For a crêpe on the run, go to the window on the side of Café de la Place, 23 rue d'Odessa, 14th arrondissement and have a crêpe made by Joseph Karadeniz. His crêpes really are the best. Every time I am in Paris I make sure to stop by. Naturally he is the crêpe maker in the cooking demo video in my Crêpes by Suzette app!
If you are feeling like you need to sit down in a restaurant, there are numerous crêperies close by, particularily right down the street on rue du Montparnasse. Crêperie de Josselin is very popular and very good, especially if you want a savory buckwheat crêpe, normally called a galette. But my first choice: always chez Joseph!
Wishing I was in Paris right now! You too? Feeling in the mood for crêpes? Check out more about Crêpes by Suzette here!
Creating the Crêpes by Suzette app was alot of work, and now launching it into the world is the next challenge. Unlike my books that have all the support behind them of my publishing house, my little app just has me trying to send it out into the big world.
And so I am really happy about some of the notice it is getting. I'm putting a few links here to spread the good news to readers, but I'm also doing this to help keep myself motivated with promotion.
Apppicker.com had lots of nice things to say here including: "With the Crêpes by Suzette app you can give your child a
great head start on the road to learning French with an interactive
story that’s a whole lot of fun. This app’s definitely one
your children will cherish." and "Cons: None"!
I did a Q&A here with Gravitybread.com - a wonderful blog that brings together books and food.
I'm a fan of Jama's Alphabet Soup Blog so really nice to part of her post here
All4mychild.com gave great suggestions for teachers on how the app can used with children in their review here
Merci beaucoup! This all encourages me to keep at it!
I am recuperating from BEA! Over the three days of the convention I gathered a heavy load of books and I'm excited for months ahead of good reading. A sampling of titles: Kitchens of the Great Midwest, The Three-Year Swim Club, The Hundred-Year House, The Expatriates... where to start?!
Lots of authors and illustrators sign books at the convention but these two were special. They created little works of art in each book they signed: Liniers with his brush and paint box and Kris Di Giacomo with her colored markers.
Fran Manushkin's character Katie Woo had a 5th birthday party at Capstone.
A piece of cake was exactly what was needed by the third day of the convention.
My high school friend who is now a school librarian stayed at my house and this is what happened by the end of the trip:
And I heard the good news that My Leaf Book, my new book due out in the fall, is going to be a Junior Library Guild selection!
That all adds up to a great show! Next year it will be in Chicago. I hope it comes back to New York soon - how about every other year?
I just love this picture from a young reader, enjoying a crêpe on his recent trip to Paris. Mmmm, c'est bon!
My app,Crêpes by Suzette, has just launched! I have been working on this project for a very long time: almost four years. When the book went out-of-print I wanted to find a way to keep it alive, and voilà, the idea of developing an app got started. I really had no idea what I was getting myself into - it was alot of fun but alot of work, and I had alot to learn. With my digital recorder I collected sounds, music, voices from streets, markets, parks, playgrounds, carousels in Paris and edited them into sound collages, to create a different atmosphere for each page in the book. And that was just the beginning... There are crêpe making demos, narrations and vocabulary in six languages (including the English narration read by me!) and lots more. I hope children feel they are taking a trip to Paris, and that they have fun savoring the culture, language, and crêpes on their holiday!
Just like this reader clearly did when he was in Paris!
I recently visited all the kindergarten and first grade classes in a school in Hoover, Alabama: 20 classes in 10 sessions! It was so much fun! Thank-you to all the fabulous kids and teachers for giving me such a great welcome and to one super special librarian for organizing it all!
My interviews with artists who have been in my SVA class continues with Jannie Ho.
