Fifteen months after being fired from FedEx Office I’m once again employed! I’m working for a stuffed animal distributor. Really. My days have been filled with paperwork and teddy bear bondage. (I have to inspect their seams by groping and feeling them up, tie ribbons around their necks the tighter the better, nest them together so it looks like their 69ing, wrap them in plastic sheeting, and stuff them into boxes-- which makes me feel like a teddy bear dominatrix. I love it!)
Image from www.teddybearcabin.co.uk. My company does not sell these. Pitty.
But... I forgot just how much energy it takes to work 40 hours a week. As such I’m totally beat! I’ve barely had the energy to sit up and eat dinner much less catch up on children’s picture book news and write posts. I’ve done some drawing, but have very little to show for it.
I need to take a little break from blogging to sort myself out. Once I’ve gotten more ballanced I’ll return. It will probably take a few weeks, but I’ll be back.
Two weekends ago I attended Stumptown Comics Fest-- a two days celebration of Portland comic books, graphic novels, and their creators. While I don’t read many comics, I went in hopes to learn how one goes about making comics, (after all, they’re not all that different from picture books). I went to seven or eight workshop-panels and took part in creating an instant graphic novel, (together a room of strangers write and illustrate a comic in two hours! The results are here. I did page one!). I learned about story, timing, character creation, humor, and drawing perspective.
Images from Scott McCloud’s Understanding Comics.
Of course these panels weren’t comprehensive, but they were a good introduction to each topic and piqued my curiosity to learn more. The best part was that several of the panelists, professional comic creators themselves, gave recommendations for further reading on the art of visual storytelling. I ended the weekend by buying all the titles from Amazon.com. And they are:
Perspective for Comic Artists by David Chelsea
Extreme Perspective for Artists by David Chelsea (okay, so Chelsea was one of the panelists and he was totally hocking his books, but his demonstrations were amazing! I bit.)
Comics and Sequential Art by Will Eisner
Graphic Storytelling and Visual Narrative by Will Eisner
On Directing Film by David Mamet
Making Comics by Scott McCloud
Understanding Comics by Scott McCloud (I already own a copy and have read it four times.)
Story by Robert McKeee
The Writer's Journey by Christopher Vogler
A hefty list to be sure and not cheap, (I think I spent around $125)-- but if you think about it that’s a fraction of the price of going to art school-- it seems like a small investment for a writer/artist’s education. I’m half-way through reading the lot, and have found them immensely helpful so far. I’m sure I’ll refer to them again and again though the years, no matter what kind of stories I want to tell or what media I want to use. Totally worth the expense; I recommend them all.
While doing all of this reading I came up with ideas for two graphic novels! The stories will be about the lives of historical figures that I’ve been obsessed with all my life.
The first is Chief Powhatan, whose political accomplishments have always taken a back seat to the romantic legend of his daughter, Pocahontas. The second is Joan of Arc, who’s often depicted as a fearless warrior and martyr, rather than as a teenage girl who got in way over her head, (a much more relatable heroic figure if you ask me). Though I’ve often wondered what these people were like, I had never thought to tell their stories until now.
I’ll need to do a ton of research to tell the stories accurately, but for now it’s best to not get bogged down in details. I want to get the ideas down-- if only as sketches-- while the excitement is fresh.
Well, that’s it for now. I’ll keep you posted on how it all goes.
Last year I participated in NaNoWriMo. If you’re not familiar, it’s an annual writing exercise where people try to compose complete novels of 50,000 words in thirty days. When I began NaNoWriMo, (short for Nation Novel Writing Month), I started by telling the story of a boy with pink hair named Richard.
Richard is the black sheep of his family due to his naturally pink hair. His mother abandons him at a park one day, leaving the boy to fend for himself. Richard must find people who love him just the way he is. It’s basically a re-telling of The Ugly Duckling. But I got bored and moved on to another, longer story.
I’ve recently learned that gossip-monger Perez Hilton is publishing a children’s picture book in September about the very same subject.
