Showing posts with label Mike Ciccotello. Show all posts
Showing posts with label Mike Ciccotello. Show all posts

Thursday, June 7, 2018

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!



Wednesday, February 3, 2016

Q&A - Mike Ciccotello

Website: Ciccotello.com

Hi, I'm Mike Ciccotello.

Dad, Husband, Art Director by day... Illustrator by night... 
AND I LOVE PEANUT BUTTER AND JELLY!

Introductions






1. What are you working on?

Currently, I’m working on two picture book manuscripts, developing characters, creating new portfolio work, and illustrating regularly for AllTheWonders.com 

All the Wonders – Storytime: Wishes!

2. Any Good news?

I was hired at the end of last year to create illustrations for a picture book published by Room to Read. I had the opportunity to work with freelance editor, Tamra Tuller, and Room to Read’s Associate Director of Global Book Publishing, Alisha Berger. It was my first picture book and the project wrapped up at the end of December 2015. The book will help educate children in low income African countries.
Elephant Runs, Room to Read, 2016


3. What attracted you to the field of kidlit?

I am new to the world of children’s literature. I always wanted to be in this space, I just never knew how to get here. (Thanks for the map SVSlearn.com) I have always been keen on creating art for children, whether it be cartoons, comic strips, or murals. Also, as an ex-mime and devil-stick juggler, I enjoy entertaining children. In January of 2015, I took a class from SVSlearn.com, they spoke about SCBWI. In February 2015, I became a member. I attended the NJSCBWI 2015 Summer Conference and I knew I was exactly where I needed to be. A cosmic force came up, smacked me in the head, and said, 
"HEY! EAT SOME WAFFLES... AND DRAW PICTURES FOR CHILDREN!" 
I have so much to learn, and I look forward to it every day.




The Carrot Thief


4. What inspires you?

This list is much longer, but here are some.
Wonder in a child’s eyes, cookies, children in general, animals, cookies, sunrise and sunsets, wonky butterflies, clouds of any type, drippy ice cream cones, cookies, a blank canvas, talented artists and writers, engineers and technology, telephone poles, people, my wife and kids, love, cookies, and coffee… lots of coffee.

Once Upon a Time

5. Your Picture book process: Do the words come first or the images or both?

Well, as I mentioned, I’m very new to the world of children’s literature. I don’t think I have been doing this long enough to have a process. I’m sure I will go through many phases until I find something that works. This is how I’m currently working. I get my initial idea as a glimpse of a scene, from a story. I sketch the idea and work out any issues I have with it. Then I start daydreaming and let the idea gel into something that can be written into a manuscript. When that manuscript is submission ready, I will start adding in some character designs and sketches. That’s were I’m at right now. Check back in two months. It will probably be a little different.  


Miss Penelope

6. What's your illustration process?

I have three different styles that I’m comfortable creating consistently. Each require a slightly different process. I have been known to do work completely digital in Photoshop, or traditional, using artist markers, colored pencil, pen and ink, and acrylic paint. For the purpose of this post, I’ll outline the style I’m working on more these days. It’s a little traditional, a little digital, and requires a whole lot of love. 

Rainbow Tongue, process illustrations

I sketch ideas either on paper or digitally on a tablet. Once I have a sketch that I’m happy with I’ll transfer that, using a light board, into pen and ink on paper. I scan the pen and ink illustration then start working in black and white values in Photoshop if I’m on my desktop or ProCreate if I’m on my iPad. Once the values are set, I start working in layered color, also in Photoshop/Procreate. Above, you see the four step breakdown. Sketch, Ink, Value, and Color. Here's a movie clip showing the digital value painting.



 Website:  Ciccotello.com
Twitter: @ciccotello
Instagram: @ciccotello