2018 SCBWI New Jersey Summer Conference - By Barbara DiLorenzo

Yesterday, the Drawn to Picture Books Blog activated an old post, and sent it out to folks. For the life of me, I can't understand how that happened. I thought maybe I had set a time for it to release and typed the wrong year. But June would have been too early for the post to have appeared last year. My best guess is that the blog felt ignored, gained sentience, and nudged us to get going again.

I see you, Drawn to Picture Books Blog–happy to oblige. 

I was already thinking of writing a blog about this past weekend's SCBWI New Jersey Summer Conference. We were missing one of our members, lost to the wilds of Book Expo America. (Patricia Keeler, drawing on the spot, impressing all the librarians!) But everyone else was present. It was amazing to catch up in person, talk about our projects, and share our ongoing challenges. We also discussed sharing work with each other again–something, like the blog, that had taken a back seat when everyone got busy with actual book work. 

I realized during the conference that those outside opinions, other eyes on the projects, really do help us revise and refine our work until it's closer to presentation-worthy. I had a workshop before a one-on-one critique – and information from both brought a new idea forth for my current book dummy. That one idea would not have happened with me alone in my studio–I needed other eyes on my project. And that idea could be the element that brings the story across the finish line. 

Going to the conference was also very helpful in reiterating that publishing is hard work, and the best of the best get rejected–but they don't ever quit. I think I'll need that message until my last moments drawing and writing. The keynote speaker on Sunday, Tami Charles, brought that point home in her closing remarks.

I was very happy to see many friends enjoy leads to follow up with editors or agents. Some earned representation solely from this weekend. New folks were encouraged, which encouraged me. Seasoned writers and illustrators took in the workshops with a sense of calm purpose. I liked seeing that. The desperate energy I carried with me at my first NJ SCBWI conference was most likely offputting. These veterans confidently presented workshops and attended others. Some participated in the art show, but others–having won before–sat back to let others have a turn. 

What I was most struck by at the conference was Paul O. Zelinsky. He gave a great keynote address on Saturday. I could have listened to him speak for hours more than he was alotted. After that, for the rest of the weekend, friends and I kept bumping into him and having terrific conversations. From discussions about the pattern of his shirt (all the scenes from Z IS FOR MOOSE) to answering questions about publishing–he was so dang approachable, friendly, and funny. He is a giant in the industry. Friends for years with Maurice Sendak. (The photo below was taken from his Facebook page.) But he was still willing to answer questions about the editor/illustrator relationship with newbies. I thought his work was amazing before I met him, and was always a fan. But now I'm a fan of Paul, the person. 

I missed the conference in 2016 due to a funeral. And in 2017, I was financially strapped, with a new baby, and a book that had just come out–so completely overwhelmed. The previous conference I attended was in 2015. Because it had been so long, and I was missing friends and the world of kidlit, I volunteered for the NJ chapter of SCBWI just so that I would have no excuses to miss this year's conference. I'm so glad I did. 

I'm also glad I did, because for the first time ever, my illustration earned a nod in the art show. So did Mike Ciccotello's piece. It felt good to be up on the stage with my friend. I don't expect that to happen again–but that warm sunshine glow of that moment will be kept in my heart for those dark moments of doubt that creep in far too regularly. 

If you have the opportunity, get involved with your local SCBWI chapter. You will come home from an event with a feeling of validation–that what you are doing is important work. And the knowledge that you are not alone at all. Writers and illustrators all around the globe, who may not even speak your language, have your back. And want to give you the confidence to keep moving forward and never quit. 

Now to go order fabric with Paul O. Zelinsky's awesome pattern on it!

Keep Creating by Diana Ting Delosh

"Don't think about making art, just get it done.

Let everyone else decide whether it's good or bad, 

whether they love it or hate it. 

While they're deciding, make even more art." 

- Andy Warhol  

I don't know about you, but if I get a good review, I'm floating up high and if it's bad, I'm down in a dung heap. Either way, I'm temporarily derailed. With the good review, I feel validated and I'm soon back to making more stuff.  A bad review makes me question my instincts and along with the insecurity comes paralysis. 