I’m outraged! I don’t know how he found out I was doing NaNoWriMo, but I’m pretty sure Perez Hilton hacked into my computer, stole my files, and went back in time to dye his hair and write the story before I did. If only I could find his time-machine I’d have all the evidence I need...
I shake my fist at Hilton! His success could’ve been mine. Maybe I should’ve finished writing my story and rushed it to a publisher, huh?
At least I rock pink hair better than Perez Hilton.
Let this be a lesson in missed opportunities. Lesson learned. Thanks Universe.
Warning: The opinions expressed in this post are those of an adult who has no children of her own. She’s also feeling extra bratty today. Reader discretion is advised.
All board books seem to do anymore is tell small children that ducks are fuzzy and kittens have scratchy tongues, with mock surfaces for little fingers to touch. Not only do they teach children that it’s perfectly fine to rub cacti to feel their prickliness, they’re also woefully inaccurate in simulating textures, (a good thing considering some of the subject matter). The point of the board books is to make them durable, not to encourage toddlers to molest the pages. I think modern board books are the reason why the display copies of pop-up books are torn to shreds at book stores and libraries, because children are taught (unintentionally) that books are toys. Yes I know children learn through touch, but does that mean we ought to encourage them grab at books like literate Lennies from Of Mice and Men? Besides, these touch and feel books can’t compare with textures in the real world.
Oh, is that what a tiger feels like? Huh, feels exactly like bunnies and chicks.
Modern board books also typically devoid of plot, relying on gimmicks to get the reader’s attention. Which makes me wonder why any parent or child would want to bother. It probably explains why I so rarely see parents reading these books to their little ones, and even more rarely see children enjoying them.
Just because a book is meant for young children or babies doesn’t mean it has to be mindless. Books for preschoolers need to be short enough to be read in five minutes, (as opposed to 15 for older children), but that’s not to say they can’t have stories or be educational. Simple counting or labeling books are totally useful in teaching toddlers the basics and narratives are always welcomed. Here are some great alternatives to those touch and feel books hogging the market today, (most were made in the last century but still hold up):
The original board book series Max and Ruby by Rosemary Wells were every bit as engaging as books for older children, just boiled down to their key scenes.
Some of the funniest board books were written by Sandra Boynton in the 1980’s. Her books have the same humor and charm as her decades famous hippo birdie two ewes greeting card.
I am a Bunny, though intended for children ages 4-8 is a classic that states the wonders of passing seasons, (and is illustrated by the incomparable Richard Scarry, to boot).
The book Head, Shoulders, Knees and Toes (from 2002) teaches the names of parts of the body, and presents parents and children with the opportunity to touch their own bodies instead of the pages, (which makes story time kind of like a game).
Sitting down to read to a child is a great bonding activity for both child and parent, so why start the tradition with uninspired books? Babies can be bored by lack-luster books just like adults. Therefore, books should be chosen with care, even for those who are just learning the basics of language. And books though entertaining, aren’t toys. They need to be handled with respect, something that may be tough to teach if all the books in a child’s library say “touch me”.
Would you believe I didn’t read Dr. Seuss until I was eleven? It’s true. In my childhood library I had not one Seuss book to my name (gasp)! I watched the cartoon versions of The Lorax, How The Grinch Stole Christmas!, and Horton Hears a Who!, but hadn’t actually read Dr. Seuss until I stumbled upon a copy of Oh The Places You’ll Go at my grandmother’s house in the 6th grade. I read it out loud-- the only way to read Seuss-- ten times in a row until I got the rhythm perfect.
I’ve only read a few titles since so I know I’ve got a lot of catching up to do, but for those of you who’ve read every last word the good doctor wrote, I’ve got news for you: No you haven’t!
Turns out there are seven forgotten Dr. Seuss tales that are coming to print later this year. The Bippolo Seed and Other Lost Stories comes out in September, and promises to be every bit as good as his classics. The stories were written during the height of his career and some even inspired The Cat in The Hat Comes Back and A Fish Out of Water.
My Dr. Seuss-loving friend Tina wears her devotion on here arm. I hope she has room for a few more.
