Every year in the spring and fall, songbirds visit our backyard. Here is a small sample along with some year-round residents.
The 2016 Summer Games in Rio provided a good excuse to practice drawing bodies in motion –one of my favorite things to do. It was also a good practice in discipline, as I committed to posting one sketch on each day of the Olympics.
I’m happy to share some of the art for, When the Wind Blows.
This project forced me to stretch artistically. Some of the challenges…
-getting the ocean surface to look right from various perspectives
-gaining some understanding of the inner workings of a turbine and depicting the important elements in an “abbreviated” way so young viewers can comprehend
-painting electrons :-)
When the Wind Blows
by Stacy Clark
Holiday House, 2015
In an effort to reflect the tone/setting/time of this story, I chose to give the art a feeling of memory. I felt the illustrations should represent a fond recollection–light and form viewed through the gossamer filter of time. I was careful to allow colors to merge so that edges are defined not so much by variation in hue or value but by the pencil marks that peek beneath layers of translucent paint.
by Eve Bunting
Holiday House, 2014
Jim Aylesworth’s, Cock-a-doodle-doo, Creak, Pop-pop, Moo, takes place on a farm, and although Jim doesn’t specify when the story takes place, I imagine the early 1920′s. I always “picture” the paintings in my mind as I develop sketches for the dummy book. So… I’m sketching and the images percolating in my imagination are different than usual — they are completely without color! I continue sketching, and slowly a bit of color seeps in, but it is very subtle. The art in my mind’s eye is reminiscent of the hand-tinted black-and-white photos displayed in my grandparents’ house. It occurs to me that this might be an appropriate “look” for the illustrations in this book. I set out to simulate the look of a hand-tinted photo. I decide to fully render the image in graphite and then add a bit of soft color with watercolor paint. The effect is perfect!.. But something isn’t right. The style reflects the era but seems too somber for the story, which is quite lite. Now I’m torn. I really like the look of the piece, and I had a good deal of fun rendering it, but I can’t ignore the nagging notion that the mood just doesn’t fit the text. I decide to send the illustration to the Editor at Holiday House to get her opinion. My fears are confirmed when the Editor responds that after showing it around the office, the consensus is the art won’t appeal to a young audience because it isn’t colorful. Back to the drawing board! The second illustration is colorful, and while I still really like the first version, the bottom line is it just doesn’t reflect the mood of the story. So the remaining illustrations for, Cock-a-doodle-doo, Creak, Pop-pop, Moo will have all the color typical of my past work. I will, however, find a way to use the “tinted drawing” style in a future story!!
I build a dummy book by folding together sheets of drawing paper that match the vertical dimension of the book and double the horizontal dimension. When assembled, the dummy has 32 pages. Now I can draw fairly detailed pencil sketches on the pages. I cut blocks of text from the manuscript and paste or tape the words where where they belong.
Here are a few sketches from the dummy book for, Cock-a-doodle-doo, Creak, Pop-pop, Moo…