{"id":2318,"date":"2012-03-27T00:01:03","date_gmt":"2012-03-27T06:01:03","guid":{"rendered":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2318"},"modified":"2012-03-27T08:07:49","modified_gmt":"2012-03-27T14:07:49","slug":"seven-questions-over-breakfast-with-adam-gustavson","status":"publish","type":"post","link":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2318","title":{"rendered":"Seven Questions Over Breakfast with Adam Gustavson"},"content":{"rendered":"<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Gustavson bio pic72dpi1.jpg\" alt=\"Adam Gustavson\" title=\"Adam Gustavson\">Illustrator <strong><a href=\"http:\/\/www.adamgustavson.com\/\">Adam Gustavson<\/a><\/strong> is visiting for breakfast this morning. It may be a cyber-breakfast and we may not actually be face-to-face over the breakfast table with either the coffee or wine mentioned in my 7-Imp interviews, but he tells me he <em>&#8220;answered these questions over a few cups of coffee, actually, whereupon I proofread it all over a glass of red wine. I think we\u2019ve had the full experience here.&#8221;<\/em> <\/p>\n<p>Adam states at his site that at first, he was going to be a cowboy. I&#8217;m glad he turned to children&#8217;s book illustration instead, though I do believe in the power of his two-pint ten-gallon hat of childhood. As you can see below, Adam&#8217;s had a relatively long and prolific career in illustrating children&#8217;s books, and he also teaches. His teaching is something he also discusses below. (Can I just say that I&#8217;d like to clone him as an interviewee? I really enjoyed formatting this interview and appreciate how detailed he is in his responses, as well as the thought he put into answering the questions.)<\/p>\n<p>Adam works in oils, rendering lush, detailed illustrations with rich colors. He often plays with perspective and captures many a text&#8217;s atmosphere with precision and spot-on pacing. &#8220;Gustavson creates a festive mood with his oil illustrations, so luxurious and ample they feel like bundles of winter clothing, topped with bright scarves,&#8221; wrote <em>Kirkus<\/em> about his illustrations for <strong><a href=\"http:\/\/www.lesterlaminack.com\/\">Lester Laminack&#8217;s<\/a><\/strong> <em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781561455539\">Snow Day<\/a><\/strong><\/em> (Peachtree Publishers, 2010). <\/p>\n<p>Looks like he and I are eating well this morning. &#8220;When I can, I\u2019m a bagel-with-cream-cheese-and-lox breakfaster,&#8221; he tells me. &#8220;If I\u2019m planning ahead, I make my own lox using my Finnish grandmother\u2019s time-tested technique.&#8221;<\/p>\n<p>Sounds good to me. I&#8217;ll set the table while I get the basics before our seven questions over breakfast. I thank Adam for stopping by. <!--more--><\/p>\n<p><center><font size=4>* * * * * * *<\/font><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/personal_4gustavson.jpg\"><br \/>\n<center><em>(Personal piece)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Gustavson bio pic-Rhinohead1.jpg\" style=\"float:right;\"><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: Are you an illustrator or author\/illustrator?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong> <em>(pictured right)<\/em>: Published illustrator. As an author, I won\u2019t deny delusions of grandeur. We Gustavsons delight in making up absurd characters. <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: Can you list your books-to-date?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Let\u2019s see\u2026<\/p>\n<ul>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9780689851193\">Good Luck, Mrs. K!<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9780689867200\">The Day Eddie Met the Author<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.amazon.com\/Bad-Dog-Dodger-Barbara-Abercrombie\/dp\/0689837828\">Bad Dog Dodger<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.barbaraabercrombie.com\/\">Barbara Abercrombie<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.amazon.com\/Custodian-Louise-Borden\/dp\/0689849958\">The A+ Custodian<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9780689868696\">The Last Day of School<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781416918134\">The John Hancock Club<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781416918141\">The Lost and Found Tooth<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.amazon.com\/Where-Big-Fish-Jonathan-London\/dp\/0763609226\">Where the Big Fish Are<\/a><\/strong><\/em> by Jonathan London. Candlewick.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582461632\">Just Kidding<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.trudyludwig.com\/\">Trudy Ludwig<\/a><\/strong>. Tricycle Press.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781570918728\">A Very Improbable Story<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.edwardeinhorn.com\/\">Edward Einhorn<\/a><\/strong>. Charlesbridge.<\/li>\n<\/ul>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/hannahsway.jpg\"><\/p>\n<p>Past five or so years (I think):<\/p>\n<ul>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781561455539\">Snow Day<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.lesterlaminack.com\/\">Lester Laminack<\/a><\/strong>. Peachtree Publishers.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582461847\">Rough Tough Charley<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.verlakay.com\/\">Verla Kay<\/a><\/strong>. Tricycle Press.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582462561\">Yankee at the Seder<\/a><\/strong><\/em> by Elka Weber. Tricycle Press.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582463186\">Calico Dorsey<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Susan_Lendroth\">Susan Lendroth<\/a><\/strong>. Tricycle Press.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582463803\">Better Than You<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.trudyludwig.com\/\">Trudy Ludwig<\/a><\/strong>. Tricycle Press.<\/li>\n<li><em><strong><a href=\"http:\/\/www.jeffseitz.com\/TippyToo\/Welcome.html\">Tippy-Too<\/a><\/strong><\/em> by Julia Schnebly Black. Corby Street Press.<\/li>\n<li><em><strong><a href=\"http:\/\/www.amazon.com\/Mind-Your-Manners-Alice-Roosevelt\/dp\/1561454923\">Mind Your Manners, Alice Roosevelt!<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.lesliekimmelman.net\/\">Leslie Kimmelman<\/a><\/strong>, Peachtree Publishers.<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781561455379\">The Blue House Dog<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.deborahblumenthal.com\/\">Deborah Blumenthal<\/a><\/strong>. Peachtree Publishers.