books

How to Illustrate Books for Children: Expert Tips from a Professional, Part Two

Opening to “The Conjurers” book three done in graphic novel style.

Opening to “The Conjurers” book three done in graphic novel style.

Usually book covers are my favorite thing to create. However, The Conjurers series has given me the chance to mix in my other favorite medium, sequential art, into writing children’s books. Obviously I’m biased, but I believe all books should be illustrated, not just middle grade series. While drawings are used to engage and enthrall young readers, It would be super cool to see Brad Thor’s next thriller brimming with Frank Miller style art. Just saying.

Now back to how to illustrate books for kids. Books can be illustrated in a variety of ways, from hand-drawn pictures to digital drawings. They should always be relevant to children's interests and needs.

Illustration is an important part of the book publishing process. When publishers are considering new books, they look at whether the illustrator has a style that is appropriate for the book's goals. If they like the artist's style, they may ask them to read the manuscript to get a sense of whether their art will work with it.

The illustrations in children’s books should be designed for young readers and give them a sense of what the story will be about or what some of its key events might be. The animals, people and environments in children’s books should have features that are immediately recognizable to their intended audience.

The illustrations in children’s books have a lasting impact on the imagination of young readers. They can recognize features of people and objects that they see frequently in their day-to-day lives. 

The Basic Steps of Book Illustration

The process of book illustration is a highly creative process. It involves a variety of steps. The artist has to think of the story and then illustrate the text on paper. Depending on the complexity of the text, it might take from one to three months for an illustrator to complete a single picture book.

Book illustrations are usually created with pencil, ink, acrylic paints or sometimes just with crayons and watercolors. The illustrator needs to be very creative in their work and come up with countless ideas that will encourage children to read books and learn unfamiliar words while they enjoy themselves at the same time.

There are many methods that illustrators can use in order to create their artwork for books. One such method is direct drawing, which is where an illustrator draws directly on paper and then inks over the drawing to create a clean line.

Direct drawing is a graphic process in which an illustrator draws directly on paper and then inks over the drawing to create a clean line. The artist can produce work of any size, from small sketches to large murals.

Over the years, I’ve transitioned from direct drawing to digital. While my preference will always remain pen and ink, digital art has a ton of advantages. The biggest advantage is time. A double page spread for “The Conjurers” would take me a day or two drawing with pencils and pens. Working in Clip Studio Paint, I can create the same illustration in a few hours.

Let me make one point clear, digital drawing software does not do the work for you. It is not “easier” from a skills perspective. The same drawing fundamentals still apply and you must continue to work at mastering those skills. Digital software only saves you time and ink stains on your hands. 

Book Illustration Tips for Authors

Successful authors understand the importance of illustrations. Authors can use images to introduce a character, describe an emotion, or to emphasize a point. Authors should have their illustrators create sketches before they write the story in order to make sure that there is no confusion or miscommunication.

The illustrator's job is not simply creating a cover for an author's book. They are just as much of an author as the person who writes the words on paper. The way they did a lot of books in the past was to select a moment in the text and illustrate it. It’s called “spot illustrations”. 

I like to use the illustrations as an extension of the storytelling. This means things I show in the drawings are the story, not a repeat of what’s in the text. The hard part is making this seamless in the reader's mind. 

Let’s finish up with a couple quick tips on getting started illustrating kid’s books. These apply to picture books to young adult novels.

1. Create a Storyboard

A storyboard is a blueprint for what you are going to create. There are a lot of ways to go about creating one - but there are some fundamentals that should be at the forefront of your mind when you're creating one. The purpose of a storyboard is to illustrate what is going on in the story.

Picture books rely heavily on storyboarding, as that’s what picture books are. Every word and drawing counts. Now for middle grade books like “The Conjurers”, the storyboarding process is a bit more involved. As I wrote the books I was deciding what would be text and what I would illustrate. 

As you can see in the image above, I opened book three with sequential art and no words. I love taking a cinematic approach to storytelling. And considering the book opens with a lot of action, why not pull the reader in using art? 

2. Make sure you know your audience

It’s essential to know who you’re targeting with any piece of content. Targeting the wrong audience will not only result in low engagement, but it will also be a waste of time for both the content creator and their target audience.

There are tons of books and articles on how to find your target audience. And you certainly should do the research. Let’s keep it simple today. If you’re starting out as an illustrator or author, do this: write and draw your story for one person. That could be a brother or sister, niece or nephew. Or you could invent the person. 

My son was in middle school when I started writing “The Conjurers”. So I kept him in mind when creating the characters and mapping out the plot. I would consider his concerns and worries. What was he into? What things upset him? What made him happy or sad?

Hope these short tips are helpful. Let me know what you think and send along questions or topics you’d like me to cover in the next post. Till then, cheers!

The Lighter Side of Book Promotion

Book Promo Art for The Conjurers Book One

Book Promo Art for The Conjurers Book One

I love making promotional images. However, I noticed I had fallen into a rut. Or, more accurately, doing what everyone else does. Not a terrible thing, because it works.  Mostly you slap a picture of your book on top of the cover art. It looks nice. The colors work well and it creates a harmonious drama to the image. 