But if that isn’t enough good news my fellow children’s-bibliophiles, how about this:
After a thirty-year absence Maurice Sendak has written and illustrated a new book, Bumble-Ardy! It’s about a pig whose parents have never celebrated his birthday, so he decides to throw a party for himself and invite his rowdy neighbors to join.
Here’s an early animated version of the story that aired on Sesame Street in the 1970s:
Notice that Bumble Ardy is a boy in this cartoon? When asked why he changed him to a pig for the book, Sendak said it was because “boys tend, generally speaking, to be pigs.”. (Good old Sendak, blunt as always). Other changes have been made as well: Bumble Ardy’s career-obsessed parents get sent to slaughter and he’s sent to live with his aunt. And now the party-goers get pickled on brine instead of wine, (thank you political correctness?)
I’m not sure how I feel about sobered-up version of the story. Sendak was never known for writing “safe” stories, but maybe this is just a sign of the times. How do you feel about this edit?
Both books come out this fall and would make excellent Christmas presents if you’re shopping for me or [other] children. Welcome back old friends, we’ve missed you!
Recently, children’s picture books have been adopted for the iPad, Color Kindle, and Nook Color, making the public wonder if printed picture books are on their way out. Book-sellers have responded to the concern saying that children’s books sales are higher than ever.
I doubt that that’s entirely true. I’m sure they’re counting children’s literature, not picture books specifically-- skewing the numbers. More and more children’s novels are being turned into movies, and that naturally improves the sales of the books they were based on, (whether or not the films were box-office successes). From Harry Potter to The Chronicles of Narnia to The Diary of a Wimpy Kid, children’s literature is immensely profitable, and can be franchised to sell a range of products.
As far as sales of picture books are concerned, think of them like children’s cereals. Cereal producers know how to market to kids, (with sugar-laden goodness, cartoon mascots, and toy prizes). They also know to put the cereals at children’s eye-level in stores, so that kids will badger their parents into buying some. Same thing happens with children’s books. Kids go to book stores with their parents and see bright picture-book covers and then convince the parents to buy the books. Don’t underestimate the buying power of those under four feet tall.
As long as there are book stores, there will be picture books for sale. However if there are no more book stores around it will be a different story. But don’t fret!
Listen, I love my Nook as much as any commuter, but while ebooks are convenient they sure don’t look good on a book-shelf. They can’t be signed; They can’t be bought cheaply due to cracked spines and inscriptions; can’t be collected; can’t be read and shared with a room full of first graders. No one will scourer flea markets in hopes of scoring a first edition digital book. The printed book isn’t going to go away completely-- not as long as people enjoy owning things. The desire to possess what we hold dear runs too deeply for it to just stop.
Make no mistake though, book publishing is changing. But rather than fear the end of a few hundred-year old tradition, writers and illustrators should welcome the new technology. Ebook readers present new possibilities for interaction. Like the popular LeapPad series or the Talk N Play from the 1980’s, children’s ebooks can engage readers rather than passively entertain them-- but ebooks can be taken further than their predecessors. Rather than being stuck with a script and button-pressing, writers and illustrators can now think of new ways to tell stories that involve audio, music, animation, video, puzzles, customization… and eventually 3D.
electronic story books then and now.
The process will be slow to start-- publisher will think that they have to literally translate one medium to another instead of taking advantage of the new freedom-- but eventually someone will create an epicture book that inspires a new genre, a brand-new form of entertainment.
I also foresee custom printing for books not commercially available in print, opening up the publishing world to new sources of revenue. Eventually stories may be tailor-made for their readers, haute couture in dust jackets. Story characters, plots and settings will be fully customizable-- like the book equivilant of Little Big Planet. Readers will be able to design and order books online and have them shipped directly to them, no book stores needed.
I for one am very excited to see what the future will bring. May some one much brighter than me figure out how to build on the new technology. Or I guess I could get on the stick and start experimenting with it myself. Hmmm…
What do you think the future of children’s books will look like?