When she was in class over ten years ago (I've been teaching for quite a
while!) she already had a very distinctive style with a big assortment
of adorable, playful animals in all her illustrations. Jannie's first
book was "The Penguins' Perfect Picnic" published by Innovative Kids in
2007. Since then she has been very prolific and busy: she has
illustrated over 20 books! I'm hearing more and more from illustrators about getting
good work outside the world of "The Big Five" mainstream American publishers. Jannie
is having a lot of success with her English publisher - read on!
have illustrated a number of books in a series with Nosy Crow. Just out
is: Cutie Pie Looks for the Easter Bunny. Can you tell us about Nosy
Crow and the series?
Nosy Crow is an independent publisher
based in the UK. The series, Tiny Tabs, are a set of board books with
pull tabs; when pulled, characters are revealed in die cuts within the
spreads. Each book feature an anthropomorphic animal character and the
stories are mostly search and find themed.
How did this series get started for you?
was first contacted by Nosy Crow back in 2012. They mentioned that they
had found my work via Twitter! I was starting to get some work in the
UK and making some contacts there. They wanted someone that could handle
the complicated templates as this book was very particular with the
pull tabs. It was also to be based on anthropomorphic animals and that
was my specialty!
What were the stages of working on this particular book?
Pie Looks for the Easter Bunny" is the 6th book in the series, so
things went much more smoothly than the others since I knew what to
expect. We usually decide what the main animal character is going to be
first. For this particular book, it was Easter themed - so a chick was a
good and obvious choice. I first come up with the character design and
draw a bunch of different options including the clothing. There are few
rounds of that before I dive into the cover and spreads. The layout of
where the die cuts are in the spreads are very specific, so I have to
take that into consideration as I work on the art.
What was your favorite part of working on this book?
favorite part was coming up with the various animal characters. Seeing
this book as part of the series and how its world continues to grow
excites me very much. And the most difficult part?
cover is the hardest. Since it is a series, I have to be mindful in
terms of keeping the same look yet also make it different. The tabs in
this book are quite tricky. The colors of the tabs need to correspond
well on each spread, but also work together on the cover. Now that I've
done a few of these books, I've learned to quickly sketch the cover in
color first so I know what I'm working with.
Where do you live and what is your studio like?
currently live in Boston, MA. My studio is just a corner in my
apartment, as we are in a temporary space. I also have a young daughter
so it is important to have the flexibility to work from home. What are your art materials?
mostly work all digitally now. As clients' deadlines are usually so
short, I started sketching straight to the computer (I had pencil
sketched before and scanned in my sketches.) Adobe Illustrator is what I
use 95% of the time.
What were you like as a child? Did you always draw and paint?
always loved to draw. Create. I use to make toys out of cardboard. I
use to (and still do) look at children's books and just admire the
illustrations. My favorite from childhood is Richard Scarry's Busy, Busy
Town. I loved all the little details and a world that was made up of
anthropomorphic animal characters.
How did you decide you wanted to be an illustrator of children's books?
didn't know a career in illustration existed. I took a fashion design
course in high school and that was the closest thing in the creative
field I knew. The teacher had told me that Parsons School of Design was
the best school for fashion, and that is where I went. But when I got
there, I realized fashion was not for me. Then I took an illustration
course and that made me so much happier, it felt like home. Most of the
work I did was very kid based, so it was natural that I went into the
direction of children's books.
And I know people are very curious about each artist's journey to publication – can you tell us how you got started?
art school, I needed a job, so I started working as a graphic designer.
I was very lucky to get to work at such great publishers like
Nickelodeon and Scholastic. During this time, I never forgot about being
an illustrator, but I felt I needed to hone my craft and work on my
portfolio some more. I started taking continuing education classes at
School of Visual Arts (and one of the classes being yours, Monica!) and
continued to make small steps toward my goal. I was sending promo
postcards to publishers but started to aim at getting an agent as well. I
got a response from an agent, Mela over at MB Artists (who is still my
agent to this day!) She took a chance on me and gave me my start. I did
not have much illustration job experience under my belt then. But I was
working as a graphic designer who commissioned illustrations so I knew
what publishers expected out of me. Did you have some rejections along the way? What have been some of the ups and downs?
certainly. The rejections will never stop, I don't think? Projects that
I know I was in the running for that I did not get. Dry spells that are
inevitable as a freelancer. But being rejected means I'm in the game,
and that is a whole lot better than sitting on the side lines.