One thing I try to force myself to do is to deconstruct something and try building it completely differently. This is super hard when re-writing stories. You’ve put a ton of work into an outline or a first draft. it’s difficult to scrap all that work. I know, I’m attempting to do it right now with a picture book that’s been sitting around for a couple years. Thankfully, it’s much easier to do with art.

Scratch up a doodle in a couple minutes. Don’t like it? Scratch up another one. Each time I do, I attempt to redraw it in a unique style or angle. It’s the same with book promos. I’m fortunate that I’m also the artist. I don’t have to charge myself for a few extra drawings. That’s why I should push myself more outside of the creative comfort zones.

With this image, I thought it would be cool to have a few of the characters loitering around the book. And I wanted them on a white background instead of a heavy, moody background. Voila! A few doodles later and I have some of the cast just chilling. Looked good on a white background but I tested out throwing in a subtle background. It works...kind of. I need to test it out and see if people respond to it. 

The lesson learned is that even when you’re doing something you enjoy, you need to prevent it from becoming a grind and step outside, walk around it and see it from fresh vantage points. Creativity doesn’t just happen. It takes thought and discipline. 

Writing and Illustrating Middle Grade Fantasy Books

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Another peak at “The Conjurers” book two. Another double page spread. The text will be overlayed in white on the dark, crosshatched top half of the illustration. It’s technique I love and try not to overuse. Too much can be annoying to the reader methinks. But it is a fun way to blend the prose with live action shots.

I think this is from chapter nine. Can’t tell any details, although it is a big moment in Emma’s character art. After all her struggles, it was cool to come upon a scene in which, while everyone else was running from danger, she was running straight at it.

Aesthetically, I once again employ using deep perspective to make the drawings lift off the page and add drama. Perspective is an amazing tool and one I encourage young artists to work with. It can be terribly frustrating and I rarely get it close to correct, but the effects are worth it. I think I’ll include a simple perspective lesson in one of my live-streams.

Drawings, Poems and Comics from my Instagram

Character Design - The Cast of the Conjurers

Speed Doodle from Book Three

Illustration from book three of "The Conjurers" novel series.I'll be handing over the manuscript for book three at the end of May. I won't start on the illustrations for some time. First have to get books one and two all illustrated up. However, as I work through the prose, I take a little time here and there to whip out a speed sketch from one of the scenes. It gives me a chance to at least have drafts of the final drawings lying around. It also allows me to work out the style for the final images. Trying to keep them light and sketchy and moving.I won't be posting a lot of illustrations from book three as they will contain a lot of spoilers for the first two books. Never the less, there will be plenty more to post when the actual drawing begins.

Sketch Warm Up - Meet the Cast

characters from the Conjurers book seriesWarming up to illustrate book one. Like I mentioned yesterday, I'll be editing book three and cranking out the drawings for book one over the next few months. Yesterday I drew my favorite supporting cast members, the Grubians. Those of you who have read the webcomic will be familiar with these rapscallions. And if you liked them there, wait till you get a load of them in the novels.Fair to say, these guys are my Shakespearean clowns, although they play a pivotal role in the first three books. My inspiration for them goes well past Shakespeare. My magician friends will notice a similarity to another tall and short magic duo. Except my big guy is the non-talker. Yep, Penn & Teller. Two of my biggest influences in magic since the third grade. They were the starting point for these two.Halfway through writing book one, I realized another influence for this pair were Mr. Croup and Mr. Vandemar. If those names aren't familiar, google them and then get the book that pops up in the results. I also recommend getting the comic adaptation and the BBC tele-play and of course the BBC radio drama version. Trust me on this.Lastly, the names. Was it too obvious? My devious Grubians are named after Clive Barker and Neil Gaiman, the two writers I can't live without. Well, also Susan Hill, but I have another character based on her we'll get to later.That's it for today. Back to editing book three and sketching up the art for book one. I'll be sure to post my progress on both.

A brief update on the book series.

Poster for the upcoming novel series "The Conjurers"Time usually flies, however in the case of "The Conjurers", the series seemed to have fallen into a temporal loop. Much of that was because, from the beginning, I was trying to do something different. Found a few potholes but also found a few things that worked. So where does it stand now?My editor and I came up with a timeline with definitive dates and goals to get this done. A lot of what slowed us down was having portions of the stories told through sequential art. Prose blended into comics and vice versa. That's great if you have the text finalized. We didn't. So, change some prose and you had to change the drawings. Change a drawing and you had to add some prose. Round and round it went.  We made a few compromises on the scope of the illustrations and also put all our focus on getting the prose done.This weekend I sent out book two. Now I'm onto the final pass on book three and simultaneously illustrating book one. That means book one is actually, really, truly in production. Which also means I should have a publication date soon. The next few months will be more insane than the last few (in which I was only re-writing one book).  along the fall through this rabbit hole I'll post updates on the illustrations for book one and the manuscript for book three. Confused yet? Me too. That's why I have it written down. Either way, I think the trip will end up in wonderland, which is not a bad place at all.

