Illustrator Kent Culotta on Animation vs. Illustration, Inspiration, and Leveling-Up Your Skills

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Busy Trucks on the Go, D is for Dump Truck, Dan The Taxi Man, Eric Ode, illustrating, illustrator tips, Kent Culotta, picture books, SCBWI members, The Twelve Days of Christmas in Kentucky, Too Many Tomatoes

Some of professional illustrator Kent Culotta’s most recent projects include illustrations for D is for Dump Truck, published by Sleeping Bear Press, and The Twelve Days of Christmas in Kentucky, published by Sterling Children’s Books. He’s also collaborated with author Eric Ode and publisher Kane Miller on three books, Dan, The Taxi Man, Busy Trucks on the Go, and the recently released Too Many Tomatoes. Kent lives in Southern California, but grew up in a small town in Michigan. When he was five, he covered an entire wall of his parents’ living room with his own gallery, each drawing taped lovingly in place. No blank piece of paper, used envelope, or post-it note have ever been safe from his pencil. And today Kent, a fellow SCBWI member, shares with us his experience along with some tips and tools for leveling-up your own skills.

SARAH PARKER-LEE: You’ve worked as an artist in newspapers and on film, including several years in the animation industry working on some pretty memorable Walt Disney movies. How, and why, did you make the transition to children’s book illustrator? Did SCBWI play a role?

KENT CULOTTA: Being a children’s book illustrator was always in the back of my mind when I was working at the big animation studios, and I took a couple of book illustration classes back then at Otis Parsons. I think that I first learned about SCBWI from one of those classes. At the time I was a bit discouraged because publishers then were less open to illustrators whose work showed an animation influence. That has changed a lot. The big transition I went through was when animation rather quickly went from hand-drawn to CG. I worked hard to update my skills and did pretty well, but I soon realized what I really missed was drawing by hand. I joined a group called Drawergeeks that my co-workers participated in. Each week a new subject was set and we all would do an illustration piece on that subject. It helped motivate me and also helped me get out of my own head a little and tackle subjects that I wouldn’t normally think of, a good skill when you’re illustrating other people’s stories. I ended up getting a pretty nice first illustration portfolio from those Drawergeeks illustrations. It was at that point I started regularly attending SCBWI schmoozes/mingles and conferences, which were great motivators as well.

SPL: As an illustrator, you’re tasked with interpreting someone else’s story while still being true to your artistic identity. Do you have any advice on how to maintain that balance for those just starting out or perhaps feeling a little lost?

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Giving It Away for Free: Keys to Promoting Your Book at Events

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Comic Con, convention circuit, Conventions, crowdfunding, merchandising, SCBWI members, self-publishing, selling, Stan Yan, There's a Zombie in My Basement, tips

by Stan Yan, Author and Illustrator

This is the second part in a two-part series where I discuss keys to promoting my bedtime picture book, There’s a Zombie in the Basement, inspired by my 3-year-old son who wouldn’t come down to my basement studio, fearfully pointing at my zombie artwork on the walls. I’ve been promoting my other work at comic and fan conventions since 2001, but I’ve learned a lot about them and applied it specifically to promoting my book. You don’t have to feel overwhelmed by conventions and events! Read on for my keys to standing out and selling your work.

Failing Before You Start: The Key Steps I Ignored to Crowdfund My Picture Book

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crowdfunding, illustrating, Indiegogo, Kickstarter, publishing, SCBWI members, self-publishing, Stan Yan, There's a Zombie in My Basement, tips, writing

by Stan Yan, Author and Illustrator

This is the first part in a two-part series where I will discuss my “missteps” in crowdfunding my picture book, There’s a Zombie in the Basement, because sometimes you have to risk going against conventional wisdom to bring your book into the world.

In 2013, my primary job was drawing zombie caricatures at conventions. One day, my 3-year-old son wouldn’t come down to my basement studio, fearfully pointing at my zombie artwork on the walls. This inspired my foray into kidlit, which taught me some lessons.

Ignored Step #1: Don’t Self-Publish.

Emma Chichester Clark’s TOTO Illustration Process and Her Muse—Her Dog, Plum

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chapter book, Dogs, Emma Chichester Clark, HarperCollins, illustrator, illustrator tips, illustrators, interview, Michael Morpurgo, middle grade, Plum, The Wizard of Oz, Toto

Emma Chichester Clark is the illustrator of the beautiful middle-grade chapter book, Toto: The Dog-Gone Amazing Story of the Wizard of Oz. Its 250+ full-color images showcase Chichester Clark’s signature style.