Sleeping Giraffe © Diana Ting Delosh.
Experimenting with my art process.

The trick of course is to keep creating despite the critics. After all, you can't control other people's thoughts or tastes. Whether they're positive or constructive or pure negative, it's all fleeting. One day you're a FAVE. The next day you're not. Your work can be daring, bold, trail blazing. Some people will love it. Others will hate it. For whatever you create there will always be an opinion; good, bad, even meh. And it's always changing. Absorb what's helpful. Move on. Keep creating.

Rabbit's Tomato Red Rain Boots © Diana Ting Delosh.
Another art process experiment. Is it FRESH? Is it ME? 

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

For your picture book storyboarding process
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Keeping up the Momentum in 2018 by Diana Ting Delosh

Momentum © Diana Ting Delosh Ink, Watercolor & Digital
This illustration is my entry for the SCBWI.org #scbwidrawthis January Challenge.

I always start out the year with lists to make the best of the coming year and somewhere between January and June, I get lost. Sometimes it just a temporary derailment and sometimes it's for the rest of the year. 2017 was one of those lost years. I had a challenging project (good) but  it was taking longer than I thought it should and I felt guilty taking time off. Which brings me to the point of this post in order to keep your momentum going you need to find your balance. You need to do what's on your urgent, do or die list without sacrificing what's important to you.

There were so many times in 2017 when I would look longingly at other peoples art for prompts, challenges, contest entries, whatever and thought I could have, should have been part of it. Never mind the missed family and friend fun. Never mind my own project list. But I had that project or job deadline. Now I want and need those paying projects ... but there needs to be time to take a breath and enjoy being a creative with a family.

So how can one Keep up the momentum and stay balanced? Especially if taking on less work is not an option. Here are a few thoughts in random order. 

• Being realistic about deadlines, your limitations and process.  Review the job brief with eyes wide open. Sure it's got things you can do in your sleep but what about the rest. Is it out of your usual comfort zone? Not a bad thing - but it may require extensive research and or more time. Usually, I hit the halfway point of a project and the second half goes much faster than the first. After years of this, I finally met the project that was the exception. I guess the take away is not to assume anything and budget in the extra time.

• Exercise the art muscles on a regular basis. Usually whether I'm working  on a single illustration or a 32 page picture book, my process is to do ALL the sketches, then the line art, then colors, then photoshop. The problem: if it was a BIG project it meant I might be sketching for weeks etc. Then when it came time to ink, I usually threw away the first couple inks. Same with the first couple of paintings etc. Due to the nature of my Big 2017 project, once the initial sketches were approved it was broken into smaller units so I inked, painted, photoshopped on a weekly basis. Big but obvious discovery here - I didn't have to go thru the I forgot how to ____ phase. Meaning fewer do-overs! Hm-m-m I need to sketch, ink/line, color/paint, Photoshop on a weekly  basis.

• Allow for distractions. Working on portfolio builders and art just for fun is important. It's what your future is built on. The problem with most commissions is you can't share, (for good reasons) until after the project is published.  But that means you have nothing to promote yourself with unless you have been creating art on the side. I made the mistake of thinking that if I didn't allow myself to be distracted, I'd finish faster. HA. I just became cranky and whiney and annoyed at myself in October because the year was coming to an end and I was unsatisfied with it. Note, if a job came in, it was squeezed in. In theory, I could've squeezed in more "distractions".

• Have more of a Nine-to-Fiver mindset. As a freelancer I work when there's work. It's the feast/famine mentality. Great if the commissions have natural breaks but if not.... well it maybe time to adapt. Make a point to take breaks. Get out of the studio do other things, fun things, as well as mundane things.

• Stay healthy. The usual eat healthier, exercise and take breaks. Working until you're brain dead doesn't help anything. Having fun with friends and family means going back to the studio refreshed.

Wishing All a Happy, Healthy, Creative, Productive, Prolific and Prosperous 2018!

