Creating A Children’s Picture Book Illustration Portfolio - Part 4 - Drawing Children

How do you draw children?  When creating a children’s picture book illustration portfolio, you need to have work that features children.  In a picture book, whether human, animal or robot, the main character is nearly always a child, this is something that I forgot to say in my blog post about format and content.  I have recently added these two new pieces to my portfolio and as you can see I have found it a challenge to make my characters look young, in fact it is difficult to work out what age they actually even are.    So, in this post, I aim to find out how to draw children.  
  
Red Meets The Wolf by Claire O'Brien

Bringing Home The Loot by Claire O'Brien


What Do The ‘How To’ Books Say About Drawing Children?
First port of call has to be some of the many ‘how to illustrate children’s picture books’ that are out there, to see what they advise about drawing children.

   

    


Observation
The consensus seems to be to observe children and draw them from life.  Uri Shulevitz says in his seminal Writing with Pictures: How to Write and Illustrate Children's Books
“It is best to draw from direct observation of nature - figures, landscapes, animals, plants, inanimate objects - as much as possible.  In this way you have clear references against which to compare and correct your drawings.  Artists who draw exclusively from imagination run the risk of drifting into vagueness.” (Shulevitz 1997, p136) 

As always, this is good advice as it basically boils down to ‘learn how to draw by drawing’. Below are some of my observational drawings, this is something I do as much as I can.  From our observational drawings of children what do we learn about how make our own children character designs that we use in our picture books look more childlike? 



 
My own observational drawings

Scale - Proportion Charts
After observation, the first thing that strikes me about children is their size, they look small next to adults and everyday objects.  So let’s look at children’s proportional anatomy first.  I’m not keen on the proportion charts in ‘how to draw for children’s picture books’ they are not objective enough for me.  I find there are better proportion charts in regular ‘how to draw’ books though most just show the adult male, some do have charts for the adult female and a few show comparisons between the genders and ages.

In my opinion, the most useful human anatomy proportion charts for Children’s Picture Book Illustrators are by Andrew Loomis.  We have to remember that proportion charts establish rules for an ‘ideal’ figure and are measured out using a unit that is relative to the size of the figure's head. Loomis' ideal is an adult of eight heads high, in reality the adult is probably seven and a half heads high.  The demarkation of where the eight head units fall on the body, line up with body landmarks such as the nipples, the navel, the elbows, etc and that helps us learn the proportions of the ideal figure. 


  
Loomis' adult male and female 'ideals' from Figure Drawing For All It's Worth


Beware when using some proportion charts, for example, while How to Draw Comics the Marvel Way is a great ‘how to draw’ book its eight head ideal proportion chart is a bit illogical to actually use, it has extra arbitrary proportion lines added at the neck and feet.
 


Also a lot of proportion charts state that women are seven and a half heads high to show that they are often shorter than men.  Again I prefer Loomis' method of an eight headed high female ideal.  Using seven and half heads makes it difficult to memorise where the subsequent head unit demarkations fall. I think the solution to drawing women shorter than men is to make their heads slightly smaller, as shown below, the red line shows the measurement of the women's head.  I might be wrong in doing this, what do you think?



Comparative Proportions
Okay so now that we are familiar with adult proportions how do they compare with children’s proportions? If we were to increase a child’s height to an adult’s we see instantly they have differently proportioned anatomy as the picture below shows.


As Loomis shows us below children's heads are smaller than adults' but they are larger in proportion to their own bodies. Children are not eight heads high, the numbers of head units vary at different ages starting with just 4 at one years old, 5 at three years old, 6 at five years old and 7 at ten years old. Arms and legs are relatively very short between one and three years old and he neck doesn't start showing until five when the shoulders start to widen. 


As well as covering whole body anatomy in Figure Drawing For All It's Worth Loomis goes into great detail about drawing babies, small children, school age children and teenagers' heads and hands in Drawing The Head And Hands.

    


From Further Reading
As well as Loomis' proportion charts there are some great written tips about drawing children;

In William Rimmer’s very unusual Art Anatomy book he gives this formula for drawing children:

  • Large head
  • Rounded cheeks
  • Short neck
  • High, narrow shoulders
  • Rounded abdomen
  • Narrow pelvis
  • Limbs large in proportion to small hands and feet

And in Barbara Bradley’s brilliant book Drawing People she says;
  • Babies' heads are very square both from the front and in profile.
  • Babies have a wider space between the eyes than adults.
  • Babies' cheeks reach down to the chin and sometimes farther.
  • Most babies have a lot of fat, it's pretty much gone by the time they are seven.
  • The curve under babies' chins is convex.
  • Missing teeth happen at around seven years old.
  • Babies have fat hands and feet.

    

My Own Observations
Here are my own observations I have made while drawing children from life, they have:


  • Large foreheads
  • Big eyes, wide apart
  • Transparent eyebrows
  • Upper lips that are more prominent than the lower
  • No lines or wrinkles on the face
  • No or a short neck
  • Chubbiness
  • Short arms
  • Big nappied-bottoms

Conclusion
So hopefully I have given you some useful things to think about and apply when drawing children for a children's picture book illustration portfolio, do let me know in the comments and also if you have anything to add.  I have certainly found this research useful and have made the following couple of watercolours as a result:

A two year old by Claire O'Brien

An eight year old by Claire O'Brien


Further Reading/Viewing

  • Check out Stan Prokopenko's Videos they are an essential guide to drawing human anatomy and proportion, and drawing in general.
  • This TEDx talk The Myth Of Average made me think of the 'ideal'. Just as the 'ideal' doesn't exist neither does average.  We all have a 'Jagged Size Profile' and this is something to bear in mind when drawing in individuality into our characters.
  • And finally, below, is a great real-life example of an Art Director, Lauren Rille, giving feedback on illustrator Robert Neubecker's initial illustrations on how to make the portrayed children more childlike in Sarah WeeksSophie Peterman Tells The Truth.


Lauren Rille's Feedback to Robert Neubecker on his initial Character Designs


Lauren Rille's Feedback to Robert Neubecker on this Spread

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:

Claire O'Brien Art Portfolio

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.  

Venice Children's Picture Book Art Claire O'Brien


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.

Children's Picture Book Art Claire O'Brien


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.

Claire O'Brien Art


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

Children's Picture Book Art Claire O'Brien


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 Art Claire O'Brien


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. 

Art Claire O'Brien


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.