New Year Reflections on 2016

Well it has been three years since I actively started blogging and as it is January it is a time for reflection upon what I got up to in the last year.  In general I have blogged less this year, probably due to returning to the world of work after an extended maternity leave, but I have still endeavoured to become a picture book Author and Illustrator, which is what my blogging aims to document.

So this year I started my Instagram account after hearing that it is how a lot of illustrators get spotted by agents.  I like it as a platform and it brings my work to a new audience judging from the likes and follows.  I treat it as a sketchbook showcase and show different work from what I show on my Facebook page and Twitter.  I’ve have not been approached by any agents yet though.

Speaking of agents, after going to the brilliant SCBWI Workshop; Getting Your Picture Book onto the Page with Elizabeth O Dulemba, I chatted with Sheila Averbuch about how she found Writer’s Digest Webinars (the live ones with access to editors and agents) very valuable in her path to publishing.  So I decided to try one and bought How to Write a Picture Book That Sells complete with a critique from a US agent .  While I found the webinar itself to be just okay (useful content but delivered by reading from slides) I was more interested in getting a professional critique on my current ‘best’ manuscript.  For the money I paid, I was initially disappointed with the four lines of feedback that I received.  The first two lines were positive and then I read these comments;

“I wish there was more of a story, though.  The picture book market is so competitive 
that I wonder if this story has enough in it to make it stand out from the rest.”

I couldn’t believe it, especially as I had just added more conflict to my latest draft, in truth I felt a bit despondent and stopped writing for a little while.  A few months later there was an opportunity to have a 121 session with Skylark a UK literary agency, organised by SCBWI BI NE.  So I got that manuscript out and read it again, I still thought it was good until I analysed it using Alayne Kay Christian’s Art of Arc self-study exercises .  The agent was right there wasn’t actually any story there at all.  It was a bittersweet moment of realisation that I need to revise that manuscript more before I can send it out for submission again.

So I didn’t submit this Picture Book manuscript to Skylark as it obviously wasn’t ready and because they are mainly Young Adult and Middle Grade agents.  Instead I decided to submit an old comic script that I had recently re-drafted.  And I was very surprised to get great feedback from Joanna Moult. Find out what she said here in Em Lynas’s write up of the event.  So I now feel encouraged to continue working on the both the comic a bit more and the picture book.

This year I have increased my volunteering duties for SCBWI, not only did I hang the SCBWI Illustrator Showcase in Seven Stories again, I am also now co-Network Organiser for the North East alongside Marie-Claire Imam-Guitierrez.  You can read an interview with me about the role in SCBWI's Words and Pictures, online magazine.  So far I have learnt a lot from watching Marie-Claire organise the wonderful Creating Believable Characters Event and I will be organising an Illustration event in the next few months.

The SCBWI BI Illustration Showcase at Seven Stories

My artwork output has diversified this year and now includes Caricatures and Comics!  Both as a result of doing Inkotber. I’ve done three Inktobers now and for Inktober2016 I wanted to do something a bit bigger to grow my audience.  I thought I’d draw and ink a page of my comic manuscript everyday but realised how ambitious that would be in the timescale of a month.  Instead I adapted Kate Bush’s song Under Ice into a 16 page, one panel per page, minicomic.  I am a massive fan of Kate Bush and was lucky enough to go to a concert of hers during her 2014 residency at the Eventim Apollo.  Under Ice is a song from a suite called the Ninth Wave on her 1985 album Hounds of Love.  It is a very visual suite of songs that I interpret as being about a woman falling overboard a ship and slipping in and out of consciousness before she is finally rescued.  Each song is either a dream or an account of what is happening.  As you can see from my  drawings, I imagine the song to be about Kate skating on a frozen river when it cracks and she falls in the water and dies, the ending sequence is her seeing herself under the ice and emerging as a spirit.

So did this grow my audience?  Yes it did!  And if you follow this blog you will find out when my next post is live, and I will tell you how.