The "Vanishing Fantasy Series" or, "Where the Novels at?"

The trials and tribulations of writing a fantasy novel series.

So, ya, about that fantasy novel series. Where are they at and what's happening? Are they ever going to come out? It's been a while since I've posted anything about the novels, mainly because there wasn't a terrible lot to post about. Thought I'd give a quick run down on their status. Good news and bad news. Bad news first? Good idea. Get it out of the way. Here we go.

The Bad News

I have no idea when "The Conjurers" book one will launch. From the get go, I had an ambitious idea of creating a hybrid fantasy novel that weaved prose in and out of the illustrations. Cool! Exciting! Never been done before! Yes, all very well and nifty, however, as is to be expected when doing things four miles away from the nearest box, you bumble your way along a foggy road that has never been mapped. The first tree in the road was attempting to write the prose and work out the illustrations at the same time. But when the prose changes, so do the illustrations and when the illustrations change the prose needs adjusting. Round and round it went for a bit. Finally a couple faint, swinging lights appeared in the fog.The first was coming to terms with the fact that, on my inaugural outing writing a fantasy series, I wasn't going to be able to pull off some the word C.G.I. where text blended into a sequential series of drawings and then seamlessly merged back into traditional prose. It was clunky and at times, too comic book-ish. Once I accepted that, there was another looming issue.The original draft of book one was just over ninety-thousand words, and that was before adding in the pages and pages of illustrations. The book would've been more a piece of furniture than a fun read kids could tote around in their backpacks. Thankfully, a new creative director had just flown over on white, feathery wings to my publisher and she had the light bulb moment that pulled the whole project out of the muck. "Why not split book one into two books?"And boom! Just like that, books one and two were written. Sort of. Now I could focus on polishing the text for book one and finalize the what and where of the illustrations. Right now, as I wait for notes on the final edits for book one, I am sharpening and molding book two (formerly the second half of book one) into it's own complete story arc. The neat bit is that where book one was torn in half makes the series more of a cliff--hangar serial.  That is to say, at the end of the new book one everyone dies. Just kidding.

The Good News

Onto the good news! Mainly, that book one is nearing completion and should have an official release date soon. The second breath of fresh air is that, because books two and three are more or less written, there won't be any delays between releases. By the time book one thumps onto shelves, I should have book two wrapped and will be putting the finishing bits of spackle on book three.In the meantime, I'll be posting more often, given that I have a slightly sturdier grip on this eel like process. And that also means, as I promised myself, I'll post a lot more sketches. 

First Drafts

The Conjurers Book One, first draftSo this is what a first draft looks like. At least the hand scribbled part. After the notebooks, I transcribe it all in to the computer, cutting and patching bits as I go. Then I give it one more look, jotting down a few notes of things that need renovating and it's off to my editor.There's lot's more to be done. Rewrites, cover art and interior art. All of which I am greatly looking forward to.

Illustrating the novel.

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First up, the pencils. I rough this out with blue lead first focusing on the flow of the eye across the page. Also, I try to keep in mind where the text will go.
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Here's the first light water color wash. Again, here I'm forcing myself to stay zoomed out and not get into any detail. Just laying down super light washes along the eye flow lines of the page.
20130829-232414.jpgThis is another round of washes. Starting to darling things a little. It's hard to stay patient in this process. I'm used to pencils then ink then done. Gotta let these sit a bit between layers.The rest of the process is coming!

New Conjurers Comic

And he's back! Remember? The creepy dude, sitting in the tree outside the magic shop? Eating doughnuts? Well, I hadn't forgotten him and goodness knows he was dieing to get back in the action.This is where the fun of writing happens. In my outline, I had a few notes for this page. Firstly, bring back the doughnut eating Watcher (and his crow). Second, I knew the scene was going to be creepy, him standing over Savachia's Mom and all. What I didn't know, till he started talking, was that he has a history with dear Mrs. Savachia. Well, that threw me. So, I still have my outline. I know where all this ends because of Savachia's role in the novel. However, some of the stuff coming will be as much a surprise to me as for you.  Kinda cool.What I do know is that things are going to escalate faster and faster. There be some battlin' a comin'. Nothing is ever what it seems when dealing with magicians.

The Conjurers Webcomic

Late again. But I had to appease the Dog eat Doug deadline before finishing this page. The interior of the magic shop is fairly close to the actual shop it's based on. I know, cool huh?There's two other intriguing aspects to the real life magic store and both will play a roll in the comic. So, as you can guess, I'm not going to tell you now.

The Conjurers Webcomic

A day late but not a comic short. This one took a bit for a couple reasons. I have the entire story plotted but when I hit this page I realized it could be combined with the next page. So I scrapped them both and wrote this hybrid page.And yes, this shop is based on a real magic store. I used to live right down the street. And it's a magician's magic store. By that I mean, unless you're a magician, you would never know it existed. Yet a parade of who's who in the magic world parade through the closet sized store whenever they're in town.A little side story for my magician pals: One Saturday at the shop I got to spend the afternoon browsing through and trying out a box of spirit slates and such with Eugene Burger. Now that's a real magic shop!