CHRISTINE VAN ZANDT: Welcome to Kite Tales! In Toto, you collaborate once again with author, Michael Morpurgo. How does illustrating well-known stories differ from working on new fiction? Does having a dog as the narrator change your focus when you work on the art?

EMMA CHICHESTER CLARK: In fact, it’s my sixth collaboration with Michael. We have also done versions of Pinocchio, Aesop’s Fables, Hansel and Gretel, The Pied Piper of Hamelin, and a Christmas story called The Best of Times. Almost all of them were about well-known characters and I had to find my own ideas about that. This is a challenge because the images we all already know so well are imprinted in our heads. With each character, I have to draw and redraw them, over and over again, until I find someone that belongs to me but who is, at the same time, true to the character I’m representing. [In Toto], having a dog as the narrator was the most fun of all because I adore dogs. I have one, Plum, who is not unlike Toto in appearance and I spend a lot of my time trying to interpret what is going on in her doggy brain.

CVZ: You are also an author. Please give us some insight into your process, both as an illustrator and an author-illustrator.

Author/Illustrator Stan Yan on Quitting Your Day Job, Joining the Con Circuit, & Halloween Picture Book Scares

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author, Cons, Halloween, illustrator, monsters, picture books, San Diego Comic Con, SCBWI members, Stan Yan, zombies

I met Stan Yan, a Denver-based writer/illustrator, caricature artist, and instructor, at his booth at San Diego Comic this year. I’m a bit of a zombie-aficionado and could not resist checking out his kids’ picture book – There’s a Zombie in the Basement (Squid Works Kids). We got to talking, and, when I found out he is an SCBWI member, I knew I had to interview him. He went to school at the University of Colorado in Boulder, where he got his bachelor’s degree in accounting, but gave up on financial security to become a full-time freelance cartoonist. Stan also teaches summer camps, after-school programs, workshops, and helped to develop a degree program in graphic storytelling as an adjunct faculty member at the Community College of Aurora. His other recent credits include art and colors for Show Devils (Mother Mind Studios) and writing and art for Vincent Price Presents (BlueWater Productions / Storm Comics).

Sarah Parker-Lee: You’ve written and illustrated comics and books with horror themes for adults and older readers, but There’s a Zombie in the Basement is a picture book for kids. How did that come about? Were you worried it might be too scary?

Stan Yan: Even though I spent most of my life doing more adult-oriented comic book work, some of my major inspirations growing up were picture books, including anything Dr. Seuss and Maurice Sendak’s Where the Wild Things Are. While many of my family continued to badger me to do children’s books, I had no interest until my son was almost 4 years old. One day, he wouldn’t come downstairs to my basement studio, and when asked why, he said he was afraid. When asked what he was afraid of, he started pointing at all of my zombie artwork decorating the walls. Over the next hour, I wrote the fast draft version of my rhyming bedtime storybook.

As I worked on the artwork I wanted it to be a bit unsettling at the beginning, not unlike Sendak’s Wild Things. And, it was precisely my fascination with these unsettling Wild Things that kept me checking that book out from the library as a kid. Of course, by the end of the story, they’re no longer scary, which is what I was going for too.

SPL: As a writer and illustrator, you’ve spent a lot of time with “horror” themes, monsters, and the like. Any advice for other kid lit writers/illustrators looking to translate some of these things into spooky stories kids can enjoy? 

Author and Illustrator Mary Ann Fraser’s Lessons After 60 Published Books and Counting

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Book Launches, Charlesbridge, illustrator tips, Mary Ann Fraser, publishing, writing tips

Mary Ann Fraser is the author/illustrator of 60 fiction and non-fiction books for children. Her latest picture book, Alexander Graham Bell Answers the Call (Charlesbridge), was published in August.

Fraser is also the Regional Advisor for SCBWI’s Central-Coastal Region. She talks to Kite Tales about her prolific career and shares lessons learned over the years.

Erlina Vasconcellos: Congratulations on your new book, a nonfiction look into the childhood of Alexander Graham Bell. How did you choose him as the subject?

Mary Ann Fraser: First, thank you for the opportunity to share my journey toward this latest book. As always, I am so grateful for the support and encouragement of my friends and peers that make up this amazing community we call SCBWI.

In 2012 my husband and I visited the Alexander Graham Bell Historic Site in Baddeck, Nova Scotia. I was amazed at Bell’s endless curiosity, inventiveness, and desire to help others, particularly the deaf, and was struck by how his life’s work seemed inevitable from the time he was a young lad. His mother was deaf and his father and grandfather were speech therapists. At the museum bookstore, I asked if they had any picture books on Bell. The cashier said they didn’t but wished they did. That’s when bells (excuse the pun) started ringing, and I realized I had my next project.

