Showing posts with label NJ SCBWI. Show all posts
Showing posts with label NJ SCBWI. 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, March 7, 2018

It Really Does Take a Village - By Deborah Cuneo



Little Dragon and the New Baby/Back Cover - Sky Pony Press March 20th 2018

To say that the journey to publication has been somewhat of a roller-coaster ride, would be a complete understatement!  Being totally honest, at times, it took every ounce of my being to be able to continue forward. 


Fortunately, I have had the best support system in my family and friends, my faith, my crit group and special people, who have known me since I started the journey into Kid Lit, who virtually held my hand while listening to me sobbing endlessly, as my deadline approached and my computer completely choked, destroying more than half of my final art files. There is a piece of each one of them in this book. 

Little Dragon and the New Baby/Interior - Sky Pony Press March 20th 2018


And on the other side of the desk, there was the amazing editor, who saw something in my scribbly little storyboard I presented at one of the always awesome NJ-SCBWI conferences. She believed in me and my vision enough to take this on, even though it was a risk.  And as she passed the baton, each one of the editors and support staff that I've had the pleasure of working with, also had a supportive hand during the course of this project, sometimes during some of the toughest hurdles in the production. 


I always thought that I would just sit down and draw and presto...a book, but it's really not like that at all. Each and every one of the people I mentioned, all played an important role in how this came to be. There is no way it could have happened without their involvement, and I'm truly grateful for them all!



So ... on behalf of myself and my "village", I'd like to present OUR debut book...

  Now Available for Pre-order!

(Click on the link below to Sky Pony's page for more information) 

Blog: Creating Out Loud  deborahcuneo.blogspot.com
Twitter: @debcuneoart 
 Instagram: @ataleof2studios


Wednesday, November 22, 2017

On Gratitude by Diana Ting Delosh

Thank You Owlet - Ink & Watercolor Illustration, Hand Lettering
© Diana Ting Delosh

It's the Wednesday before Thanksgiving, so here's a few thoughts on gratitude as an illustrator /author. I am most Thankful for Friends and Community. As someone who spends most days isolated in my studio in suburbia, I am thrilled to have found my tribe via: the CBIG, SCBWI and the LICWI. Not to mention connecting with an even bigger pool of artists/writers/creatives via Twitter.

CBIG, Children's Book Illustrators Group
After many years of trying to do it alone, I discovered CBIG through my sister, who had a friend, who was a member.  CBIG is a local NY metro area group. They invite children's book publishing professionals to their meetings, so members can grow as illustrators and of course make connections.

SCBWI, Society of Children's Book Writers & Illustrators
SCBWI is an international group that offers oodles of info and conferences. Over the years it's given me loads of networking opportunities with industry professionals.

LICWI, Long Island Children's Writers & Illustrators
I joined LICWI because I wanted to get serious about my writing. LICWI members meet monthly and may read their writing to the group and receive feedback. I'm still getting the hang of reading to a group. Nerve wracking. But the valuable feedback is worth it.

Twitter
Because sometimes I'm working in the studio by my lonesome and it's nice to feel connected to the world at large. Remember those illustrators/writers you met at the big conference, most likely they're on Twitter or Instagram. There are many Twitter art challenges to participate in. Or if you're too busy to participate, just view. Always inspirational, sometimes even motivating.

In fact, this blog and my Art Crit Group would have never formed if it weren't for friendships via CBIG and the NJ SCBWI June Conferences. So, a really Big THANK YOU to CBIG and the NJ SCBWI.

Just in case you're wondering, yes, all this connecting and socializing, both real and virtual, does help your  discoverability and may lead to opportunities and even commissions. But that's a topic for another post.

Here's to Friends and Community and a Happy Thanksgiving to ALL!

Twitter: dtdelosh

For your picture book storyboarding process
Check out: 
The BIG ThumbNailer
ThumbNailer

Wednesday, September 20, 2017

Curating your work, Part II, by Mike Ciccotello

Last time I wrote, we spoke about curating your work for a website. Now I’d like to share my experience of curating work for social media, specifically, I want to tell you about my Instagram experience. 

At the NJ SCBWI summer conference, I met two art directors, Maria Middleton, Random House, and David Dewitt, Little Bee. Both art directors said they have searched for new talent on Instagram. If you are an illustrator looking for work, that little bit of information should make you think about having an Instagram account.

Here's a preview of my Instagram feed.
If you are an Instagram user, you know that you can search users, tags, popular stuff, not so popular stuff, it’s endless. You can view new images people have posted when you click your home button, or you can swipe right and view what people you follow are liking. It’s visual. It’s cool. And like most social media, it can eat hours of your day if you’re not careful.

