Tag Archives: book

Template layout for a children's book

This crude sketch is quite popular. A reader commented recently how the layout template helped his poetry book project.[1] The web site Moving Writers[2] posted “A Collaborative Writing Study That Will Rock Your Students’ World: Children’s Literature”[3] and linked to my rough layout template.

The origin of the drawing began at a local meet-up of illustrators and artists. The topic of children’s books came up. Several of the artists felt intimidated by the idea of creating a children’s book. As well they should. But it is not a path of labyrinthian impossibility. The big question is how to do it. At the time, I was a creative director for an international publishing company and had designed children’s books — specifically, picture books.

To encourage these artists and writers, here is a general anatomy of a children’s book:

  • 22 illustrations (five spreads)
  • 18 pages of text (51 lines to be specific) and
  • 32 pages (including title pages, front matter and back matter)
  • intro story and character on page four
  • intro dilemma on page 14
  • how to solve problem (pages 15 to 23)
  • problem solved on page 24 and
  • resolution on page 28

Several artists that night asked to take a photo of this sketch of an anatomy of a children’s book with their smart phones. Since then, several readers have expressed similar interest. So, I share this sketch again.

Like all recipes, what you do with the ingredients (i.e. text, words and pages) is up to the artist and writer. And, like any good disclaimer, results do very.

NOTES:
[1] “Anatomy of a children’s book,” coffeehousejunkie.net, December 10, 2012, accessed June 20, 2016 https://coffeehousejunkie.net/2012/12/10/anatomy-of-a-childrens-book/
[2] Moving Writers, accessed June 20, 2016 https://movingwriters.org/.
[3] Allison Marchetti, “A Collaborative Writing Study That Will Rock Your Students’ World: Children’s Literature,” movingwriters.org, May 30, 2016, accessed June 20, 2016 https://movingwriters.org/2016/05/30/a-collaborative-writing-study-that-will-rock-your-students-world-childrens-literature/.

Book cover illustration – update

Fear motivates. The paralyzing fear that if I mess up the coloring of this book cover art, I will have to start the whole process over again. And the completion date is fast approaching. But the task needs to be done. So, onward.

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Watercolor washes begin the color process for the book cover illustration.

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Paint to the edges and then let the colors bleed. The basic color palette had already been determined weeks prior to the final execution of the cover art. But once the water and pigment are activated on the surface of the paper, the color palette organically builds to its own organized spontaneity.

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Details. There are always small details that many casual observers may not detect at first glance. For example, the color for the shotgun shell includes multiple wash layers of different pigments — each layer pulling or pushing color from previous layer.

HardCover

Once the final art is approved, I finished the design with title bar and a map overlay to texture the collage art.

The pleasure of drawing

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Nearly done with the back cover illustration. A brush is often forgotten in the process of keeping a clean drawing surface.

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Detail of the back cover illustration — a catfish. I have to admit — besides the firewheel flower blossom on the front cover — drawing the catfish was a pleasure.

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Front and back cover pen and ink collage drawing completed. Ready for the next phase — watercolor.

The purpose of drawing

The foundation of a great painting is a solid drawing. At least that was my goal when I worked on this book cover illustration for Orison Books. The collage features a firewheel — sometimes called Indian blanket — blossom, shotgun shell and expansive Texas landscape.

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Nearly completed pen and ink work on the cover.

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Detail of the firewheel flower blossom.

 

 

 

The purpose of thumbnail illustration

The purpose of thumbnail sketches is to advance the concept of artist, art director and editor to a final product. It seems like a lot of busy work, but three elements are essential: brainstorming, mind-mapping and closing the gap. The following images illustrate the process of thumbnail sketches as it relates to a book cover illustration. DSCN3558[sqr-tilt] Three thumbnail cover comps presented to the publisher a couple months back. DSCN3560[sqr-tilt] Full-size book cover sketch to gauge color temperature and composition of elements.