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

For your picture book storyboarding process
Check out: 
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Illustrator Promo Sheets by Diana Ting Delosh

Promo pages, Promo sheets, Tear sheets. Whatever. They're a letter sized sample sheet of your illustration. Handy as hand outs whenever you have an  in person opportunity. Park them on your website where art directors/editors/art buyers can view or download  and print. Send the PDF out in e-mails. Change them up as often as you like.

What goes on a promo sheet? Current work and your contact info. The minimum is your name and website. More than that is up to your discretion and how much room you have on your sheet. I personally prefer just my website, maybe my e-mail IF it looks good. I may put more if I'm giving it to someone specific. Artfully design it or keep it simple and clean. I create mine in INDesign or Photoshop.

Make 2 templates: Vertical and Horizontal. The better to fit your art needs

No, they don't take the place of postcards. You do plan on doing at least one postcard mailing a year, right? However, they do have a few advantages over postcards. You can change them up as needed. There's no  minimum print order. No waiting for delivery. You can print them out at home in the middle of the night. Or if you're fussy or your printer has run out of ink, take your PDF Files to your local Staples/ FedEx and print out only what you need. 

Flip through the Directory pages on CBIG
 http://cbig-nyc.com/2017/2017-illustration-directories/

I am a co-president of CBIG, the Children's Book Illustrator Group and one of my projects is the CBIG Illustrator Directories. Basically they're a collection of Promo Pages from our participating members. One of the things, I love about the project is that I get inspired by all the art and the different ways to design a promo page. Take a peek, get inspired, and create your own.

Flip through the Directory pages on CBIG
 http://cbig-nyc.com/2017/2017-illustration-directories/

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

For your picture book storyboarding process
Check out: 
The BIG ThumbNailer
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Beyond Submission REJECTION by Diana Ting Delosh

Unfortunately, rejection is a part of an illustrator/writer's life. If you're creating and submitting your work, you're going to face it at some point. Even when you know it's professional and not personal, it may still sting. The only way around it, is to not submit ever. Chicken. As a veteran of the submission game, here are a few of my strategies to lessen the sting in random order.

Summer Raccoon Girl © Diana Ting Delosh
Ink & Watercolor.

1 - Submit. Yup, sounds counterintuitive but this actually works. It doesn't have to be the same project - just submit something, ASAP. Every one of your submissions represents hope. If you have a lot of submissions out it's more likely that something will come back accepted. Don't put all your dreams into one project submitted to only one company.

2 - Work on a new idea - even better fall in love with your new project. Keep your mind focused on something positive and moving forward.

3. Focus on the process not the result.  Right now I'm challenging myself to submit something 4 times/month. It can be an art sample pack, promo postcards, website url, a Picture book dummy /manuscript proposal, whatever. The question, "Who am I submitting to and what" keeps me moving and the checking off  - "Yay, I did it" helps give me a mental boost.  It also makes me realize that I need to create more things. A challenge to try is: Submit 10 different things to 10 different places in 10 weeks. The closest I've ever come to meeting this challenge is 5 different things submitted to 10 different places in 10 weeks.

4. There's safety in numbers.  Nowadays most publishers accept multiple submissions, as long as you let them know. Research whom you think is a good fit for your project and submit. I do it in small batches in the hopes I won't hear NO from everyone on the same day. Now that could be depressing.

5.  Accept it when they say it doesn't suit their needs or they have too many hibernation stories at the moment. It's them not your project. Move on. Someone else may love it.

6. Wallow. When all else fails OD on the chocolates and hide under the blankets just set a limit. Allow yourself to feel sorry for yourself and your project, even shed a few tears - you're human - just remember to get back on track, ASAP.

7. Learn from your mistakes. Take a cold hard look at your project. Is there room for improvement?  Revise, edit as needed and send it to others.

8. Work on your craft. One day, you may be pleasantly horrified by some of your earlier projects and relieved that they were rejected.

9. Diversify. Learn new things. Your writing may be selling at the moment but your illustration may not, but at least something is getting a positive response. This also allows you to submit to different markets, maybe even discover a new source of income.

10. Adapt. There may be nothing wrong with your project. It could be something you can't help like the economy or the market. Be willing to repurpose your art. So the picture book market is down maybe adapt the story for an early reader or chapter book Or try working on art for an older market or something entirely new.

