Episode 6: ‘Oh Dear, Geoffrey’ (Gemma O’Neill)

THE PURPOSE OF THIS BLOG:

To encourage parents and teachers to read to children (and to educate picture book writers and illustrators about including cognitive elements in their work). The act of reading out loud is not enough. When reading a picture book, or even a middle grade book, we are given a fantastic opportunity to develop an interactive experience with our children.

What is an interactive experience?

This interactive experience does not require any devices. It does require constant interfacing between the adult and the child/children.

When reading to children, you want to deliver the book in a manner that invites the children to participate as active listeners and engages responses from them that grow their minds.

Passive listening is all very well, but the story is soon over, and an opportunity has been lost to use ‘story time’ as a guided exploration of another world, or some subject. I totally understand how often the bedtime story has to be delivered promptly and that there is no time for discussion. I firmly believe however, when possible, an extended period devoted to reading and delving into the text, benefits the child, and is enjoyed by both the adult and the child.

As an illustrator, the cover illustration draws my attention. If the cover is appealing, then I will peek inside and see what treasure I can uncover between the pages.

So, what are we reading today?

‘Oh Dear, Geoffrey‘

Written and Illustrated by Gemma O’Neill

Published by Templar Publishing in 2013.

The illustrations appear to be collage and mixed media (possibly digital). There is no information in the book, so I cannot be certain.

This book will appeal to toddlers, but many older children will also delight in it.

Summary:

Geoffrey is a young, clumsy giraffe whose efforts to make friends, with his fellow animals, goes awry. Until he realises that he was looking for friendship in the wrong places.

The cognitive insights for this book:

1. Social messages – Sometimes we cannot be friends with everyone, but there will be someone out there who is just right for us. We just need to keep looking. The monkeys and birds reach out to Geoffrey, who is miserable at this point in the story. We can encourage our children to watch out for those who are lonely or needing a friend. This story can also be a comfort to those of us who are lamentably clumsy! I recommend this book for anyone who associates with Dyspraxic children. It can be extremely isolating if you feel that your clumsiness will get in the way of socialising, sport, games, etc.
2. Vocabulary development – Gemma uses delightful words like: buckly, stumbles, bumbles, tangled, twitter, etc. These words are explained through the context of the story. They are often bolstered by synonyms, and the actions, both in text and illustrations, reinforce the definition of the more advanced vocabulary. Because so many synonyms are used, this introduces children to the world of using alternative vocabulary for simple, basic words. Often young children delight in using ‘grown-up’ language while conversing.
3. General knowledge – Different animal species are introduced in the story. Most children are fascinated by animals. Animal stories have a universal appeal, and this story will be popular for many years to come.
4. Reading with expression – The text is arranged in bite-size pieces, so the reader can relish the rhythm it creates. Emphasis and volume can be employed when the text is enlarged. Reading with emphasis helps children maintain concentration as they are receiving auditory stimulation. It brings the story to life.

For the illustrators:

• Illustration format – Since giraffes are such tall creatures, most illustrators would probably select portrait orientation for their illustrations. Geoffrey is only fully seen once (the final illustration). Gemma O’Neill has opted to zoom in and focus on particular features, like the head, legs, etc. Illustrators should not feel that they need to draw the entire character, especially when pace and tension may be improved by showing less.
• Dynamic illustrations – Gemma only illustrates background when it is essential to the story. She always grounds the characters (they are not walking on air!). This is a smart move, as the foreground of every illustration is packed with detail and texture.
• Animation – At no time are the characters static. Their faces are expressive, and their actions explode off the pages.
• Colour palette – Is earthy, with the only deviations being the turquoise birds and pink flamingos. This scheme ensures cohesion throughout the book, and is only interrupted by surprising pops of these other colours.

For the writers:

• Gemma O’Neill takes advantage of every page she can – the publisher’s details are printed on the back cover.  
• The text is not laid out in traditional blocks. It is symbiotically arranged with the images. The font size also is enlarged to add emphasis.

About the writer-illustrator:

Gemma O’Neill is an illustrator from Northern Ireland. She illustrates books, has her own greetings cards range and creates artwork commissions.

https://gemmaoneill.bigcartel.com/about-gemma

‘Oh Dear, Geoffrey’ can be purchased from:

https://www.amazon.com/Oh-Dear-Geoffrey-Gemma-ONeill/dp/0763666599

https://www.booktopia.com.au/oh-dear-geoffrey–gemma-o-neill/book/9780763666590.html

https://www.bookdepository.com/Oh-Dear-Geoffrey-Gemma-ONeill/9780763666590

For those of you who are new to my blog, I write a month blog, alternating between illustration-themed blogs, and picture book reviews with cognitive insights for parents, teachers, picture book writers and illustrators.

Please join me this time next month for another an illustration blog about my current picture book project.

Happy reading!

Creating a Picture Book – Part 1

Maurice the Magnificent

I illustrated my first picture book when I was 17 years old. The illustrations were for a story my mother had written when we were quite small. The tale was a gorgeous epic about garden creatures. We loved the story. Because we enjoyed ‘Spinky Sparrow’s Garden Adventure’ so much, we wanted to share it with my younger cousins. My sister wrote the story in a sketch book and I created illustrations. The illustration bug had truly bitten!