October / Inktober 2015

October is my favourite month of the year as it is my birthday month and because of Halloween, I just love spooky things.  I’ve been working on some portfolio pieces and this one is appropriate for the season; a witch taking a night flight as a swarm of bats spirals by.

Night Flight by Claire O'Brien, 2015, gouache on paper

I took part in #Inktober again this year.  Just to recap, Inktober is a drawing challenge to make one ink drawing a day for the entire month of October.  Inktober was started in 2009 by an artist called Jake Parker, who set himself the challenge to improve his inking skills and develop positive drawing habits.  I am pleased to say that I made a drawing every day except for the last.  

Doing Inktober was as fun as last year, I even took some requests this year for subjects to draw which added to the challenge. Inktober really motivated me to draw every day and the quality of drawings ranged from throwaway sketches to not bad, I even sold some prints and have been commissioned to draw in my ink style.

You can see all of my Inktober drawings on my Facebook page but here are are some of my highlights:

"Playing in the Garden" by Claire O'Brien

"The Gentleman" by Claire O'Brien

"I Found a Fox" by Claire O'Brien

"Kate Bush - Before The Dawn" by Claire O'Brien

"Halloween" by Claire O'Brien

There was also lovely a meet up of some sociable SCBWIs, Top, 2016 Carnegie long-listed, YA author Teri Terry was in town for writing research so a gang of us had dinner and viewed the SCBWI Illustration Showcase exhibition at Seven Stories.

Geoff Lynas, Maureen Lynas and Janet Foxley outside of Seven Stories

Teri Terry, Geoff Lynas, and Maureen Lynas

"Maureen and Teri" by Claire O'Brien

Up month is Tara Lazar's PiBoIdMo - Picture Book Idea Month a where you come up with an idea for a picture book every day of November.  

03 - Spread Of Wonder: The Robot and the Bluebird

Welcome to the third post in my ‘Spread Of Wonder’ series where I talk about spreads from picture books that I admire, I look at them and analyse why I think they make a good spread.  This month’s spread is the 10th spread of David Lucas’ “The Robot and the Bluebird” which was published in 2007 by Andersen Press.  

I do not know if David Lucas is a picture book superstar, but I personally, did not know of him until I recently came across this book in my local library.  It is a beautiful, whimsical story of an old, broken hearted robot who is put on the scrap heap but finds new purpose and friendship when he shelters a weak, migrating bluebird in the cavity where his heart used to be. It is illustrated with dip pen ink lines and coloured with watercolour, somewhat a traditional media in children's picture books.  

In this spread, the robot is at the hardest part of his journey, carrying the bird in his heart over a mountain.  He is moving left to right in direction, moving us through the story just as we have seen demonstrated in my previous choices of Spreads of Wonder.

What is great about this spread for me is how the illustration of the setting contributes to the storytelling.  The robot is crossing a mountain, a difficult thing to do at any time but even harder when it is raining and snowing like Lucas has drawn here.  Again Lucas uses direction in the diagonal lines of the falling rain and snow, pelting down against the robot's back.  Lucas has drawn grey thunder clouds that look like symbols from TV weather forecasts, with jagged arrowed, lightening coming from them, they are not soft and fluffy, they have hard outlines and their shading shows their solid form.  The mountains are also pointed and jagged, as are the trees with their icicle spikes and bare twig branches suggesting danger everywhere.

Lucas use uses a limited colour palette to great effect in this spread using only washes of blue, black and red against the white of the paper.  He uses the cool and muted blues, blacks and whites in the environment which contrasts starkly against the warm rust red of the robot.  Apart from the clouds, as already mentioned, and perhaps the robot, Lucas hasn't really used the colour to describe the form  of objects through shading, instead he applies colour as a bodycolour wash and uses the pen line to describe form.  This seems to be an often-used technique in children's picture book illustration and I wonder if it just adds to the clarity for children?    

