ART- The Artists of FAIRY TALES EXHIBIT

FAIRY TALES

Illustrations by the Children's Book Illustrators Group 
On view in the Youth Wing at 

Brooklyn Central Library

10 Eastern Parkway, Brooklyn  tel: 718.230.2100

June 11 - September 25, 2015 

exhibiting members:

Angelique Anderson, Lisa Cinelli, Deborah Cuneo, Maria Madonna Davidoff, Diana Ting Delosh, Nancy Doniger, Laura Goetz,  Amalia Hoffman, Melissa Iwai, Yuko Katakawa, Kitty Leech,  Marie McCann, Virginia Law Manning, Jennifer Merz, Donna Miskend, Christine Mix, Annie Raulerson, Roberta Rivera, Karen Romagna, Vicky Rubin, Wallace West

guest speaker: Michael Patrick Hearn
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ALL ARTWORK COPYRIGHT INDIVIDUAL ARTISTS AND MAY NOT BE REPRODUCED WITHOUT PERMISSION

Ugly Duckling, Yuko Katakawa

DM: Why did  you choose this fairy tale to illustrate?

I like both stories: The Blue Bird and The Ugly Duckling were telling us, “ Be true to yourself, Look no further, an answer is right there with you.”    -Yuko Katakawa

The tale of Snow White is gruesome but sweet, heartbreaking but hopeful. And who hasn't felt like a wicked stepmother is out to get him or her? It's cathartic. I wanted to capture that sorrowful moment where Snow White feels that all is lost, right before seven little saviors prove her wrong.- Wallace West 
I'm a devout animal lover and in reading through potential fairytales to illustrate, I found a story about animals that were "cast away" by their owners, because they were old. Since all my pets have always been shelter "castaways" themselves, I immediately connected with the story. - Deborah Cuneo

I chose the Balinese version of the Hansel & Gretel fairy tale because during one of my

Hansel and Gretel, Maria Madonna Davidoff

regular visits to Bali, I became fascinated and inspired when I discovered that there was a Balinese version of the Hansel and Gretel fairytale. - Maria Madonna Davidoff 

I chose to illustrate a tender love scene of Beauty embracing the fallen beast, because her compassion for birds and animals also resonates within my heart. - Laura Goetz
I decided to do The Spider’s Thread because it was one of my favorite stories to translate when I was a student of Japanese in college.  It was the first story I ever translated and it stuck with me.  - Melissa Iwai 
I have loved this fairy tale since I was a child. The animals who, being too old to be useful to their owners anymore, leave home in search of peace and happiness as musicians in Bremen. - Jennifer Merz

 DM: Did you have a favorite fairy tale as a child? 

The Princess and the Goblin. Christine Mix

The Princess and the Goblin, by George McDonald was one of my favorite fairy tales growing up. As a young girl, I read the story over and over, captured by it's magic. -Christine Mix

I'm partial to anything with a little gore and a lot of outsmarting of adversaries. Hansel and Gretel was always my favorite (an affinity made stronger when Joan Collins played both the witch and the stepmother in Shelley Duvall's Faerie Tale Theatre).  - Wallace West

Cinderella was my favorite. I had two different Cinderella books. The most beautiful I saved well into my adult life. The illustrations were exquisite.  - Marie McCann

DM: Do you still read fairy tales? 

Yes, I like the re-imagined or fractured fairy tales based on the original stories. I’ve also written a few that I’m hoping will find a publishing home.  
- Donna Miskend
Absolutely and I collect fairytales from different countries.- Maria Madonna Davidoff
Yes. I recently was reading some of Hans Christian Anderson’s tales and fell in love with the story of the The Beetle Who Went On His Travels — another extremely rude character, a dung beetle! He has many adventures, thinks everyone else is disrespectful, when in fact he’s very self-centered. The end of the story made me laugh out loud! - Marie McCann
I may not always read them but I am perpetually referencing their archetypes.- Wallace West

Thumbelina, Donna Miskend

DM: Tell me about your illustration process. 

It depends on the medium, but I make rough sketches to choose a composition. I also take thousands of photos of nature and animals for reference. I might make a color story to keep me on target for consistency and flow, especially If I’m working on a full dummy.  If I need to adjust the size I'll scan my drawings into Photoshop for the layout. I work traditionally in watercolor: redrawing on paper, laying on a foundation color like burnt sienna to enhance the colors layered over it, a process called glazing. This technique adds depth to the colors.  - Donna Miskend

I usually create 3D environments but have decided to experiment with 2D imagery.- Angelique Anderson