As with many other aspiring children’s authors and illustrators, I was strongly counselled to find a different occupation. Some of the arguments against my preferred career were:

• Illustration is a boom-time business. What happens if the economy is bad and you can’t get work?
• It is almost impossible to break into the business.
• Your work isn’t up to the standard (and ‘you might as well quit’ was the unspoken insinuation).
• There is fierce competition. Are you sure you are up to it?

The list goes on.

You have probably heard some or all of these; and perhaps more objections.

Nobody advised me to keep illustrating, be patient, work hard and illustrate part-time while having a job to pay the way.

I eventually figured that out for myself. That is also the advice I will give everyone else, and ‘Keep at it!’

For about ten years, my art supplies were exiled to the wardrobe, and I slogged at my day job.

My now almost 11-year old niece re-awoke my passion for illustration when she was about 2 years old.

But I had to relearn to draw – or at least, work very hard to get my drawing skills to where I knew they needed to be. At least for me, it was several YEARS of drawing and painting to arrive at the point where I felt I could have some success illustrating.

The irony, of this journey, is that no matter how much I improve; I can still see how much further I need to go!

I have illustrated 3 picture books in full; and created concepts for a few more, but none of the work has been published. I am not feeling sorry for myself, as experience has taught me why my work wasn’t then suitable for publication. It is with those lessons in mind, and embracing my arsenal of writing and illustrating tools learnt along the way, that I prepare to embark on my new picture book.

How

Having been advised not to share the manuscript and illustrations (apparently the publishing industry frowns on ‘spoiler alerts’), I will be blogging about:

1. My process for creating a picture book.
2. Why I am following this process.
3. The initial preparation of a picture book.
4. Lessons learned during the process of creating this book.
5. And hopefully, the journey from creation to publication.
6. I will share some of my preparatory sketches, but nothing that may be published.

Time-frames

I am looking at this project taking about 2 to 2.5 years (perhaps longer, though I would love to think that I could do everything in a fraction of that time).

Many illustrators have other jobs apart from picture book illustration. I tutor children and adults with learning disabilities and my illustration work includes blogging (about illustration work and reviewing picture books for cognitive elements), teaching drawing and painting and creating illustrations for customers, my online stores and my portfolio.

Recently, I was also invited to enter artwork in to the 2019 Semarang International Illustration Festival. I had ten days to conceptualise and complete an exhibition piece. I loved producing the illustration, but it meant dropping other illustration work. Very few picture book illustrators can focus solely on picture book illustration.

Process

Over the years, I have taken picture book writing courses, done illustration courses and read countless books on writing and illustrating picture books.

Here are some of the books I have found useful:

• Illustrating Children’s Books, by Martin Ursell
• The Picture Book Maker: The Art of the Children’s Picture Book Writer and Illustrator, by Karenanne Knight
• Writing with Pictures: How to Write and Illustrate Children’s Books, by Uri Shulevitz
• Illustrating Children’s Books: Creating Pictures for Publication, by Martin Salisbury

Please comment if you have come across other useful books that may be a help to our community of picture book writer-illustrators.

With all my other picture book projects, I approached them with the naive eagerness of a puppy, threw myself in and swam in square circles. I thought my enthusiasm would steer me straight, but my sentimentality drove all logic out, leaving the manuscript and illustrations with gaping holes.

After doing a project management course (which had nothing to do with literature!), I realised I needed to change my approach. Distilling all the information I had gathered over the years, I designed a process through which I intend to produce my new picture book.

I now believe that equal parts of passion and deliberate, strategic design will be the better method for moving forward.

In other words, I am trying to move away from being fully Marianne in ‘Sense and Sensibility’, to being a little more like Elinor – controlled passion.

The Steps

1. The idea – I already had the idea.
   a. This step involved thinking through the idea and figuring out how it can be transformed from idea into a usable and logical picture book concept. I used a couple of sounding boards – my long-suffering mother, and my much-appreciated writing group. The feedback was positive, but more importantly, constructive. With their support and advice, I decided to proceed with the current idea.
   Many of my dog-walks have been spent mulling over possible plot scenarios and the narrative arc. I have never considered the narrative of any of my previous works half as much as this one. In my future illustration blogs, I will run through the steps taken to help consolidate the story.
   Remember – you have to have gallons of passion for the book and characters, as you are going to be spending a lot of quality time with them. If you are not excited to do so, that is the first sign that this book is not for you.
   b. This step also includes coming up with an idea if you are suffering from a lack of inspiration.
   I keep a notebook and sketchbook. Whenever I have an idea, hear or see something that appeals, I make a note of it. When you are in the proverbial ‘inspiration desert’, consult your notebook and sketchbook.
2. The rough stage – this is a massive stage. It involves:
   a. Writing, rewriting, editing, re-editing, assessing, reassessing, rewriting the manuscript. You get the idea.
   b. Doing research (if necessary).
   c. Drawing ideas to later develop into character sketches and settings.
   d. Story boarding.
   e. Creating characters (concept).
   f. Creating settings.
   g. Making dummy books.
   h. Drawing new storyboards and dummy books until the pictorial narrative flow works.

3. Submissions – sending out the manuscript, dummy book and concept art to either agents or publishers, and hoping one of them has the same vision, or is willing to work with you to create a mutually-accepted vision.

4. Book development – amending the concept to the publisher’s requirements and creating the final artwork.

5. Kicking the ‘baby bird’ picture book out of your ‘nest’, pointing it in the direction of the publisher and their team of experts, who will coax it into a printed book, and finally seeing on the shelf of the local book shop.