What are some of your other projects in the works?
partnering with Nosy Crow again but working on something a little
different. It is another series- called "Violet Rose". It is a mix of
story, activity and sticker book featuring a violet bunny and her
friends. There will be press out pieces too-to make paper crafts like
paper houses, greeting cards. Alot of crafty fun!
Do you have any special words of advice or encouragement for illustrators/writers starting out now?
drawing and keep showing your work. Know your process, refine your
style. Have a voice that is unique. Always be professional with clients
and in social media. There are endless resources out there on the
internet, so never stop learning!
I'm loving New York City Ballet's annual Art Series - currently by Dustin Yellin, on the promenade of the theater. Each sculpture is made of thousands upon thousands of tiny bits and pieces floating in layers of glass. Each time I went to the theater this past week I was on a treasure hunt for little dancers amongst the huge and imaginative array of collage elements.
And what a great first week it was! Very special to see a beautiful picture of NYCB's opening night Serenade on the front page of the New York Times, delivered to my front door on January 22: George Balanchine's birthday!
The opening night performance of Serenade, Agon, and Symphony in C was fabulously danced by all. And of course it was great fun to see my dancing daughter in eight different ballets in the first week's rep. Lots more to come. I'm getting in the mood for the second week by listening to Bach's Goldbery Variations as I write this.
My series of interviews with artists who have been in my SVA class continues with Vanessa Brantley-Newton. Her interview is brimming over with her talent, generosity and energy, just like when she was in class. I hope you enjoy hearing about how she got started and how she works on her beautiful books - she is a real inspiration!
Vanessa's first book was Let Freedom Sing published in 2009. Since then she has been incredibly hard working and dedicated, and has illustrated about 20 books, several of which she have also written. Her recent book We Shall Overcome has won the 2014 The Jane Addams Peace Foundation for Children’s Books Honor, amongst other prestigious awards, and it is in the Original Art Show at the Society of Illustrators.
We Shall Overcome was written by Debbie Levy and you are the illustrator. How did this book get started for you?
I had met Joann Hill of Disney-Hyperion quite sometime ago. After Monica's class I was taking another course on Children's Book Illustrations with Sergio Ruzzier. I had already done some illustration work and writing for Scholastic. Sergio took the whole class over to visit a publishing house where Joann was working at the time. She took a look at our portfolios that day. He really encouraged everyone to bring theirs. Some people didn't listen. Lesson one: When you get a chance to put your portfolio in front of an Editor or Art Director you make sure you do it!!! Some people where quite upset when Joann asked me to come back for a possible interview for a project. Be prepared! I didn't get to work right away with Joann Hill, but a few years later, when I got an agent, she told me that Joann Hill remembered my work and has seen a couple of the books that I had done and wanted me to come in for a little interview, that they had a story that they thought I was perfect for.
So I was off to NYC to meet the people over at Disney! It was a great visit. As soon as they told me about the story I wanted to illustrate the book. Debbie's beautiful words seem to paint pictures for me. I worked with two wonderful editors and a great art director. I enjoyed and loved working on We Shall Overcome.
After the visit to NYC to the offices of Disney, they knew pretty much that they wanted to hire me and it was only a few weeks later I was asked to start working on sketches.
What were some the stages?
Talking is one of the stages. They needed to get a feel for me and I needed to do the same. Contracts take time and this one did take time, but not much. They gave me a generous signing fee and really worked very closely with me. They did give me all the room I needed to create my work. Which I was very grateful for because sometimes you just don't get that. You can be overly art directed in some cases. They left me alone to do what I do.
There was much research. I looked online and found a lot of things. I interviewed family members who had lived through the Civil rights movement. I collected books and images to work into my illustrations.
