Over the last few months, I have shared my thought process and planning for my current picture book project.
What we have covered to date:
- Approaching the project with deliberation, instead of wild enthusiasm.
- Focusing on creating a consolidated idea.
- Doing all research before starting.
- Doing a lot of work on the manuscript and illustration work in the rough stage, and not impatiently rushing this stage.
In today’s blog, I will share more about the rough stage work.
- The manuscript has been assessed twice. I was advised to change my target age, reduce the number of characters, simplify the plot, etc. I am happier with the story now.
- Have started the character design process and spent considerable time developing the protagonist, as he will be in every scene and needs to be the most well-rounded character. Have also worked on two minor characters and have a few more to go. As I work on each character, I figure out how to create the other characters who are unique and distinct from the character’s already designed. I would like each character to be totally different to the others and plan for each character to wear different colours, have totally different costumes, etc.
This is a prototype illustration from the story – I experimented with Strathmore Crescent board, which is a dream to work with (but expensive), a possible colour scheme (which I do not like, as it does not replicate the colours I have in mind) and gave me an opportunity to see if I still like my protagonist (which I do). I am going to the draw the background more loosely for future illustrations.
Some character sketches. Also going to start painting these and adding them to my portfolio, as the characters are diverse in age, ethnicity, etc.
Ongoing plans for the picture book development:
a. Preferred method is for graphite sketches with watercolour. I considered using pen and ink outlines for some elements in the illustrations, however, have now decided to use dynamic colour schemes for the important elements (primary characters) of every scene and use less saturated and muted/subtle tones for mid-ground and background parts of the composition.
b. Hot-pressed watercolour paper is my preferred choice for illustrations, but have considered using cold-pressed watercolour paper. I would like to use the heaviest weight of 100% cotton paper I can afford, since I do not want to stretch each illustration (I don’t have space for the stretching boards), and plan to work on all illustrations simultaneously, in order to maintain cohesive colouring. I did this in a previous picture book, and was super happy with the results. I have tried Strathmore Crescent board and loved using it, but it is extremely pricey. I have also bought Hahnemuehle Andalucia (500 gsm) cellulose paper and like it, however, I think it dulls the colours of the watercolour slightly. I love using Arches 100% hot-pressed paper, so I will see what weights it is available in. Please comment if you have any suggestions.
c. Initially envisaged the book being in landscape orientation, as there is going to be A LOT of action, and wanted the page to be like a wide-screen television. The standard landscape picture book sizes are (in centimetres) 18.5 x 18.5; 17.5 x 25 and 25 x 20. However, I now feel that the same action can be conveyed in portrait orientation and that will, hopefully, mean painting less distracting background. The standard portrait picture book sizes are (in centimetres) 14 x 21.5, 15 x 23, 15 x 23, 18 x 25.5, 20 x 25.5 and 22 x 28.
d. Also planning to work larger in scale than the picture book size, in order to define the details, I love in illustration. http://www.aliceink.com/childrens-book-illustration-size/
e. Looking forward to story-boarding so the number of illustrations required can be determined. Would also like to illustrate the end papers and love books which have story illustrations starting before the text narrative and even having the last word on the endpapers or cover. To date I have created about 12 story-boards for the current project; however, none of them were right, so will keep going until they are!
f. Will be working in watercolour and plan to do grisaille underpainting on the illustrations. Usually create neutral tones from a selected colour scheme, so will experiment with that first. I love the slightly irregular granulation that can be achieved doing this, and think it endows the illustrations with subtle detail. It also ensures that there is never a clash of colours as no more than 3 or 4 colours (limited palette) are being used. If that doesn’t work, I can try using Paynes Grey, or even Sepia grisaille underpainting and see which works best. Will b experimenting with different combinations of the primaries until the right combination of secondaries and tertiaries are found. For instance, I have three yellows in my palette: Nickel Azo Yellow, Hansa Yellow and Benzimidazolone Yellow. Only by testing these yellows against my various reds/magentas and blues, can I determine which combination achieves the results needed for the illustrations. I will blog about this process, as it is one of the most important decisions a painter makes.
Until next time…