In my next illustration blog, I will discuss the IDEA PROCESS. At this point, I would love to invite you to join me on this adventure. Please feel free to keep me company as I develop my picture book and would be so pleased if you would share your experiences with me. If you are keen to create a picture book at the same time, maybe you can share your progress too.
I am in for the long haul. If you are too, ‘Bon Voyage!’

Please join me this time next month when I review a couple of lovely picture books.

Until next time…

Episode 5: ‘A Year in Our New Garden’ (Gerda Muller) and ‘Earnestine’s Milky Way’ (Kerry Madden-Lunsford)

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THE PURPOSE OF THIS BLOG:

To encourage parents and teachers to read to children (and to educate picture book writers and illustrators about including cognitive elements in their work). The act of reading out loud is not enough. When reading a picture book, or even a middle grade book, we are given a fantastic opportunity to develop an interactive experience with our children.

What is an interactive experience?

This interactive experience does not require any devices. It does require constant interfacing between the adult and the child/children.

When reading to children, you want to deliver the book in a manner that invites the children to participate as active listeners and engages responses from them that grow their minds.

Passive listening is all very well, but the story is soon over, and an opportunity has been lost to use ‘story time’ as a guided exploration of another world, or some subject. I totally understand how often the bedtime story has to be delivered promptly and that there is no time for discussion. I firmly believe however, when possible, an extended period devoted to reading and delving into the text, benefits the child, and is enjoyed by both the adult and the child.

We will be looking at two picture books in this blog.

The repairs to our home are progressing, so I have been able to retrieve my picture book collection. The two books being reviewed this month, however, are library books. I simply couldn’t resist them.

As an illustrator, the cover illustration draws my attention. If the cover is appealing, then I will peek inside and see what treasure I can uncover between the pages.

So, what are we reading today?

A Year in Our New Garden

Written and Illustrated by Gerda Muller

Published in English by Floris Books in 1988, 2016 (first published in 1988 in German as ‘Ein Garten fur Kinder in der Stadt’.

The illustrations appear to be done in pen and ink and watercolour.

This book will appeal to junior primary-aged children.

The cognitive insights for this book:

1. Comprehension and memory skills – Prose is an excellent pathway for teaching comprehension skills. Feel free to ask your child questions about what you have read. Not only will the child have to retrieve information (memory skills), but you will also have an opportunity to determine whether your child has really understood the story or information conveyed. You are also able to share additional information or explanation.
2. Visual perception – Discuss the pictures. Sometimes picture and story books will contain a sub-plot that is only apparent in the illustrations. Although this book doesn’t quite do that, it does show some lovely instances that are not mentioned in the text. For example, the title page displays a sparrow bathing in some rainwater in the drain; or when the children are gardening, Anna has her doll resting in the vegetable garden beside her. Encourage the child to see all the untold story that is shown in the pictures. They will learn to notice/observe and understand and infer through what they see.
3. Sequencing – The story travels through a year. It explores the sequence of the seasons. See if you child is able to name the seasons in order. If they remember the story, it will make it easier for them to remember the seasons in the right order.
4. Vocabulary development – Many plants, gardening implements, creatures etc. are discussed in this book. Your child may become interested in learning the names of plants in their own garden. Books like this are great aids in developing general knowledge.
5. Activity – Reading this book may encourage an interest in nature and/or gardening. It may just foster, in your child, a life-long hobby or a career in botany or zoology.

Additional lessons that can be learned from this story include:

• Friendship – Benjamin and Anna become friends with their upstairs neighbour, Louis, who is in a wheelchair. At least in Benjamin and Anna’s eyes, Louis is as capable as them.
• Facts – Although a vast amount of information is delivered throughout the story, the final couple pages are devoted to teaching the facts about pollen, sowing seeds, roots and types of plants suited to growing in very small spaces.

For the illustrators:

• Dynamic illustrations – there is a mixture of formats, including aerial view, vignettes, plans, diagrams, thumbnails, full-bleeds, with and without background. As a result, the illustrations are attention-grabbing.
• Colour palette – is consistent throughout the book and tends to more neutral colours. They are realistic and detailed without being cluttered.

For the writers:

Written in prose, this book has more than 32 pages and is more of a story book than a picture book. The word count definitely exceeds 500 words. Though story books are now considered old-fashioned, I believe there is still a place for them, as they present a bridge between average picture books (containing approximately 500 words) and chapter books. Please comment if you know of any publishers who welcome story book submissions.

About the writer-illustrator:

Gerda Muller is a Dutch children’s book author and illustrator. She has illustrated more than 120 books for children and her books have been translated into many languages. She is best known in Britain for her Seasons board books and A Year Around the Great Oak (all published by Floris Books). https://www.florisbooks.co.uk/authors/gerda-muller.php

‘A Year in Our New Garden’ can be purchased:

https://www.booktopia.com.au/a-year-in-our-new-garden-gerda-muller/book/9781782502593.html

https://www.amazon.com/Year-Our-New-Garden/dp/1782502599/ref=sr_1_1?keywords=%27A+Year+in+Our+New+Garden%27&qid=1567066808&s=gateway&sr=8-1

https://www.bookdepository.com/Year-Our-New-Garden-Gerda-Muller/9781782502593?ref=grid-view&qid=1567066827540&sr=1-1

Ernestine’s Milky Way

Written by Kerry Madden-Lunsford and illustrated by Emily Sutton

Published by Schwartz & Wade Books (imprint of Random House Children’s Books, a division of Penguin Random House LLC), New York, 2019

The illustrations were created using ink and watercolour.