What was your favorite part of working on this book?And the most difficult part?
Working on We Shall Overcome was emotional and that was very hard. I remember things as a child of the 60's and 70's. Not being able to do certain places or go to the same bathrooms and stores or restaurants as whites. The other was capturing the right moments to tell the story. Writers do their part and then as the illustrator we get to do our part of telling the story and so we are stretched because it's much more than illustrating what is being said. You also want to illustrate what is not being said. Telling your side of the story if you will.
Tell us about your relationship with the author?Do you know her or have you met?
We met only after the book was done. Debbie and I have quickly become very, very close. We have spent wonderful time together. We visit her in Maryland and she has even cooked dinner for me. I call her my Sisterfriend!
Where do you live and what is your studio like?
I lived in East Orange, NJ for many years. Now I happily live in Charlotte, NC in a little section called Sherwood Forest with my husband of 21 years and our daughter and fat cat named Stripes. I share my home with my talented sister Coy and her family. I use to have a wonderful room that double as my studio. Now my little studio is in the corner of our dining room. I hope to have my own space back again soon. This works however for now. It is filled with many, many books and three computers.
What are your art materials?
I adore and love art supplies!!! I am always looking for the next hot thing! I have tons of paper and collage elements. I have watercolor paper and paints and gouache and ink and pencils! I have it all. I am looking forward to getting back into traditional media very soon. I have done most of my books digitally. While I love digital illustration, I still love putting my hand and creative spirit to paper and feel the paint, pens, paper and such. I work on 3 imacs with Corel Painter and Photoshop.
I did We Shall Overcome in Corel Painter 12, but I did the collage part with Photoshop. First I do a really rough sketch of the piece on copy paper or whatever I have and then I scan it into my computer. I then bring it into Photoshop and size the piece and put it into a layer. I lighten my sketch layer and draw over the top of it. After I finish drawing the illustration I begin to color it and place anything that needs to be on a layer. After I am happy with my illustration I bring it over to Photoshop and collage takes place. I collect papers from all over the world. I also sew so I have a closet of fabric that I use as well. I even did a study on clothing from the 50's and 60's. I look for patterns and anything that has a retro flair to it! After everything is placed just so I go back to corel and finish the piece.
Here is the book open to the page of the illustration at the Original Art show.
And I know people are very curious about each artist's journey to publication. When you were getting started, how did you find your publisher,
editor, or art director who you first worked with? Have you had an agent since you started writing and illustrating books? At the very start I didn't an agent. I didn't even know you might, should or could have one. I went to a SCBWI conference in NYC and I heard them speaking about having an agent and what they could do for you. I was working on some small projects with Scholastic when one of the really nice editors that I was working with said, " I really think you need to find a agent now Vanessa. Your work is that good and I have a few that I can put you in touch with." Well, I started reading up on agents and I got my sister Coy involved. She is excellent at putting letters and things together and so I worked on putting a great portfolio together and Coy started working on my letter. She put together for me a wonderful package that I sent out and actually got 5 agents that wanted to sign me. I picked Painted-Words. Lori Nowicki. I have been with her for 8 years now.