11. Try Semantics, for some reason, "they passed on my project," sounds a lot kinder to me than "they rejected my project." I keep a submission log and I find PASSED looks a lot nicer on paper then REJECTED.

12.  Celebrate the different levels of rejection. Give yourself a pat on the back if you get a personal letter from the editor vs the standard form rejection... or nothing. It should also be noted that in this day and age where most companies only respond when interested, a rejection is a concrete response. Thankfully, when E-submitting, some companies have an auto-reply so at least you know they received it.

FYI: This is an updated version of a post I originally published 10/15/10 on my Art blog. Hey it's summer. Here's the original post, if you're curious:  The Hare Illustratère: REJECTION! - A few Antidotes

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

For your picture book creative process
Check out: 
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Picture Book Dummy Process by Diana Ting Delosh

My picture book dummy Hard Copy process used to be very time-consuming and tedious. It involved lot's of rubber cement and took about 3 -5 hours, probably due to all that rubber cement. Than one day, I came across Meredith McKean Gimbals' blog post, Putting Together a Dummy the Smart Way. WOW! Mind blowing stuff. I just had to try her process on my next dummy. Best of all no smelly, gooey, mind altering, rubber cement was involved.

You will need Adobe InDesign and I used my local Fedex/Kinkos.  I'm using CS6 not sure what INDesign Meridith used but her instructions are different from mine. FYI: I already knew how to set up my  dummy in INDesign and make the Lo-res PDF But the hard copy dummy had me flummoxed.

1: Sketch. Paint create your dummy art per your usual way.  Scan and name your files. Example My files might be named, 1-BunnyWaves-SK.jpg or 16&17-BunnyDancing-COL.jpg, etc. Save files as 300 dpi, RGB, JPG.

2: Open up a New Document in Indesign - now the fun begins. Fill in the info. My dummy book has 32 pages. It starts on pg 1. The page size is 8 x 10".  Click on Facing pages.  Put in your margin guidelines. Input your bleed info .25". Note I only added the bleed on the top, bottom and outside. My Art spread size including bleed is 16.5 x 10.5" which centers nicely on 17 x 11 paper.

Click OK

3- PLACE your images on the pages in your INDesign Document. Go to File and select PLACE or use keyboard shortcut  Command D. Page 1 is your Dummy front cover and Page 32 is your back cover.

Note if your images look blurry, you may have to go to VIEW, go down to DISPLAY PERFORMANCE and click on High Quality Display.

Now that wasn't too bad. Right?

Open INDesign document will look like this -Only showing pages 1 -5 above.

4- Need a Lo-res PDF Dummy to E-submit to an editor or agent. In INDesign go to FILE. Select ADOBE PRESETS and select (Smallest File Size). Under PAGES select ALL and make sure you select SPREADS. Click Export. Voila! It's ready to send.

5- Sometimes only a Hard Copy Dummy will do.  Using the same INDesign document as before go to FILE select ADOBE PRESETS  select (High Quality Print). Under Pages select ALL but this time select Pages. Don't fear INDesign will cut your spreads precisely and they will come together when it's collated as a a booklet - magic.

If your document has bleeds, go on the left side and click on Marks and Bleeds

Select USE Document Bleed settings. If you don't your bleed areas will not appear in your PDF. 
I didn't, but you can even get fancy and click on Crop Marks. Now, Click Export.

6- Copy your High Quality PDF to a memory stick/flash drive and take it to your Fedex/Kinkos. Ask them to print it as a BOOKLET and to staple it. My Fedex rep asked if I wanted it to be stapled in the corner or in the middle. I wanted it stapled in the middle like a real soft cover book. They used 2 staples down the "spine". They are stapled far enough away from the edge so I can trim off my bleed.

You may also experiment with different weights of paper. For example if you're meeting with an editor you might want a heavier, pricier paper. But if you're snail mailing it and you know they will not return it, you may want to go with a lighter weight paper.

7- IF your dummy has bleeds like mine - take it home and trim off the bleed on 3 sides. Using some blue tape, a metal ruler and a razor.