What can the aspiring illustrator learn from this spread of wonder then?  This spread teaches us mainly about using illustration to contribute to storytelling. 

Storytelling - make the environment show the feelings of the story 
Direction - Use physical direction of the action to move the narrative forward, left to right and show hardship and struggle with right to left direction
Use Contrast of colour temperature to highlight a character.

Please comment with your own thoughts on this spread, or make a suggestion for a future Spread of Wonder candidate for me to analyse and don’t forget to follow this blog to receive a notification of my next post.  Thanks for reading! 

Creating A Children’s Picture Book Illustration Portfolio - Format and Content - What to Put In? - Part 2

In my first post on the subject of Creating A Children’s Picture Book Illustration Portfolio I talked about the quantity and quality of the images.  In this post I’d like to explore format and content, by that I mean what the actual images show and how they are presented.  I will use my findings to create action points for me to apply to my own portfolio as it presently stands.

The Format of Children’s Picture Book Illustrations

Based on my observation of current children’s picture books, illustrations destined for the printed page are mostly printed in landscape format, spanning double page spreads.  In the past we saw more of single spread images and spot images and these are useful if you need more than the allocated 32 pages to tell the story.  

The Content of Children’s Picture Book Illustrations

Illustrations in children’s picture books are sequential in that they have multiple images that tell a story that happens over time.  This means that there is a requirement to be consistent in their execution, characters have to be ‘on model’, that is they have to have the same proportions and features and wear the same clothes from page to page (unless the story dictates otherwise).  Colours have to match from image to image.  Locations and props also need to be consistent in the same way.  Sequential storytelling art by its nature shows characters doing lots of actions and having different emotions and feelings.  And again, unless the story demands it, the art is produced in a consistent same style and medium. 

Appraising the Format and Content of the Work in My Own Portfolio

Okay, here is what my portfolio currently looks like, as whole, as seen on my website:

Disregarding its quality, I have a minimum desired quantity of six illustrations, of mainly human subjects, painted traditionally with gouache on paper.  I also have a digital piece, an ink and watercolour and a scraperboard.  

This is a tonal gouache sketch of a spread from one of my picture books that I am working on.  I think it is the strongest piece of work in my portfolio as it is has storytelling and is in a complete setting that conveys mood and atmosphere.  This has been affirmed to me by its selection in the 2014 SCBWI (British Isles) Showcase Exhibition a goal that I expressed a wish to achieve back in July when I helped to hang the 2013 Showcase at Seven Stories.

Baby Bouncer is painted in gouache with a touch of digital, set in an interior setting, it hopefully shows consistency in depicting a character and is sequential showing different emotions and action.

When Mum Came Back is a gouache showing a group in exaggerated action, with different emotions.

Outdoor Girl and Sidekick is me trying to capture my gouache style digitally.  I like the characters but I'm not sure of their emotions here, they're perhaps a bit neutral.

Jack Frost is painted with ink and watecolour and is me attempting to draw like Arthur Rackham. Things in favour of this illustration are that is set in a forest setting and I like the rendering of the body.  The storytelling not quite there and the aesthetic is perhaps more fantasy than picture book. 

This Crooked Way is a scraperboard and I like the design style dictated by the medium, but it would need refining if I were to do more of these.   Again perhaps the aesthetic is more fantasy than picture book.

Action Points

So here are my conclusions about the format and content of my children's picture book illustration portfolio and some suggested action points to implement in order to improve it, who knows they may apply to your own portfolio:

• Produce future work in landscape format.
• Produce consistent looking sequential images that show characters doing different actions and showing different emotions.
• Include more settings/backgrounds (move away from white backgrounds)

Further Reading
Here are some good links to what others have to say about children's picture book illustration portfolios:

• Lynne Chapman's professional view on character and characterisation
• Donald Wu gives his professional opinion for ordering your portfolio and good advice on style and content.
• Eliza Wheeler shares her SCBWI feedback on improving her portfolio.