Archive for the ‘artwork for children’ Category

Every now and then I remember to practise drawing the same character from different viewpoints doing different things. You may remember this attempt. I was at it again in the last couple of days, only this time I gave him (or is it a her with shortish hair?) some huge objects to manhandle. I was just being whimsical. But then some ideas came to mind.

Maybe:

He feels little in his family. Maybe he has a skill no one really notices. Maybe there is some incident when he knows he could help but no one even glances at him.

So what happens? *shrugs* Well, maybe he has to surreptitiously assemble the things he needs, in order to do whatever he needs to do to sort it out! So, stretching my brain a bit… he, um, steals the sharpener to sharpen the pencil, then draws the image and finally paints it.

That latter image was meant to be pastel sticks but looks more like watercolour paints – except for the lack of a mixing lid! He struggles to lug this one to his bedroom…

So yes, I don’t have time right now because a 400-page book has to be proofread this week for a publisher. But this is how a story could grow in my head, needing many revisions obviously, but perhaps it could be made to work if I really wanted to.

Nice to have conjured up a spark on a cold, icy day 🙂 Happy new year to you all.

dragongirl-pen-zigbrush-boy

I often try to draw the same character doing different things. Keeping the style, keeping the character recognisable: it’s all grist to the mill in children’s illustration.

I thought of these two kids last week and drew the first image out in ink. I used permanent ink for the characters and soluble ink for the background – I wanted to keep the focus on the characters, who would be coloured, and leave the background as monotone after some moving around of the soluble ink for shading. The digital work was done in Photoshop and Clip Studio Paint – I just love the blending brush in CSP and often choose to colour there too, leaving any initial cleaning up of scanned line work and the post-processing manipulation for PS.

When I had done both images, as an afterthought, I made the background of the first one look cooler as it was outside, and the background of the other look warmer as it was inside. And I double-checked they were dressed in the same clothes here – although in the course of a book this might not be so.

I think probably they go better in reverse order actually – they have a lovely shared natter and then he bids her farewell on the doorstep and goes home! The third image shows the sequence all together: ringing to ask to come round, sharing together in the warmth, and saying goodbye.

friends

friends-sequence

I spent yesterday upgrading (ruining?) my illustration portfolio site. I think it works now. At one point it had no home page and now it probably has two of every page, but if I delete one, the other goes too. Since I first started with WordPress, they have upped their offerings, complexity, usefulness and instructions so much that I find it hard to manage my way through to do what I want.

I had two aims in mind:

  1. Limit what was on the site so that art directors could immediately find relevant, good stuff.
  2. Make the landing page be the portfolio itself. In other words ‘About’ could be less obvious at first.

You know how they say, with editing your novel, ‘kill your darlings’? Well, I’ve removed my fine art and my sketches and my photo artistry images. I’ll decide what to do with those later. They are not going to aid my illustration aims, so they had to go. Focus, focus!

What is left is a portfolio of editorial illustration and a portfolio of children’s illustration. I shall regularly add new work and remove older stuff. There’s a lot of competition out there and I need to make it easier to be seen, and to develop my style in each discipline to be recognisable. Hopefully desirable too.

The two portfolios that now remain sit side by side (by some miracle at midnight!) and my next aim is to make the images within them sit in a block too. I have no idea how, but it can be done, they say.

If you want to look and offer feedback, that would be great. If you understand how the Qua theme works, even better. I’m all ears 🙂 You can find me at eleanorpatrickillustration.com.

Here is my latest biro girl with background. Exam results came out last week.

certificate girl

I spent a long time doing biro sketches of children last year. I still love using a scribbly biro and have been tempted to ditch heavier ink outlines and revert to type!

Anyway, I just painted this little toddler tennis star and was wondering about a background for him. I decided to sketch the flowers in his garden in biro (ball point, if you call it that), and then simply locked the unused pixels on the flower layer and brushed various colours over the linework to make a background without it being intrusive.

I had my doubts at first, despite liking it, but then changed it to mono to check the tonal range of the whole piece, and it’s not bad. In a picture book, it would need some darker darks somewhere.

I’ll put both colour and mono versions here so you can see for yourself what you think of ‘coloured’ biro backgrounds of this sort! The mono version would probably work quite well for a chapter book illustrated in black and white. I think I always assumed they were done in shades of grey but recently saw some artist finals for a chapter book and they were in colour, although eventually printed in mono. I live and learn!

tennis toddler with flowers

tennis toddler with flowers 2

 

 

I wrote a short chapter book which would divide into six chapters. It seemed reasonable for the target age group to have a six-year-old girl going to a new school, having just moved into a new home. It would need colour illustrations on every page, I think, to encourage the new reader to read, even if being read to. The (dreaded, compulsory!) synopsis starts like this:

Jess hates her new house because it is draughty, noisy and ghostly. She also hates her new school because she has, as yet, no friends. Grandad has stopped travelling and moved into the attic. He remarks that his beautiful stones are magical and not to be touched. Jess creeps up at night to borrow one to help her solve her problems at school. But his caged mouse challenges her and demands cheese for his silence, after which he lets her take it, with warnings about telling on her if she loses it.