Keeping with the theme of gardens, I was very pleasantly surprised by this book.

This story is perfect for young children, aged 3 to 6. It could be a quick read, but I lovely how much can be unpacked from the text, illustrations and general context of the book.

The story summary:

Ernestine and her mother live on a farm. Since her mother is in the late stages of pregnancy, Ernestine volunteers to carry milk to the neighbour’s house, but the journey is fraught with danger.

Lessons to be learnt from this lovely book:

1. Botany – Like the previous book review, this book offers an enrichment experience. Who wouldn’t be curious about Googling plants named ‘doghobble’ and ‘devil’s walking stick’?
2. Astronomy – In a charming and informal manner, children can be introduced to learning about constellations, galaxies, etc.
3. History – This story is set during World War II, in the rural Great Smoky Mountains of the USA. It is a reminder of days past and of a lifestyle few of us can fathom. This book presents a lovely opportunity to discuss the differences between the era in which the book is set, and our own time. Also watch out for the colloquial dialect. If you can mimic the accent, your kids will love it.
4. Zoology – The majority of children are fascinated by animals. This book mentions creatures that your child may not be familiar with (wolf, skunks, panthers, whistle pigs, mockingbirds, black bear, raccoons). In New Zealand, we have many birds, reptiles, amphibia and insects; but not native animals. How exciting for children to learn about wildlife from other countries!
5. Vocabulary – I feel it is always a privilege to help expand a child’s vocabulary. This book introduces words like: hollered, springhouse, constellations, shanty, pail, barbed-wire, Venus, lavender, thicket, passel, glistening, pell-mell, straddled, etc,
6. Emotional and social lessons – Emily Sutton’s folksy illustrations support the text so well. They bring alive a story set in a time when more people lived off their land and had to co-operate with others to exist. So many of us now live an ‘island’ existence – struggling through on our own. This story reiterates that we need to be there for other people, and they will be there for us.
7. Map – The simplified map gives the child an opportunity to relive the story and recite it back to the adult. The grown-up can then be sure that the child has correctly sequenced the story, and adequately remembered it.
8. Hobby – the writer provides a recipe for the corn bread mentioned in the story. You might find yourself living with the next Jamie Oliver!
9. Background – this story is loosely based on the life of the author’s friend. The Author’s Note, at the back of the book, makes interesting reading.

For writers:

1. Onomatopoeia – Ernestine hears noises as she walks to the Ramsey’s shanty house: snuffa-snuffa-snufflin, grunta-grunta-gruntin, scratch-scratch-scratchin. Onomatopoeia teaches children auditory and phonological discrimination – the ability to understand sound, which is so important when they are reading and spelling.
2. Increased anticipation is induced when reading about Ernestine’s wariness when hearing the animals around her. First, she said, then called, and then yelled.
3. Recurring phrase – several times in the book, Ernestine says, ‘I am five years old and a big girl!’. When a phrase is repeated multiple times, children often memorise it, will recite it at the correct moment in the story, and will often make it a catch phrase during play, etc. Memorisation like this helps children to remember other things too; and helps them to pick up and use phrases in their everyday speech.

For illustrators:

1. Colour Palette – Emily Sutton kept her colour palette very simple: warm brown, reds, oranges, yellows, greens, blues and greys. Her palette only deviates slightly for the illustration depicting the early morning, and is painted in cool shades of brown, green, blue and mauve.
2. Textural illustrations – Instead of heaps of detail, the illustrator has created the illusion of detail by using pencil texture marks. It works extremely well.
3. Dynamic composition – It is very easy for an illustrator to use just one kind of ‘viewing angle’ for illustrations; for instance, a direct street view. However, Emily Sutton uses different angles and winding curves to create the impression of distance and danger. She also illustrates at an elevated angle (looking down) and gives the idea that she is either following or leading Ernestine in the scenes, a little like a camera man.
4. Varied illustration formats – The illustrator utilises full page bleeds, vignettes, double page layouts and even a simplified map. Both the composition and format maintain visual interest throughout the book.

Ernestine’s Milky Way’ can be purchased:

https://www.amazon.com/Ernestines-Milky-Way-Kerry-Madden-Lunsford/dp/1524714844/ref=sr_1_1?keywords=Ernestine’s+Milky+Way&qid=1567067245&s=gateway&sr=8-1

https://www.bookdepository.com/Ernestines-Milky-Way-Kerry-Madden-Lunsford/9781524714840?ref=grid-view&qid=1567067252451&sr=1-1

https://www.booktopia.com.au/ernestine-s-milky-way-kerry-madden-lunsford/book/9781524714840.html

For those of you who are new to my blog, I write a month blog, alternating between illustration-themed blogs, and picture book reviews with cognitive insights for parents, teachers, picture book writers and illustrators.

Please join me this time next month for another an illustration blog about my current picture book project.

Happy reading!

Setting Up a Print on Demand Store

Store header

The last couple of months have been hectic. Unfortunately, in all the chaos, I forgot to blog last month.

Better late than never!

Please note: I am not being paid to review print on demand platforms. All comments are my personal opinion and are formed from my experience.

Stepping Out and Setting Up a Store

I am one of the most risk-averse people on the planet; however, thanks to Nina Rycroft (during her ‘Project Portfolio’) and her guest, Nic Squirrell, I was encouraged to set up my first Print on Demand store.

By setting up a Print on Demand store, I hoped to make, at least a part of, my living. Like many artists and illustrators, it is necessary for us to have multiple sources of income.