You can barely see it, but I've marked where I'm cutting with a pencil. The dummy pages are blue taped together to prevent them from shifting. I use a metal ruler as my straight edge and with a razor, using multiple shallow cuts until I've cut all the way through. Repeat on the next 2 sides.  Lastly, I erase any pencil marks that weren't trimmed off, if any.  

I don't know If they have a cutter that could have trimmed off the bleed for me. When I asked about the placement of the staples because I needed to trim off my bleed. They didn't offer the additional service of cutting it. So, I assumed they didn't.

8- Need to attach your dummy to your portfolio? No  problem. I used a push pin to poke a hole about an inch from the bottom in the fold. Use a big eyed needle to attach embroidery thread/string/ribbon to your dummy.

Dummies are attached to my portfolio with ribbon.
FYI: my dummies are mainly made up of pencil sketches with 4 - 5 finished illustrations, including the cover.

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

For your picture book creative process
Check out: 
The BIG ThumbNailer
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NJSCBWI17 Conference Wisdom by Diana Ting Delosh

This past weekend I attended the NJ SCBWI June Conference and I thought I'd share some conference wisdom. As usual this conference was both exhausting and inspiring and full of networking opportunities. Some of the following is from attending conferences over the years and some  from this specific conference.

What I brought to the conference: portfolio, 2 picture book dummies (attached to portfolio w/ ribbon per conference specs) and postcards.

General:

• Sign up for all that's appropriate for you. And have the wisdom to bow out of something if you realize it's not, hopefully while you can still get some money back. 

• Clear your schedule for the week before the conference. I had planned to be ahead on my projects but as usual life happens. I was glad I had the last week to catch up on most of the things I wanted to do for the conference without pulling all nighters. On the other end, try not to have anything important the week after.  I still feel like road kill, albeit recovering road kill. Preferably no deadlines due the week you come home. 

• Go with an open mind. Sure I had plans to meet or touch base with agents, editors and art directors. After all, it is a conference known for it's networking opportunities. But I had no expectations beyond that. Which meant no pressure. Yay!

Here's my piece for the 2017 conference Juried Art Show. The theme was: MISCHIEF. Squirrel and Blue Jay are up to some mischief. It also happens to be a a spread from my picture book dummy, A Beast in the Woods, © Diana Ting Delosh. 

Keynote Speaker - author/illustrator Stephen Savage: 

MOVE-  Keep moving on your project, even if it's only 15 minutes a day. That way you don't lose the thread of your project. Move, in the literal sense. Physical movement; helps generates new ideas and solutions.

Portfolio Building - Maria Middleton, Art Director

Your portfolio (physical & online) should have a clear narrative. Ask yourself: What is the story I am trying to tell? Your portfolio should SHOW your answers. IE: I am an illustrator that does _______ style of art. I like to create _____ . This is what makes me special. Be aware of what you want to do and show it. YOU are in charge of your destiny not the art director.

Closing Speaker - author, David Lubar:

Keeps a note posted by his computer: How Badly do you want it? I think, I will do the same.

My Illustrator's Intensive piece for David DeWitt's session.
School Fears © Diana Ting Delosh -Ink, watercolor, digital. 

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

Check out: 
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Creative Confidence by Diana Ting Delosh

Work Space
The amount of space is not important just that you have a spot you can claim your own. I claim a small spare bedroom as my studio space. I definitely need more shelving and flat files. It is chaotic but it is mine. I do most of my thinking and artsy mark making here.

My Drawing Board:

Working on sketch revisions for my picture book dummy. On the desk:  

Finished sketches on tracing paper clipped to the desk so I can flip through as needed. Various storyboard printouts so I can check the flow. ThumbNailer for doodling sketch revision ideas for page 26. Sketch page 27 that I thought was done but now I think it needs to be changed. Orange triangle. bits of blue tape. 

I also have a bag packed with my notebook, scribbling implements, small sketch book and ThumbNailer for those times I need to be on a train. While I can't do finished art, I do find the train rides great for thinking, scribbling concepts and solutions or just sketching. All I need is a seat and some elbow room. Is it just my imagination or has the Long Island Rail Road gotten bumpier?

