Hillside Family, Annual Report 2008

Hillside Family of Agencies decided to continue the theme from last year’s annual report, so of course I was happy to work with them again. The concept was “Believing is Growing”, and they decided to go with the concept of a child leading the way for growth and into a safe, positive environment. The 12×35 inch poster is a fun format, and this year we made the vertical composition into a growth chart — a little surprise for the family-recipients. The Ad agency also used elements from these images throughout the financial booklet. This is the approved sketches and color roughs:

Below are a few ideas I submitted during the concept development stage. I think it’s fun to see and share the unseen parts of process — what didn’t get used, but what helped the idea grow into the best finish.

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MY TRAVELIN’ EYE :: PROCESS

I thought some might be interested in this process…

I first thought of the idea for My Travelin’ Eye one day while looking at my baby picture taken on the day I was born. My right eye was gazing straight at the camera, and my left eye was looking off to the right. What was I looking at? I’ve heard that question so many times throughout my life. It has a mind of its own, I say.

I remember what it was like being an awkward kid with glasses and a patch and the weekly eye-therapy in hopes of fixing my eye. (Note: not all kids feel awkward with glasses and a patch, but I did.) A few years ago, I began to think how I could write or paint about my eye so others might understand. (Yes, even as an adult, my eye wanders, but I’ve come to appreciate the wonder it sees.) At first, I wrote several different versions of my story, but none were right so I put it away for a year. After going on an 8-day creative writing/backpacker’s retreat and feeling renewed, I visited my sister and new baby nephew. While my sister slept, I sat on the floor holding Jake with one arm and writing with my other. That night, I wrote a whole new version of my story which is My Travelin’ Eye. I guess you could say I wrote it in one night, but that one night came after a year of incubation time.

A children’s book author/illustrator once advised me to submit my stories with a dummy of the book (vs. finished illustrations). These are some of the spreads from my book dummy. They are very rough black & white pencil drawings. I wanted a publisher to be able to see my vision even though I knew it would develop more. I also had fun playing with the text layout to show how I’d want it to interact with the illustrations. This process really helped me edit my story. I read it out loud to kids, too, which helped me even more to work out how I wanted it to be read. And, it helped me find my publisher!

Recently, I followed the same process for my next book, which again, helped me to ‘see and hear’ it. Feel free to ask any questions about the process of writing/illustrating children’s books. I’ll share whatever I can, based on my experiences.

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HILLSIDE FAMILY, ANNUAL REPORT 2007

This annual report was commissioned by Hillside Family Agency in Rochester, NY. I worked with designer/art director, Dona Bagley, and her creative team at Adams Communications. The format was a 2-sided poster. They wanted the conept to emphasize the already-proven successes of their programs, tying in the saying, “Believing is seeing.” They also wanted the illustrations to have the spirit of the kids and families they help. I was especially excited to work on this project since it was the first time Hillside had ever used illustration (over photography). After a conference call with the creative team at Adams, I submitted these concept roughs:

The decision was unanimous. Next step, color roughs:

The poster dimensions changed to a bit wider dimensions. This was my final sketch:

Cover 35″ x 12 1/8, Inside 21 x 12 1/8

When I sent the final illustrations, Dona asked me to hand letter the title:

These are the final illustrations placed into Dona’s design, front/reverse.

The poster was folded and mailed. Dona also used a crop of the reverse art for the financial book cover and inside spots. I was so happy with the quality and color of the printing, AND Dona’s design. Hillside was also really happy with the project!

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OOPSY DAISY WORLD MAP.

Oopsy Daisy Fine Art for Kids commissioned a world map in my poster-fabric-stitched style. The map size would be printed roughly 3×4 feet and as a larger mural. The client wanted it to have the same learning emphasis as the ABC’s, sharing cultures, animals+plant life, traditions, food, sports, landmarks, history, etc–all with kid-spirit in mind. The research took 3-4 weeks, but I loved that part! I used my own research photos when possible (and friends’) and the internet for the rest. As in the alphabet, I had a list of way TOO many ideas and had to widdle it down, keeping a good balance throughout the world.

My finished sketch for the client:

I have to admit, because I was going to create this map out of fabric, I was a little nervous to start…But as soon as I dove in, I had so much fun. I created each icon by collaging fabric scraps and adding details with stitching. I scanned each piece separately, cleaned them up, and sometimes altered colors and patterns. Here are two finished icons with the research I used:

After finishing several icons, I made this VERY rough color sketch for the client:

The rest was a marathon. Fabric scraps covered my studio, and I was covered in strands of colored thread for a couple weeks solid.

