{"id":2264,"date":"2011-12-20T00:01:52","date_gmt":"2011-12-20T06:01:52","guid":{"rendered":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2264"},"modified":"2011-12-26T00:00:45","modified_gmt":"2011-12-26T06:00:45","slug":"seven-questions-over-breakfast-with-don-tate","status":"publish","type":"post","link":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2264","title":{"rendered":"Seven Questions Over Breakfast with Don Tate"},"content":{"rendered":"

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“Duke and Billy worked as a team, seamlessly blending their musical ideas. As they traveled from city to city, their composition grew into a timeless musical map. A little Vegas glitz appeared here and there, but that wasn’t the only place to leave its mark. Los Angeles, New York, and New Orleans were there, too. Hollywood glamour mixed with the Harlem Renaissance as each dance tune fell into place. By the end of May,
the new <\/em>Nutcracker Suite was ready to be recorded.”<\/em>
(Click to enlarge spread)<\/center><\/p>\n

My visitor this morning, illustrator (and soon-to-be-author) Don Tate<\/a><\/strong>, has been in this field for a while now, having illustrated over forty trade and educational books for children. He likes to stress that he’s not an artist with a trademark style — and that first and foremost he’s a commercial artist, not a fine artist. And, to give us an idea of this, today he purposely includes many of his “looks,” if you will, in this breakfast Q & A. <\/p>\n

I managed to pull off this interview right when I wanted to — right before Christmas. Those of you who celebrate it may be interested in seeing Don’s latest illustrated title, Anna Harwell Celenza’s<\/a><\/strong> Duke Ellington\u2019s Nutcracker Suite<\/a><\/strong><\/em>, released by Charlesbridge in November and which, I must add, is accompanied by a CD of Ellington’s Suite<\/em>. (A spread from the book opens this post.) This picture book highlights the 1960 collaboration between Duke Ellington and Billy Strayhorn to create Ellington’s swingin’ version of Tchaikovsky’s Nutcracker Suite<\/em>. Using India ink, acrylic watercolors, and chalk, Tate renders the composition of this piece with spunk and high energy. “The brilliant music cues Tate\u2019s full-bleed mixed-media pictures,” writes Kirkus<\/em>. “Bold ink strokes outline and define figures\u2014Duke\u2019s quizzical forehead and Strays\u2019 distinctive cheekbones are expressive squiggles\u2014and create movement across paint-spattered spreads studded with stars, snowflakes and musical notes. The palette marries rich violet-blues with hot, harmonious yellows, sepia and crimson.”<\/p>\n

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So, let’s get right to the interview so that Don can tell us more about this book, as well as his other work. “I love a big breakfast,”<\/em> he told me. “Eggs and bacon, pancakes and sausage, fruit. I\u2019m not picky. The way to a man\u2019s heart: Home-made breakfast casserole!”<\/em> A big breakfast sounds great to me, so let’s set the table while we get the basics. I thank Don for visiting. <\/p>\n

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Jules<\/font><\/strong>: Are you an illustrator or author\/illustrator?<\/font><\/p>\n

Don<\/font><\/strong>: Both. Throughout my 29-year career, I\u2019ve focused mainly on commercial illustration. (I\u2019m very much a commercial artist.) In the past few years, I\u2019ve discovered writing. I love both equally. <\/p>\n

Jules<\/font><\/strong>: Can you list your books-to-date?<\/font><\/p>\n


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Don<\/font><\/strong>: I\u2019ve illustrated more than 40 books for kids. Yes, I include educational books in that count, because they help pay bills. My first trade picture book was, Say Hey: A Song of Willie Mays<\/a><\/strong><\/em>. It published in 2000 with Hyperion\u2019s Jump At the Sun. Since then, I\u2019ve illustrated about one book per year. Most recently, Ron\u2019s Big Mission<\/a><\/strong><\/em> (Dutton, 2009), She Loved Baseball: The Effa Manley Story<\/a><\/strong><\/em> (HarperCollins, 2010), Duke Ellington\u2019s Nutcracker Suite<\/a><\/strong><\/em> (Charlesbridge, 2011).<\/p>\n

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[Some other recent titles are…]<\/p>\n

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  • Sure as Sunrise<\/a><\/strong><\/em> (Houghton Mifflin);<\/li>\n
  • Summer Sun Risin’<\/a><\/strong><\/em> (Lee & Low Books);<\/li>\n
  • Black All Around!<\/a><\/strong><\/em> (Lee & Low Books).<\/li>\n<\/ul>\n