EV: After 60 books, how do you stay inspired and keep things fresh? Is your method for generating ideas different from when you began?

Debut Author and Illustrator Jennie Palmer: A Speedy Path to Publishing

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Abrams, Jennie Palmer, Jessica Sinsheimer, Mary Ann Fraser, SCBWI community, SCBWI members, Summer Conference, Writers Day

The book industry is filled with tales of people who toil on a story for years before being published. Author and illustrator, Jennie Palmer, isn’t one of them.

Palmer had taken classes on the art and craft of picture books at the Rhode Island School of Design, where she was an illustration major. After graduating, she put that knowledge aside when she became a production designer whose credits include work on the television show Blue’s Clues and 12 years designing floats and balloons for the Macy’s Thanksgiving Day Parade.

And then came the idea for a picture book about witches – a glimmer of an idea that solidified as she was cleaning up after her family’s weekly pizza night.

In 2014, she attended her first SCBWI Summer Conference with an outline. She didn’t have a dummy or a portfolio, but three years later that story, The Wompananny Witches Make One Mean Pizza, would be published by Abrams.

Author/Illustrator & Nickelodeon Story Artist Ashlyn Anstee on Pitching an Agent & Leveling Up Your Illustrator Skills

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agents, Ashlyn Anstee, authors, illustrators, picture books

 Ashlyn Anstee is a story artist at Nickelodeon on Harvey Beaks as well as the author/illustrator of Are We There, Yeti? and No, No, Gnome! (Simon & Schuster, 2015 & 2016), a comic artist, film maker, and devourer of cookies. She talks with us about finding her agent through SCBWI, how professional relationships are just like any other relationship, and how she keeps her skills sharp.

Sarah Parker-Lee: You’re an illustrator, author, and storyboard artist for animation. Which came first and how do you find time for both?!

Ashlyn Anstee: It helps that all of them are a little different, so it’s actually been fun to jump between them, thank goodness. I started out first as a reader–I was a voracious reader as a kid (and my mom’s a teacher-librarian). I didn’t really start to draw until my teens. I fell in love with animation, and it wasn’t until I graduated from college that I started to rediscover illustration and kids’ books. I find writing the hardest, so I’ve been focusing on that, lately!

SPL: For those unfamiliar, can you tell us a little about being a story artist? How does it compare to illustrating a book?

Marla Frazee: From Picture Book to Big Screen

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Alec Baldwin, Boss Baby, Marla Frazee

The Boss Baby, a 32-page picture book written and illustrated by Marla Frazee was published in 2010 (S&S, Beach Lane). Since the book’s publication, more than 200,000 copies have been sold and, in 2016, Frazee followed up with a sequel, The Bossier Baby, introducing the Boss Baby’s infant sister. On March 31, 2017, the animated DreamWorks film was released with Alec Baldwin voicing the main character. Frazee’s book depicts the newborn as a tiny suit-wearing boss who dictates the household. Simon Spotlight released several movie tie-in editions—two board books, a junior novelization, and a leveled reader—and the original picture books have been labeled as the inspiration for the movie.

Christine Van Zandt: Has being part of SCBWI contributed to your career?

MARLA FRAZEE: I have a career because of SCBWI. I attended my first conference in the early 1980s; Jane Yolen was working the main desk and Trina Schart Hyman gave a keynote. I think there were 80 people in attendance. After that, I went to the national conference as often as I could afford to and I attended local Southern California conferences, too. I tried to introduce myself to the speakers, which was super hard because I felt so shy about doing it and I didn’t have much to say. But I forced myself. During those years I was also sending illustration samples to art directors and picture book projects to editors, so I would occasionally meet someone who I’d sent something to. A few of them recognized my name and told me they liked my work. Those exchanges truly kept me going. I met Linda Zuckerman, who at the time was an editor at HarperCollins, at a local conference, and she eventually became my first editor. And 25 years ago, after meeting at Illustrators Day, I became part of a critique group—which is still going strong.

Writers & Illustrators Day 2017: Lynn Becker, An Illustrator’s Perspective

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Clelia Gore, Jon Klassen, Lisa Cron, Lynn Becker, Pam Gruber, This is Not My Hat, Writers & Illustrators Day

Author and SCBWI member Lynn Becker reports on this year’s Writers & Illustrator’s Day.

This year, the Los Angeles Writers & Illustrators Day at the Skirball Cultural Center added a strong illustrator component to the mix. Along with a double dose of illustrator challenges and paid portfolio reviews, there were two breakout sessions specifically geared toward illuminating the intersection of picture book art and text. These presentations offered a chance for writers and illustrators alike to think about picture books as intertwined parts of a medium.