My Travel Bag: note book, ThumbNailer, small sketch book,
Pencil case with pens & pencils, LIRR train ticket.

Mental Space
Sometimes I need to get away from all the noise of social media, TV, etc. Good or bad sometimes it's is just too much. Probably why I like just doodling in a sketch pad or writing longhand in my notebook with only the natural sounds of my environment. The physical act of writing or drawing connects directly to my day dreaming brain. Sometimes I listen to podcasts. I usually start my day with a cup of tea and some journaling in my notebook. Helps me set the tone of the day.

Tea Steeping and Vitamins © Diana Ting Delosh
Biro Sketch from INKTOBER 2016 series.

Creative Confidence
This last one's a must. Without it creating is almost impossible. It is also a very fragile commodity. Unfortunately, it's too easily effected by outside influences. The nice comment on your WIP can buoy you up and make the process fast and smooth. It can also puff you up so much that it's hard to get your butt back in your seat. While the off remark can make you question every mark and send you down a creative black hole or spur you on in defiance.

So how does one build Creative-self-confidence? My thoughts are to practice, practice, practice. Fake it, put pencil to paper or however you begin and work it. Build your creative skills. Develop your own aesthetic. Seek out reviews from trusted peers and industry professionals. Sure, this opens you up to the possibility of an ego bruising review but it is the only way to improve and develop a thicker hide. Take in the advice. Decide if there's some merit to the critique then go back to the drawing board. At times you may feel like an imposter but keep at it.  Sometimes you just have to take the leap and believe in yourself.

Fox and Butterflies © Diana Ting Delosh
Brush Pen, Watercolor, Digital.

A small quick Illo created for the weekly illustration challenge on Twitter #colour_collective for the week, Sweet Potato.  Realized  that I had been working on mainly sketches and I needed to do a finished colored piece of art just to keep my hand in the game. Practice, practice, practice. Also, sometimes you just need a break from what you're focused on to recharge.

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Product Blog: arthareswares.blogspot.com

Twitter: dtdelosh

Check out: 
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Seasons Greetings - Diana Ting Delosh

Wishing Everyone a

Happy, Healthy, Creative and Joyful Holiday Season!

Squirrel in scarf
© Diana Ting Delosh
Quick Ink Watercolor

I'm very tempted to jump in and join the #illo_advent challenge on twitter, 25 Fresh Christmassy illustrations for the 25 days leading up to Christmas. BUT as I'm already 6 days behind perhaps not this year. Don't know what you're all up to but I'll be busy wrapping up all my loose ends for 2016. For my last post on this blog for 2016, here's a quick fresh Christmassy Illustration for the fun of it and some seasonal hand lettering. Looking forward to 2017.

© Diana Ting Delosh
Hand Lettering - hand inked with assorted pens and digitally colored

Web: dianadelosh.com

Art Blog: dtdelosh.blogspot.com

Twitter: dtdelosh

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The Eleventh Month by Diana Ting Delosh

It's that time to rally one last huge effort before times up. Tick... tick... tick...BOOM! It's November, the eleventh month and a few of us, myself included are prepping for a few final Reviews, Illustrator contests, Events etc. of the year. And to add to the stress there is a major holiday at the end of this month. The clock is definitely ticking. So what to do or not to do?

FRIGHT © Diana Ting Delosh
Brush pen, watercolor digital.

Don't try and hide. Feeling overwhelmed and procrastinating only prolongs the inevitable. While I have been inspired by things I see on TV and Twitter, sooner or later you need to sit down and face the work.  It's the fear that it may not come out the way you want or whatever that's making you uncomfortable but the only way to conquer the fear is by working through it.

ZEN RAM © Diana Ting Delosh
Ink, watercolor

Find your Zen Mode. When I feel like I'm in a time crunch I make a list. Cross things off the list that aren't MUST DOs. Do I really need a brand new shiny postcard? Do I need to make a real dinner or can we have whatever? Can it wait until after the deadlines?  Simplify the list and breathe easier.