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    “In early 1960 Duke Ellington and his band were the featured act at the Riviera Hotel. Night after night they played to sold-out audiences. Duke’s best friend, Billy Strayhorn, helped him compose the music. Their dance tunes were all the rage.”<\/em>
    (Click to enlarge spread)<\/center><\/p>\n

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    “A Hollywood movie studio inspired the next piece. ‘We’ve given the sugarplum fairy a new identity,’ said Duke. ‘She’s a West Indian beauty now—a starlet of the silver screen named Sugar Rum Cherry.’ Billy walked over to the drummer. ‘Start us off, Sam. Show us how Cherry swings her hips.’ Sam began playing a hypnotic rhythm. Billy turned to one of the oldest members of the band and said, ‘Now it’s your turn, Harry. Let’s hear Cherry sing.’ Harry picked up his baritone saxophone and played a sultry tune. Duke swayed to the music. ‘That’s it!’ he cried. Right before his eyes, Cherry strolled through a cane field on a hot, moonlit night.”<\/em>
    (Click to enlarge spread)<\/center><\/p>\n

    Spreads from Anna Harwell Celenza’s<\/a><\/strong> <\/em>Duke Ellington\u2019s Nutcracker Suite<\/a><\/strong> (Charlesbridge, November 2011)<\/em><\/center> <\/p>\n

    Jules<\/font><\/strong>: What is your usual medium, or–\u2013if you use a variety—your preferred one?<\/font> <\/p>\n

    Don<\/font><\/strong>: I don\u2019t have a preferred medium \u2013- I like them all. I know in art school students are often taught to choose a medium, develop a style, and stick with it. But that\u2019s simply not me. I enjoy illustrating on the computer, Adobe illustrator and Photoshop my preferences. With natural mediums, I prefer acrylics, oils, watercolor. As an illustrator and graphics reporter at the Austin American-Statesman<\/em><\/strong><\/a>, I do a lot of editorial illustration. <\/p>\n


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    Jules<\/font><\/strong>: If you have illustrated for various age ranges (such as, both picture books and early reader books OR, say, picture books and chapter books), can you briefly discuss the differences, if any, in illustrating for one age group to another?<\/font><\/p>\n

    Don<\/font><\/strong>: I\u2019ve illustrated mostly picture books and early readers. I have illustrated middle grade chapter [books], too. It\u2019s important to make characters look age-appropriate, no matter the style or technique used. A 16-year-old male has to look like a 16-year-old male or you\u2019ll confuse your audience. Recently, I illustrated a series of chapter books. The subject matter and the ages of the kids were more mature, ages 11 or 12+. But the story used very simple language, appropriate for a younger reader. I chose to use a style more appealing to a younger reader — less realistic, clean, whimsical. Almost cartoony.<\/p>\n


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    Jules<\/font><\/strong>: Where are your stompin\u2019 grounds?<\/font> <\/p>\n

    Don<\/font><\/strong>: I\u2019m a native of Des Moines, Iowa. I moved to Austin, Texas, twelve years ago to work as a graphics reporter for the newspaper. Austin is home to a warm, closely-knit community of children and YA authors and illustrators. I\u2019m so blessed to be here.<\/p>\n

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    Don painting Ellington<\/em>
    (Click to enlarge)<\/center><\/p>\n

    Jules<\/font><\/strong>: Can you briefly tell me about your road to publication?<\/font> <\/p>\n

    Don<\/font><\/strong>: In retrospect, my road to publication came relatively easy, though it didn\u2019t seem so at the time. I attended a two-year community college where my core area of study was commercial art and advertising. Soon after graduation, I took a job at an educational publishing company. I was hired as a publication designer, but the illustrator in me took over. I was soon illustrating books and other educational aids for the company. <\/p>\n

    After working there for several years, I stepped out on my own to pursue a career in full-time illustration. I found lots of educational work, but getting a trade book deal wasn\u2019t easy. After many rejections, I sought advice from accomplished illustrators like Brian Pinkney<\/a><\/strong>, Floyd Cooper<\/a><\/strong>, James Ransome<\/a><\/strong>, Pat Cumming<\/a><\/strong>s. Two years later, I had my first trade contract with Jump At The Sun.<\/p>\n