destroyed. Then I will jump over to the latest TV set and swap a few lines with Ray Ramano. I will ruin this by sounding like I have turetts and repeating the word "boob" over and over again. I'll tell some really bad jokes about chickens on the Jay Leno show and I'll follow this up by boxing a few rounds. Of course, I'll cheat by kicking and then the match will be called off. I'll RUIN EVERYTHING. The funny thing is that my antics and bad showmanship (like William Hung's 15 - www.williamhung.net) will make me a celebrity and then my books will sell millions. Hmm. I have always thought I have some singing and acting ability... I have always thought I have STAR potential....

meghan

Coming Soon!

We're happy to announce that many of the features that we've been hinting at are now about to bloom. Guest bloggers, contests, discussion topics--the seeds that we planted have been growing. Stop by this Sunday for the first of our guest bloggers (the mysterious Elaine M.)...and stay tuned for the rest!

Writing and cooking (or, good writer, bad book?)

I’m a confident, experienced cook. I make up some things and learn others from cuisines I like (right now I’m out in the sticks and teaching myself how to make Thai food – and these dishes will eventually influence mine, probably). But this blog isn’t about food -- the point is that when I cook, I’m not at all afraid to make things completely unlike anything I’ve ever tried, and I’m not judgmental, either. If a dish or a meal isn’t as good as I hoped it would be, I either think of ways I could make it better another time or decide it isn’t worth making again. I don’t think “I’m a bad cook” (though I do sometimes think the idea was bad!) – I just think: that’s how I learn, that’s how I get better.

But when I write something bad (as I did last week: a truly terrible story, for an age group I don’t usually write for), I think I’m a terrible writer, I’ll never write anything good again, why do I think anyone will ever want to read my work blah blah blah.

A few days ago when I was riding my bicycle I reminded myself that good writers sometimes produce bad work. I recently got The Racketty-Packetty House by Frances Hodgson Burnett (reissued for its 100th anniversary), which I made the mistake of buying online sight unseen – and HER bad book didn’t make me think SHE was a bad writer. I just remembered The Secret Garden and the fact that she was a widow with 5 or 6 children to support!

I also remembered one of the BRGs reading some comments I’d written on an old story and saying, “You’re so mean to yourself!” And I decided to just start writing the way I cook. Even if I never manage to create stories as fast, or as easily, as I can make dinners, I can still try new things and decide about the ones that aren’t good the same way.

So far it’s working, and I’m not asking for advice on this story – but I AM curious about how you agents and editors (and librarians, if the story makes it to publication!) out there respond when a trusted writer turns in something out of the box – and awful. And what do people think about writers and illustrators switching genres?

Sending out seeds

Writing and illustrating books is a little like sending little seeds out into the world to blow in the wind and find their way. This week I have been up to my knees in paper and tape- making book dummies for submission into the great wide world of publishing... 5 x-acto blades and 6 rolls of double stick tape later I left this pile on the floor of my studio (yes I had fun playing with it, and yes there is more than one book here):



and this neat pile on my desk, ready for fedex:



Fingers crossed for my little seeds. And my apologies to all the trees that were destroyed in the process.

SCBWI debate

There's an interesting discussion going on over at Fuse#8 regarding SCBWI.

technical details

After summer vacation, I'm getting ready for school visits. Last year I received quite a few inquiries about my ipod/projector set up, so I thought I'd run over my specs....for those who want to know.

Yes, I do use an ipod when I have a presentation that needs to be projected. This makes me seem like I am a technical whiz, but I am not. I can't turn on my TV (I'm not joking), I'm always a little worried when I download music and the idea of online billpay fills me with fear.

So why the leap into gadgetry? Well, my laptop is heavy (I am a weakling). Also, everything is on my laptop--financial info, stories, medical info. I'd rather not lug it around to schools and have a student accidentally knock it off the table. Or lose it on an airplane.

So to make this set up work, I needed a photo ipod and the Apple ipod AV cable to attach it to the projector (it's about $20). Any projector with an RCA input should work. Then, I transfer my slides as jpegs over to your ipod, they can be 72 dpi. I name them in the numerical order that I wish them to be shown. I bought my own projector (a small one, INfocus E70), to test it and to save the stress of equipment worries. It's been easy, flawless, no problems or stress over whether the equipment will work and everything fits in a lunchbox, about 2-3 pounds. There probably is a certain amount of image degradation, but I'm not picky about those things and it is not that bad. People can still read the images I project, it's not like it looks like it is on a moving train.

Cons are you have to stand next your ipod, I don't know if there's some kind of remote. This has not been a problem for me as I used to stand by my laptop. Also, my projector is quite quiet. When I do a presentation in front of a large audience that I need to stand in front of, usually I ask a teacher, student or friends to hit the button for me. Also, I found that the ipod battery for projecting is about 1-2 hours--I'd only trust it w/o a power chord for one presentation. If you are doing a whole day of slide lectures, you will need a 2nd extension chord to power up the ipod. Still worth it for me, as my laptop battery is only good for an hour as well. And an extension cord is a lot easier to carry than a laptop.

