Madame Saqui, Revolutionary Rope Dancer written by Lisa Robinson and published by Schwartz and Wade is out! As soon as this manuscript landed on my desk in 2017, I knew I wanted to illustrate it. Set against the backdrop of the French Revolution, the book celebrates the incredible rope dancer who d
Rebecca Leigh Longendyke — born in 1996 — Germany
A few pages of pencils from an unfinished comic, “Margo in Bed,” that I was working on in 2010 and 2011 I had a lovely time visiting MOCCA this last weekend! Thank you to everyone who came to my talk!
Smithereens: [smith -uh-reenz] Plural Noun. 1. Small pieces, bits. Smithereens are tiny pieces, fragments of a larger thing. In this series of blog posts, I share small slivers of my process, thoughts on materials, and insights into the larger world of illustration. W hat goes on behind the ill
A few more disparate pages from my unfinished comic “Margo in Bed,” from 2010 - 2011
"Grandpa, is it true that Hanukkah isn't really a very important Jewish holiday? Rebecca asked.
Smithereens: [smith -uh-reenz] Plural Noun. 1. Small pieces, bits. Smithereens are tiny pieces, fragments of a larger thing. In this series of blog posts, I share small slivers of my process, thoughts on materials, and insights into the larger world of illustration. A couple of years ago whe
Rebecca Mook è un'illustratrice americana che trasforma i suoi lavori in gif illustrate.
A few more disparate pages from my unfinished comic “Margo in Bed,” from 2010 - 2011
Smithereens : [smith -uh-reenz] Plural Noun. 1. Small pieces, bits. Smithereens are tiny pieces, fragments of a larger thing. In this series of blog posts, I share small slivers of my process, thoughts on materials, and insights into the larger world of illustration. D rawing people was 'easy'
Get more from Rebecca Green on Patreon
Smithereens: [smith -uh-reenz] Plural Noun. 1. Small pieces, bits. Smithereens are tiny pieces, fragments of a larger thing. In this series of blog posts, I share small slivers of my process, thoughts on materials, and insights into the larger world of illustration. A couple of years ago whe
A few more disparate pages from my unfinished comic “Margo in Bed,” from 2010 - 2011
What are the hardest things to draw? HORSES. I drew a horse in fifth grade with pastel and it was so difficult, I almost gave up on my dreams then and there. (Where is that drawing now? Probably in the trash). So, when I got the invitation from Kate, my editor at Houghton Mifflin Harcourt
Smithereens : [smith -uh-reenz] Plural Noun. 1. Small pieces, bits. Smithereens are tiny pieces, fragments of a larger thing. In this series of blog posts, I share small slivers of my process, thoughts on materials, and insights into the larger world of illustration. D rawing people was 'easy'
My favorite way to celebrate a book is by sharing the illustration process. Not only do I think it’s an interesting insight, but it helps me remember all the decisions I made to get from manuscript to final. For the illustrations in Kafka and the Doll, I feel proud of the simplicity. The process of
My favorite way to celebrate a book is by sharing the illustration process. Not only do I think it’s an interesting insight, but it helps me remember all the decisions I made to get from manuscript to final. For the illustrations in Kafka and the Doll, I feel proud of the simplicity. The process of
Smithereens: [smith -uh-reenz] Plural Noun. 1. Small pieces, bits. Smithereens are tiny pieces, fragments of a larger thing. In this series of blog posts, I share small slivers of my process, thoughts on materials, and insights into the larger world of illustration. W hat goes on behind the ill
Picture Book Illustrating Course Part 2 Composition and Narrative Last week we looked at the importance of style and characterisation in picture book illustration. This week I'm going to waffle on about the other two things that make a winning illustration portfolio - composition and narrative. The point of picture book illustrations are not (just) to add decoration to a written book, they’re there to convey not only the overall message and atmosphere of the book (style), but also, more practically, to tell the story. It is very rare that the words alone tell the story in a picture book - indeed often they don’t even make sense separated from the illustrations - the two work in tandem. So part of the illustrator’s job is to decide which bits of the story need illustrating - what are the key moments, and then decide how best to portray that moment in a single frame - much like a film director - you decide on the angle of view, the composition, lighting and key action necessary to enhance and add to the drama of the narrative. Composition Most picture books are 32pages long - with end papers, title pages etc. that usually leaves 12-14 double page ‘spreads’ - so each story needs to be broken down to , say, 12 ‘scenes’ - but it's up to you how to ‘shoot’ the scene. Practical things to bear in mind when composing your illustrations; Size - ‘trimmed page size’or 'tps' is the final size of the page. Every publisher has 1 or two different standard page sizes their books adhere to - when putting together images for a portfolio measure a few books