The thing that sets Instagram apart, in my opinion, is Instagram offers a unique visual experience, The 9 Image Grid. When you view a users feed, within the Instagram app on a smartphone, you can see 9 square images, 3 across and 3 down. Typically, a user will post one image per square that doesn’t necessarily relate to the other images. A dinner plate, an adorable dog, pictures of kids… you get the point.

Now, what if we played with that space? What if we pushed the boundaries? Instagram is always 3 images across with a portrait orientation. So, what if you take a 3x1, long horizontal image, cropped it to 3 squares, and post each square image separately? What if we took it a step further and cut up a 3x2 image or a 3x3 image? I once posted a 12x3 image… that’s 36 square images. 


I have seen photographers use this technique and thought it might be interesting to try. I wanted the whole feed to flow from one group to the next. 

I have been influenced by this idea of an “infinite canvas” many years ago when I met Scott McCloud at NY ComicCon.  Years after that conversation, I saw this amazing comic by XKCD, titled, Click and Drag.

I understand Instagram doesn’t scroll left or right, and every feed has a starting point. But being able to infinitely add imagery is pretty cool. I tried it out and kept up with it for a while. I posted Monday through Friday, at least 3 images a day. I had to take a little break due to deadlines etc., but I’ll be back to posting just in time for INKtober.

Once you start posting in a format like this, you need to always post in 3’s, to keep everything in order. If you only post one image, it throws the feed out of wack and the images won’t line up until you post a third image. 

I didn't invent this, I just put my own spin on it. Look at Dave Pilkey's Instagram feed. He’s shifted away from it a bit, but if you scroll down his feed, you can see ways he has played with the space. 

Consider the images you post and what they look like as a group, rather than an individual piece. Each post could be an individual piece, but maybe there's an overall color pattern you could follow, or textural element. How would you use this space to curate your day-to-day art gallery?
TIPS: 
  • Plan your grid of images ahead of time. 
  • Look into tools like Tail Wind or Instagrid. 
  • Use photoshop with a grid overlay to see what goes where.
  • Post the last image first and keep working backwards.
  • Always post three images at a time.
If you have questions, please feel free to comment.

Thanks for reading! Follow me on Instagram ( @ciccotello) to see my upcoming INKtober posts and how everything evolves. I’ll be speaking at Johnson & Johnson Corporate HQ next week talking about my current show, Wishes and Daydreams. If you or someone you know works for Johnson & Johnson, stop by the show and send me a message. I’d love to hear from you.




Represented by Rachel Orr
For more info contact 
rko(a)prospectagency.com

Twitter: @ciccotello 
Instagram: @ciccotello 


Wednesday, August 9, 2017

Curating your work, Part I, by Mike Ciccotello

So, you put together a beautiful illustration portfolio and attended a conference for children's literature. You had your work reviewed by art directors, and editors. Sure there are some tweaks to be made, but that’s no problem. It’s all part of the journey. Not only have you created a portfolio, but you've made promotional images regularly, participated in online challenges, and daily warmup sketches. Congratulations! Good for you. This is fantastic and you should be proud of the work you are doing. All of this is moving you forward.

Now, how do you present that to the world? Website? Social Media? 

Let's break this down in two parts. This post will focus on the website.

This past summer at the NJ SCBWI conference, I had the pleasure of attending, Building a Digital Portfolio, a workshop run by, Maria Middleton, art director, Random House. Her workshop spoke volumes with me. Curate our digital content. Treat your space like an art gallery. It’s not just about having a website, it’s about the whole experience. The examples she showed were clean, easily consumed, and simple to navigate. 

Shortly after the conference, I decided to revise the approach to my website and social media. If I want to work creating illustration for children’s literature, I should make sure that people know that. There was work to be done, but it was a lot of work. The only way it was going to happen was if I made the time to do it. I created a staged plan, starting with my website. 
Cleanup. Reorganize. Redesign.

Clean up your site. Don't hoard work that isn't relevant to what you want to do. 

Clean up.

The first thing I did was remove a whole bunch of old work from my site. There was too much. I was hoarding my old work. It had nothing to do with my children’s literature work… it had to go. This decision will be different for each person. I would recommend that if you choose to show the old, don’t let it out-weigh the new. 80% new and 20% old might be an easy way to think about it. Most importantly, just like a portfolio, only show your best work. Now I believe you have a little more lee way with a website, but still, it's an important note to keep in mind.

Come up with a simple way to organize your site.