So the only thing I have to remember when I do a set up is that the yellow cord goes into the yellow outlet. Not too hard, even for me.

P.S.: This is an early invitation (and completely off topic), but please come to my party!

Question of the Week: What are your thoughts on style?

Our question of the week is: What are your thoughts on style?(For example: How would you describe your own, and how do others describe it? Is style something the creator develops unintentionally? Are there those who foster or even strive toward a certain style in their work? Do you ever feel tempted/pressured to confine yourself to others' perception of "your style"?)

Please send us some new questions! Ask in the comment area or send us an e-mail at bluerosegirls at gmail.com

MEGHAN:

Oh boy, style! Here is a sampling (large, sorry!) of what I did in college:










I tried different mediums... different looks--realism, collage, cartoons... things in-between...

One teacher told me to do landscape paintings and get gallery work (he said I had the talent to do so). Another teacher told me that not many people can do photorealism so I should do romance novel covers (I decided that wasn't for me!) and a bunch of teachers told me NOT to do kids' books (perhaps it was the "smoke" illustration that did it). I tried EVERYTHING and was confused for a long time. But as time went on I found myself doing the cartoon stuff more than the rest. I thought it was fun and I decided that photorealism wasn't of much use since a photograph was about the same. So slowly... slowly... a progression happened and now I'm doing cartoons today! My cartoon work, of course, has some realism in it, if you look close enough.







ANNA:
Style is a hard thing to define, and an even harder thing to teach someone to create... I guess because your approach to composing a picture is so personal, and depends on so many factors. I think ultimately the only way to discover your own is to be very prolific with your experiments until you start to notice what throughout your work is consistent, the thread that ties together your work over the years. My style evolved out of a love for drawing from life (figure drawing, observational drawing). I spent my time as a student rendering very careful portraits in black and white such as this one.

When it was time to corral my work into an illustration style, I used the same cross hatching technique in my figure drawing to render my children's book characters. Instead of charcoal, I used pen and ink, introducing soft watercolor washes over the linework.

As my work has evolved over the years, I've let paint and color play more of a role, depending less on the black and white linework that I used so much as a student. I'm experimenting more with graphic shape and texture, things that I think were always present in my work but now I play with them differently.

I think for most people, their style is ever evolving. It is important to be recognizable, but also push yourself as an artist to refine, and sometimes redefine, your approach to making pictures.



GRACE:
In school, I spent a lot of time trying to draw realistically, imitating others and trying to prove to people that I could draw. But I was never fully comfortable with what I was doing--I was always searching for my own visual voice. I remember feeling this especially when I was studying in Rome, Italy. Here I was, a contemporary Asian-American imitating Renaissance Italians. Where was I in my own work? I actually did a whole series of paintings of me looking for things--I was cataloging my search literally in my paintings.

It was only when I decided to put all my classical training aside and said to myself, "Okay, I'm just going to paint something that makes ME happy," that I really hit upon the start of my own "style." Even though this new painting lacked a lot of the sophistication of my earlier work, I really felt I had created something that truly showed the joy I had while creating it and was something uniquely me. So I have continued in this direction, polishing and growing. I love patterns and color, so that is dominating character in my work. Though, now if I don't paint swirls in the sky the publisher comes back to me and says, "You forgot the swirls." Somehow I have branded myself as a swirly sky painter. But I don't really mind-- to be honest, now if I leave the sky blank it doesn't feel finished!



LINDA:
Some artists seem like chameleons in their range of style, others always seem to have a constant tell tale trait in whatever they do, like me. I've tried to change my style, but despite different media, different subject matter, it always looks like me.

I think style comes about as much through weaknesses as it does through choices of personal taste. Every artist develops ways of getting around the things they're not good at, or just don't enjoy doing. I'm not talking about cropping people at the knees because you can't draw feet. But if you don't enjoy edge work, you might utilize line to distinguish figures from background, for example. I find it difficult to make people realistic and organic, so my characters are slightly formalized and posed. Of course, I enjoy medieval art very much more then realistic portraiture, so I look at medieval art a lot more, so there's a lot more of that in my brain to influence me.

Rome was a turning point for me too. I got messier, less precious, and darker there. On returning I couldn't do delicate watercolor anymore. Once in a rage I destroyed a hopeless watercolor painting with sandpaper and acrylics, and my new technique took off from there. But the style has stayed pretty much the same.


Images: a pre-RISD watercolor (1990), an oil from the Rome Program (1995), and an acrylic from a Cricket cover (2006).






LIBBY:
My style just evolved from reading and writing -- stories when I was a child, thousand-pages journals mostly writing down other people's conversations and all the drama of the age group as a teenager. I never think about my style -- though I do edit fiercely and clean up before sending things in; otherwise my writing can get too conversational and blabbery -- but my best writing just comes and I leave it alone after that. I don't want to analyze or describe my style; I'd sound like a pompous English teacher, the kind who makes people hate reading. I'll just say my style suits me and leave it at that.

Structure is something I AM thinking a lot about these days. For me, it's much harder than style, and too often seems super-imposed on a novel rather than growing out of the characters.