This morning over at Kirkus, I chat with author-illustrator Jon Agee, pictured here.
We talk about his newest picture book, Little Santa, released by Dial in October. Jon also looks back at publishing picture books over the years; considers Maurice Sendak’s contributions to picture books, as well as to his career; discusses what contemporary picture book artists inspire him …
… and more!
Next week here at 7-Imp, I’ll have some more art from Little Santa, as well as some early dummy images from Jon.
That Q&A is here.
Until tomorrow …
Photo of Jon Agee used with permission.
Here’s a really quick post (because work calls) to show some artwork from Paula Bossio, who has also worked as a graphic designer and art director and who currently lives in Spain. In fact, this wordless title was originally published in Spain in 2011 as El lápiz.
This book is called The Line, and this English edition was released by Kids Can Press in September. It’s the tale of a young girl who finds—you guessed it—a line, and she immediately picks it up to play with it. I don’t want to give a lot of the story away (especially the ending, which is probably a love-it or hate-it kind of closing for many readers), but the line becomes many things to her, as you can see in the illustrations below. Is it her imagination at work or something else?
Bossio’s pencil lines are very loose (well, those lines that aren’t the line itself, that is, which is of course super loose), and things get dramatic in this tale. The girl goes from glee to fear to tears in the span of several spreads. It’s a simple tale, stripped down to its basics in these uncluttered spreads, with Bossio showing that a lot can be done with a little.
Told you this would be brief. Back to work.
Enjoy the illustrations. Read the rest of this entry »
(Click each to enlarge)
Santa gets around any way he can, y’all.
And author-illustrator Brian Biggs proves this point in the newest entry in his Everything Goes series, called Everything Goes: Santa Goes Everywhere!, published by Balzer & Bray this September. This is actually a board book, and it’s good stuff. In fact, I did story time yesterday morning at Parnassus Books here in Nashville, and I brought this one along. The children there loved the book. There were many laughs, in particular, to see Santa on a speedboat. (And how much do I love the book’s cover? A whole heapin’ lot. Opening this post is the cover art.)
(By the way, that’s Brian pictured above and right. He painted himself into his new book about what goes on the sea, but more on that book below.)
I’ve posted before here at 7-Imp about this wonderful series (see this 2012 post in which I chat with Brian), which is perfect for the vehicle- and transportation-obsessed child in your life (or even growns-ups). I think it’d be unfortunate, though, to write about these books in such a way to imply they should be limited to only those who like moving vehicles of any sort. They’re such well-crafted books on many other levels, and they’re full of rewarding details. You will often hear Biggs compared to Richard Scarry when folks write about these books, and there’s a reason: They are spreads to pore over and take one’s time with, spreads full of many stories and running jokes and visual treats. Oh, and they’re educational too. Clearly. But, most importantly, they’re very fun. Read the rest of this entry »
Today over at Kirkus, I write about a new picture book from Uri Shulevitz. It’s called Dusk.
That is here this morning.
I’m following up today with some art from the book, released by Enchanted Lion Books last month, which is below.
(Click to enlarge)
Last week at Kirkus, I chatted with publishing director Cecily Kaiser, who works with Appleseed, a fairly new imprint of Abrams Books for Young Readers. We chatted about board books and what makes a good one. All of that chit-chattin’ is here, and today I’m following up with art from some of the books she mentioned, including the re-boot (coming in 2014) of Chris Raschka’s Thingy Thing series, pictured above.
Enjoy the art.
(Click to enlarge second image and see text)
You’re really gonna click on the image above and see that cardboard up close, right?
And, since you all know I get kind of twitchy when I don’t share art from the books about which I write, I’m following up here today at 7-Imp with some art from Zuppardi himself (pictured right). He has also sent along some early sketches and dummies from the book.
My book review is here at BookPage’s site (I give them seven points for the name they gave my review, “He’s a Real Nowhere Man”), and below are some more images from Sam.
I thank him for sharing.
It’s the first Sunday of the month, when I typically feature student illustrators or those brand-new to illustration, but I’m breaking the rules today.
And that’s ’cause, earlier this week, I was chatting with author-illustrator Carin Berger about how she turned in the art for her upcoming book, Finding Spring (Greenwillow Books), which is about a bear who doesn’t want to hibernate and, instead, goes in search of Spring. The art is what Carin describes as “somewhat 3D”—like her most recent illustrated children’s book, Jack Prelutsky’s Stardines Swim High Across the Sky: And Other Poems (Greenwillow Books, February 2013)—but “more like tiny toy theaters or Victorian raree shows.”
I haven’t seen an early copy of this book, which won’t be on shelves for a while, but I always enjoy reading about Carin and how she creates her artwork. In fact, Carin and I did this back in January of last year, way before Stardines came out. She visited back then to share images of her dioramas, her three-dimensional art from that book. Hmm. Maybe I can just make it a 7-Imp tradition to check in with Carin at the first (or nearly first) of every year. I’m a fan of her artwork. That’d make me happy anyway.
So, without further ado, here’s Carin, and I thank her for sharing. Read the rest of this entry »
Because Kirkus deadlines don’t stop for Thanksgiving, I decided to write about a book I thought might be a fitting Thanksgiving read. And that would be Isobel Harris’ Little Boy Brown, illustrated by French graphic designer and illustrator André François and originally published in 1949. My thoughts on that book are here, and next week I’ll follow up with some art from it (though one illustration, which is also the cover illustration, is pictured right).
Today, I’m giving some attention to board books, since those poor guys don’t really get enough attention (at least compared to picture books and novels). I’m chatting with the publishing director of Abram’s Appleseed Books, Cecily Kaiser, about board books and what makes a good one. That link is here.
Lastly, this week for Picture Book Month (which is coming to a close), I chat with podcaster Katie Davis about picture books. I might just ramble a bit about Uri Shulevitz, Maurice Sendak, Barbara Bader, Katherine Paterson, Harry Allard’s and James Marshall’s Grandfather Stupid, picture books as “acts of mischief” (as Patricia Lee Gauch describes it), favorite picture books of 2013, and more.
That is here.
Thanks to Katie Davis for dealing with my low-tech old-skool phone skillz.
LITTLE BOY BROWN. First American edition published in 2013 by Enchanted Lion Books. Copyright © 2013 by Enchanted Lion Books for this reprint edition. Illustration reproduced by permission of the publisher.
“So saying, he took a rope and an axe with him, went out into the forest,
and told the men who were escorting him to stay behind.
He didn’t have to search for long before the unicorn appeared,
racing straight towards the tailor as if to impale him on its horn.”
Since I wrote here last week at Kirkus about a new collection of fairy tales from The Brothers Grimm, illustrated by Lisbeth Zwerger and published by Minedition—it’s called Tales from the Brothers Grimm, and it’s beautiful—I’ve got some art from it today.
But I’ve got another treat.
Also from Minedition this December will be The Brothers Grimm’s Hansel and Gretel, illustrated by Sybille Schenker and adapted by Martin West. Now, to read about it, you can go here to Kirkus‘ starred review. (Yes, I’m kickin’ it over to them, ’cause I have a giant stack of work giving me the skunk eye.) They call it nothing less than “gorgeous” and “sumptuous.” It really is both things, more of a coffee-table book than one you want to give, say, a toddler — given things like its thick cover stitching, die cuts, and vellum pages. The stark, black silhouettes throughout the book set a splendidly eerie tone, and the highly-patterned color illustrations that appear (not pictured below) are striking. Below is some art from that book, too.