<\/li>\n<li><em><strong><a href=\"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2258\">Jingle Bells: How the Holiday Classic Came to Be<\/a><\/strong><\/em> by John Harris. Peachtree Publishers.<\/li>\n<li><em><strong><a href=\"http:\/\/www.amazon.com\/Lost-Found-Bill-Harley\/dp\/1561456284\">Lost and Found<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.billharley.com\/\">Bill Harley<\/a><\/strong>. Peachtree Publishers. (Fall 2012)<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9780761351382\">Hannah\u2019s Way<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.lindaglaserauthor.com\/\">Linda Glaser<\/a><\/strong>. Kar-Ben. (Spring 2012)<\/li>\n<li><em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781600604119\">Silent Star: The Story of Deaf Major Leaguer William Hoy<\/a><\/strong><\/em> by Bill Wise. Lee and Low. (Spring 2012)<\/li>\n<\/ul>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/5145gJ8WivL._SS500_.jpg\"><\/p>\n<p>Chapter Books:<\/p>\n<ul>\n<li><em><strong><a href=\"http:\/\/books.simonandschuster.com\/Trouble-with-May-Amelia\/Jennifer-L-Holm\/9781442421400\">The Trouble with May Amelia<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/blaine.org\/sevenimpossiblethings\/?p=1885\">Jennifer Holm<\/a><\/strong>. Simon and Schuster.<\/li>\n<li><em><strong><a href=\"http:\/\/www.amazon.com\/Magic-Heart-Amy-Gordon\/dp\/0823419959\">Magic By Heart<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.amyagordon.com\/\">Amy Gordon<\/a><\/strong>. Holiday House.<\/li>\n<li><em><strong><a href=\"http:\/\/guardianbookcompany.com\/catalog.php?item=928\">The Mystery of the Jubilee Emerald<\/a><\/strong><\/em> by <strong><a href=\"http:\/\/www.garywassner.com\/\">Gary Wassner<\/a><\/strong>. Mondo Publishing.<\/li>\n<\/ul>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/jimmy_2gustavson.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/jimmy_3gustavson.jpg\"><br \/>\n<center><em>Pictured above: An unpublished piece of Adam&#8217;s, <\/em>Jimmie the Rhinoceros Boy<\/center><\/p>\n<p>Neat Oddball Opportunities:<\/p>\n<p><em><strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/A_Painted_House\">A Painted House<\/a><\/strong><\/em> [pictured below] by <strong><a href=\"http:\/\/www.jgrisham.com\/\">John Grisham<\/a><\/strong>. Serialized in its original publication by the <em>Oxford American<\/em> magazine over the course of six bi-monthly issues. Every two months on a Thursday night, 50\u00b1 typewritten pages would spill out of my fax machine, unannounced; I had till the following afternoon to get 4-6 pencils drawings faxed back, the weekend to do 4-6 oil paintings, and then had to package them so they could finish drying en route to a printing service bureau in Arkansas &#8212; where on Tuesday they needed to be scanned so the magazine could finish being printed. It may have been the most exciting job I\u2019ve ever had. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/house_41.jpg\"><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What is your usual medium, or\u2013\u2013if you use a variety\u2014your preferred one?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Oil on paper. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/avis 4a.jpg\"><br \/>\n<center><em>Spread from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781570918728\">A Very Improbable Story<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.edwardeinhorn.com\/\">Edward Einhorn<\/a><\/strong> (Charlesbridge, 2008)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/a-very-improbable-story1.jpg\"><\/p>\n<p><font color=\"000066\"><strong><font size=4>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<p><strong><font size=4>Adam<\/font><\/strong>: I tend to treat everything very similarly; I don\u2019t change my rendering or compositional style much. There are visuals that I came upon at a very, very early age that still stick with me, that affected in a very real way how I see the world and the types of things I notice\u2026 that two-second scene in <em><strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Dumbo\">Dumbo<\/a><\/strong><\/em>, where an elephant pulls her foot out of the mud and the impression fills in with water, for instance. I try to throw the kitchen sink in everything and let an audience\u2019s mind edit out what does or doesn\u2019t make sense. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/BTY_fin_14a.jpg\"><br \/>\n<center><em>Illustration from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582463803\">Better Than You<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.trudyludwig.com\/\">Trudy Ludwig<\/a><\/strong> (Tricycle Press, 2011)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/betterthanyoucover.JPG\"><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: Where are your stompin\u2019 grounds?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: I live in West Orange, NJ, though I grew up in Dover, NJ; they\u2019re two of the most culturally diverse places I\u2019ve ever been.<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue house dog 4-5a.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue house dog 4-5b.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue house dog 6-7a.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue house dog 6-7b.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue house dog 8-9a.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue house dog 11a.jpg\"><br \/>\n<center><em>Illustrations from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781561455379\">The Blue House Dog<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.deborahblumenthal.com\/\">Deborah Blumenthal<\/a><\/strong><br \/>(Peachtree Publishers, 2010)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/blue-house-dog1.jpg\"><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: Can you briefly tell me about your road to publication?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: When I was majoring in illustration at Glassboro State\/Rowan College\/<strong><a href=\"http:\/\/www.rowan.edu\/\">Rowan University<\/a><\/strong> (it changed its name a lot), I started sending out color copies of my work to anyone and everyone that I thought might hire me. <img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/agustavson.jpg\">I used to haunt newsstands at bookstores, poring over periodicals looking for illustrations, then writing down in my sketchbook the names of the art directors or editors from each staff box. <\/p>\n<p>I started working for <em><strong><a href=\"http:\/\/www.cricketmag.com\/CKT-CRICKET-Magazine-for-Kids-ages-9-14\">Cricket<\/a><\/strong><\/em> and the <em><strong><a href=\"http:\/\/www.oxfordamerican.org\/\">Oxford American<\/a><\/strong><\/em> while still in school, and once I\u2019d done a few jobs featuring four or five images of repeating characters, I started hawking to children\u2019s book publishers much in the same way I had approached magazines. My first offer was from Simon and Schuster the year after I graduated. (I had spent the summer at the <strong><a href=\"http:\/\/www.illustrationacademy.com\/new\/index.html\">Illustration Academy<\/a><\/strong>, then held just outside of Kansas City, MO.) They paid me enough to afford my train ride into grad school and didn\u2019t mess with my sketches much at all. I was just na\u00efve enough to think that a) the advance was more than I\u2019d ever made before and b) this would be pretty easy.  <\/p>\n<p>I once read a great interview with the jazz guitarist <strong><a href=\"http:\/\/www.earlklugh.com\/main.html\">Earl Klugh<\/a><\/strong>, where he was asked about playing with the luminary <strong><a href=\"http:\/\/georgebenson.com\/\">George Benson<\/a><\/strong> when he was a teenager. When pressed about getting such an opportunity at a young age and the impact it had on him, he pointed out that as a teenager, it\u2019s not uncommon to think that that sort of thing could happen. It\u2019s only when we become older and less precocious that we realize how overwhelming the odds are &#8212; or how small we may be in the grand scheme of things. <\/p>\n<p>Sigh\u2026<br \/>\n<BR>&nbsp;<BR><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/a+_4a.jpg\"><br \/>\n<center><em>Spread from <\/em><strong><a href=\"http:\/\/www.amazon.com\/Custodian-Louise-Borden\/dp\/0689849958\">The A+ Custodian<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong> (Simon and Schuster, 2004)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/acustodian1.jpg\"><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: Can you please point readers to your web site and\/or blog?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: My web site is <strong><a href=\"http:\/\/adamgustavson.com\">adamgustavson.com<\/a><\/strong>. It\u2019s a flash site and needs an update that I\u2019ve (thankfully) been too busy illustrating and teaching to attend to. But it needs to get done this year.<\/p>\n<p>My blog, which is much more up to date, is <strong><a href=\"http:\/\/adamgustavson.blogspot.com\">adamgustavson.blogspot.com<\/a><\/strong>. It features sneak peaks of projects I\u2019m working on, glimpses into my studio process, demos I\u2019ve done for classes I teach, and an ongoing series of under-appreciated but nonetheless real holidays that I create cards for as my one-man promotional campaign (Penguin Awareness Day, Ask a Stupid Question Day\u2026). <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/crusoe layout1.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/crusoe layout1a.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/gustavson_grammar_day.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/gustavson_grammar_daya.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/gustavson.chip.f.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/gustavson.chip.fa.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/gustavson_catfish_f.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/gustavson_catfish_fa.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/fish amnesty card.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/fish amnesty carda.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/gustavson_egg_front.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/gustavson_egg_fronta.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/scrapple daylarge.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/scrapple daya.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/Gustavson_g'hopper.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Gustavson_g'hoppera.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/plunger daylarge.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/plunger daya.jpg\" border=1><\/a><br \/>\n<center><em>(Click each to enlarge)<\/em><\/center><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: If you do school visits, tell me what they\u2019re like.<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: I talk to small groups, preferably 50 or so kids at a time. I tend to focus on a particular book for the talk, though I always start with an illustrated synopsis of what illustrators do for a living, <img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/agustavson2.jpg\" style=\"float:right;\">who they work for, and how they find books to illustrate. I then drag everyone through a project from manuscript to thumbnail to research to pencil drawings to revisions to final paintings, all in about 45 minutes, and all while pacing frantically, gesturing wildly, and talking in an array of different voices.<\/p>\n<p>I don\u2019t do a Powerpoint. I bring in original work. There are a few reasons for this. For one, I feel like technology\u2014laptops, projectors\u2014can be either really cool or really cold, both of which can be distracting. I\u2019ve had them crash before, and in my teaching experience a day that relies on technology for smooth sailing has almost never gone right. I\u2019ve never had a dry oil painting crash. <\/p>\n<p>But aside from my cave-man leanings, books are already reproductions of something. Children see reproductions of things all the time. They\u2019re on the TV, on the radio, and of course, in books. The talk is supposed to be about stripping away the magic trick of that; aside from peeling apart the layers of process and hard work that go into a book, seeing the art from a book is supposed to feel like passing a movie star on the street. Real stuff just has a different presence to it, and I always feel that there\u2019s nothing like the chance to occupy a room with it. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/rough tough charley 2.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/rough tough charley 21.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/rough tough charley 3.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/rough tough charley 31.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/rough tough charley 4.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/rough tough charley 41.jpg\" border=1><\/a><br \/>\n<em><center>Spreads from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582461847\">Rough Tough Charley<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.verlakay.com\/\">Verla Kay<\/a><\/strong> (Tricycle Press, 2007)<\/em><br \/>(Click each to enlarge slightly)<\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Rough-Tough-Charley.jpg\"><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: How does teaching illustration influence your work as an illustrator, if at all?