Telling you my little story as fast as I can. Okay, My husband was out of work as an Aerospace Engineer. He couldn't find work anywhere. We had no money. Seriously NO MONEY coming in. I tried to find work and found some small jobs that brought in a little money, but bills where piling up and it got really ugly. I started working for a Reproductive Medicine Center. They hated me! LOL! , But I went to work every single day and when I got home from work I would read and study everything I could get my hands on about Children's books and illustration. I put enough money together and took Monica's illustration class. I honed and worked on my portfolio just hoping and praying that something good would happen. Then I took Sergio's course all the while building a portfolio. I created a blog where I could show my work and I made friends with other writers and illustrators. I joined SCBWI and honed my illustration skills even more. My dining room table was not used for eating only. It was my creative space as well. My family was pretty upset because it was filled with my work. Everywhere was some kind of illustration I was working on. My next project. Something. My husband got so upset with me and begged me to clean the table off. I got a call from a friend who said she wanted to pop in for a second. She and I had been friends for many years. I knew her to be a dancer and I was singing at the time. We decided to get together on a Sunday afternoon just to meet for a bit. My husband asked again. " Please, Please Vanessa! Clean off the table!!!!" I tried. I really did. I couldn't get everything cleaned up. Karen showed up and there was my table still covered with artwork. Karen asked," V, who did all the wonderful illustration work??" We had been friends for many years, but we never talked about what each others did besides singing and dancing. I told her, " I did." She said, " Vanessa in all the years we have known each others I didn't know that you had this talent! Do you know who I work for??" "No," I said shamefully. "Vanessa I work for Scholastic Books and YOU ARE HIRED!!" I have been working in publishing every since. Blue Apple Books is where I got to do my first picture book that I wrote and illustrated. It was hard work, but I still cherish those hard and scary days.
Did you have some rejections along the way?
I did get some rejections along the way. I think it keeps us grounded in a lot of ways. I am every grateful to be doing what I do. Only 1% of people get to do what we do. Rejection pushed me to really find my own voice in illustration. I found that multiculturalism was at the heart of my illustration style and work. I knew that I could draw all cultures and that was valuable to me. I wanted to be diverse when I illustrated. It was very important to me that ALL children see themselves in picture books!
What are some of the difficulties?
Picture books are hard work and sometimes we are not given the time it takes to produce the work anymore. It use to take a year to do a book now they want it in less than 6 months. Sometimes the crazy deadlines can really get to you. Being overly art directed is very frustrating and can leave one doubting ones ability to create. I work from home so long hours can take from you. I have to remember that I am not single, but I have a family that needs me. Critics are sometimes not very nice.
Do you have any special words of advice or encouragement for illustrators/writers starting out now?
Hone your craft! Develop your signature style by trying all kinds of media. Digital, traditional, watercolor, ink, chalk, grease pencil. If you are wanting to do children's books, take a course or 3 and collect children's books from the past and present. Create your own library if you will. Create a blog or post your illustrations to facebook, Instragram, Twitter. Join SCBWI.org and then find the chapter nearest you and be a part of it. They always have critique groups to join and publishers and agents are found there as they do visits! Rejection is a part of the process. Embrace it as best you can. ONLY SHOW the work YOU LOVE. Please don't put anything out there that you are not proud of. Be positive. Seriously, stop saying what you are afraid of and what won't happen for you or others. Start saying to yourself what you wish other to say about your work. " Your work is amazing and quirky! We would like to hire you." Surround yourself with encouraging and creative people. Believe in your creative self and what you bring to the creative table. No one can do what you do so bring your A game. And remember that there is no competition, because no one can illustrate like you do. No one has your illustrative style.
Looking forward to many more wonderful books from Vanessa! Here is her next book due out in January 2015
For more of Vanessa's work at her agent's website:Painted Words
Here is her blog:OohlalaDesignsStudio
first ballet project: an activity book to help inspire, motivate and
encourage young ballet students. I made this with alot of help from my
dancing daughter, Lydia, corps de ballet member of New York City Ballet.
My Ballet Journalis
aimed for girls ages 6 and up. There are pages about ballet class,
steps and positions (with space for corrections and goals of course!)
and lots more: my performances, my hair, my make-up, tutus, and ...
"Oops! Everyone make mistakes sometimes."
I have always loved going to NYCB. And I started bringing Lydia to performances when she was very young. She didn't want to
just watch, she wanted to dance herself, and so she started ballet
classes when she was seven at the School of American Ballet. Now she is
24 years old and is in her seventh year with the company.