HOT DOG © Diana Ting Delosh
Brush pen, watercolor

Juggle or not. Some of us are better than others with multitasking. I'm not. I like to wear blinders and focus.  However I still use a trick from my student days, before I fall asleep I tell myself to dream/or think a solution for whatever I need to be working on next whether it's how to tie up loose ends in the story or how to layout the hand lettering on the current illustration spread. 99% of the time I wake up with a solution of sorts and I'm energized to see if it works.

JESTER PIG © Diana Ting Delosh
Ink, watercolor

Dig in and do the work. Sketch, sketch, sketch. Ink, ink, ink. Paint, paint, paint. Write, write write. Pixel by pixel it will get done. If I need to do 16 sketches by (pick an almost impossible date) I divide the number of of sketches that need to be done by the REAL days/hours I have to work with and that's what must be done before I sleep, within reason of course. Allowing that some days will be naturally more prolific than others. Pass the caffeine and chocolate.

DIGGING DOG © Diana Ting Delosh
Brush pen, watercolor

And that's all folks. Now back to the studio and drawing board for me.

In case you missed it, I was recently interviewed by Dana Carey on the SUB IT CLUB. Take a peek and read  The Postcard Post: Diana Ting Delosh.

Web: dianadelosh.com

blog: dtdelosh.blogspot.com

twitter: @dtdelosh

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Storm Preparedness for Illustrators by Diana Ting Delosh

We wake up and take for granted that the power will go on, until it doesn't. And then we say a prayer and hope it's just the fuse or something easily remedied. But if it's not, then what?

I will admit that since Super Storm Sandy, October 28, 2012, sometimes I am nervous about impending storms. One of the frustrating things, during that 13 day power outage, was that I  couldn't deliver illustrations to a client because they were in my computer. I was able to  contact my client to tell them they were finished and I would deliver them when the power came back. Thankfully it was for an E-book Project with a flexible deadline. Still a super annoying situation.

TWINKLE TWINKLE ELEPHANT STAR
© Diana Ting Delosh – Ink & Watercolor
Traditional art created during the power outage caused by Sandy, 2012. Thankfully my drawing board was near a decent sized window

Nowadays, if a storm is threatening, when working on a project:

I pop a copy into my DropBox folder as I go. This way if something happens I can still deliver/show the client the work.

I also attach files (if they're under 10MB) to an e-mail. Yes, I know it may not be the wisest to send out the e-mail I typed late at night. But attaching the file to a draft e-mail works. If something were to happen I could still access my e-mail on a different device and send it off to the client.

 I also try and finish ahead of deadline – whenever possible. Even a few hours earlier has been helpful.

No, you can't plan for everything. Power outages. Computer/scanner/hardware malfunctions. Family members of course are also a big X-factor. Recently, I updated my Mac OS  which knocked out my QuarkXpress and MS Word, Excel and Power Point. Sigh – pre-update, I worried about loosing my Photoshop & InDesign and corrupting files... so I backed up files. Apparently, I worried about the wrong things. Oh well, you can't cover all bases.

Would love to hear if you have other tips or strategies for dealing with possible power outages or other disruptions. Please share them in the comments.

Web-Portfolio: dianadelosh.com

Blog: dtdelosh.blogspot.com

Twitter: @dtdelosh

ThumbNailer a book of boxes for your creative process

Celebrate the Small Steps - by Diana Ting Delosh

Running Bunny in Spring © Diana Ting Delosh
Ink Brush, Watercolor, Digital

We've all heard the phrase, celebrate the small steps that make up the journey.  I knew what the words meant in an abstract way but spraining my ankle taught me to appreciate them in a literal sense. The road to being a picture book author /illustrator is a long circuitous marathon. Just when you think you're getting close to your goal there are a few more hurdles to jump and mountains to climb, maybe even a swamp or quagmire to navigate. Two steps forward, one step backward and onward you go, hopefully without falling into a ditch along the way.

OLLIE ALONE
Wrap around cover art for a picture book dummy that I'm submitting.
© Diana Ting Delosh

Submitted to editors, art directors and agents? Pat on the back. Ditto,  promo postcard designed and printed. High fives all around when the mailing list is updated and the postcards are mailed. Go ahead, cheer for yourself, after all, most of the time you'll only hear crickets back. Get a rejection? Gasp, give yourself a hug and submit something out, ASAP to counteract the negative! Oh Joy, if you get a positive response - pass the yummies.