My plans to go to Tokyo we cancelled due to several events in the city being closed to conserve power. So instead, my boyfriend and I are headed to Las Vegas. We’ll be there until April 5th, so I probably won’t be updating until after we get back.
On another note: The book illustration project I’ve been working on has been shelved. The editor has a lot on her plate and wanted to put the project on hold until later… just when I finally got the book from the library, (I guess inter-library loans can take a month to fulfill, who knew?). At least now I have the text and can do some brain-storming. Looks like it could be a very challenging project. Let’s hope it picks up again.
I’ve been waiting for the last few weeks to get the text for the book and haven’t had any signs that it’s headed my way. I’m not sure what the story is about and thus haven’t been able to do many sketches. The ones I have done are little more than scribbles and aren’t worth sharing.
I’m heading to Japan next weekend, (assuming that the flight isn’t cancelled due to yesterday’s earthquake) and will be packing and preparing all next week. As such, I might not be able to update until after I get back in April. Please forgive the hiatus.
As I mentioned last week, I’m trying to get hired as and illustrator a children’s book. The editor has told me that if I want to be considered for her project, I must submit a few draft illustrations for the book. Typically, an illustrator will be hired based on her portfolio and isn’t asked to create proposals. While I wouldn’t normally agree to do illustrations without being guaranteed the job, I agreed to do some proposals this time.
Why did I agree to this unusual scenario? Because I’m not an experience illustrator. I don’t have a long list of credits to my name, and still don’t have a portfolio. Once I’m an established illustrator I’ll have built a reputation, and won’t need to do many “freebies”,(unless the competition is stiff, and I’m just dying to be part of a specific project). Even though I agreed to do some drafts I still wont do the work for nothing. I made sure to mention to the editor that I’d hold the copyright until I’m hired.
I did a little research on what the going rate is for children’s book illustration. Seems like most professional illustrators charge two or three times what I’m asking for, but with my experience I thought it fair to low-ball the price. As I gain more experience I’ll start asking for more. I’m not going to post what I quoted, but this is a good article on how to quote for illustration work based on hourly-rates, if you’re interested in doing the same.
Oh, and one more thing: The illustrations will be in pen and ink. Only the cover will be in watercolor. So, yay for catering to my strengths!
That’s all for now. I should have some art to share by next week, so stay tuned.
Traditional advice says that before soliciting work, an illustrator must have a portfolio of 12-24 pieces of her very best work.
Solid advice, but wondering if my art was portfolio-worthy in the past caused me to hate everything I created. As a result I didn’t treat my work with respect,(why would I if it wasn’t good enough for my portfolio?). Few pieces were saved or preserved, and lots were given away or thrown out, (for shame!). So today my portfolio is… scant…
…nonexistent might be more accurate.
I haven’t looked for illustration opportunities for lack of a portfolio. Lately, I’ve been in talks with an editor who may want to hire me to do the illustrations for a book she’s publishing. This lead sort of fell in my lap and I decided to pursue the job, portfolio or no. Sometimes I feel it’s best to take a leap before I feel ready, otherwise I procrastinate indefinitely.
I sent the editor one of my pen and ink drawings and she was very interested in my work. She told me she wanted to see some of my watercolor paintings, too. Unfortunately, while I have a lot of knowledge about watercolor, I don’t have as much experience using it as I do with graphite or ink. So over the last couple weeks I’ve been working on improving my watercolor skills. I’ve been painting up a storm and watching tutorials on Youtube to see how other artists use the medium.
Here are a pen and ink drawing I did some months back, and one of my watercolors from this week:
In my experience pen and ink is was way easier to control than watercolor. (Can you tell I have an obsession with birds?)
While neither piece is technically an illustration-- that is, there’s no narrative in the imagery-- they do show my skills with ink and watercolor paints. (They’re also similarly composed; not very inventive I must admit).
