The Case of the Plastic Rings from the Artist's Perception

              Every children's book requires an illustrator to bring the author's words to life. The Case of the Plastic Rings - The Adventures of Planetman has an illustrator with remarkable talent: Thomas Deisboeck .  Tom graciously agreed to let me interview him. My questions are in black, and Tom's answers are in blue.

      How did/does your history and home background affect your illustration work?

            I was born in Munich, Germany, and grew up with comics of the Franco-Belgian tradition, Asterix, Tintin, Spirou etc. These books were not only drawn very well, the story arches masterfully wove a bit of history and plenty of adventures together, and all of it PG. Mind you, the 1970s were a pre-personal computer area, growing up without 24/7 social media on an ever-present web - which clearly dates me – but that meant we read books, and comics, and had time & space to let our fantasy fly. A well-developed imagination is an absolutely crucial asset for an illustrator (and anyone else, really, regardless of age and profession).  

             Tell us something about your educational background that made you a better, or more caring, artist/illustrator.

           I went to both Medical School (in Germany) and then business school (in the US) which depending who you talk to is either a testimony of a quest for a broad education or a thorough lack of focus. Artistically, I am largely self-taught, but I took online classes with Charles Zembillas at the Animation Academy in Burbank and John Byrne at the London Art College. Charles is a friend and a Yoda-type influence. He has the uncanny ability to be super supportive while he readily improves with ‘annoying’ ease every single one of my character designs and cartoons. The internet has moved the power from studios and agencies to the creatives with artist-owned content being published non-stop at low or no costs which was not an option just a few years ago. The byproduct is that there is so much great art at sites like Behance, Deviant and even Pinterest that it's humbling. I recommend whenever you think you got a piece perfectly right and feel the urge to kick back for a few min, take a quick look at Pinterest drawing pins and it brings you down to earth quickly.

             Please share your hobbies, interests, or activities with us, you know the ones for during your leisure time (laugh), if you have any.

            First off, I do a fair amount of work because I have 2 other careers in parallel (medical scientist and entrepreneur/consultant/investor). That being said, I like to spend time with family and a few good friends wherever they are. Traveling with family has always been one of my absolute favorites – from Alaska to Europe to Africa, any place in the Caribbean – life is short, so nothing is a better ‘investment’ than making unforgettable memories together. I enjoy watching “old” movies, reading comics and art books, try to keep up with the best magazine ever – The Economist, enjoy kayaking on a quiet lake and walking our dog. I love to collect art – old Disney drawings or cool comic pencil layouts from (more talented) artist friends that work for Marvel or DC. 

              Illustrators/artists are often asked when they started illustrating or what triggered their interest in art. I’d like to know that, too, but I would especially like to know what keeps you illustrating.

         I loved watching Disney’s pictures, particularly those from the Golden Age of Animation, i.e. Snow White, Pinocchio, Fantasia; Walt’s 9 Old Master Animators are the Gods, unrivaled, no electronics available at the time, just pure skill. I started to draw in High School, then dropped it for 30 years and restarted 10+ years ago when I went on a plane to LA to meet with Charles. It was and is an outlet for my sense of humor and emotional expression. What keeps me drawing? – well, both, the constant thrill to push the boundaries of my skill and try to get better, and the enjoyment of every now and then getting it (almost) right.

              How do you manage to draw/illustrate and have time for relationships?

             Finding quality time to sit down and draw is always a challenge because there are so many demands on anyone’s time these days. Deadlines are not always helpful; while they aid in focusing attention, they cannot force the production of an artistic masterpiece, or anything close. So, managing various time demands really comes down to setting priorities – my family (incl. our dog) comes first, then the various deadlines, in my various jobs. It helps that cartooning is super fun for me, so I tend to book it under relaxation which moves it up the priority list ...

              What inspired you to illustrate your most recent book?