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: If all goes well, I try not to think about it too much when I\u2019m working, though I can\u2019t help from time to time wondering, &#8220;How would I explain this to someone?&#8221; or &#8220;Did I just make the same mistake I made someone feel bad about yesterday?&#8221; Teaching intro-level courses can create havoc in the studio; <img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/agustavson3.jpg\">having to concentrate on communicating fundamentals to a room for an extended period of time isn\u2019t always the best exercise for the part of the brain that comes up with high-minded sophisticated solutions and messes about in advanced technique. <\/p>\n<p>And yet, trying to help a couple dozen young artists through their respective problem solving hurdles can be a like a burst of right brain calisthenics and forces me to think about creative process in ways I perhaps haven\u2019t in some time. So, from that standpoint, teaching keeps me from getting too set in my ways and occasionally forces me to take my own advice. <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: Any new titles\/projects you might be working on now that you can tell me about?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: I have a few firsts coming down the pike. <\/p>\n<p>My first sports book ever, <em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781600604119\">Silent Star<\/a><\/strong><\/em> (by Bill Wise), about a deaf 19th-century baseball player, Billy Hoy, will be out this Spring from Lee and Low. For anyone new to illustration as a profession, I feel its worth noting that they were on my mailing list for fifteen years before this book landed in my lap. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/BH_8_groundera.jpg\"><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/HOY_th16-17large.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/HOY_th16-17a.jpg\" border=1><\/a><br \/>\n<center><em>(Click to enlarge)<\/em><\/center><\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/hoy_sk16-17_cobbling.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/hoy_sk16-17_cobblinga.jpg\" border=1><\/a><br \/>\n<center><em>(Click to enlarge)<\/em><\/center><\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/BH_16-17_cobbler.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/BH_16-17_cobblera.jpg\" border=1><\/a><br \/>\n<center><em>(Click to enlarge)<\/em><\/center><\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/BH_32-33_safe.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/BH_32-33_safea.jpg\" border=1><\/a><br \/>\n<center><em>(Click to enlarge)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/silent-star-the-story-of-deaf-major-leaguer-william-hoy1.jpg\"><\/p>\n<p>My first silly book, <strong><em><a href=\"http:\/\/www.amazon.com\/Lost-Found-Bill-Harley\/dp\/1561456284\">Lost and Found<\/a><\/em><\/strong> (by <strong><a href=\"http:\/\/billharley.com\/\">Bill Harley<\/a><\/strong>) is slated for Fall of 2012 from Peachtree. This is pretty momentous for me. I approach silliness with a fervor and dedication that I reserve for little else in my life. My two sons have known since birth to only believe a tiny portion of anything I say. A manuscript where a two-page spread features the words &#8220;The stuff I found was getting weirder and weirder&#8221; was like having the clouds part and light stream down as angels sang yodeling cowboy songs in celestial harmony. With flying badgers.<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/LaF_fin_22-23a.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/lostandfoundcover.JPG\"><\/p>\n<p>I\u2019m now getting started on some music-themed picture books with Christy Ottaviano Books at Holt. I\u2019ve been a semi-professional musician for years and years now but never found the chance to really put the two things together, so this is pretty exciting, too. <\/p>\n<p>I\u2019m working with my first agent, too, Abigail Samoun at <strong><a href=\"http:\/\/www.redfoxliterary.com\">Red Fox Literary<\/a><\/strong>. We\u2019d worked together on a number of books when she was an editor with Tricycle Press, and it\u2019s been a real joy and relief to have a kindred spirit as my real world, commercially-driven, arts-employment advocate. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/coffee cup8.jpg\" title=\"Mmm. Coffee.\" alt=\"Mmm. Coffee.\"><font color=\"000066\">Okay, the coffee and bagels are on the table, and it&#8217;s time to get a bit more detailed with seven questions over breakfast. I thank Adam again for visiting 7-Imp.<\/font> <\/p>\n<p><font color=\"000066\"><font size=5>1.<\/font> <strong><font size=4>Jules<\/font><\/strong>: What exactly is your process when you are illustrating a book? You can start wherever you\u2019d like when answering: getting initial ideas, starting to illustrate, or even what it\u2019s like under deadline, etc. Do you outline a great deal of the book before you illustrate or just let your muse lead you on and see where you end up?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: I read the manuscript a bunch of times, then sit on it for a while. Not literally, of course, though I probably have done this by mistake once or twice. <\/p>\n<p>I love doing page breaks. I really labor over where pages get turned, what gets a spot, a full page or a spread, or where the text can get dense and instructional and where it wants to be laid out sparsely. I lay it out in an InDesign document, then look at the shapes of all the text blocks and their placement with respect to each page&#8217;s dramatic content. Do we want to see a picture, then read? Do we want to read, then see the picture? Where should this happen &#8212; at the top of a page, the bottom, the left or right?<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Alice splash1.jpg\"><\/p>\n<p>I shove them around a bit, print out all the spreads at about 50% scale, and look for compositional elements in the shape of the text blocks. THEN I start drawing. Loose, scribbly thumbnail sketches, but usually involving tone. I try not to fixate on what to show in each image, but put my energy into how to show it and how each image will affect what the next image wants to be. In spite of the friendly realism of my work, for this stage I\u2019m a huge fan of <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Pierre_Bonnard\">Pierre Bonnard<\/a><\/strong>, <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Balthus\">Balthus<\/a><\/strong>, <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Richard_Diebenkorn\">Richard Diebenkorn<\/a>,<\/strong> and the photographer <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Robert_Frank\">Robert Frank<\/a><\/strong>, to name a few, for how they each drag a viewer\u2019s eyes around a composition. I\u2019m also not above <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Paul_C%C3%A9zanne\">C\u00e9zanne<\/a><\/strong>-inspired perspective-cheating when it might help the picture. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/alice on roof.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/alice on roof1.jpg\" border=1><\/a><br \/>\n<center><em>&#8220;But Teddy Roosevelt <\/em>didn&#8217;t<em> always know how to handle his oldest daughter, Alice. He told her that while she lived under his roof, she had to obey his rules. What did Alice do? She simply decided to spend her time <\/em>over<em> his roof!&#8221;<\/em><br \/>(Click to enlarge slightly)<\/center><\/p>\n<p>With historical fiction, this whole process is laced with research. I surround myself with books of archival photography, costume design, geography, and architecture (and thank you, too, Internets) so that every time I close my eyes, my default setting is the visual language of, say, hoop skirts and bustles or first-generation automobiles. <\/p>\n<p>Once we\u2019ve crossed into the land of tighter sketches, I shoot reference, though I just as often make things up. (When I was learning to draw, all the way up through college, I thought that\u2019s what everyone did. I had no idea people used models and, once I realized that, I still didn\u2019t know where to find one, let alone the person I needed for a particular project.) I do tight pencil drawings on brown or gray paper, then heighten them with white gouache to work out the lighting and the full value scale. These are usually done at 100% of the book\u2019s scale. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/dining room sketch-large.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/dining room sketch1.jpg\" border=1><\/a><br \/>\n<center><em>(Click to enlarge)<\/em><\/center><\/p>\n<p>For finals, I enlarge and print the sketch to whatever scale will be most comfortable to paint, rarely any smaller than 150% of reproduction size. Aside from the simple fact that the bigger I paint the more accurate my brushwork gets, there\u2019s also a truth that the optimum viewing distance for a painting on the wall is usually halfway across the room or at closest arm\u2019s length, and a book seldom gets perused at such a distance. There\u2019s a tightening up with respect to detail that happens when work is reduced, and having that happen in reproduction sort of simulates that scale differential of eyeing a painting from across the room versus snuggling up with it in one\u2019s lap. <\/p>\n<p>Or maybe I\u2019m just not good with little teeny sable brushes. It could always be that. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/dining room.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/dining room1.jpg\" border=1><\/a><br \/>\n<center><em>&#8220;Not all of the White House guests appreciated the snake. &#8216;She&#8217;s quite harmless,&#8217;<br \/>Alice tried to tell them. Secretly, she enjoyed the commotion.&#8221;<\/em><br \/>(Click to enlarge slightly)<\/center><\/p>\n<p>The paintings are done in usually about three layers of paint, on either soft textured watercolor or printmaking paper, primed with a diluted PVA adhesive (polyvinyl acetate, a pH neutral glue used in bookmaking), which seals the paper from oil and solvents but keeps the texture pretty unadulterated. To me, off-the-shelf gesso always feels too much like plastic when it dries, and it sacrifices much of the natural tooth of the paper. I use the same assortment of paints, no matter what the project; they\u2019ve all been chosen for their versatility and ability to work well with others.  <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/speediest sketch.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/speediest sketch1.jpg\" border=1><\/a><br \/>\n<center><em>(Click to enlarge)<\/em><\/center><\/p>\n<p>So, ahem, here they are\u2026 Titanium white (big tube), cadmium yellow light (it\u2019s a very straight down the middle yellow, not too orange, not too green),  yellow ochre (about the color of dijon mustard, though baby poo is also an accurate comparison &#8212; value-wise, it\u2019s a perfect 50% between black and white), cadmium red light (and orange-tinged scarlet), permanent alizarin crimson (a deep ruby, violet-tinged red), Ultramarine blue (a deep, vaguely violet-tinged hue), and cerulean blue (a lighter, green-tinged blue). Off to the side I use sap green (when mixed with the Alizarin, it make a lovely warm black) and  transparent red earth or burnt sienna. I\u2019ll use some burnt umber, too, but never for mixing a brown. I use different brands, depending on the desired mixing consistency (and price) of each color. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/speediest.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/speediest1.jpg\" border=1><\/a><br \/>\n<center><em>&#8220;Alice was among the first women in America to drive a car,<br \/>and she was also one of the speediest!&#8221;<\/em><br \/>(Click to enlarge slightly)<\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/alice cover1.jpg\" border=1><br \/>\n<center><em>Sketches and spreads from <\/em><strong><a href=\"http:\/\/www.amazon.com\/Mind-Your-Manners-Alice-Roosevelt\/dp\/1561454923\">Mind Your Manners, Alice Roosevelt!<\/a><\/strong><em><br \/>by <strong><a href=\"http:\/\/www.lesliekimmelman.net\/\">Leslie Kimmelman<\/a><\/strong> (Peachtree Publishers, 2009)<\/em><\/center><\/p>\n<p><font color=\"000066\"><font size=5>2.<\/font> <strong><font size=4>Jules<\/font><\/strong>: Describe your studio or usual work space.<\/font> <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/agustavson4.jpg\" style=\"float:right;\"><font size=4><strong>Adam<\/strong><\/font><\/strong>: I work in a third-floor studio in my little mock Tudor house. It\u2019s about 7\/8 finished; work on it ended abruptly when my first son was born ten years ago. There\u2019s a little windy stairway up to it (a portrait of Queen Victoria hangs at eye level, reminding one to bowm so as not to clock one\u2019s head), and it\u2019s cluttered with musical instuments, a Mac with a big scanner and a printer, three immense flat files, a 2\u2019 x 3\u2019 (homemade) light table, and enough art books to make me nervous about the structural integrity of my house. There\u2019s a big ol\u2019 easel in the corner (if a room with slanted walls can really have a true corner), three small skylights, a screwy little first-generation futon (it\u2019s the only seating that could fit up the windy stairs), and a really, really high ceiling, about ten feet or so at the peak. <\/p>\n<p>I sketch at the computer table or on the screwy little futon with a drawing board propped on my lap. To the right of me is another table, where I transfer sketches to watercolor paper, and to the right of that is the easel with a glass palette-topped side table to its right. In front of that is a big red &#8220;fire can&#8221; for all of my oily detritus.<\/p>\n<p>If I\u2019m working in watercolor or gouache (it happens, particularly on quick-turnaround educational work), I often come down to civilization and work in my dining room. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/snow day 1.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/snow day 1a.jpg\" border=1><\/a><br \/>\n<center><em>&#8220;I <\/em>need<em> a snow day&#8212;a day to play outside, a day to read my new book, a day to watch TV. Did you hear that? The weatherman said it&#8217;s getting colder.<br \/>Maybe we&#8217;ll get TWO snow days.&#8221;<\/em><\/center><\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/snow day 2.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/snow day 2a.jpg\" border=1><\/a><br \/>\n<center><em>&#8220;Whoa, look at that sky! Snow is falling like a bazillion goose feathers.<br \/>Yippee! Wonderful, amazing, we-can&#8217;t-go snow.&#8221;<\/em><\/center><\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/snow day 3.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/snow day 3a.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/snow day 5.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/snow day 5a.jpg\" border=1><\/a><br \/>\n<center><em>&#8220;Where&#8217;d we put the sleds? Come on, help me bring them up. We&#8217;ll go sledding in Mrs. Cope&#8217;s field. The sleds will shoot down that hill.&#8221;<\/em><\/center><\/p>\n<p><center><em>Spreads from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781561455539\">Snow Day<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.lesterlaminack.com\/\">Lester Laminack<\/a><\/strong> (Peachtree Publishers, 2010)<\/em><br \/>(Click each to enlarge)<\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/snowdaycover.jpg\"><\/p>\n<p><font color=\"000066\"><font size=5>3.<\/font> <strong><font size=4>Jules<\/font><\/strong>: As a book-lover, it interests me: What books or authors and\/or illustrators influenced you as an early reader?<\/font><\/p>\n<p><font size=4><strong>Adam<\/strong><\/font><\/strong>: I adored <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Mercer_Mayer\">Mercer Mayer<\/a><\/strong>\u2014particularly <strong><em><a href=\"http:\/\/www.amazon.com\/Monster-After-Another-Mercer-Mayer\/dp\/1577686888\">One Monster After Another<\/a><\/em><\/strong> and his <strong><a href=\"http:\/\/www.amazon.com\/Professor-Wormbog-Search-Zipperump-Zoo\/dp\/157768687X\">Professor Wormbog<\/a><\/strong> books\u2014and the illustrator <strong><a href=\"http:\/\/cloud-109.blogspot.com\/2010\/11\/magical-giants-of-philippe-fix.html\">Philippe Fix<\/a><\/strong>, whom I know almost nothing about and have been unable to dig up any particulars on. My mother was a nearly photo-realistic pastel portrait artist when I was growing up (she\u2019s now a very gifted quilter), and we had only well-illustrated books around &#8212; and lots of art books. I still think my life changed when I stumbled on <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Francisco_Goya\">Goya\u2019s<\/a><\/strong> <strong><em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Saturn_Devouring_His_Son\">Saturn Devouring His Son<\/a><\/em><\/strong> in one of her books, somewhere around third grade. That and <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Thomas_Hart_Benton_(painter)\">Thomas Hart Benton\u2019s<\/a><\/strong> <strong><a href=\"http:\/\/2.bp.blogspot.com\/_K1EThCIX1FY\/TRUr6PIaZQI\/AAAAAAAACfo\/iH0VixuPP6w\/s1600\/006%2BTHBenton.jpg\">Susanna and the Elders<\/a><\/strong>&#8212;with its highly-designed organic shapes and exagerrated secondary light sources (and nudity, let\u2019s not forget the nudity)&#8212;just etched themselves into my mind instantly with a visceral intensity that\u2019s hard to describe. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Jingle Bells 2a.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Jingle Bells 3a.jpg\"><br \/>\n<center><em>Illustrations from <\/em><strong><a href=\"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2258\">Jingle Bells: How the Holiday Classic Came to Be<\/a><\/strong><em><br \/>by John Harris (Peachtree Publishers, 2011);<br \/>For another spread from this book, visit <strong><a href=\"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2258\">this 2011 7-Imp post<\/a><\/strong><\/em>&#8230;<\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/jbcover.JPG\"><\/p>\n<p><font color=\"000066\"><font size=5>4.<\/font> <strong><font size=4>Jules<\/font><\/strong>: If you could have three authors or illustrators&#8212;whom you have not yet met&#8212;over for coffee or a glass of rich, red wine, whom would you choose? (If they&#8217;re deceased, I won&#8217;t tell.)<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Man, I should have filled this out earlier. We\u2019ve lost a few of them recently. <\/p>\n<p>In my precocious first year out of the gate, I used to track down my idols by phone with cold-called interviews or find them at book signings and invite them out for coffee.  <\/p>\n<p><strong><a href=\"http:\/\/sterlinghundley.com\/\">Sterling Hundley<\/a><\/strong>. <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Mercer_Mayer\">Mercer Mayer<\/a><\/strong>. <strong><a href=\"http:\/\/blaine.org\/sevenimpossiblethings\/?p=1422\">Lane Smith<\/a><\/strong>. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/p 4 cabin1.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Calico Dorsey 21.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Calico Dorsey 31.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Calico Dorsey 41.jpg\"><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/p 24-25 prospector1.jpg\" border=1><br \/>\n<img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Calico Dorsey 71.jpg\" border=1><br \/>\n<center><em>Illustrations from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9781582463186\">Calico Dorsey<\/a><\/strong><em> by <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Susan_Lendroth\">Susan Lendroth<\/a><\/strong> (Tricycle Press, 2010)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/Calico Dorsey 1a.jpg\"><\/p>\n<p><font color=\"000066\"><font size=5>5.<\/font> <strong><font size=4>Jules<\/font><\/strong>: What is currently in rotation on your iPod or loaded in your CD player? Do you listen to music while you create books?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Sometimes I theme my playlist to the project; not literally, though during the turn-of-the-century baseball book I was listening to the earliest pop\/jazz music I could find. But there are times where I\u2019ve gotten so immersed in  the specifics of a project I need to be forced in a less predictable realm. I keep <strong><a href=\"http:\/\/www.ornettecoleman.com\/\">Ornette Coleman<\/a><\/strong>, <strong><a href=\"http:\/\/www.marcribot.com\/\">Marc Ribot<\/a><\/strong>, 1970-era <strong><a href=\"http:\/\/www.jimihendrix.com\/us\/home\">Hendrix<\/a><\/strong> live recordings, and <strong><a href=\"http:\/\/www.milesdavis.com\/us\/home\">Miles Davis\u2019<\/a><\/strong> fusion stuff around for those moments. <\/p>\n<p>I do my thumbnail ideation stuff in silence, usually. After that, though, I have a folder called &#8220;work music,&#8221; which from beginning to end is about 100 hours of songs, heavily laced with:<\/p>\n<ul>\n<li><strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Anton%C3%ADn_Dvo%C5%99%C3%A1k\">Antonin Dvo\u0159\u00e1k<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.chuckberry.com\/\">Chuck Berry<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.marcribot.com\/\">Marc Ribot<\/a><\/strong> (usually his <strong><a href=\"http:\/\/www.last.fm\/music\/Marc+Ribot+y+Los+Cubanos+Postizos\">&#8220;Cubanos Postizos&#8221;<\/a><\/strong> projects)<\/li>\n<li><strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Elmore_James\">Elmore James<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/badasme.com\/\">Tom Waits<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/mingusmingusmingus.com\/\">Charles Mingus<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/breakityourself.andrewbird.net\/\">Andrew Bird<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Lonnie_Johnson\">Lonnie Johnson<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.milesdavis.com\/us\/home\">Miles Davis<\/a><\/strong> (all periods)<\/li>\n<li><strong><a href=\"http:\/\/www.johncoltrane.com\/\">John Coltrane<\/a><\/strong> (all periods)<\/li>\n<li><strong><a href=\"http:\/\/www.tinhattrio.com\/\">Tin Hat Trio<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.jennyscheinman.com\/\">Jenny Scheinman<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.billfrisell.com\/\">Bill Frisell<\/a><\/strong><\/li>\n<li><strong><a href=\"http:\/\/www.jimhallmusic.com\/\">Jim Hall<\/a><\/strong><\/li>\n<\/ul>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/agustavson10.jpg\"><\/p>\n<p><font color=\"000066\"><font size=5>6.<\/font> <strong><font size=4>Jules<\/font><\/strong>: What&#8217;s one thing that most people don&#8217;t know about you?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: I\u2019ve played guitar, upright bass, banjo, and lap steel in a rock band called The Unpronounceable with my gifted younger brother, Pete, for the past twelve years. <\/p>\n<p>If someone is reading this that knows that already, though, let\u2019s divulge that I can\u2019t wear an article of clothing with a visible logo on it. I blame Indiana Jones for this. <\/p>\n<p><a href=\"http:\/\/blaine.org\/jules\/tippy_sp4.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/tippy_sp41.jpg\" border=1><\/a><br \/>\n<a href=\"http:\/\/blaine.org\/jules\/tippy_sp8.jpg\"><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/tippy_sp8a.jpg\" border=1><\/a><br \/>\n<center><em>Illustrations from <\/em><strong><a href=\"http:\/\/www.jeffseitz.com\/TippyToo\/Welcome.html\">Tippy-Too<\/a><\/strong><em> by Julia Schnebly Black (Corby Street Press)<\/em><br \/>(Click each to enlarge slightly)<\/center><\/p>\n<p><font color=\"000066\"><font size=5>7.<\/font> <strong><font size=4>Jules<\/font><\/strong>: Is there something you wish interviewers would ask you &#8212; but never do? Feel free to ask and respond here.<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: <em>Why do your people look the way they look?<\/em><\/p>\n<p>I can\u2019t help it, so I\u2019ve tried to figure out why everything I draw looks like I did it and then just embrace it, and maybe make it a better version of itself. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/eddie_4gustavson.jpg\">I never really liked the way I drew, from a pretty early age, and rarely produced anything that made me say, &#8220;Wow, that\u2019s exactly the kind of art I like.&#8221; It was always sort of the visual equivalent of hearing my own voice on recording or a home movie, thinking, <em>oh no, do I really sound like that? How does anyone listen to me?<\/em> When I went to college, I tried desperately to draw like someone other than me. <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Egon_Schiele\">Egon Schiele<\/a><\/strong>. <strong><a href=\"http:\/\/www.andrewwyeth.com\/\">Andrew Wyeth<\/a><\/strong>. <strong><a href=\"http:\/\/blaine.org\/sevenimpossiblethings\/?p=1599\">Dave McKean<\/a><\/strong>. <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Edward_Hopper\">Edward Hopper<\/a><\/strong>. I took up different, uncomfortable media. I\u2019d get three images into anything, and it started to look like I did it again. <\/p>\n<p><em>[Ed. Note: Pictured left is an illustration from <\/em><strong><a href=\"http:\/\/www.indiebound.org\/book\/9780689867200\">The Day Eddie Met the Author<\/a><\/strong><em> by <strong><a href=\"http:\/\/www.louiseborden.com\/\">Louise Borden<\/a><\/strong>, published by Simon and Schuster in 2004].<\/em><\/p>\n<p>So, I decided that I\u2019d just have to learn to like it. Oddly, once I made that decision, I found myself running into people, here and there, who really hated the work I did with a palpable intensity, who found my people in particular to be grotesque. I think that got me to realize more than my own nudging or dissatisfaction that there\u2019s a very particular lineage to how my view of the world developed. Yep, there\u2019s nothing like defending yourself to make you less hard on yourself, at least while you\u2019re, you know, busy defending yourself.<\/p>\n<p>I can\u2019t wrest my view of people away from 19th and early 20th century illustration, with it\u2019s very slight, highly nuanced propensity to caricature and, well, grotesqueness. <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Honor%C3%A9_Daumier\">Honor\u00e9 Daumier<\/a><\/strong>, or <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Thomas_Nast\">Thomas Nast<\/a><\/strong>, or even ol\u2019 <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Norman_Rockwell\">Norman Rockwell<\/a><\/strong>. (I don\u2019t see the difference between him and <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/John_Currin\">John Currin<\/a><\/strong>, really. I\u2019m not really convinced they\u2019re even saying anything altogether different about the behaviors or idiosyncrasies of people and society.) <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/frank_4a.jpg\"\n<center><em>(Another unpublished piece, <\/em>Frank and Margie<em>)<\/em><\/center><\/p>\n<p>It\u2019s not an intentional &#8220;I want to do that&#8221; sort of love; it just made sense to me. I feel like the things that pull us to people really are our exagerrated internalizations of what we see. If we broke out calipers and measured people\u2019s features and proportions, there\u2019s not much difference between a big nose and a little nose or wide eyes and squinty eyes. But we assign these things importance, which changes how we perceive them. And then there are designs that we see in people from different angles, the way a nose hooks into a browline or the way a chin juts out into negative space, that are too engrained to do battle with. <\/p>\n<p>So, I\u2019ve had to make peace with the fact that no matter how I might try, the way I place value on these proportions and relationships and the slightly tweaked way I always commit them to memory is something I\u2019m stuck with. People are a little grotesque. That\u2019s why we can tell them apart from each other. I do love\u2014even prefer\u2014art that presents humans as sort of physiological archetypes  or perfect, objective specimens, trapsing through compositions from an emotional distance, whether it\u2019s <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Vincent_Desiderio\">Vincent Desiderio<\/a><\/strong> or <strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Jack_Kent_(illustrator)\">Jack Kent<\/a><\/strong>. I just can\u2019t do it, and I\u2019m okay with that now. <\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/cats_51.jpg\"><br \/>\n<center><em>(Another unpublished project, <\/em>The Forty-Two Cats<em>)<\/em><\/center><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/alfred.jpg\"><center><font size=4>* * * The Pivot Questionnaire * * *<\/font><\/center><\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What is your favorite word?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: I\u2019m fond of &#8220;lugubrious.&#8221; I found it on the SATs and looked it up when I got  home.<\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What is your least favorite word?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: &#8220;Fart.&#8221; Right? Really, who doesn\u2019t like that word? What\u2019s wrong with me? <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What turns you on creatively, spiritually or emotionally?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Good stuff. Usually with an air of unpredictability. I just don\u2019t feel like myself unless I\u2019m making something, so art, music, or thoughts that I wish were mine make me want to live. I\u2019ll forget about this sometimes, then, say, walk into a room with a painting in it or hear a musical phrase that suddenly wakes something up inside me. <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What turns you off?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Pop culture. That sounds cranky. Lets say anything that\u2019s didactically or cynically written, slickly produced, or of an overall manufactured quality. I actually feel a real kinship to the people who make those things. It does take talented, hard-working people to make them, and pinpointing the fickle tastes of a million people at once is a gift I find incomprehensibly daunting. But the products themselves leave me feeling instantly deflated. I tend to think of the way that sort of stuff needles me as a personal weakness, not a point of pride. Still, I\u2019d rather watch Mick Jagger dance around like a goofball and miss half his notes than watch Usher bust moves in a line of perfectly synchronized dancers while singing over an autotuned backing track.  <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What is your favorite curse word? (optional)<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: The BBC introduced me to &#8220;clunge.&#8221; I can\u2019t help but think it\u2019s pretty great. <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What sound or noise do you love?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: The rattly rhythmic ker-thunk of a subway car. <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What sound or noise do you hate?<\/font> <\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Anything scraping on nylon. I\u2019ve never been able to wear a windbreaker or tracksuit as a result.<\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What profession other than your own would you like to attempt?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: Entomology. <\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: What profession would you not like to do?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: [Insert repetitive task here.]<\/p>\n<p><font color=\"000066\"><strong><font size=4>Jules<\/font><\/strong>: If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?<\/font><\/p>\n<p><strong><font size=4>Adam<\/font><\/strong>: &#8220;Oh, good. You\u2019re here.&#8221;<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/blaine.org\/jules\/agustavson5.jpg\"><\/p>\n<p><center>* * * * * * *<\/center><\/p>\n<p><em>All artwork and images used with permission of <a href=\"http:\/\/www.adamgustavson.com\/\"><strong>Adam Gustavson<\/strong><\/a>.<\/em> <\/p>\n<p><em>The spiffy and slightly sinister gentleman introducing the Pivot Questionnaire is Alfred, \u00a9 2009 <strong><a href=\"http:\/\/www.mattphelan.com\/\">Matt Phelan<\/a><\/strong>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Illustrator Adam Gustavson is visiting for breakfast this morning. It may be a cyber-breakfast and we may not actually be face-to-face over the breakfast table with either the coffee or wine mentioned in my 7-Imp interviews, but he tells me he &#8220;answered these questions over a few cups of coffee, actually, whereupon I proofread it [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,2],"tags":[],"class_list":["post-2318","post","type-post","status-publish","format-standard","hentry","category-blogger-interviews","category-picture-books"],"_links":{"self":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/posts\/2318","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2318"}],"version-history":[{"count":0,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/posts\/2318\/revisions"}],"wp:attachment":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2318"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}