How Did I Decide On Which Platform to Use?

I read the FAQs on well over a dozen print on demand (POD) sites, and created a spreadsheet on which I could easily see the similarities and differences of the platforms, then googled reviews on these sites.

I decided to start on one of the smaller platforms, Redbubble.

My First POD Store

Since I was a complete POD newbie, I watched several Youtube videos and read a few blogs before setting up my Redbubble store.

To my technophobic delight, I found Redbubble to be a simple, intuitive site, easy to navigate, and in no time, I was uploading my artwork to my new store.

One of my favourite aspects of Redbubble is that you upload your illustration / design ONCE, enter the design description, and then you either:

1. De-select the merchandise items your design is not suited to, OR
2. Manually edit your image to make it appropriate for the merchandise items.

Save, and ‘hey, presto!’, a new design, and many new merchandise options have been added to the store.

What is the Hardest Part of Using Redbubble?

The most challenging and time-consuming aspect of creating POD merchandise doesn’t actually occur on the store platform.

The hard work takes place in the scanning and digital editing (digitising) of the illustrations.

I use GIMP, and am happy to report that this software is not only free, but can do everything that I require for editing illustration images.

I have watched many tutorials about GIMP on Skillshare and Youtube in order to get up to speed, but it has been totally worth it.

I am not a digital artist. I work with watercolour and coloured pencil (and occasionally ink). The next couple of paragraphs are about what I experience when I scan and digitally edit my traditional media pieces for use on POD platforms.

It can sometimes take a couple of hours to get rid of the background paper texture from an intricate, filigree-type illustration, but it is time well spent, when you see how good the images look on the merchandise. This extremely necessary step guarantees brilliant results. If you do not delete the paper backgrounds, the images look grainy and unprofessional as the paper background is printed onto the merchandise.

Be aware that the software cannot always differentiate between the background paper and the colour yellow or other pale shades. To those who use Photoshop, please comment if yellow is a problem for you when cleaning up artwork. I am interested to find out if this is just a GIMP issue or if it is a yellow issue.

I have theorised that my yellow watercolour paints are very transparent, and that other very pale shades are super transparent too, which may be why the software cannot detect a difference between the paper and the painted areas.

Please comment if you have some knowledge about this.

Another word of warning, if you use a cheaper scanner, although the scan will still be clear, you may find that the colour is either weaker, or that certain shades simply do not scan accurately. I love using Bright Opera Pink, and it makes the most gorgeous shades of purple when mixed with different blues (and amazing bright oranges when mixed with lemon yellow); however, my scanner does not read Bright Opera Pink. Any areas painted with this colour show up as an extremely pale, icy pink. I have to digitally touch up any work done with the more luminous shades. My scanner doesn’t even represent Quinadcridone Violet or Magenta accurately.

One day I will invest in a better scanner.

Your merchandise images are only as good as your scanning and editing. In a way, digital artists have the edge over traditional artists when it comes to reproducing work.

What Do I Like About Redbubble?

I have already mentioned why I like the Redbubble system.

I also like the product range, which is smaller than some other platforms; however, all the items are well-priced and, I think, popular.

I like how clean the set-up is and how easy it was to learn to use it. It is very logical, and not technical.

So, Am I Selling Products?

Yes! My store is new, but I have made sales – long may that continue!

My Second POD Store

I am currently setting up a Zazzle store.

Zazzle is a very different beast to Redbubble. It cannot be compared to Redbubble as it is a considerably larger platform in every respect. I will give you the pros. and cons. as I see them.

Pros.

1. Massive number of merchandise options.
2. Huge variety of merchandise options – you can specialise, if you choose. For instance, you may decide to only create stationery items, or clothing and dress fabrics, or only household items. Or, like me, put your merchandise on the products you like and believe will sell – eventually! Quite a lot of people selling on Zazzle only sell t-shirts, or coffee mugs, etc. For those designers, Zazzle is a simple and easy tool.
3. There is a great range of goods at different prices. You can purchase small, cheap items; or large, speciality items that cost a bit more.

Cons.

1. I found that Zazzle was not as intuitive and simple to use as Redbubble. Redbubble is so easy to use that I initially felt very frustrated with the Zazzle system. Having stuck at it for a while now, I have accepted it for what it is, and am coping with the system and its requirements.
2. It is not as straight forward as Redbubble if you wish to put your designs on a greater number of items. Although you upload your design once, there is no really quick way to create merchandise. For items that are in the same range, for example, badges, you can upload your design and it will automatically be available on different shaped badges, or badges made from the same material. You can decide whether to turn off this option. If you upload your image to a badge, it will not be available on t-shirts or tea-pots until you upload it to those items.
3. Zazzle is a much more time-consuming platform to work on. I believe the system is this way because of the necessity to set up SEOs (search engine optimisation) for the products. Apparently, you can create product templates, but I was confused by the information as it did not seem to apply to the kind of work I was doing. As previously mentioned, technology is not one of my strengths, so if any of you know how to help me out with time-saving methods, I would love to hear from you.
4. Description data is required for every merchandising item you choose. I have a system, and now am pretty efficient as I work; however, it takes many hours to create all the merchandise options that I may wish to use. Redbubble takes about 10 minutes!
5. Redbubble has more colour options available for merchandise items. Only a selection of default colours is available on Zazzle, whereas, Redbubble has custom colour options for the majority of items.
6. Because I am not American, it was a NIGHTMARE wrapping my head around the IRS tax form. God bless the New Zealand IRD – their tax forms are so much simpler to fill out!

