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Ahoy, ye sea dogs!

l_9781585368150_fcP is for Pirate is here!

As long-time readers know, the subject of pirates is a favorite of mine. You can imagine how happy I was when Sleeping Bear Press asked me to illustrate Eve Bunting’s latest, P is for Pirate. 

Here’s how the jacket art came together. Some rough sketches, a tight sketch based on the approved rough, the painting in progress. I lost something in the tight sketch—the pirate doesn’t have the same aggressiveness & oomph—so I went back to the rough sketch to paint from. That’s my dear old African Grey, Sherman, sitting on his shoulder. How I miss him! I like this low-key palette, mostly blacks, greys and red. The talented Felicia Macheske was my art director on this project. I will show more images throughout the month.

The Divine Sarah

This past January I had the pleasure of creating images for the Pittsburgh Public Theater‘s season brochure—this time for the world premiere of L’Hôtel, a new comedy by Ed Dixon. The cast of characters is 6 stars from the recent and distant past. Art Director Paul Schifino asked me to create stand-alone caricatures of 3 of them: Jim Morrison, Oscar Wilde and Sarah Bernhardt. Here are sketches, painting-in-progress and the finished art of the Divine Sarah.

By the way, this painting and two others will be on display at the Art Institute of Pittsburgh Alumni Show which opens this Friday evening.

More Mummy cover sketches

Back cover of Where’s My Mummy?—working out some sketch ideas, followed by the layout for the entire jacket.  When an art director sends me a layout (sketch & text together in one piece of art) she’s telling me to go ahead and start painting.

Cover ideas for Pete’s Disappearing Act

Back when Jenny Tripp’s fabulous sequel to Pete and Fremont was still in production, the story—in which Pete leaves the circus in search of a new life—didn’t yet have a title.  Things were becoming so desperate AD Samantha McFerrin was reduced to asking me for ideas.  Here are rough sketches for the cover with title possibilities scribbled in:

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Nothing very workable here.  What about something more show-bizzy?  At this point Pete’s Disappearing Act had become the working title, so I thought I’d do something that looked like a vanishing act. Here are some ideas as tight sketches:

Too Houdini.  Here’s a dramatic scene where Pete and his friends are almost run over by a riverboat:

Still not quite there.  But this one was the winner—Pete caught up in a twister:

Dear T Rex cover

My computer had a nervous breakdown in March and I thought I’d lost all my images from this title, Dear Tyrannosaurus Rex.  Here are some that follow the development of the cover art I found on a disk.

The story’s about a girl who sends a T Rex an invitation to  her sixth birthday party.  The first sketch is for front & back cover, showing T Rex opening the invite in his museum.  Next is the painting with more background on the left side, including the security guard.

The art director wasn’t happy with this image, and suggested something simpler.  Here’s the sketch and the painting.

Festival in Venice

There’s a scene in The Famous Nini when the king declares National Nini Day and everyone celebrates.

Kerry Martin, the senior design editor, wasn’t happy with the scene as I’d depicted it in the thumbnail sketch with crowds on a bridge over a canal (p 17).  I worked up 3 rough alternative sketches—where we see Nonna & Nini through the crowd, where the crowd is seen from inside the caffè, where Nonna & Nini are out among the crowd—and then did a tight version of the winner.

Jacket art for Famous Nini

Of all the images for a picture book, the jacket art gets the biggest going-over.  I sent 4 rough thumbnail ideas to Kerry Martin, the senior design editor (in the olden days there was an art director and an editor; Kerry’s title reflects the melding of those 2 positions over the years).  Number 2 was chosen—the silhouette of the gondola makes a nice graphic shape—and I worked up a tight sketch.  You can see the painting in progress.  I liked the idea of a nighttime scene, with Venice reflected in the canal.  Next, the comprehensive layout—or ‘comp’—with the sketch and the type combined.  Originally I was to hand-letter the title type, but the treatment Kerry came up with looks so good we all agreed not to mess with it.  Finally, the finished illustration.

L’Imperatore d’Etiopia

The Famous Nini is due out June 7, but Amazon.com already has copies available.

A scene I particularly like: the Emperor of Ethiopia arrives in Venice to visit Nini the famous cat. Here’s the thumbnail sketch—

Here is the sketch, built from the thumbnail.  I envisioned the Emperor and his daughter traveling from their ship up the canal via a royal gondola, like the one the Doge used. That’s Verdi top right, with some Carnivale party-goers (they look a little somber—the princess is tragically mute).  I tricked out the gondola with some African style pelts, but my art director felt a tiger-skin would be out-of-place in a cat-lover’s book.

The Doge's gondola

Emperor Menelik

Proofs and f&g’s!