Watercolor paints have a mind of their own and can’t be entirely controlled. If you want a medium that will sit, stay, and obey your every command, you’re better off using graphite or pastels. But watercolor has a grace and luminosity that no other medium possesses, and that’s the beauty of it. That’s why I’ve wanted to use it for years. Also, most of my illustration idols are watercolorists. If I want to paint like Mercer Mayer, Jerry Pinkney, or Alan Lee, I’ll need to get the hang of watercolor at some point.
On a related note, I wish I was in Massachusetts right now. Since November of last year through May of this year, the Norman Rockwell Museum in Stockbridge, Massachusetts has an exhibit of Jerry Pinkney’s work. It has 150 of his original illustrations, dummy-books, and process drawings. Since the mid 1960’s, Pinkney has done illustrations for dozens of magazines and more than 80 books for children. And I love him.
Pinkney has been one of my idols since I was seven. I was introduced to The Talking Eggs during second grade story-time, and instantly fell in love with his rich tones, “dappled” brush-strokes, and dark pencil lines. I would just die to see some of his work in person.
Pinkey thinks of himself as narrative artist. He says that he’s more of a pencil-drawer than a watercolorist. He wants his pencil marks to show through the paint, and often “draws” with the tip of his paint brush.
Here’s the cover image he did for a book about John Henry:
Look at the pencil detail in the hammer, hat, and the trees in the background. It almost looks like a paint-by-number, doesn’t it?
There are some great examples of his work in this video, too.
Alright, I’m inspired. If Pinkney is better with dry media than watercolor, and can still create paintings like these, there’s hope for me yet. Reguardless of whether I get this illustration job or not, I promise to create some illustrations for my portfolio, (and not just draw birds floating in empty spaces). Wish me luck!
King Bidgood’s in the Bathtub by Audrey Wood, illustrated by her husband, Don Wood. King Bidgood refuses to get out of the tub, preferring to battle, eat, hunt, and dance in the bath. Members of his court try to convince him to come out, but Bidgood insists that they get in the tub with him. Only the Court Page remains dry and successfully gets him out-- by pulling the plug!
While the writing is cute and uses a nice repetitive rhythm, I bought this book for the pictures. The paintings, (which I believe were done in acrylic), are masterfully executed. The color choices are sophisticated, and the costumes are based on historical examples. Because of the accurate lighting and expressions, it’s obvious that Mr. Wood used photographs. I bet that he and Mrs. Wood posed for the photos themselves, (and had a lot of fun doing it, too).
For those interested in learning to illustrate expressive characters, King Bidgood is a wonderful example of how to do it well. (And if you’re just starting out and not so good at mugging for the camera, this book is a nice reference you might want to get).
Castle: Medieval Days and Knights by Kyle Olmon, illustrated by Tracy Sabin, and pop-ups designed by Robert Sabuda and Matthew Reinhart. Okay, confession time: I’ve never actually read this book. I bought it because I fell in love with Robert Sabuda’s pop-up versions of The Wonderful Wizard of Oz, and Alice’s Adventures in Wonderland, (I have both in storage).
Pop-up books in general have always amazed me, but Sabuda’s books (and the books he’s done with his partner, Matthew Reinhart), are on another plane entirely. One of the factors that makes their pop-ups outstanding is that unlike many pop-up artists, Sabuda and Reinhart don’t rely on pull-tabs to create movement. Instead, most of their illustrations spring to life just by turning the pages. They push paper-engineering to its limits and the results are breathtaking. Their illustration style is also distinct: ususally made from hand-painted paper mosaics that look like stained glass.
As wonderful as their books tend to be, Castle is not my favorite. Maybe it’s because they had to use someone else’s illustrations, but the layouts and pop-ups are somewhat static compared those in their other books. In Wizard of Oz, Sabuda managed to make a tornado that actually spins! In his version of Alice’s Adventures in Wonderland, fifty-two cards engulf Alice and stand several inches off the page. In contrast, most of the illustrations in Castle are done head-on, hardly move, and rely on traditional pop-up construction. They just lack that Sabuda/Reinhart inventiveness.
For example, compare this layout from Alice:
to this from Castle:
Awe, and I was hoping for an epic jousting battle... At least he raises the blade when you turn the page.