I have chosen to continue building my Zazzle store because I consider it as time invested in passive income. I won’t need to do this again. I also remind myself constantly: NO PAIN, NO GAIN. Hopefully people will start to see my merchandise and like it enough to buy it. It will be worth the hard work.

I have sold only two items so far, but hopefully sales will increase as I add more items and designs.

Are You Thinking of Setting Up Your Own POD Store?

Nic Squirrell recommended that artists put their illustrations on as many platforms as possible. That is my goal.

After watching other POD artists, the general consensus was:

1. Keep producing new work – this encourages repeat customers.
2. Update your stores regularly.
3. Upload to as many different POD platforms as you can.
4. Upload your designs to as many merchandising options as you can; however, don’t be tempted to put your designs on all options, as not everything is suited to a particular design. Choose items that suit your work, and delete any merchandise you are not happy with.
5. Advertise your stores. I try to share my store items 5-6 times per week. Apologies to my Instagram and Facebook followers who feel ad-bombed. I am just trying to catch that one person who is trying to find the perfect birthday gift for someone who has everything.

What is So Great About POD?

One of the best aspects of print on demand platforms, is that the artist does not have the expense of producing merchandise. Instead you upload your work, choose your products, sell them to the public, and receive royalty payments. The platform manages the manufacturing of the goods, shipping to the customer and the payment to you.

The royalties vary between platforms, so take the time to check all of them out.  

So, What Can a Print on Demand Store Mean for the Shopper?

These print on demand platforms are a great place to find gifts. They cater for everyone.

And Now…

For the time being, however, I am content maintaining my Redbubble store, and developing the Zazzle store.

Please Check Out My Stores:

https://www.redbubble.com/people/auntiebetty

https://www.zazzle.co.nz/store/auntie_betty

Even if you are not interested in purchasing anything, please feel free to like the designs and follow my stores. This helps move my store through the ranks, which hopefully will mean some sales.

If you are interested in purchasing any of the merchandise items, please keep an eye out for the sales. There are regular sales on both Redbubble and Zazzle.

If you purchase items, please feel free to email, message, Facebook or Instagram me with a review and a photo. It would be lovely to ‘meet’ my customers.

A Shout-Out:

I have a shout-out two Instafriends, who also sell their amazing artwork on print-on-demand platforms.

Please check out their stores too:

1. Lise Holt Art: https://www.redbubble.com/people/liseholtart
2. Squibble Creative Services: https://society6.com/squibble

This is my recent experience of setting up print on demand stores.

I have heard very good things about Society6, so hopefully, one day, I will start a Society6 store too. Some of the other POD platforms are: Threadless, Bucketfeet, Design by Humans, Spreadshoes, Bags of Love, Sunfrog, Café Press, Teerepublic, Spreadshirt, Teefury, Vida, Art of Where, Be Smart, etc.

Please comment if you have a POD store, and if you would like to contribute to any of my thoughts.

Please join me this time next month when I review a couple of lovely picture books. Until next time…

Episode 4: ‘Two Little Monkeys’ (Mem Fox) and ‘Blue Chameleon’ (Emily Gravett)

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THE PURPOSE OF THIS BLOG:

To encourage parents and teachers to read to children (and to educate picture book writers and illustrators about including cognitive elements in their work). The act of reading out loud is not enough. When reading a picture book, or even a middle grade book, we are given a fantastic opportunity to develop an interactive experience with our children.

What is an interactive experience?

This interactive experience does not require any devices. It does require constant interfacing between the adult and the child/children.

When reading to children, you want to deliver the book in a manner that invites the children to participate as active listeners and engages responses from them that grow their minds.

Passive listening is all very well, but the story is soon over, and an opportunity has been lost to use ‘story time’ as a guided exploration of another world, or some subject. I totally understand how often the bedtime story has to be delivered promptly and that there is no time for discussion. I firmly believe however, when possible, an extended period devoted to reading and delving into the text, benefits the child, and is enjoyed by both the adult and the child.

We will be looking at two picture books in this blog.

Since my picture book collection is still in storage, while necessary house repairs take place, I visited our local library.

As an illustrator, the cover illustrations draw my attention. If the cover is appealing, then I will peek inside and see what treasure I can uncover between the pages.

So, what are we reading today?

Two Little Monkeys

Written by Mem Fox

Illustrated by Jill Barton

Published by Puffin Books, Penguin Group, Australia, 2012

The illustrations appear to be done in pencil and watercolour.

This book will appeal to young children (toddlers).

It is a rhyming story, with a strong rhythm, which reminded me a lot of the old nursery rhyme, ‘Two Little Dickie Birds, sitting on a wall, one name Peter, the other name Paul.’

Because of the tight rhythm and neat rhyming, there is a natural cadence when the story is read. Reading picture books, structured in this manner, is fundamental for young brain development. Skills learnt reading books like ‘Two Little Monkeys’ include:

1. Rhyme recognition and generation – do the words ‘Cheeky’ and ‘Chee’ rhyme? What else rhymes with ‘Cheeky’ and ‘Chee’?
2. Rhythm development – the ability to clap or tap in time or even to generate new verses in accordance with the rhyming and rhythm patterns laid out in the story.
3. Memory development – the story is catchy, due to the rhyme and rhythm, and some children will learn the story off by heart.
4. Sequencing – memorising the story will help children learn to remember the story in order. “What comes after this line if the last word must rhyme with ‘tree’?”
5. Vocabulary development – marvellous words like ‘prowling’, ‘scramble’, ‘tremble’, and ‘leap’ are used. Most two and three old year children love learning new, ‘big’ or ‘grown-up’ words, and they learn to use these through understanding the context of the story.