Kerry Martin—senior design editor over at Clarion—sent me all kinds of goodies from the print production of The Famous Nini!

Here are proofs and f&gs.

Proofs show all the spreads from a book.  A spread is two pages side-by-side as they appear in the book, like Pages 14/15.  The printer provides these so the art director may check them for color.

I don’t have one here to show you, but the actual press sheet is big enough to show 8 pages on each side, adding up to 16 pages, or a signature.  Two press sheets equal 32 pages, the typical number for a picture book.  When you see a press sheet, the pages appear not to belong together:  Page 1 will be next to Page 16, Page 2 will be next to Page 15.

F&Gs—folded & gathered—are the press sheets that have been cut into 2-page pieces then scored and folded.  These are gathered together in sequence (Pages 1 through 32) so you can see how they’ll read as a book.  At this stage it suddenly makes sense that Page 1 and Page 16 should be next to each other.

F&Gs have not yet been stitched together or bound into a cover.

Kerry also generously sent me one of the few hardcover copies—Nini won’t be in stores til June.  More info on book production here.

A martini for Harriet

I’m going to deviate from my standard practice of avoiding adult topics in this blog—usually I keep it kid-friendly.  Today, however, I mention the name of an adult beverage.

That’s because today is different.  The proprieties must be observed.  Today seven years ago my beautiful, clever, witty, passionate, fun, inspiring agent—Harriet Kasak—lost her battle with cancer.

She was the iconic urbane sophisticate, living and working in Manhattan, the capital of Western Civilization.  It was our practice whenever we met, once the business aspect of the meeting was finished, to have a martini.  I like mine with gin, extremely dry (only enough vermouth to coat the glass) and 3 olives–served cold enough to freeze your lips.  And so I’m enjoying one now as I write this post.

In the mid 1990’s, early in my illustration career, Harriet took my edgy, trying-too-hard-to-be-post-modern style and showed me how to make it accessible.  She taught me how to draw little girls, which was/is difficult for me (yes, she showed me by drawing them herself).  For one of my early titles—a history of eating utensils—she accompanied me to the Metropolitan Museum where I drew sketches of various species of forks, knives and spoons from ancient cultures.  She found joy in the business of promoting her artists.

Every Autumn Harriet hosted a meet-and-greet party for her illustrators and clients.  In the early years they were held in her apartment/office, later as her business grew she chose lively venues to accommodate the growing crowd.  These parties were dazzling for their locations, food, and gathering of creative personalities.

One year she organized a field trip to the artists’ community of San Miguel de Allende, Mexico, where a bunch of us trekked to be instructed by no less than Jim McMullan.  Class in the morning, eating, shopping, sightseeing in the afternoon and evening.

Once while Harriet was jetting around the country tending to business, she arranged an afternoon layover in Pittsburgh so she could visit me.  Naturally I was nervous about entertaining Harriet, who had once entertained Andy Warhol in her home.  I made reservations atop the Steel Building, hoping to impress her with views of the ‘Burgh while we luncheoned in quiet elegance.  Luckily I had the wit to also lay in some groceries against the event she’d rather eat at my house.  Which proved fortunate—since Harriet had spent the week gallivanting about the country dining in restaurants, what she craved was home-cooking.  And so we retired to my kitchen where together we assembled a glorious lunch from recipes found in Martha Stewart’s magazine.

About that history of eating utensils: I was still an untried children’s book illustrator at that stage of my career, and Simon & Schuster had some trepidation about how I would go about illustrating a book dealing with specific historical facts.  They were afraid I would simply make stuff up, without bothering to do the research.  A meeting was called; Harriet and I were summoned, along with Patricia Lauber (the author), editor and art director.  It was a long meeting, lasting several hours, with lunch ordered in, while my sketches for the book were painstakingly examined for historical accuracy.  Was I taking too many liberties with history?  Finally, late in the afternoon, I cited a source for my decision to show a particular mediæval dining room setup—which Patricia recognized as the same she had used for writing that paragraph about mediæval dining.  The room’s mood warmed up; author, editor & art director saw they could trust me—and so could Harriet.  After the meeting finally broke up Harriet & I piled into one of those charming little bars that abound in Manhattan—this one sporting a wraparound ersatz Renaissance mural—so we might repair the damages sustained in the heat of action.  We congratulated ourselves on coming through the trial with our honor intact, and celebrated by having a couple of martinis.

Of course, Harriet could have sent me into that meeting all by myself.  But she didn’t—that wouldn’t be her style.  She was there to support me during the crisis, no matter how it turned out.

Sure I loved her.  Anybody’d be crazy not to.

Cheers, Harriet!  I miss you.