first to see what kinds of size/proportions are standard and work to those. An A4 -sized and proportioned piece looks amateurish. Bleed - All publishers require the illustration to carry on outside of the tps, to allow for movement and discrepencies when the pages are being cropped and also to allow the designers to move your illustration around on the page a little if desired. If you're undertaking a commissioned piece the publisher will specify how much they require but it will be at least 5mm . They also won’t want any important elements within 5-10mm of the edge for the same reason. Gutter; The crease down the centre of the spread - you MUST bear this in mind for your composition - there should be no detail on or too near the gutter. Text placement - you must leave enough room for text - normally more than would allow the UK text as other languages take up much more room! So... you have your text, your page size, your character sketches, now you need to plan your book out... Storyboards Storyboarding is essential part of planning a picture book. Telling a story in 12 spreads is an art that requires you to tie the elements of pace, composition and colour together - storyboarding makes that possible and lets you see at a glance how to improve these elements. Can be very rough and sketchy or very detailed - everyone works differently but the storyboard is the time to try out different compositions, different text placements, pacing, even colour schemes. Basically, draw 12 rough rectangles for your 12 spreads and start sketching up rough ideas for compositions on each spread, eg. Use this method to try different compositions for the same spread; So what makes a good composition? - Visually appealing - Helps (rather than hinders) the narrative - works with the text - makes good use of the space allowed - including white space, the gutter, - Varied within the book - close-ups, different angles, viewpoints, full page scenes or small spot illustrations or 'vignettes' - Action - not static - either emotion or action conveyed to the reader. Nobody wants to see two character in conversation for spread after spread in a book. Vary it. If there's no excitement in the text, create some in the illustrations. Try to get movement, action and exaggerated emotions into your spreads - and try to get accross what is happening with or without the text. I hope this 'submarine poop' spread from 'Mr Poopy Pants (Lion Hudson, due out in June) speaks for itself! But much like when we looked at what makes a good picture book text the answer really only lies in other successful books, pouring over them, really looking at what makes the artwork work so well, when you do this you'll start to learn what works and what doesn't. Never underestimate the use of colour - in my forthcoming book with Lion Hudson, 'Missing Jack' a difficult subject of the death of a pet is covered so on this spread, the saddest in the book, I wanted the colours to be very muted and the elements on the page to be sparse. Later in the book when Toby starts to accept a new pet into his life the colours pick up again, matching his mood. Narrative When potential publisher looks through your portfolio one of the things they're looking for is great storytelling ability. Without reading the text can they already get a sense of the characters, emotions, plot from your illustrations alone? Do your illustrations add more story to the text than was there to start with? Hidden depths for children, particularly older readers, to discover? Two new spreads from Fat Fox book 'Happy Hooves' due out later this year. Both spreads are set in the same spot but I wanted to vary the colours of the background from spread to spread so that the book didn't feel static so in the second spread I've used patterns and colours from the pig character, the star of this scene, to colour bits of the background, I've also taken a drastically different 'camera' angle from the first spread to frame the scene. Artistic license is what it's all about in children's book illustration! Activity Draw 4 rough wide rectangles on your page with a line down the middle to denote the gutter. Pick a random scene from this list and sketch out 4 different versions of it. Which works best? Why? Homework Work up a finished spread - can be a character or text you’ve been working on, something fro the list above, or a classic nursery rhyme or favourite book from your childhood (think 3 little pigs, Little Red Riding Hood, Goldielocks, etc... but maybe with modern spin!) Remember to; design your characters first plan your composition first - think how you could improve it do a pencil rough before going to colour Extra homework if you have time.... storyboard an entire book - again, either your own or a classic, think in terms of 12 spreads. NEXT WEEK: How to put together a plump, beautiful and irresistible portfolio and market your work to needy greedy publishers.
This last month has been eye opening for me. Matt, Mori and I packed up our car and headed to Portland to meet up with Greg Oberle- who attended the ICON conference with me. We saw some pretty incredible illustrators talk about their work, their lives, their projects. I met Carson Ellis and almost f