           Planetman is exciting for a number of reasons. One, Karen (Cioffi-Ventrice, the author) did a marvelous job in drafting an engaging story on a worthwhile subject, and it inspires me to contribute in this ‘literary conservation effort,' if you will. Artistically, it was fun to develop the visual looks of the three protagonists and then equally challenging to remain consistent to the character design, also knowing that there are more books in the series. While I have done a fair amount of editorial cartooning, this is my first children’s book and so I wanted to get it right or at least gave it a try … which led to constant publication delays (which 4RV graciously was very patient with). Ultimately, the boys are little superheroes; this requires a bit of a more animated drawing style which I’d like to think I handled reasonably well.

             Would you share something about your most recent book?

         Let’s just say that we all know that climate change is real and that recycling is important but it also can be fun, strengthen friendships and ultimately help men’s best friend to get out of a pickle, eh, ring … you’ll see.

             Do you have a particular process or technique, and if so, what?

            I really try to visualize poses in my head before I sit down and draw; that cuts down on multiple to-be-discarded drafts. I tell myself that’s more efficient but perhaps I’m just lazy, combined with unfounded confidence and no hesitation whatsoever to use my eraser. While I can create directly in digital media, here I draw everything first blue pencil on paper, strictly 2D, then scan it and from there work on it on a Wacom tablet in Photoshop. I love the quality of blue pencil with its ability to allow for nuanced line work – it allows me to literally “carve” a character out of a white piece of paper which to me is the main part of the creative process. This determines everything that comes afterward. In other words, you can be a top expert at digital touch-ups, but you won’t be able to ‘rescue’ a sub-par drawing; that said, you can definitely improve a pretty good drawing with digital mastery, particularly nuanced light effects and a vibrant color palette that can advance the storytelling. I continue to practice with and learn through both media.   

            How do you feel when you complete a book?

          Satisfied – for all of 10 min – then anxious because I know I could and should have done better with some illustrations, and apprehensive because it starts all over with the 2^nd book in the series, but now I have less wiggle room as the characters are defined … i.e., more pressure, higher expectations all around. That said, it obviously feels good that people relate to it and already asked me to do another book.

  

           That sounds like an author feels after finishing a book, especially if a sequel in the works. Anyone who reads The Case of the Plastic Rings will be waiting anxiously for book 2.

 

           What are your illustration/arts achievements and goals?

          It’s not money, at least not primarily. Rather, I’d like to have my art seen by as many people as possible, even better then if a large portion of them enjoy it. That would necessitate making access affordable or ideally free which admittedly is not a particularly appealing business model to most children’s book publishers. Artistically, I’d like to be satisfied with the quality and consistency of my work – which will remain an elusive goal. It’s always good to push yourself.

           With not being able to foresee how many books will sell and which ones, I don't know of anyone who gets into the book business for the money. Sad but funny in a way.          

          Are you a member of any group or organization that aids you in your profession?

          Not that I can think of … there are professional organizations and societies, so perhaps at some point, I’d be invited to join, we’ll see, you can always dream. I do like to stop by at the Society of Illustrators when I’m in NYC – they have a lovely little restaurant upstairs that’s rarely packed amidst all the buzzing traffic in Midtown Manhattan, and you can marvel at the original Norman Rockwell behind the counter. Speaking of, I recommend visiting the Rockwell Museum at Sturbridge in Western Mass – look at the Saturday Evening Post covers that Rockwell did and you see what the gold standard is for turning inconsistent top quality. This guy was annoyingly good, marvelous stuff each and every one of his illustrations.  

         I would suggest you join SCBWI if you can.

        Does illustrating help better you as a person? How?

        … drawing calms me down also because I like to listen to either Frank Sinatra or Cool Jazz like Chet Baker in the back when I work on a piece. You can’t force it so you may as well enjoy it when everything comes together on a good day and you get that elusive pose or perspective finally right or experiment with a new brush on digital. And given all the quality competition out there, the quest to be consistently good is ever humbling … a bit like golf.

         What advice do you have for someone who wants to become an illustrator?