Tonight the annual run of the Nutcracker opens here in New York at Lincoln Center. After many years in
NYCB's production as a student and now as a company member, Lydia is
getting close to dancing in 400 performances of Balanchine's Nutcracker. Hard work and the need for encouragement never stops!
hope young ballet students have fun keeping this journal - that they
will fill it with their experiences and special memories of dancing, and
keep it for years to come. We hope they pirouette to their dreams!
My interview series with children's book illustrators who have been in my
class at one time or another at The School of Visual Arts continues with CLARE PERNICE. Her first book CIRCUS GIRL was recently published by Simply Read Books. Here she is at a book signing: Congratulations!
The heroine of Circus Girl is "daring and dazzling and Oh! so dramatic...outrageous...plucky...sensational...stupendous" and full of imagination.
How did she come into being? Read on!
Can you tell us about the process of working on Circus Girl, from first idea to publication? How did this book get started? What were some the stages? What was your favorite part?
The idea for Circus Girl came from my childhood memories, my daughter dressing up and performing and from all children’s love of dressing up. I wanted the book to have exuberant and expressive words conveying different circus acts. I made long lists of all these words and doodled images beside them. It’s fun playing with concepts and characters but my favorite part is making a final book dummy, as this is when the idea comes to life and looks like a real book.
You are both the author and illustrator. Which came first the words or the pictures?
I think that both come together. It usually begins with an idea that I write down, I start drawing characters and I write some words and then more images spring to mind, back and forth. It is definitely a partnership of words and pictures.
The design and typography are also very important in this book. Did you work closely with the art director on that?
My book dummy was accepted by my publisher and followed almost precisely the way I designed it. One spread changed and I had input on that. We went with a more vibrant book jacket design but a nod to my original cover concept is printed on the actual book under the jacket. It is fantastic that my published book is how I visualized it. What is your studio like? What are your art materials?
A lovely room over the garage that was designed as a studio by the previous owner, is my special work space. There are windows looking out onto the woods where I live and Milo the Magical our miniature Dachshund likes to curl up on his pillow at my feet while I work.
The upside of a studio at home is being able to work in the middle of the night, however there are an incredible amount of distractions. I wear a lot of different hats during a typical day. Art supplies and paper make me happy and I love to collect books and all sorts of miscellanea. Sketches, ideas and inspirational material build up when I’m working on a book. I'm not eager to throw anything away but eventually I have to do a big clear up! I mostly work in colored pencils and watercolor. My pencils are grouped by color. I’m a fan of Faber-Castell.
If you were going to be an animal, what animal would you be and why?
Our dog Milo. I’m sure his favorite expression is "Yes I can!” I’d be him because he's always up for anything, he’s an adventurer and he loves everyone and everything!
And I know people are very curious about each illustrator's journey to publication. How did you find your publisher and your editor?
I have been lucky to meet some wonderful editors and art directors who’ve shown interest in my books along the way and it was really a matter of timing. I met my publisher at Book Expo. Simply Read Books small booth drew me in. I felt a wonderful connection to their style. The publisher and I chatted and I was invited to meet them after the expo. They took two of my book dummies to show their editor and she loved them. They decided to publish Circus Girl first and I just did a few color illustration samples but no changes to the words before they signed me on. It was serendipitous.
Did you have some rejections along the way? What were some of the ups and downs?
I’ve had a couple of near misses. Simon and Schuster had my Mother Goose book dummy for 3 months, the reason for not taking it was that another editor had a Mother Goose book already under contract. Sterling were divided over Circus Girl, the art director loved it but the editor felt it was too conceptual for their house. It is a great feeling to have interest in your books but it takes timing and grit. Try not to be discouraged and here’s a tip which comes from experience, don’t get distracted!
Do you have any special words of advice or encouragement for illustrators/writers starting out?