I first do a lot of preliminary sketches and think about the color I will use. Sometimes I make a "mood board" of the color swatches and inspirational images. I make thumbnail sketches of my composition, then blow them up and refine and do color studies in Photoshop. Then I paint pieces of my illustration in ink and paint and scan those in and then assemble in Photoshop. For more on my process:

 http://www.melissaiwai.com/blog/2015/5/20/fairytales-exhibit-pieces-pied-piper-and-the-spiders-thread 

 - Melissa Iwai 

I read the text with an open mind, jot down character attributes and begin sketches based on those notes. I do a very rough sketch of the page layout and fine tune bit by bit with gestures and expression. I am bananas for texture and patterns so am always on the lookout for textiles, carvings, tile and woodwork that I can inject into my work.- Wallace West

I start my illustrations as rough  pencil sketches.  Then I draw a few sketches for the same image, developing character and composition.  Once I get a strong drawing,  I scan it, ink it and paint it with watercolor. - Christine Mix

DM: What else would you like people to know about you or your work? 

I think of my work as a reflection of my experiences living and producing art in Asia, Europe, and the United States. My hope is to expose children to a global, multi-cultural view of life through my illustrations and my books. - Maria Madonna Davidoff

I am also passionate about Fashion Illustration. I draw in a completely different style, but I enjoy to explore different subjects and medium. - Yuko Katakawa

I am developing children’s book apps and virtual environments for mobile devices coming soon to an iPad near you. - Angelique Anderson

Look for me Sundays this summer at the Morgan Library and Museum where I will be reading to kids from Alice 150 Years in Wonderland during their celebration exhibit of this classic tale. Days/time will be posted on my blog: www.donnamiskend.blogspot.com        - Donna Miskend

LINKS TO ARTISTS' WEB SITES

Angelique Anderson     Deborah Cuneo    

Maria Madonna Davidoff     Laura Goetz   

 Melissa Iwai     Yuko Katakawa    Marie McCann
Jennifer Merz    Donna Miskend 

  Christine Mix    Wallace West 

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 Brooklyn Central Library 

HOURS mon-thurs 9am-9pm Fri-Sat 9am-6pm Sun 1pm-5pm

event: Saturday, September 19 at 2pm: The Magic of Fairy Tales, a conversation with Michael Patrick Hearn, children's literary historian and curator, Donna Miskend

Free and open to the public

Thank you to the Brooklyn Public Library for hosting us. And a special thank you to Barbara Wing, Mgr. of Exhibitions! 

This exhibit is underwritten by the Brooklyn Public Library 

UPDATE re guests June 2015

MASTER STORYTELLERS EXHIBIT has been extended through June 27, 2015.
read the interview with the artists here on this blog click HERE.

Michael Patrick Hearn, guest speaker for the show is scheduled to speak at the Brooklyn Central Library for the show I curated on Fairy Tales, Sept. 19. Fairy Tales, a CBIG group show will be on view June 11- Sept. 25, 2015 in the Youth Wing.

Elizabeth Sayles, children's book author/illustrator co-curated an exhibit that included her father's artwork for the WWII Ghost Army. The exhibit The Ghost Army of WWII, will be on view at Salmagundi Club in June click here and read my interview with Liz on this blog here.

ART - AUTHOR: Clare Pernice

CLARE PERNICE is a children's Book author/illustrator and we share a passion for children's books. Clare's book, Circus Girl (published by Simply Read Books) just out this year is a must have for little one's who dream big.

DM: What made you choose to pursue children's books?

CP: My childhood memories and reading to my children have inspired me to create picture books. I love books with unique characters and expressive words. I collect picture books of every shape, size and genre. 

DM: What were your favorite books growing up?

CP: There are three that come to mind. Firstly, Babar, it was my father’s tattered copy from his childhood which he read it to me when I was very, very young. Many of the B&W spot illustrations inside were colored in by him when he was little and then more coloring was added by me, we both had an exuberant scribbly style. I loved this story of the little orphan elephant who was taken in by the rich, old lady. When she took him to be fitted for clothes it was so enchanting because he anthropomorphically transforms and he has all sorts of adventures thereafter.

The Necklace of Raindrops was a book that I discovered by myself at the library, I was about 7. I just loved the stories and especially the Necklace of Raindrops. I dreamed of having such a necklace. The illustrations were also intriguing. Alice in Wonderland is the classic that I’ve never grown tired of. Others worthy of a mention would be Wind in the Willows and Pooh Bear stories as well as Everything written by Enid Blyton.

DM: What was your inspiration for Circus Girl?

CP: Circus Girl was especially inspired by my daughter’s love of dressing up and performing. 

   
DM: Which comes first, the words or the images?

CP: I think that both come together. First the idea germinates, I write it down and begin doodling characters. Then I write some words and more images spring to mind, back and forth. It is definitely a partnership of words and pictures.