Obviously, things must go wrong with the stone and at the end she must have won a friend – by normal means using her skills – and be reconciled to the new house. Otherwise, where is the story?

It starts likes this:

Jess hated her new house. The bedroom door moaned and groaned all night. She tried propping it open. She tried pressing it shut. She tried pushing her slippers against it.

But: Creak! Squeak! 

Moan… groan…  

Cold air brushed against her face. 

A scuffle on the floor: mouse or ghost?

Jess shivered and pulled the covers over her head.

It was nearly morning before she fell asleep. She dreamt that tree roots were curling round her feet. When she woke, the quilt was twisted round her legs and the wind was whistling round her toes. 

She pulled her uniform on and ran down to the kitchen, where Mum was frying bacon. 

“I hate this house,” she said. “And I hate my new school.”

Anyway, I decided to sketch the bit near the end before the final thing happens, where we read:

Later, Jess lay in the dark listening to the door creaking and groaning, despite the pile of books she’d dumped in front of it. The wind blew cold about her ears.

Then I painted it digitally.

jess and books

It’s not intended to be neat and tidy. And I want to add a scene in the same style with Grandad in his attic room showing the melée of things from his travels, including the cage and its mouse (that is, or perhaps is not, also magical). I can see it in my mind’s eye, preferably with the sun streaming in, not darkness like here! But it will be hard to do, whether neat and tidy or scribbly!

This is not a story I would want to illustrate myself, though. More of an accompaniment to submitting a manuscript. But it was fun to try.

Children’s books often have a count down or count up within the story. The first idea eliminates things one at a time. The child knows it’s going to end with zilch, but not how, and that’s the fun – even, it seems, on a second or twelfth reading. The latter kind counts up, in the sense of ‘not this… not this… not this… but THAT!’ There’s an outbreak of these at the moment with the likes of that’s not my face/hat/friend etc.

I suppose the book that I’m attempting to re-illustrate comes in the former category, because Dad and Benj are growing pumpkins, somewhat inexpertly, for the harvest show, an idea filched from the lady next door.

This spread comes after the first pumpkin loses its fight for life – run over by little sister’s car. (The vertical blue line is just a marker in Photoshop to remind me where the middle of the spread is. I took a screenshot so it still shows.)

Editing the art and words

I’m having fun. But I’m also going back and altering the spreads slightly as I notice things I’m not happy with or think of something that’s missing. The editing habit dies hard! I’m still striving for the more scribbly, energetic look, although this spread doesn’t actually show that! Others do. But I think they conform overall.

I’m also altering some words here and there. Hamish Hamilton allowed through ‘Baby Sue’ in the original edition, but since she rides a toddler car to wreak this havoc, ‘baby’ clearly isn’t the right name. I think I’ll make her Emmy-Jo or similar. Need to keep the rhythm (important in kids’ books) but lose the Baby epithet. So I seem to be happily working on both words and illustrations together, which is actually my long-term aim.

A peaceful festive season to you all from me. May 2016 be the time you achieve what you really want to.

Splat pages 16-17 small

I’m making the most of some precious free time before New Year. In between journal editing cycles and other work that comes and goes, a breather is always a chance for me to really concentrate on something else. So it’s my ‘words and illustration’ – of course.

The challenge of thumbnailing

Thumbnails have always been a problem for me because I’m the sort who invents as I go – almost the same way as I write stories. A basic idea and framework and off I go. Revision comes naturally to me as an editor, so this is the way I do everything. If I drew the required sketchy stuff for thumbnails, it would get totally altered later because I would be in a different flow when I started painting.

For this reason, I’m doing special properly illustrated thumbnails in the kind of style I want to end up using for the reprint of my out-of-print book. I’m using Photoshop, but could have easily been using Manga Studio 5 (Clip Studio Paint), it’s such a lovely program now.

Do publishers want my artwork?!

I know full well that publishers want to pair artists of their choice for any given story words. In this instance, though, I think an illustrated miniature might convince them a republish is worthwhile. Even if they dislike my art – which is quite possible! – and choose someone else. I’ve used this book in schools very successfully, including when no further copies were available. So I’m hedging my bets by illustrating. I can always self-publish.

In case you’re interested, here’s a small version of thumbnails so far. splat thumbs screenshot

Limited palette and brushes

I’m trying to stick to a limited palette and a few brushes only. In this case, these from Kyle Webster (the EP prefix is from the times I needed to find them – but they’re all his) plus occasionally the generic airbrush provided in PS:

current tools