My Promo Postcard featuring my illustrations:
Front - Jabberwocky-Boy meets Octopus
Back - Boy, Book Bed & Cat
© Diana Ting Delosh

Created new illustrations, stories, dummies, experiments? I keep a running created list. Writing down what I've created cheers me on. Doesn't matter if it's a personal art, experiment or big commission they all make my list. Seeing the list grow is it's own reward.

Peace To ALL © Diana Ting Delosh
Having some fun with Hand Lettering
All line art is hand drawn than digitally colored

Create, promote, submit and cheer for yourself and your buddies with or without chocolate. In a competitive field with few positive responses to balance the long waits, rejections and too many crickets, celebrating the small steps may be the antidote to self doubt. Be your own best friend along your journey.

Cherry Gelatin Dessert © Diana Ting Delosh
Ink & watercolor

Website: dianadelosh.com

Blog: dtdelosh.blogspot.com

Twitter: twitter.com/dtdelosh

NJSCBWI 2016 Approaches - by Diana Ting Delosh

It's almost been a month since the 2016 NJ SCBWI June Conference a good time for me to reflect on my experience and what worked.

Jabberwocky, Boy Meets Octopus - Final Illustrator Intensive Art
© Diana Ting Delosh
Ink, Watercolor, Digital

Lists & Plans help. I marked out the prep weeks and the deadlines for the illustrator's Intensive sketch and the Manuscript for my 1-on-1 with an editor and any items like getting my postcard printed a month ahead in my Moleskine Weekly Notebook. This year I swore I wasn't going to the conference zombified although the last few weeks I was lucky if I got more than 5 hours sleep a night. Still all in all not totally zombified. There are degrees of zombification.

I want to draw momraths gyre and gimble in the wabe  - © Diana Ting Delosh

 Find the Joy. My illustrator's Intensive was with Annie Ericsson, Designer for G.P. Putnam & Sons and Nancy Paulsen Books, Penguin Young Readers Group and the assignment was to illustrate a passage from C. S. Lewis' nonsense poem, The Jabberwocky. As per my usual process, I doodled a few ideas and concepts and was originally going to go with a more conventional approach. But I wasn't feeling the love. I reviewed my doodles and changed course and went with my idea of treating it as a boy's dream sequence. I believe my joy shows in the final illustration.

Boy & Sea critters on my desk.
Photo © Diana Ting Delosh

Always Have a Plan B or C... because things go awry and time keeps ticking. Sometimes I approach my illustrations like a traditional painting and sometimes I approach them more like a collage.  In this case I was glad I created my Jabberwocky illustration as separate icons as I was able to rearrange them for my Juried Art show Piece. I had planned on doing another illustration for the JAS theme, "Arise and Go Forth..." but time was running out. Plan B was to use some element from the Jabberwocky but add a mermaid and a whale and a gull or just the mermaid and a gull or... Plan C - rearrange what I had already created.

Juried Art Show  - Arise © Diana Ting Delosh

Conferences are like Christmas. You plan and prep and create like crazy. Finally the Conference weekend happens - it's amazing Good FUN, Info Overload time and then it's over and you go home. I didn't want it to end but all good things must. And like after Christmas blues I had a bit of post conference malaise. Back home, you catch up on your sleep, sort through all your conference notes, handouts, cards. Do your follow-ups. Ease back into your studio routine: create, promote, submit.

It's an Investment. Back home you may ask yourself the pragmatic question, Can you quantify it? Don't, unless you happen to have gotten lucky and landed a contract, agent, etc. Aside from the wealth of info crammed into two days there are a lot of intangibles. There's a lot of really good networking and submission opportunities at this conference but you need to follow up. Remember it's cumulative. Create. Promote. Submit. And every now and then leave the studio to practice your people skills.

Web: dianadelosh.com

Blog: dtdelosh.blogspot.com

Twitter: twitter.com/dtdelosh