DM: What is your favorite medium?

CP: I love colored pencils and watercolor paints, pans, tubes and inks. My favorite brands are from Japan and Germany and England. 

DM: Do you use a computer?

CP: I do like my Macbook and I know I could do a lot more on it besides emailing, researching and exercising a couple of fingers but I haven’t found time yet to learn all the amazing design programs available. One day I’d like to but I derive too much pleasure from art materials!

DM: Did your work in film have any influence on your picture books?
CP: Yes, I think that working on a film from it’s original concept through research, production design, directing, editing and the final result have a parallel pace to making a picture book. My enjoyment and satisfaction comes from being involved in the book’s creation from start to finish. 

DM: What are you working on next?

CP: Currently I’m finishing up artwork for my Mother Goose book which will be published next year and I’m working on Adventure Boy, the companion book to Circus Girl.   

DM: What else would you like people to know about you or your work?
CP: Our dog Milo is famous in Weston, he is the mascot for my son Oliver's sports teams. My daughter Mia is musically gifted and is at a school for the arts. Circus Girl was published by Simply Read Books this year and it has been a wonderful experience to do book signings and read my book to children.  I am thrilled to have the opportunity to converse with Donna about being a picture book author and illustrator. Thank you for interviewing me. 

ABOUT CIRCUS GIRL:
When a little girl plays dress up in her leotard and socks she becomes Circus Girl star of the show. read more HERE.
You can learn more about Clare by visiting her web site at www.clarepernice.com

If you're in the Charleston, SC area she will be signing books at Blue Bicycle Books Dec. 6th.

Clare will be speaking on the artist panel Saturday, February 7th in an interview with the artists for the exhibit Dickens: A Celebration In Pictures. Both our work is included in a selection of work from the bicentennial celebration exhibit of Charles Dickens' classic books on view at the Poe Visitor Center February 3 through 21, 2015. Bring your kids and enjoy a Dickens Character Paper Puppet workshop with us too, see schedule for date info. For schedule information CLICK HERE. 

ART- ELIZABETH SAYLES, author/illustrator

Elizabeth Sayles is an author/illustrator living in NY. I'm thrilled to have Liz join me for a conversation about her art and the illustration industry. She has illustrated numerous children's books as well as writing and illustrating her own. Liz's other illustration work for advertising and editorial projects include clients such as Lands End, Delta Airlines and T. Rowe Price to name a few. She has a keen eye and a generous spirit. Take her class. Her assignments are cool and you'll learn a lot about being an illustrator. 

All artwork Elizabeth Sayles 1998-2013 work may not be used without permission from the artist. 

DM: Hi Liz! Thank you for joining me. Talk a little bit about your background and why you decided to become an illustrator.  
ES: I always drew, on my walls, sheets, occasionally paper.  I went to art school to be an illustrator, but didn't like the program and wound up dropping out after 3 years.  Eventually, through a series of fortunate events, I became a designer, and then an art director, and then the stock market crashed, photoshop was invented, and all hell broke loose.  So I finally decided it was time to dip my toes back in the illustration world.  And I was again met with a series of fortunate events that led to many wonderful books to illustrate, as well as other projects.

Elizabeth Sayles

DM: Your work is ethereal. Who are the artists that have inspired or influenced your work?  
ES: Many artists have influenced me.   Garth Williams in particular, Degas, Gaguin, Kunyoshi, Maurice Sendak…

DM: Why did you choose pastel as your primary medium?
ES: I was in art school (college) and a girl next to me had a box of Rembrandt pastels, and I asked to borrow one. It was love!  I ran to the art store after class and bought my own box!

DM: What type of pastels do you use, i.e. soft, pencils?
ES: I use all types of pastels for different effects, but I use the pencils to get detail and also they are a lot less messy.

DM: I started with a toothy paper but now I like the sanded Senelier paper for my pastel work. Many pastelists I know use Wallace. What paper do you use?  
ES: I use Stonehenge paper mainly, but lately I've been priming paper or board with Golden Pumice gel (fine) and it gives it a nice sandy surface.  I like to use it on top of an acrylic underpainting.

DM: Some pastellists use a watercolor underpainting, others none at all. Why do you use acrylic?
ES: I use watercolor or acrylics mixed with acrylic medium.  I really use whatever is at hand.  I use the acrylics like watercolor, not opaque.

DM: Do you use the computer at all?
ES: Yes, I size up my art, piece together sketches in Photoshop. Sometimes I scan in a work in progress, fix it up, print it out and work on top of that.  I also send all art to the client  digitally.