Getting published doesn’t usually work out super quickly but try not to get side tracked into knitting socks for your Etsy shop. If you want to be a children’s book author and illustrator keep focused, immerse yourself, discover blogs and join illustration groups, try out some competitions, make some fun cards at moo.com. Create stories and make book dummies. Take classes. Go to book stores and libraries and find books that appeal to you as your book could be a good fit for that publisher too. Scbwi conferences and panels at the New School are good to go to as you will be able to submit your work to the participating editors, ad’s and agents. A great inspiration for me was taking Monica’s wonderful class twice! I’m a member of Scbwi and Cbig.
Thank you Monica for interviewing me. Your animal question got me thinking and penguin was a close second. I think penguins go “Whee!” as they slide into the water, they are such happy birds and on that note happy picture book creating to all your readers!
To learn more about Clare and her work, check out her website:
I am going to start up a series of interviews with children's book illustrators who have been in my class at one time or another at The School of Visual Arts. Everybody has their own process of working and their own journey to publication. I hope their stories will be instructional and inspirational. It is with great pleasure that I start off with Jennifer Merz - Enjoy!
I’m delighted to be interviewed for your blog!
It’s great fun to be able to tell you all about my creative
process. I’m especially proud to discuss my picture book
“Playground Day!” released by Clarion Books.
Can you tell us about the process of
working on Playground Day, from first idea to publication? To begin
with, how did this book get started, what was the first trigger?
My creative process started with just
the germ of an idea. I knew I wanted to do pictures of happy, active
children on the playground, and I was inspired by long, wonderful
days at the playground with my now-grown daughters, Lesley and Julia.
I love the sheer joy of outdoor, imaginative play, and wanted to
capture that feeling – the universal sense of fun from a day
outside at the park.
Did you work on the manuscript
first, or the pictures?
For this book, the pictures definitely
came first – the visual images that I wanted to create were much
clearer to me than the words. I remember very early on in the
process wanting to tie the children’s activities to animal actions.
For example, I wanted to link climbing on the jungle gym with a
monkey’s climbing, or draw a parallel between the joy of being high
up on a swing with a bird’s flight.
My vision for the manuscript was not as
sharp, so the words went through many, many different stages….and
different styles….before I decided to tell the story with rhymed
You make your sketches and your
dummy with torn brown paper, instead of drawing with pencil. Can you
show us a page? Why do you work this way?
Yes, I often “sketch” with brown
paper! After I envision the entire book with small pencil
thumbnails, I use brown paper bags to create collage “sketches”.
I rip out the shapes that I need and adhere them with a glue stick.
Then I put them all together for my dummy book. I find that working
this way keeps my dummy pictures very loose. It also keeps me focused
on collage, the medium for my finished pictures, so that I don’t
get too preoccupied with the drawing itself.
Although it takes awhile to make a
“sketch” this way, I think that my compositions are stronger when
I’m dealing with silhouetted forms; this method helps me guard
against my tendency to get bogged down in too many details too early
in the process.
Here’s the brown paper sketch that I
did for the swing picture:
…. And here is the final picture: I
love the tactile effects I can achieve by tearing or cutting the
papers. In this book, I also used fabric and other trimmings in my
final illustrations. I’m currently experimenting with including my
own photographs and other found objects in my pictures, too, and find
this way of working very rewarding, and a great way to layer meaning
into my pictures.
You make your illustrations with
collage. From looking at your pictures, you seem very organized, is
Yes, I think I’m a very organized
person. I think you need to be in this business. While there is
plenty of fun and creativity in the work, there is also a need to
have a plan for the project you are working on.
Can you tell us a bit about how you
I like to work in the daytime, when the
light is good and I’m at my most creative, and I enjoy listening to
music (jazz or classical are my favorites) while I’m working on the
But I often do my best writing out at
my local Starbucks. At least, it’s a good excuse for a mocha
Do you have a big collection of
I have a fairly large collection of
collage papers, though I always want more! I like using rice papers
and papers with interesting patterns or textures. Lately, I’m
incorporating my own photographs, as well.
When you were a child, did you have
favorite animals? Did you have pets? Favorite stuffed animals?