        First, make sure you love drawing – then draw, draw, draw & try to get better – and finally and most importantly, don’t be discouraged by rejection. Unless you’re a rock star out of the gate (at which point you probably won’t spend your time reading this interview), this field is super competitive and you’re bound to have to deal with constant critique and setbacks, many of them. It’s then when reason #1, i.e. love for drawing, helps you get through it – in addition to a super supportive family and group of long-term friends.

        What is your favorite genre to read? Your favorite author or authors? Yes, even illustrators need to read.

        I just finished “The Woman in the Window” by AJ Finn (a.k.a. Daniel Mallory) which I bought in a small independent book store up in Vermont and thoroughly enjoyed. I am still working on Fiona Deans Halloran’s biography of Thomas Nast, the German-American grandmaster of political editorial cartooning – fascinating how he established the pen as a much-feared tool for voicing political critique. I am currently reading “Berlin”, a comic book for mature audiences driven by rich characters set in the stormy backdrop of the Weimar Republic by Jason Lutes. At times, it feels like a masterly interwoven ensemble movie, and it is a revelation as to where graphic novels can go.

         Any other comment?

        Well, I enjoyed this – so, thank you, 4RV, for the opportunity. Secondly, if you made it that far in the interview, thanks for reading – and I’d say you deserve a wrap-up and get back to drawing … NOW!

     Thank you for sharing your thoughts with us, Tom.

      For more information about Tom, visit his website. His book can be purchased on the 4RV website, as well as through bookstores and other online stores.

Illustrating the Chapter Book vs. the Picture Book

by Ginger Nielson

Picture books are full of color, action, and interest.  Chapter books are full of images for the mind, fewer illustrations, and less color. Even with these differences, there are striking similarities in illustrating a chapter book and a picture book.  The most successful picture books and chapter books will keep the readers interested, amused, and entertained.

Attitude is important when approaching the chapter book illustration assignment.
Be prepared to read carefully and perhaps more than once per chapter.

Just as the picture book requires careful study to find the key points to illustrate, the chapter book is begging for careful study.

The approach to illustrating a chapter book is quite different from illustrating a picture book.  To most the difference is fairly obvious.  Picture books contain large illustrations in full color.  Chapter books, while they may have a colorful cover, are normally illustrated in black and white.

Some situations call for more drama in the illsutrations.  Darker tones and
a somber mood are conveyed with strong darks and lights.

The way an illustrator approaches these two types of books can be as different from one another as color is from black and white.  There is certainly a great deal of thinking that goes into planning a picture book.  Illustrations need to be carefully spaced within the story.  A picture book may have 16 to 24 or more full color illustrations. The artist needs to find the perfect balance between the illustrations, the story, and the page count.  Storyboards are extremely useful in planning the pace of the illustrations and the pacing of the text from page to page.  Illustrations normally flow from left to right to keep the reader engaged in turning the page.

At times chapter books may contain only 8 to 10 black and white illustrations. Although it is possible that some  may be filled with illustrations, the books themselves will be a smaller size.  The key point needs to be transmitted with less real estate and significant impact.

The intended age group needs to be considered when illustrating a chapter book.

Chapter books are intended for the older child who wants to read in depth. Even though most will have a full color cover, they may only have black and white chapter head illustrations. The illustrator needs to read the book in its entirety and perhaps more than once. For each chapter a main idea needs to be sorted out for that one chapter head illustration.  There are chapter books with full color interior illustrations, but the majority will only have either a full page chapter head illustration or something smaller in black and white or gray tones.

Chapter book illustrations are hints, previews, or perhaps a tease as to what will happen in that chapter.  The artist needs to be clever enough not to give away too much and yet dig deep into each chapter to find that one idea that will spark interest and lead the reader onward.

The illustrations in a chapter book are hints and previews for
what is about to occur.