Additional lessons that can be learned from this story include:

• Stranger danger message – Cheeky and Chee realise that there is someone approaching who does not have their best interests at heart, and from whom they flee. This story can be used by parents and teachers as a springboard for a discussion about this very serious subject.
• Clues – If the children analyse the illustrations, they may find that danger lurks from the very first page. Children need to be made aware that vital information can be concealed on a page, and that they need to look for it.

For the aspiring illustrators, one major lesson stood out:

• Limited colour palette – Jill Barton kept the colour palette very simple. She did not use every colour available. Cohesion between the illustrations is maintained throughout the entire book. The palette is very neutral, but beautiful, red berries are introduced for the exciting conclusion of the story.

Mem Fox has written many delightful children’s picture books and is Australian. Jill Barton has also illustrated numerous picture books and lives in the United Kingdom.

Blue Chameleon

Written and illustrated by Emily Gravett

Published by Two Hoots, Pan Macmillan, United Kingdom, 2010

The illustrations were created using pencil, watercolour and coloured pencils.

I love chameleons, so I could not pass by this picture book!

This story is perfect for young children. Although a quick read (the word count is only 51 words!), there is so much scope for discussion.

Emily Gravett introduces colour and texture to children in this story, and yet, the book is not about colour and texture. She cleverly utilises them to drive the simple, yet profound, storyline.

In short, Chameleon is lonely. He tries to make friends with a host of other creatures and solitary objects.

As we have all be raised to believe, chameleons change colour to camouflage with their surroundings, and this is what Chameleon does, but still he is lonely, until…DRUMROLL, please…he finally meets another chameleon!

The satisfactory ending in no way negates the need for me to point out that chameleons do not actually change colour to match their surroundings.

Apparently, according to my internet research, chameleons change colour as a response to mood, temperature, health, communication, and light.

Lessons to be learnt from this lovely book:

1. Colour identification – kids love colour and this book is great way to check that they know their colours.
2. Pattern and texture discussion – chat about the patterns and textures shown in the illustrations.
3. Science – explain that chameleons do change colour, and but teach them when they actually do.
4. Emotional and social lesson – that we are not alone. Even if we do not fit in with everyone else, there is someone out there who we will get along with. We just need to keep our eyes open.

For writers:

• May this be a lesson to me and other verbose children’s authors, that picture books can be written with just 51 words!

For illustrators:

• Keep illustrations super simple. Although Emily Gravett utilises props for her protagonist, she did not illustrate the background!

Recently I have been trying to blog twice a month, but time is not on my side, so I am returning to once-monthly blogs. I will be alternating months between illustration-themed blogs, and picture book reviews with cognitive insights. Please join me this time next month for another an illustration blog, where I will be discussing my recent experience opening a Redbubble store, from which my illustrations can be purchased on a wide range of products.

Happy reading!

My Favourite Botanical Watercolour Books

Today I endeavour to be more succinct! I know I have a habit of writing very loooooong blogs.

I cannot wait to introduce you to my favourite botanical watercolour books.

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  Anna Mason’s Watercolour World
  
  

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  Billy Showell’s Botanical Painting in Watercolour
  
  

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  The Modern Flower Painter – Anna Mason

“But”, you might say, “I’m not interested in Botanical art!”

However, these books teach bucket loads on technique. So even if you are not interested in Botanical Art, you will still find a colossal amount of value in learning the techniques.

So, which are my favourite Botanical Watercolour Books?

Admission time: I love botanical art and I love botanical art books. Even if I didn’t paint, or wasn’t a keen botanical artist, I would still have bought these books. They are artworks by themselves.

I knew, when I first saw some of Anna Mason’s Youtube videos, that I would have to buy her books at some point.  Then I stumbled on Billy Showell! Needless to say, they are not the only botanical artists whose work makes me drool like a Bull Mastiff.

I knew, from reading reviews, that both Billy and Anna’s books contain a lot of information about technique. That is where my interest lays. Their books also contain step-by-step instructions for replicating their own work, and I know that these projects are very popular with a lot of people.

However, I see a greater value in learning techniques. When an art student learns a technique, they are free to apply it any way they see fit, to any artwork. They can also adapt those techniques, because they only learn the technique. They learn to problem-solve when there are issues, and they become inventive with solutions.

I am not such a huge fan of the step-by-step method, simply because I feel that students do not always learn to think for themselves. Even though capable, they often lack confidence to strike out on their own, and continue painting by number, instead of allowing their cognition and creative thinking to kick in.

Technique

I guess it would be fair to say that even though Billy Showell and Anna Mason are both brilliant photo-realist botanical artists, they approach their work from very different perspectives.

They even use different brushes!

Anna works wet-on-dry and creates vibrant, intensely coloured blooms. Billy is a big proponent of wet-on-wet painting, and produces an illusion of subtle, translucent delicacy. One is not better than the other. They are simply, completely different.

Both artists give useful advice concerning colour and colour mixing, which is always enlightening. They each use their own favourite colours. No artists can own every colour, but you may wish to add additional colours to your palettes once you have read their books.

What did I learn from each artist?