By the time I finished all the icons, I painted the continents to give them a more textured feel and created a water pattern for the oceans. Add in lettering (a nice mix of font, hand-lettered and fabric-cut title), and you have the finished map:

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IDEA PLAY.

These are a few illustrations I did for my portfolio–inspired by Illustration Friday. If you are generating new portfolio pieces or just have time to experiment, IF is a great exercise for your brain. I like to start with words that spread ideas like webs, and Images naturally follow. When I do sketches for clients, I usually give bunches of thumbnails for concepts, then more developed sketches thinking about composition and value. And, if they need one, a color rough. Since these were for fun, I let them happen a bit more organically.

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NEW PRINT & PROCESS.

I had some time today to work on this print. It’s an image I’ve done before and one that finds its way into my head quite often. It has to do with watching thoughts (or times in our life, or even lifetimes) as they go around and around before us; how we’ll continue to experience things over and over til we ‘get it right’.

It is a monotype that I sealed with matte medium and painted on top of with thin glazes of acrylics (kind of washy but since I mix it with medium, it has some body to it vs. watery). I toned down the sky a lot because its texture in the print was distracting. I kinda like how it turned out–a mixed feel of paint and print. The color is much better on the original…just couldn’t get them right in the scan.

I made the monotype with oil-based inks on plexiglass (using plate oil and a few drops of Eugenol with each color). For the ground, I rolled ink with a roller. I put a piece of newsprint over the ground and drew all the ‘counting marks’ with different pencils (hard and soft), a stick, a crayon, an erasure, etc. The ink transfers to the newsprint (taking away from the plexiglass) and is a nice way to make subtle marks. In places that are bare paper (like the stripes on the bottom of the tent), I used a q-tip dipped in gamsol which dissolves the ink. If the q-tip is really wet, it bleeds and leaves a nice edge. It’s tricky (for me) to paint lines directly on glass that don’t look forced. So for the dark lines on the lower part of the tent, I rolled out dark ink on a piece of vellum, cut it in a long rectangular shape and set it face down on the glass. Then I drew lines so they transferred onto the glass. You can’t control this and inevitably get nice texture where you aren’t expecting it. The last thing I did before running it thru the press is the chine-collé. I tore little bits of paper, spritzed them with water and sprinkled them with wheat paste, and placed them on the glass. I want to experiment more with chine-colle. It feels so natural to me since I use a lot of collage in my paintings, and it’s SO fun. I’d love to hear any cool tips on chine-colle or monotypes. I’m so new with it. Plus, it’s endless.

(print detail)

And, it’s Friday. I made it! There is a steady rain falling outside. You know that sound of rain on a metal roof? Not a hard monsoon pelting, but a calming sweet rain. I love that.

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COLLAGE.

(this is a small sampling of some of my collage papers.)

Penelope asked recently what kinds of papers I use for collage material. If you could visit my small studio, you’d notice the clutter of huge mounds of paper scraps…much like Cookie Monster’s dream when everything he touched turned to a pile of cookies. Alongside those piles are envelopes, bags, cigar boxes and wooden boxes stuffed with old receipts and book and record covers, yellowed ledger papers, silk kimono scraps, chalk transfer paper, colored tissue paper, construction paper, old photographs and postcards, wall paper, old dictionaries and maps, loads of paper that I’ve painted, and paper money from countries my dad or I have visited–when I was in little, he would bring me his ‘change’ from his travels, and wow, lookie how it’s come in handy! Thanks, Dad!

The age and history of these scraps of papers are what inspires me the most. Personally, I don’t like using brand new papers for collage. I like them worn and discolored. Used. I collect most of my material while traveling or junkin at flea markets or antique shops. Once, my friend Nanette gave me a whole bag-full of treasured scraps that I’m still going thru and using, but that was a rare gift/find.

I prefer light to medium weight stocks. I usually tear paper when collaging, but sometimes I use scissors. It just depends. I like the way the torn edges lay down with what’s beneath it. Also, I almost always ‘eyeball’ it when tearing or cutting, sometimes doing it several times til the right shape happens. It just allows for something much more fun to happen vs. something more predictable.

Ah, collage…so fun. I’d love to hear what other people use for collage, where they find it, and how they use it…

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