When I was a little girl I had a black
cat named Mitty, whom I loved very much. In more recent times, we
have had a dog – a pug – named Gatsby.
As for stuffed animals, YES! I had
loads of them, and so did my daughters. My girls would set up
elaborate parties for them, or bring them on outings, or to school.
They figured so prominently in our house, that I wanted to put them
into “Playground Day!” The little girl in my picturebook brings
ten of them to the playground in her red wagon.
If you were going to be an animal,
what animal would you be and why?
Definitely a bird ~~ I like the idea of
soaring freely through the skies!
Can you tell us about the process of
finding your publisher and your editor?
You had some rejections along the
way, but then finally happy outcomes for your first two books. What were some of the ups and
Yes, both of my books were held up at
various publishers for a long time prior to their acceptance for
publication. At times, I almost gave up! But I persisted, having
faith in my work and in the process. I think it’s important to
understand that persistence, luck, and patience are key ingredients
in the whole process of being published.
For my first book, That Dancin’
Dolly, a series of happy, serendipitous moments pointed me
towards my editor at Dutton Children’s Books, even though it took a
long time to get there. For Playground Day! I am proud that I
made it through the slush pile!
My process of finding a publisher is
just about to change: I have recently signed on with Steven Chudney
of The Chudney Agency. I’m so excited about this step! Steven
fell in love with my new manuscript and book dummy entitled Sew
Strong, The Legacy of the Triangle Factory Fire. It’s a
nonfiction picture book for middle grade children about the events
surrounding the 1911 historical fire. Steven is currently submitting
it to major publishers – we’ll see what happens next! Wish me
You've taken a number of
illustration classes including with the master artist, Ed Young, and
recently you have also taught a children's book class yourself. Do
you have any special words of advice or encouragement for
illustrators/writers starting out?
Yes, I love learning. In fact, in May
2014, I completed my MFA Degree in Illustration from FIT. I’m
happy that I was able to immerse myself in illustration…all kinds
of illustration, not just children’s...for the past three years,
and fulfill my lifelong dream of attaining this terminal degree.
One piece of advice that has helped me
to create successful picture books is to make believe you are making
a movie. You are the director, the cinematographer, the casting
director, the set and costume designer! Think of your book as one
unit. In other words, it must work from start to finish. It’s
sometimes easy to forget that the book is one total unit, and not a
series of pictures.
I’d also advise new students to try
to be patient, not only in terms of waiting for responses from
publishers, but with yourself as you develop your work. Making books
is not an easy task! Sometimes you need to do something over and
over again until it looks right. It’s important to seek out
opinions of your work ~ but only from those people whom you trust.
Listen to your own “inner ear” when you get advice: sift through
the information to find out what works for you and what is not true
to your vision.
Also keep reading: visit your local
bookstore and library frequently. Study as you read. Ask yourself:
what makes this picture book effective?
Lastly, join the SCBWI for camaraderie
and support! It’s a great organization. www.scbwi.org.
Thank you so much for interviewing me,
It’s a pleasure to be part of your
All my best to you, your students, and
And good luck to Jennifer! Her newest project sounds very exciting and hopefully we will hear more good news! To learn more about Jennifer and her books, check out her website:
On the same day that I heard my Crêpes by Suzette app is getting closer to completion (!!!), I went to see the Toulouse-Lautrec exhibition at MoMA and was excited to see this poster:
It was the inspiration for one of Suzette's crêpe customers in my book - here they are at Place Vendôme:
Coming in close to another poster in the exhibition, is that me?! - I'm eager for the New York City Ballet season to start on September 23.
I'm especially looking forward to the premiere of Ratmansky's ballet to the beautiful music of Pictures at an Exhibition by Mussorgsky. And there are great programs coming up with favorite ballets such as Serenade, La Sonnambula, Chaconne, Tombeau de Couperin, Square Dance and The Concert and more!
Perhaps my favorite picture of all at the Toulouse-Lautrec Exhibition: