Jill & Dragon

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by Lesley Barnes (Tate, 2015)

You’ve got to see this book. And you’ve got to stick around for some extras from Lesley Barnes, its author and illustrator.

It begins on the endpapers.

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Once upon a time there lived a terrible dragon.

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And then on the title page, we can guess that we’ve just seen a snippet of this girl’s book. You can tell she’s a book lover by that throne of books she’s sitting atop. (Keep an eye on Dog throughout the pages. He’s not too sure about all of this.)

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By the time the story starts, we’re already in the middle of it.

We’re already sympathetic to this big, pink, dragon who’s dripping with knights and the letters from his story. But Jill, sweet Jill, with patterned pants equally as eye-catching as Dragon’s, ropes him up and invites him out of his story and into hers.

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It’s the tea party that changes everything.

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It’s that tea party that makes room for an exquisite gatefold and a happy ending.

It’s a meta tale that’s dazzling and dreamy and unexpected and just plain wonderful. What Lesley Barnes accomplishes with this color palette and style is nothing short of design time travel.

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(The previous three pictures provided by Lesley. Many thanks!)

I asked Lesley about her inspirations for this story, and she’s graciously given us this sneak peek behind the scenes.

As for what inspired her style for this book? These.

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Even better, these guys.

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That’s Frank and Pumpkin, Lesley’s dogs. On the left is Frank, who inspired Dragon’s look, and Pumpkin, who inspired Dog’s. Jill & Dragon is even dedicated to this duo!

One of my favorite things about books is when other art is inspired by its own. Like this fabulous Dog brooch, exquisitely crafted by Lesley’s friend, Jennifer Loiselle. 

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And how about this creation by the Felt Mistress herself, Louise Evans? Incredible.

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Untame your inspiration along with this trio. Use your talents wisely.

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Be Glad Your Dad…(Is Not an Octopus!) + An Interview with Sara Jensen

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by Matthew Logelin and Sara Jensen; illustrated by Jared Chapman (Little, Brown, 2016)

Once upon a time, I started this blog. It worked fine and looked nice until it didn’t anymore, and that’s when a superhero named Sara Jensen came to the rescue of this damsel in distress. She’s the genius behind the Book Party (seriously, click it), has the most heart-able Instagram feed out there, and is an extraordinary human with a huge, huge heart.

And then she told me she also wrote a book for kids.

I’ve been looking forward to it ever since.

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Dads. Endearing and embarrassing. Equal parts hilarious and heartfelt, which is exactly what this book is all about.

So while most of the time you’re glad your dad is your dad, let’s not forget there are times when he is a grouch and a grump and a total groaner. But even then, at least he’s not a dog who’d lick your face to say hello.

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The text is sharp and funny and allows for scene after outlandish scene to unfold. Each spread is an entire act by itself–vignettes set with understated props that balance the highly expressive characters. All of this action is wham-bammed in front of a brightly lit backdrop, perfectly setting the scene.

This kid’s hopes for a cool dad, melted away with the drips of that cone itself. Can’t you see it in both of their eyes?

Like we said. Dads.

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And at the end, a closer look at these oddball animals and the facts that make them everything you’re glad your dad is not. Pick up this one along with Pink is for Blobfish, and you’re set for a storytime celebrating all of your favorite wonderful, weirdo animals.

Fun, right?

I asked Sara a little more about this book, and I’m so happy to welcome her out from behind the scenes of this blog. Meet Sara Jensen, friends!

CH: How did this book happen?

SJ: It’s funny, I have never ever thought of myself as a writer and I am not sure I even do now. This book was written with my good friend Matt Logelin, who had previously published a memoir called Two Kisses For Maddy. From the moment Matt and I met, we realized that we for sure had the same style of parenting/talking to our children. We also for sure had some cocktails involved.

Late at night at a bar in my small island town we talked about how our kids didn’t think that we were very cool. I am the QUEEN of the “would you rather game”, where you force somebody to make a choice between two awful things. We started thinking about a G-rated version of it, where we’d ask our kids if they’d rather have us as parents or some kind of obnoxious animal. The ideas came fast and furious after that until we’d filled up dozens of notecards.

It helped that Matt had written a grownup book before too. We also had amazing editors at Little, Brown who helped us every step of the way.

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CH: Do you have plans to write more books for kids?

SJ: I’d love to write another children’s book with Matt. Matt and I have such an easy time bouncing ideas off of each other. We think in the same way enough to make it pleasurable but are also different enough to give each other a hard time. We both love our kids so much and are so inspired by them.

I’m just now realizing that all three of our kids have lived through very intense early lives: Maddy with the loss of her mother the day after she was born, Rose being adopted from foster care, and Henry with an early diagnosis of Type 1 diabetes. Despite all of this they have tremendous hearts, are super sharp, and are so insanely hilarious. Way cooler than Matt and I will ever be and they are only 8 years old.

CH: What did you and Matthew think when you first saw Jared’s illustrations?

SJ: Oh, it took a while to find the right illustrator. We saw a lot of work by so many talented people. The moment we saw Jared’s work we both got so excited. I think that we tried to be kind of cool about it, but Im pretty sure my reply had several exclamation marks and that Matt’s voice cracked he was so happy. Jared is so funny and had a big beard, which Matt and I both value a lot. I’m working on my beard right now, I feel a little left out. Illustration is SO critical to making or breaking a book. We are so thankful for Jared. Jared has been sharing his concept sketches of BGYD on his Instagram, its so amazing to see the process.

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CH: What books are your kids loving right now? And related: what book do you remember the best from growing up? And is it still something you think about now?

SJ: Currently Henry is reading the Edible Selby, Serengeti (a book about Africa), some fish guide about reef fish that a professor of Marine Biology lent him when we went to their house for dinner. His favorite baby books were New Socks (he would CRY to make read that book over and over) and The Little Island.

Rose is currently reading Wonder, Sisters Grimm, and Harriet the Spy. Her favorite younger book (we met Rose when she was 3) is Rosie Revere, Engineer.

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CH: What’s your favorite piece of art in your house?

SJ: We have a lot of old artwork in our house. Lots of photographs, old French cartoons that had been my grandfather’s. I also love American and Mexican retablos. I love buying weird little paintings off of people on the street. We have a tiny nude that is in our bathroom, I can’t really explain why I love it, I just do.

I also have this piece that Rosie made of Henry sitting on the toilet. She had worked on a “kindness quilt” at school, each child had to illustrate an act of kindness they had showed another person.

When I walked by it in the hallway at school I laughed so hard. It was her brother sitting on the toilet, and it said “I Pote trand my brother when i was littl.” I potty trained my brother when I was little. It’s so funny to me still, and totally true. They are two months apart and she got him out of diapers within a week of moving in with us. She is amazing.

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CH: What else should we know about you?

SJ: I am a very involved in the Type 1 diabetes community as a result of my son’s diagnosis at age 5. I am the creative director and a council member of Beyond Type 1, a nonprofit that works to raise awareness and fund an eventual cure.

I am also the creative director for interior designer and TV host Genevieve Gorder. She is so great to work with and so supportive of my outside interests, I’m so lucky to know her.

I am working on a side project in honor of Rose too, it will have to do with foster care and she and I are still working on the specifics.

CH: What sort of story influences do you have as a designer?

SJ: Even thought I insist I am not a writer I have always been a storyteller. Both of my parents were. I also love the idea of being able to tell a story with only pictures, letting the reader realize the words, and the idea of having a story just written and having the reader think of the imagery.

I have a major problem with seeing movies based on books. I’m always worried that they won’t honor the parts of the book that were so important to me.

Because my husband is a graphic novelist I have grown to really like some of them, I wouldn’t say that I am a fan but I loved the Buddha series by Osamu Tezuka and recently a heartbreaking book called Rosalie Lightning written by our friend Tom Hart about the loss of his child.

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Thank you, Sara! (She’s pretty great, right?)
Be sure to pick up Be Glad Your Dad…(Is Not an Octopus!) which is out today!
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A Morning With Grandpa

by Sylvia Liu and Christina Forshay (Lee & Low, 2016)

Here’s a book I have been looking forward to for a long time, thanks to the close knit and dear friendships the book community creates online. It has been such fun to sneak peeks behind the scenes of both Sylvia and Christina’s work, and I am so happy to have them both on the blog today.

Christina’s color palette of dreamy pastels in the ground and sky meets the brightly hued flowers in the same way that Sylvia’s calm and serene Grandpa meets the bouncy energy of Mei Mei herself. The text and the art is gently and joyously matched, and it’s a beautiful story that spans generations and their peaceful mornings.

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First up, some questions for Sylvia:

Tell us a little about the story behind A MORNING WITH GRANDPA. Where did the idea come from and how did it evolve?

I got the idea when I was in Vermont on a family vacation watching my dad do qi gong and tai chi and teaching my daughters breathing techniques.

In my first draft, Gong Gong taught Mei Mei qi gong and tai chi, and she taught him how to make lemonade. My critique group gave me some great suggestions. Elaine Kiely Kearns suggested that Mei Mei teach him yoga instead. Reneé LaTulippe encouraged me to develop the lyrical language. I also got a professional critique from an agent through a Writer’s Digest course, and she suggested omitting the qi gong part to streamline the story.

After the story was accepted by Lee & Low, my editor Jessica Echeverría and I polished the manuscript for several months. We swapped out different poses, word-smithed every line, and went through about eleven drafts.

How does it feel to see your words gain another life with pictures?

I am humbled that Christina spent so much time bringing the story to life so beautifully. Before I saw her illustrations, I imagined the story could be illustrated in any number of ways, from a soft watercolor look to a bright, lively style. I’m so glad Lee & Low picked Christina, who really captured the essence of the story. Now I can’t imagine the story any other way. I am thrilled and in love with the pictures.

Who are some of your story heroes?

Those who do that magical thing with words and images that transport me to a different place like Shaun Tan (THE LOST THING, RULES OF SUMMER, and THE ARRIVAL are favorites), Neil Gaiman (SANDMAN series), and Diana Wynne Jones (HOWL’S MOVING CASTLE). Those who teach me something I didn’t know in a surprising visual way like Gene Luen Yang (BOXERS & SAINTS) and Max Brooks/Canaan White (THE HARLEM HELLFIGHTERS).

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And next up, Christina:

One thing that’s so interesting about your illustrations is their dynamic compositions. Can you talk a little about that and if you have any influences in film or TV? 

Yes, film and tv have a huge influence on me and my work! I’ve always been interested in how lighting, camera angle and staging creates drama and intrigue in a composition. As I got into high school, I took a film class and learned about how the composition of a scene can be symbolic and help evoke emotion in the viewer. I actually wrote a super long 15 page paper on the symbolism and drama Steven Spielberg and cinematographer Janusz Kaminski created in Schindler’s List. I was super into it!

Then in college while studying illustration, I took more film classes and a few storyboarding classes where I really learned about and practiced the art of composing dramatic scenes for television and film. I try to infuse what I learned in those classes in my illustrations as well.

What were your initial ideas for the art after you read the text, and how much did they evolve over the course of making the book?

When I read the manuscript for the first time, I remember being excited about Mei Mei’s spunky character. I knew she was going to be the driving force for keeping the compositions active. I had to figure out a way to balance her energetic spirit with Gong Gong’s calm and tranquil personality. I think one of the main themes of the story is how opposing energies can be symbiotic, so I knew I had to create scenes that showed the strengths of each of their personalities and how they mesh together.

When I was in the final stages of the art, I noticed most spreads actually stayed pretty similar to the initial sketches I turned in. There was a lot of refining of the look of characters over the course of the book, but in terms of staging and composition, the final art stayed very close to my original ideas. You can compare these images to see how the original small-scale thumbnail sketch evolved into the final art.

The very first thumbnail sketch (about 1″x 2″)  I turned in for one of the spreads along with the final image.

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Who are some of your story heroes?

My story heroes come from all forms of art: from music to art to writing. Bruce Springsteen is one of my favorite storytellers. All of his songs are stories and always contain a cast of characters. Also Brad Bird is an amazing storyteller. He wrote a short animation called “The Family Dog” which blew my mind when I was 10. It still blows my mind actually! From the kidlit world, there are so many storytellers whose work I admire: Jon Klassen, Adam Rex, Lizbeth Zwerger, Laurie Halse Anderson, and Jon Scieszka are a few from my long list of heroes. I am constantly looking for inspiration in new places!

A big thank you to Sylvia and Christina!

For more about this beautiful book and its creators, be sure to check out the rest of the stops on this blog tour. You can find all of the celebration here. cs

Sylvia Liu is an environmental lawyer turned children’s author and illustrator. A MORNING WITH GRANDPA is her debut picture book as an author. She is inspired by oceans, aliens, cephalopods, and more. She lives in Virginia Beach, Virginia, with her husband and their two daughters. Visit her online at enjoyingplanetearth.com.

Christina Forshay was born and raised in sunny California, where she lives with her amazing husband and the two cutest kids in the world! Of course, as a child she could be found drawing, coloring, and admiring her grand collection of crayons. Christina graduated from California State University Long Beach with a Bachelor of Fine Arts degree in Illustration in 2002. Since then, she has been proudly working as an illustrator for the children’s market. Seriously, what could be more fun?!?

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Waiting

waiting by Kevin Henkes (Greenwillow, 2015)

Usually towards the end of the year I have trouble picking a favorite picture book from that year. It’s this one! No, this one. Oh wait, that one too. That might sound familiar if you are a picture book person. It happens. But this year, without a twitch or a doubt or a no, but wait, it’s this one. It’s so perfect it hurts.

Waiting.

It’s one of those things that happens this time of year, which is why this book’s fall release feels like such a good decision. Tis the season, after all.

The cover, a window to the world beyond the sill where these five sit. It takes a real genius to smoosh so much emotion into one small dot of an eye and a pink dab for a cheek, but do you see that bunny? So much hope and wonder while he waits, right? Only Kevin Henkes.

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The colors here are beautiful. A muted pastel palette brought together by the richest brown endpapers, a brown that’s the color of his line throughout. It all feels both lush and spare and inviting.

Each one had their thing, and each one was happy.

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Their faces, looking on these gifts with such curiosity and tenderness. So much so that it feels like these figurines are entirely real. That’s what the lack of art in context does. The rest of the room falls away so that all of our eyes look out. Nothing else matters but the waiting and the friends.

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The pacing is swift but sweet, and this moment is the height of some hushed anticipation. The owl’s reverence, the rabbit’s concern.

They were happy while they waited. They saw the things they loved.

And then.

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This is the first time we’ve seen this rose dawn color through the window. A sign of something new.

And what was this dear cat waiting on? Something wonderful. Something surprising, spectacular, and incredible.

All of us are waiting on something. Here’s hoping you’ve got some room on your windowsill for friends.

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PS: If you have a few minutes to spare, listen to this NPR piece about Waiting. It’s so nicely done and such a treat.

Tough Guys + an interview with Keith Negley

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by Keith Negley (Flying Eye Books, 2015)

Heads up, email subscribers: my blog took a bit of a tumble so I’m reposting what was lost in the shuffle. Apologies, and thank you for reading!

The kind folks at Flying Eye sent over a preview of this book, thinking it was right up my alley.

It’s right up my alley.

The theme: yes. The design: yes. The snappy, bold, in-your-face look at tough guys plus the snappy, bold, in-your-face look at feelings: yes.

I chatted with Keith Negley, and learned a lot about this debut effort. I hope there’s more from him, and I hope you enjoy this peek into the brain of a picture book creator.

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Hi Keith! Can you talk about where this story came from? And what the process was like for its creation?

It all started when my son Parker who was 6 at the time stole a soccer ball from a friend during soccer practice and his friend got upset and they fought over it. Parker was angry at first, but then felt embarrassed and ashamed because he knew he did something wrong. I could tell he was struggling with how to handle all these new emotions that were happening to him at the same time. He walked away from the group and sat down to be by himself because he didn’t want anyone to see him cry. Later that night, I explained to him that it was totally natural to cry and that everybody does it. I told him sometimes even I cried, and he looked up at me and asked, “grown ups cry too?

It blew his mind that even adults cried because he thought it was something only kids did. I wished I had a book I could read to him that let him know that frustration and crying is a natural thing not to be ashamed of. The next day the idea for the book popped into my head.

You’ve done a lot of editorial illustration, but this is your first children’s book. Can you tell us the how and why you got into books?

I always liked the idea of making picture books for children, but it wasn’t until I became a parent and started reading a ton of picture books to my son did I realize there was a lack of the kind of books we enjoyed. Honestly the books I’ve been working on were born out of necessity because I wanted to read them and no one else had made them yet.

Your tumblr tag line is spectacular: part man, part negative space. Can you explain where that came from and why it represents you so well?

Ha, I find tragedy to be the greatest muse. The subjects I enjoy working with the most are the ones that break my heart. It’s cathartic somehow, and I feel like I really get to put a piece of me into the work. What ends up happening is I have a portfolio of rather depressing subject matter. But I’m always striving to create beautiful images with it. That juxtaposition is challenging and rewarding for me.

Add to that I tend to utilize negative space as a compositional tool fairly often and so I thought it tied the content in with the image making nature of the blog.

toughguys-9 Who are some of your story heroes?

I’ve been a huge fan of Lane Smith for years and years. Jon Scieszka is another one. Ezra Jack Keats. Jack Kent’s Socks For Supper is one of my all time favorites as a kid and it still holds up today.

What do you remember about picture books from your childhood?

I remember my mom reading them to me and how she would make different voices for all the characters. I try to do that for Parker but he’s not into it at all unfortunately.

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What is your favorite piece of art hanging in your home or studio?

Not sure if this counts, but I like to make music in my spare time and I’m a huge nerd for vintage synthesizers. I currently have a 1979 Korg 770 sitting in my studio and just looking at it makes me very happy. I consider them works of art.

What’s next for you?

Trying to schedule some reading events for the fall/winter and I’m in the middle of working on my second book for Flying Eye which should be out in time for Father’s Day next year!

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Thank you, Keith! And vintage synthesizers totally count as works of art.

PS: Congratulations to the winner of the The Story of Diva and Flea giveaway, Ashley! And thanks to Flying Eye for the images used in this post.

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Rabbit Seeds

Rabbit Seeds by Bijou Le Tord

by Bijou Le Tord (Four Winds Press, 1984)

Did you know I am a school librarian? I’m in my third year, at my second school, and have done it for about a decade with a break for graphics in between. Hashtag old.

And speaking of old, that’s what my current school is. That’s great for things like traditions and history, but it’s really great for things like stories. I’ve had a bit of a triage situation on my hands, and the thing that has taken the biggest chunk of time is massive weeding and collection development. (And undoing the work of the packiest rat that ever packed.)

I’ve been brutal in nonfiction and biographies because poor old Pluto has had better days and a 1970 biography of Peggy Fleming isn’t triple-lutz-ing off the shelves. But then there are picture books. And I haven’t tossed a single one. I need to, for reasons of both space and sanity. But when your library is old, there’s a lot that sparkles under all that dust. And I want to be careful because of things like early, early editions of the Nutshell Library.

Here’s one I found that I’d never heard of before, and wow. If you can get your hands on a copy, it would be a great pair with The Little Gardener.

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This is the story of a rabbit, a gentle, shaky, line of a thing.

And it’s the story of his garden. He bids adieu to the snow and ice, and welcomes the warming sun.

These beginning spreads are so simple, so uncluttered, so spare. Those black lines on white, framed by spring’s pastels.

And the words! So unfussy. So beautiful.

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When the day cools, he waters his seeds. The sun and the earth begin their work.

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He patiently waits, and watches for a first ripple or a crack on the ground.

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He patiently sits, until the first seedlings shoot up.

That last spread has a surprising detail, one that fits perfectly into the rabbit’s world but one that is unusual for this particular sequence of images: that star. The sun has been a small circle, hovering over the garden, doing its work. But while the rabbit waits, a star. It must be night. He’s taken his picnic basket and he’s patiently sat, and when the sun dropped, the star showed up.

The seasons take over, as they do, and soon it’s time to welcome back winter. The last time we see the rabbit, he is happy. His work is done.

This rabbit and his work are both sweet and slow and dear, and this book is a quiet little wonder.

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Coco and the Little Black Dress

Username or e-mail: Password: CREATE NEW ACCOUNTFORGOT YOUR PASSWORD? Coco and the Little Black Dress by Annemarie Van Haeringen (available 10/1/15, NorthSouth Books)

Here’s a fun book: a stylish story both in look and in theme.

That cover, the signature shape of Chanel No. 5, juxtaposed not-so-glamourously with a girl scrubbing floors in a raggish kind of dress. The title, a crash course in fashion.

Coco Chanel.

This book was originally published in the Netherlands, and coincided with a museum exhibition of some original Chanel designs. Yet even apart from that collaborative effort, this book is a beautiful glimpse at the life of a girl who saw things a little bit differently.

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First up: endpapers. From beginning to ending, from scraps to something refined.

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Coco, fragile as an eggshell, a mistake, a nothing, an orphan.

But the nuns saw her talent for sewing, and Coco was happy.

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When she grew up, she surrounded herself with fancy ladies in crazy hats. How can you think with a dead pigeon on your head?

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Coco was a problem solver, and when she saw these fancy ladies riding sidesaddle in complicated skirts, Coco figured out how to sew trousers.

But when you sew trousers and are invited to the races, you need a fancy hat. One without a dead pigeon on your head.

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So Coco created a hat shop. She created comfortable, easy clothing for women.

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And the women tossed out their corsets.

With her little black dress, Coco figured out how to celebrate what a woman looks like, when it’s the woman you look at and not her clothes.

Her angel-like sewing skills, her observation and celebration of women, and her style: iconic.

Though if you want biographical information on Coco Chanel, you might want to supplement this book–it’s quite literally a lovely place to start, but there is no author’s note or bibliography of sources available for the reader aside from a small paragraph on the back cover.

But for everything this book is, it’s a luxurious simplicity.

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I received a review copy from NorthSouth Books, but all opinions are my own.

The Little Gardener + an interview with Emily Hughes (part i)

The Little Gardener by Emily Hughes by Emily Hughes (Flying Eye Books, 2015)

Friends, I am beyond awe with this conversation with Emily Hughes. If you aren’t familiar with her work yet, I guarantee you will fall in love with it, with her, with a storytelling brilliance that is out of this world. Here, she lets us know both where stories come from and why they do.

And a note, you’ll definitely want to click on all of these images to enjoy them at their full resolution.

Enjoy!

The Little Gardener by Emily Hughes The Little Gardener by Emily Hughes Can you talk about where this book came from? And what the process was like for its creation?

Lots of things were swimming around in my head when The Little Gardener was being made. 
I was back home rereading a book I love, The Growth of the Soil, about a simple self-sufficient man dealing with societal pressures that seem unnecessary. He was the symbol of The Little Gardener, he’s not the personality powerhouse Wild is, he is really just a symbol for the everyman, the underdog, you, me, (my brother thinks the 3rd world) our place as a human. It’s not about him, it’s about his vision, his hopes.

There are a lot more nuances to that, but that is what it is in a very small nutshell. 
The process for Gardener was an outpouring, I drew and drew and drew. Because the images are so dense it was a meditative book to make- almost like making a mandala. The story process took a while, but with the images I worked on steadily through, and luckily they worked out with little drafting. That isn’t the usual, but this one felt natural to make, intuitive.

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Why do you think your stories are best suited to the form of the picture book? What can you do in this form that you might not be able to in another?

If you look at my bedroom, my backpack, my email inbox, my general manner, you would be able to figure out a good deal about me. Totally scatter-brained.

It is an affliction that makes it tricky to get work done in general.  What makes children’s books an appealing medium for me is that there is text to dance with. There is the written skeleton to adhere to- oftentimes my stories have layers that I have built up depending on where I am or what I’ve been thinking of while I work. There is not just one story being told in The Little Gardener. Having text keeps my brain focused when there are other ideas floating about. Because I also draw, I am able to tell the other story lines as well- they are quieter, but are still present for others to interpret if they have patience. It is a good compromise for me.

Narrative has always been an interest, I think telling stories is what I like to do- so the things I’d compare it to would be film, theater, animation, etc. I like doing illustrations for picture books because it’s 2D and doesn’t move. However, if you are really invested you can move them within your head and expand it’s boundaries to a world you truly are interacting with. The Little Gardener by Emily Hughes

One of my favorite things is the cola can that says MADE IN HILO, HI on it. I know that’s where your roots are, and I wonder how that home has shown up in the work that you do? Or if there are other easter-egg-y things that you stick in your work?

Good spotting! Hawaii is always present in my work. I left home for university in England when I was 17, and at that time I was eager for new experiences. Nevertheless, absence makes the heart grow fonder, and I miss the Big Island always. Drawing things from home is indulgent for me- it is time spent reminiscing, it is a means for me to keep connected, grounded.

The cola can was initially modelled after a local company- Hawaiian Sun. The label looks nothing like the original (and I used the non-existent ‘cola’ because I thought it would be easier to translate), but the sun made a symbolic appearance. Those cans are always around- refreshments after soccer games, trips to the beach, the park with cousins. It reminds me of happy outings. I’ll add this bit to my advertising resume…

The house that the humans live in is based on my family home. It’s a plantation-style house that my Grandmother grew up in, as my siblings and I have also done. It’s a special place.

homesweethawaii

The Little Gardener by Emily Hughes

In the scene where the gardener is chasing away the snails, there’s a ‘rubber slipper’ (you guys would call it ‘flip flop’- Hawaii’s preferred footwear of choice) strewn about. It even has the ‘Locals’ tag on it which is the same kind you get at the grocery store. There’s lots of little things from home hidden. I like having the sentimentality there, even if it’s for my own benefit.

It seems like the girl in Wild and this little gardener have some sensibilities in common, like the hope and comfort in this un-tapped-into nature. Are there big-picture-stories you are drawn to creating, both in text and in art?

There are a lot of stories I’d like to tell. I think I start off with a general character and theme and it evolves- the writing is the last part, I think the feeling needs to be understood first. 
In my journal these are a few themes I’d written that I want to explore:

Does ‘evil’ exist? Really?


You can, will, should feel every horrible emotion and that’s fine


Kindness trumps all


Looks vs Expectations


It’s all chance for me I think- I might read something, or watch something, or sit blankly staring at the wall even, and most times it is nothing but a murmur. But once in a good while something speaks up.

As for Wild and Gardener, nature serves as a backdrop because it is an ideal to be in sync within our most natural of habitats. Something we all still strive for- a place where we’re needed.  Wild is about acceptance and tolerance, issues I was trying to practice myself. Gardener was about keeping hope alive when I was faltering with my own.

They are stories coming from a place of trying to understand, rather than a place where it is understood.

The Little Gardener by Emily Hughes

Carter, here.

You guys. I keep reading these answers over and over and feel like it’s such a gift to get this glimpse into a storyteller’s heart. Because Emily is fascinating and brilliant and our conversation gave me so much to wrestle with and enjoy, there’s more! Come back tomorrow for the second part. More pictures, more process, more book love.

Whatever you do, get your hands on this book as soon as you can, for hope and home and heart.

Huge thanks to both Emily and Tucker Stone at Flying Eye Books for the images in this post!

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Pool

Pool by JiHyeon Lee

by JiHyeon Lee  (Chronicle Books, 2015)

Hello to you! And you! And you!

Here I am, ready to flip my g o n e  f i s h i n g sign back around.

First, have you had a nice summer? I have been away from the grind, sitting on a deck, writing books and reading them, and it’s been so very nice to be off the grid for a while. But I do miss my books.

You might have seen today’s floating around this summer, and I can’t think of a better one to celebrate the season.

Pool. The word itself conjures up both serenity and splashing chaos, and both of those things exist inside this book.

At its heart, this is a tale of a friendship. Even as grownups there’s a dance to the early moments of togetherness, and this story is that thing in book form.

A boy at the edge of a pool, all the hope of his day before him. A crowd, scary with its wacky floats and almost-tentacles.

Pool by JiHyeon Lee

(click to enlarge)

That’s when he dives, under it all and to the quiet, and that’s when he meets his friend. And that’s when things get weird. Isn’t that how it is with friendship? You see new things together, you name the new things together, you create a new kind of community together. The fish and plants and the world under the crazies is bizarre to us, but is it to them? Perhaps not.

Pool by JiHyeon Lee

(click to enlarge)

That’s the beauty of finding a friend in the quiet places, whether or not you were looking.

And at the end, when the crowd is exiting to the left, the friends leave to the right. Those two, going forward. Together.

Pool by JiHyeon Lee

(click to enlarge)

This is one of those books that I fell in love with when I first saw the cover. And it’s worth wondering why.

I love that the face could belong to either the girl or the boy. I like to think it’s after the magic, both because of the sweet smile and the still-dreamy fish, reflected and real. And I love that by staring at us, it’s almost an invitation. To play, to swim, to step away from the crowd at the edge of the pool.

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Can’t get enough of this book? Me either! Here are some other places I loved reading about it. Danielle at This Picture Book Life paired it with the most adorable pool floats (ice cream sandwich!), and there’s still enough summer left to make that dream a reality! JiHyeon Lee is over at Picturebook Makers talking about the story behind the story and shares some process pictures, which I can’t ever get enough. And you can download some free Pool wallpapers at Chronicle’s happy home online. Enjoy the swim!

Thanks to Chronicle for the images in this post!

Ellie

Ellie by Mike Wu by Mike Wu (Disney Hyperion, 2015)

Before anything else, this (full screen!):

Ellie’s endpapers start us off like this: long and lonely and barren.

Ellie by Mike Wu Ellie by Mike Wu There she is, a little hint of her. And if you want another one, take the dust jacket off to reveal the case cover.

Ellie by Mike Wu Ok.

We learn quickly why the zoo was so sullen and gray. Because the story happened visually, to start, we don’t need to linger in introductions and routines and the way of this world.

We know.

Ellie by Mike Wu Ellie by Mike Wu Ellie by Mike Wu Heartbroken.

Home.

Hope.

Ellie by Mike Wu Ellie, and a hint again, carrying something with her trunk, wishing and wanting to help.

But a small elephant isn’t a tall giraffe or a burly gorilla.

She’s just Ellie.

Ellie by Mike Wu But in that curlicue grip, that same hope.

Does she see it? Do you?

Linked by color and purpose and quite possibly definition, this happens next:

Ellie by Mike Wu Does she notice? I don’t know. I’d like to think she did.

Watching and waiting, a wise little elephant.

Ellie by Mike Wu This is the first spread without Ellie in it, without her sweet, sad eyes.

But now we get to see through them, and I’d bet a reader’s eyes do the same awe-pop that hers must be doing right now. That’s something I’m sure is true.

Ellie by Mike Wu Ellie by Mike Wu Turns out, Ellie found her thing.

And here’s where I’d recommend finding a copy of this yourself, because the final spreads are something you should see and feel through your own eyes. But be sure to notice the back endpapers and their stark difference to the front. The progress is literally told in colors.

This book is rectangular, and so open, it’s an expanse. That trim size gives the zoo a little room to breathe, to extend, to become the physicality of Ellie’s journey. There’s space in that shape, space in the story.

Mike Wu’s film background (did you notice the zookeeper’s name?) may have influenced that trim size. What we call trim size they call aspect ratio, and aspect ratios in film are far from the standard definition of once upon a time.

Maybe? I don’t know. But I’d guarantee a visual storyteller thinks of those things, and it’s for us to appreciate, to wonder about, and to call beautiful.

Ellie by Mike Wu Ok.

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I received a review copy of Ellie directly from the author, but all opinions are my own.