Have you ever thumbed through the pages of a chapter book looking at those illustrations to see what might be coming in a new chapter?  Those key illustrations are the hints I mentioned.  They should be interesting enough to keep the reader turning page after page to find out what is going to happen next.  Another key factor is that they should be as exact a translation of the key point as possible.  Read for the details. Does the heroine have a cat AND a dog in bed?  Are the windows in the house all broken, closed, open, filled with light?  Did the man in the chapter wear a watch?  Did the woman at the library try to hide something behind her back?  Details are extremely important.

Peaceful situations may call for more traditional
 illustrations and a bit of gray tone.

Style is important as well.  A mystery may demand heavier line work and more contrast between the positive and negative space.  Angles may be sharper.  Orientation may be dynamic.   A fantasy may require a completely different style as would science fiction or full out humor.

Knowing the material in a manuscript that could number as much as 300 pages or more is essential.  While you read you could take notes about illustrations that are popping into your head and demanding to be created.  Do a little brainstorming with yourself and a sketch pad. See where the most interesting points lie in each chapter.

Just plain humor may require quick strokes and dancing lines.

 If you are planning to illustrate a chapter book, especially if it is your first attempt, go to the bookstore or library and take a look at as many as you can.  Once you get a feel for the design, see what it is that you like or dislike about the way the illustrations are presented and how well they move the reader through the story. Then tackle the chapter book you have been assigned. Read it over several times.  Find the key to each chapter and let the illustrations you create unlock chapter after chapter for the eager reader.

Ginger's Website

WORDS, WORDS, WORDS

by Ginger Nielson



People like to say, "One picture is worth a thousand words."

But, words themselves are extremely important and the right words can make a huge impact in an illustration.

Think for a minute about these words, while you say them out loud:

fissle, crinkle, swish, crunch, jangle, snuffle, sputter, clink

Don't they create the most interesting images or thoughts as you say them, or just read them? A couple of those actually make me want a cookie and an iced tea.

Let's add, Fluffy, Plush, Spongy, and Silky.

or

Slimy, slippery, rubbery or twitchy.

They are amazing words to pronounce and to visualize. They have the power to create imaginative thoughts for the reader that may even go beyond their original purpose.  Words can invoke fear, smell, taste, sound, calm and chaos.

Because many artists write picture books as well as illustrate them I am always conscious of how much the right word in the right place can make a difference.  Some authors have a gift for choosing just the right word to plug a bit of excitement or drama into a sentence. When that happens words and pictures go hand in hand creating a magical world all their own.

If an elephant is simply “walking” through a jungle, you can just imagine how much more exciting it could be if the elephant “crashed” through the overgrown bushes, thorns and all and came to a screeching halt in front of a stupefied photographer terrified of the outcome.

Imagine walking into a room that reeks of something foul, moldy, musty, malodorous,rancid or mildewed.  We might want to walk right out, but the author gets the point across. You only have to turn the page to find out why the room smells like that.  Maybe you will be squinting at some scaly object that needs closer inspection.  Is it nubby? scratchy? can it sting?

Does the character have a problem with some new clothes?  Are they chafing, irritating, gritty?  Do they make the character shiver, tingle, prickle, twitch or wince?


The words that an author uses often dictate the illustrations an artist creates. If the words are simple, bland and predictable, the illustrations will emerge as bland and boring.  Just imagine the difference between "look" and "scrutinize."  Two very different images arise, at least in my mind.

When an author takes the time to search for great words that give a reader a sense of time and place and action the reader enters into the world the writer has created.

 In the same way an artist tries to create action, emotion, suspense and sometimes mystery in his or her illustrations. Words, pictures, readers -- they go hand in hand.

Every once in a while I get stuck looking for the perfect word.
I began by searching the internet for “quiet words.” I needed the perfect balance for a line to accompany this image.  Creative writing would include words such as: noiseless, silent, hushed, still, calm, peaceful, tranquil,silent, still.

 I decided the word I needed was simply -- peaceful.

I like to think that one word is worth a thousand pictures.

Ginger *:)