Reorganize.

Once I removed all the unnecessary imagery, I needed to reduce the number of sections on the site. I used to have multiple menu items. Now, there are three top level options: Art, Store, and About. This is directly from Ms. Middleton’s workshop. Keep your menu simple. You can reference my site to follow along - ciccotello.com

This is how my menu breaks down
Art
- Color – Current color portfolio work
- Black & White – Current black & white portfolio work
- Pen & Ink – Inktober and other fun
- Coffee Cup Doodles – Daydreams caught on a coffee cup
- Painting – Some of my older work
Store – Links to my online store
About – Contains my headshot, bio, and contact form
Finally, I developed a look. I went with a white background, placed imagery on paper/canvas with a slight drop shadow. I designed a simple logo that sits below the menu. The type treatment is reinforced on my business card and postcards. The image of me is in the favicon for the site and all of my social media. 

Each section contains a small gallery. The Color as well as the Black & White galleries are both designed on a similar paper and drop shadow. The Pen and Ink gallery uses a sheet of sketchbook paper. The painting gallery uses canvas and the coffee cup doodles are actual photographs of each cup. Eventually, I will phase out the Coffee Cup Doodles and the Painting section, and replace them with my 10 minute sketches, making my site completely children's literature focused. 

Why does all of this matter?

If someone happens upon your site, you want to put your best foot forward, right? The day I finished my site, I texted an author friend and asked her to take a look. She texted back saying she liked it and tweeted the link. Later that night, I got an email from my agent. She was contacted by an editor that came across my site (which I believe was connected to my author friend) and really liked my work. The editor bookmarked my site and hopes the right project will come along for me. I hope so too.

I realize our art needs to shine the most, and it should. But by following these simple steps, you can give your visitors a clear idea of what it is you do, where to find what, and how to get in touch.

Next time I’ll talk about social media and more specifically, Instagram. 


Represented by Rachel Orr
For more info contact 
rko(a)prospectagency.com

Twitter: @ciccotello 
Instagram: @ciccotello 









Wednesday, May 11, 2016

Risk and Style...Keeping It Real - by Deborah Cuneo









"Talking" / Ransom Gallery Show / Brooklyn NY  - Acrylic and colored Pencil

Risk
noun
1. exposure to the chance of injury or loss; a hazard or dangerous chance
  
   At any gathering of  visual creatives, the topic of style usually comes up, with the main question being whether or not an artist should change their style  during the course of their career. I've heard so many opinions on the subject  from both sides of the desk (so to speak) and everyone seems to have a valid reason for or against.


"Discouraged" - Pencil Sketch

   Deciding to change it up was not a decision I took lightly. It would mean abandoning what I knew,  what was warm and cozy and familiar for so many years, but it came down to one major factor...I wasn't getting the employment results I was looking for using my older style.

   I was also starting to let  my internal feelings of discouragement get to me, to where even it was starting to come out in my art. It became a business decision.  It would be a huge, scary risk to change my style, but I didn't anticipate any injury  or imminent danger resulting from the intended change. Other than it possibly not being well received and having to figure what direction to go then, there was really no reason not to try...so I did.


First Step - B/W Promo - Digital and Pencil

First Step - Color Promo - Digital and Pencil
  

I suppose I could have continued in baby steps,  but to go down that path meant the evolution would be dragged out...and why?  So I could delay the inevitable for another day, a month? How many more years would I be willing to sacrifice to being in artistic limbo, just so I could remain creatively cozy and comfortable in my little box that I literally painted myself into all these years? 

   The answer...none. And, It was already clear ( to me, anyway) that anything I produced that was remotely similar to my old style, would  most likely get the same results. I had to make this change count, it was the only way I was really going to be able to move toward the result I wanted. So, I put my fear aside and just jumped right in. 


Jump! - Digital and Pencil


  I tried something completely out of my comfort zone. I felt that in order to make this work, I had to stretch myself to the point of being creatively uncomfortable and bring myself to a place where I couldn't predict or control the outcome, because in that dark, scary unknown, is where all the wonderful, creative possibilities are!! 


"Little Dragon" Sky Pony Press/Color Sample - Mixed Media

A lot of this new style is tied up in the book I'm still working on, but I will be showing some of the new work at the NJ SCBWI  June conference and then updating my website shortly after that. Will my professional risk have been worth it?... I don't know.  Will  I crash and burn?...maybe. Could I end up totally flopping on my face...I suppose... but,  it could also work out really well too!  I can't predict or control the result, only put myself out there and commit to do my very best, while continuing on my newest artventure!