Elizabeth Sayles

DM: There are too many to mention but I particularly love Fairy’s Bridge, the one with the fairy and the butterflies, the boy in the ship with the clock, Little Red Riding Hood, the moon images in Moon Child, the new one you highlight on your web site that is based in Persia. What are some of your favorite images and why?  
ES: Well those are my favorites as well.  Probably because I tried something new and it worked, or they are pictures that worked despite having to fit a storyline.

DM: You work in the general illustration market with a concentration in the children's book market. I’ve heard many illustrators say that the illustration market has shrunk considerably. What are your thoughts?
ES: I think it has shrunk in certain areas:  books, magazines, for instance.  Other areas have disappeared (record jackets, etc).  And other areas maybe have grown, such as licensed products, animation, games.  Illustration is in flux, as is nearly everything right now due to technology.

Elizabeth Sayles

DM: What advice can you give to illustraors who want to further their career or who are just starting out?
ES: Draw a lot, and look around you.  Don't stay cooped up in your room, and quit staring at what someone else did last week and posted on line.  Go out in the world, explore, open your eyes, be inspired by what you see, and also go to museums and study artists who have come before.

DM: Your father is also an artist. How has that influenced you?
ES: I grew up with a father who was an artist (an illustrator and a designer) and a mother who was a writer/ editor, and then they produced books together.  Besides the obvious influence of learning how to use some materials, I grew up having no idea about holding down a 9-5 job!  Seriously!  I thought that was normal. My parents worked all the time, and were around a lot… that is what I wound up doing as well.

DM: You have curated an exhibit about the ghost army of artists in WWII, currently on view at the Hopper House Art Center. Who are they? 
ES: Yes its an  exhibition of original works by soldiers in the 23rd HQ Special Troops aka "The Ghost Army" of WWII. They were a camouflage and deception unit that happened to be loaded with artists. This top-secret group of GI’s helped win the war with inflatable tanks, sound effects and illusions.  But that's only half the story. As they travelled across the battlefields of Europe they documented everything with watercolors, ink, and pastel, creating a vast array of artwork. Artists in the unit included fashion designer Bill Blass, painter/sculptor Ellsworth Kelly, and wildlife artist Arthur Singer. 

DM: Your father was one of these artists. What does it mean to you to be able to celebrate his participation in such an important program and honor his and his colleagues’ service to the country?
ES: It's such a great story of the melding of two things that don't seem to belong together: Art and War. And a heck of a lot of imagination.

DM: What did your father tell you about his involvement? 
ES: He told crazy stories about inflatable tanks and dummy artillery, and how they would drive in circles around villages to make it seem like there were thousands of them when there were just a few hundred. And how Bill Blass, the future fashion designer, re-sewed his uniform so it fit better. They were just crazy stories. There were a couple of pictures on the wall that he did then, but I didn't realize it till later. Then my brother searched through his studio and found a lot of sketches.

DM: You are a member of Illustrators Partnership of America. Tell me what they do and why it’s an organization artists should know about.
ES: It is an organization whose main purpose is to advocate for illustrators' rights.

Elizabeth Sayles

DM: Does teaching have any influence on your work?  
ES: Yes, everything I know I've learned from teaching.  I have to stay on my toes, stay up to date with what's going on, and I also have to figure out what I do so I can explain it.  This semester I'm teaching Color & Design at Queens College. To prepare I had to research color theory, and I realized how much I hated color theory in college, it had no relevance, so I taught the class so it would have relevance.  I think they got a lot from the class. I know I did.

DM: I took your  illustration portfolio class years ago at SVA and it was great. Everyone should take it and more than once (I plan on taking it again sometime).  Where can people take a class or workshop with you?
ES: I try to keep my website updated with the classes I'm teaching.  I still teach Illustration Portfolio at SVA.  I also teach at other colleges in the area, SUNY Rockland, Queens College, Mercy College, and Rockland Center for the Arts.

DM: What are you working on now?
ES: I am writing a novel (of course), and clearing out my studio so I can begin some big paintings.  I think I've been working too small lately.  Mostly to hit deadlines.  I would like to start showing my work in galleries.

DM: Do you have any books coming out this year?
ES: Yes, In September:  "Anne Frank's Chestnut Tree" will be published by Random House. It is a Step-into-Reading book, fully illustrated in color.

Click on the following links
View/purchase Liz's books 
  Web site 

see more of her work

Classes

About the Ghost Army

Artists of Deception: The Ghost Army of WWII Exhibit - click on Exhibit to view info at Edward Hopper House in Nyack, NY through June 9th. Curators: Elizabeth Sayles and Rick Beyer. Check your local PBS station for the schedule for the documentary - airing in NY on May 21st at 8pm channel 13. NEW: the exhibit travels to Salmagundi Club, NY in June 2015. 

Next up - Part II of my interview with Arvind Garg, photographer. Click here to read Part I