Interview: Luke Hankins on Poems of Devotion

Poems of Devotion

Luke Hankins is Senior Editor at Asheville Poetry Review and the author of a collection of poems, Weak Devotions, a chapbook of translations of French poems by Stella Vinitchi Radulescu, I Was Afraid of Vowels…Their Paleness and editor of Poems of Devotion: An Anthology of Recent Poets. This Sunday, December 9 at 5 p.m., at Malaprop’s Bookstore/Cafe, Luke will read selections from Poems of Devotion: An Anthology of Recent Poets along with other featured contributors: Malaika King Albrecht, Richard Chess, Morri Creech, Richard Jackson, Suzanne Underwood Rhodes, and Daniel Westover. Luke agreed to a quick interview to discuss the recently published Poems of Devotion.

Coffeehouse Junkie Blog

Tell me how the anthology, Poems of Devotion, developed from concept to final printed book.

Luke Hankins

In my final year of graduate school, I took an independent study course with the superb poet and teacher Maurice Manning, which essentially meant that I chose an academic/creative project and he offered input on and evaluation of it. I have had a strong interest in spiritual poetry for many years, so it was natural that I would choose a topic that reflected this passion. The essay I wrote for that class was an examination of a particular set of qualities that characterized many of my favorite spiritual poems, qualities which, in my mind, constituted a distinct mode of composition. The essay was an early form of what is now the introductory essay of the anthology, examining what I call the devotional mode in poetry. When I first wrote it, the idea of editing an anthology hadn’t occurred to me, but as I continued to revisit and revise the essay after graduate school, I felt increasingly that the compiling “poems of devotion” would make for a superb collection of poems. As an experiment, I began gathering poems that I would include in a theoretical anthology, and that’s when I began to feel a real impulse — a “call,” if you will — to bring these poems together in an anthology. I sent out a proposal to several publishers, and I eventually signed a contract with Wipf & Stock Publishers.

What followed was — well, let’s just say a year of very hard work! Gathering the poems I wanted to include was one aspect: reading widely, taking recommendations, spending long days in the library or in coffee shops with large stacks of books. But all of that, though difficult, was full of pleasure and felt deeply rewarding. The other aspect was obtaining — and paying for! — permission from copyright holders to reprint the poems. That process was often labyrinthine, frustrating, and, not least of all, expensive. But it was worth it. I’m very excited about the finished anthology, and am moved and challenged anew each time I read it. Truly.

Coffeehouse Junkie Blog

Maurice Manning is becoming one of my favorite living poets. At the public library, I discovered his book Bucolics and then had an opportunity to attend one of his lectures at Warren Wilson. But I digress. You beat me to the second question which is what did you learn most? Seems like the whole publishing side of the anthology was quite a classroom of experience. If you will, highlight one moment during that year long process that “felt deeply rewarding” for you.

Luke Hankins

I think approaching the copyright aspect of the anthology with a certain level of naivety in many instances worked to my advantage. People were more inclined to take mercy on me and my minuscule budget! But there were a few publishing houses who were absolutely unmovable, and I had to pay out my teeth, so to speak, to include poems I felt were necessary to the anthology. So I learned to rejoice in small mercies where they came, and to practice stoicism about what I saw as exorbitant pricing from some of the major publishing houses.

Regarding your second question, I wouldn’t want to try to single out one moment that felt rewarding. I’ll just say that the process of discovering poets I came to love, whose work I had never read or had only read cursorily, was one of the most rewarding aspects. Re-reading poets whose work has been very impactful for me was another aspect. Also, there was an overall sense of being blessed to be able to dedicate myself to an undertaking that felt like an important fulfillment of who I am. I felt that I was working with real purpose. I felt that I was doing what I was meant to do.

Coffeehouse Junkie Blog

One final question, what’s the biggest thing you hope readers take away from Poems of Devotion?

Luke Hankins

I hope that readers — whether religious or non-religious, theistic or non-theistic — come away with a conviction that the devotional mode is a powerful, ongoing, vital mode in literature. I believe in these poems and their ability to do just that.

Kathryn Stripling Byer Poetry Reading & Booksigning

Sunday, November 11, 2012, 3:00 p.m., Malaprop’s presents a poetry reading and book signing for Kathryn Stripling Byer.

From Malaprop’s news release:

Poetry reading and booksigning event with Kathryn Stripling Byer, former North Carolina Poet Laureate and another favorite here at Malaprop’s.  On November 11 she will read from and sign DESCENT, a collection of poems described as “navigating the dangerous currents of family and race,” in which Byer “confronts the legacy of southern memory, where too often ‘it’s safer to stay blind.'”