From Anna’s books, I learn how to make the most of bold colours, and not be intimidated by values. I have always been terrified (without reason!) of making my darkest values too dark.

From Billy’s book, I have absorbed so much about technique, especially how to use wet-on-wet techniques, because I am a dry watercolourist and have always been a little intimidated by the unpredictability of wet-on-wet painting.

The verdict

Will I be applying what I have learnt to my work? ABSOLUTELY!

Over the years, I have learnt to analyse my artwork and decide what needs to be done for the betterment of the painting. I no longer feel apprehensive about using techniques, because I am better informed how to use them, and now apply these to illustration work that is not botanically related.

Just because these books focus on painting plants doesn’t mean that the techniques cannot be used for painting costumes, or animals, etc. They can, because I use them for more than painting cosmos or autumn leaves.

Please join me this time next month when I review a couple of lovely picture books.

Until next time…

Episode 3: ‘How Much Does a Ladybird Weigh?’ (Alison Limentani) and ‘Katie and the Impressionists’ (James Mayhew)

THE PURPOSE OF THIS BLOG:

To encourage parents and teachers to read to children (and to educate picture book writers about including cognitive elements in their work). The act of reading out loud is not enough. When reading a picture book, or even a middle grade book, we are given a fantastic opportunity to develop an interactive experience with our children.

What is an interactive experience?

This interactive experience does not require any devices. It does require constant interfacing between the adult and the child/children.

When reading to children, you want to deliver the book in a manner that invites the children to participate as active listeners and engages responses from them that grow their minds.

Passive listening is all very well, but the story is soon over, and an opportunity has been lost to use ‘story time’ as a guided exploration of another world, or some subject. I totally understand how often the bedtime story has to be delivered promptly and that there is no time for discussion. I firmly believe however, when possible, an extended period devoted to reading and delving into the text, benefits the child, and is enjoyed by both the adult and the child.

Unlike my previous ‘reading picture book’ blogs, where I took you along with me as I ‘read’ to a child, in this blog, and hopefully, more future blogs, I would like to examine picture books and draw the cognitive depth from them.

We will be looking at two picture books in this blog.

Since my picture book collection is in storage, while necessary house repairs take place, I visited our local library.

As an illustrator, the cover illustrations draw my attention. If the cover is appealing, then I will peek inside and see what treasure I can uncover between the pages.

So, what are we reading today?

How Much Does a Ladybird Weigh?

• Written and illustrated by Alison Limentani
• Published by Boxer Books, United Kingdom, 2016
• Alison used lino cuts and litho printing and digital colour to create the illustrations.

This is a counting book. Adults always want counting books for teaching wee ones counting and number concept. This is a counting book with a twist.

(Writers and illustrators note: many publishers will not accept counting or alphabet books, citing an oversupply in the market. If you are able to come up with a book that is not simply about counting, or is delivered in a unique way, there is a market.)

This book uses counting as a springboard for teaching the concept of WEIGHT! This is the first junior picture book that I have found that deals with weight.

Alison compares the weights of different creatures, for example: 10 ants weigh the same as 1 ladybird.

Cool! Very cool! My inner geek is excited. What a clever way to introduce children to comparisons, understanding the impact of size, weight and quantity. Mathematics education at its best.

The illustrations are simple, but detailed and very attractive. Since most 3- and 4-year olds are fascinated by animals, I think this book will be a winner.

It will appeal to boys and girls.

‘How Much Does a Ladybird Weigh’ was Alison’s debut picture book. She is a qualified Veterinary Nurse, Animal Behavourist and Children’s Book Illustrator. She has published two picture books, and has several other animal-themed books in the pipe-line.

Katie and the Impressionists

• Written and illustrated by James Mayhew
• Published by Orchard Books, United Kingdom, 1997, 2014

One of several similarly themed books by the same author, ‘Katie and the Impressionists’ is a gentle introduction for young children to fine art.

Katie goes on a rip-roaring adventure. She is a little a like Mary Poppins, diving into pavement chalk paintings. I would have loved this book as a child, and indeed, I do as an adult. Truthfully, I would find some of her adventures a little frightening. She is a plucky kid, jumping from one painting adventure to another!

The illustrations are lovely and Katie is an action-filled adventuress who keeps you turning the pages. I didn’t want the story to end. It is a pity picture books are generally 32 pages long. I wish story books were still popular.

This picture book provides a visual feast. I think this book is ideal for prompting children to describe what they see, and also to inspire them to try different art styles. You never know if you have a budding Impressionist at home. Art is not just a creative outlet. Drawing and painting involve multiple cognitive (brain) functions, so can be a fun way to boost brain development.

James Mayhew included artwork by Monet, Renoir and Degas.

I am certainly no expert, since I do not use these mediums, but I think the illustrations are done in pastel and either colour pencil or conte crayon.

Apart from his numerous other books, in the ‘Make Art an Adventure’ series, James Mayhew has also authored:

• Katie and the Sunflowers
• Katie and the British Artists
• Katie and the Bathers
• Katie and the Lily Pond
• Katie and the Spanish Princess
• Katie’s Picture Show
• Katie and the Starry Night
• Katie and the Mona Lisa

Needless to say, I will be on the lookout for some of these books!

Recently I have been trying to blog twice a month, but time is not on my side, so I am returning to once-monthly blogs. I will be alternating months between illustration-themed blogs, and picture book reviews with cognitive insights. Please join me this time next month for another an illustration blog.

Happy reading!