Oh wait, here’s the joust:
You call that epic? Oh well, at least I bought it on sale, (totally worth the $4 I spent).
In the video below Reinhart and Sabuda talk about their books. At about 2:30 into it you can see the spinning cyclone from Wizard of Oz in action.
I’m in awe of their engineering skills, aren’t you?
And finally,Frankenstein Makes a Sandwich, written and illustrated by Adam Rex. The subtitle of this book is And Other Stories You’re Sure to Like, Because They’re About Monsters, And Some of Them Are Also About Food. You Like Food, Don’t You? Well, All Right Then., which pretty much tells you the tone of the book.
Full of short stories and poems this book is pure movie-monster silliness. For example: The Phantom of The Opera is driven mad because horrible songs, (like It’s a Small World) have gotten stuck in his head; Dracula has a piece of spinach stuck in his teeth at a party and no one has the courage to tell him; Frankenstein makes a sandwich from the rotten foods lobbed at him by frightened villagers; The Creature from the Black Lagoon forgets to wait an hour after eating before getting back in the water.
From reading other books by Adam Rex I’ve decided that I hate him. No one should be that talented. He has a great sense of humor, a unique voice, and paints in several styles and mediums (pen and ink, watercolor, pencil, acrylic, photo-montage). It’s just not fair. Frankenstein is a poo-poo platter of his artistry and every piece is scrumptious.
My mom kept my childhood picture book collection while I was in college. I planned on sending for them once I got my first job and settled into an apartment, but that didn’t happen. Not long after I joined the working world my mom died due to a life-long battle with illness. After she died, the lot was boxed-up and put in storage. I didn’t want to deal with gathering my belongings or pay to ship them-- nor did I have the anywhere to keep them-- so I just left them there. I now live in a place with enough room for my old collection, but I lack the money to ship 150lbs of books. Once funds are sufficient I’ll have them shipped to me and I’ll be reunited with my childhood friends.
Meanwhile, I purchase new books as my budget allows. The books I’ve been collecting-- “for my future children” I tell myself, but really, who am I kidding?-- are few but good. There are six in all. While I don’t plan on reviewing every book I read in this blog, for my first post I thought I’d share my current collection, (since it’s only wafer-thin). Without further ado:
G is for One Gzonk! An Alpha-number-bet Book By Tiny DiTerlooney by Tony DiTerlizzi. Tiny draws strange creatures for every letter of the alphabet and describes each in rhyme. Everything goes well until some counting creatures hijack the pages and add numbers to Tiny’s narration, (much to his frustration).
Gzonk! combines the silliness of Dr. Seuss and Shel Silverstein, with the “draw-you-own-adventure” quality found in Harold and the Purple Crayon. It also pokes fun at traditional alphabet books. While most alphabet books use alliteration to help children memorize letters, (“A is for an Avalanche of Appalachian Aardvarks Arguing with Aluminum Apples”), Gzonk! makes it a point to not do that. It may look as if the Gzonk is balancing a goldfish on his nose, but Tiny points out that it’s a piranha. And though you might say the Gzonk is green, Tiny insists that he’s “avocado”. All of this adds to the charm of the book.
This is book embodies all the elements of a great picture book: clever words, lively personalities, fanciful imaginary creatures, dynamic illustrations, educational elements, conflict, and resolution. A total winner!
Flotsam by David Wiesner, is an absolutely gorgeous wordless picture book. Combining full-page illustrations and comic-book paneling, it tells the story of a boy who finds an old underwater camera on the beach. Realizing that there’s film inside the camera, he gets it developed. When he gets the pictures back he's amazed by what he sees. If you haven’t seen the book yet I won’t spoil it by telling you what’s in the pictures. Suffice it to say, if you’d been in the boy’s shoes you’d forever believe in magic. I wish I had found something a wonderful as this camera when I was a kid. Honestly, it brings tears to my eyes thinking about it; no wonder this book got a Caldecott Medal.
Growing up, I preferred books with pictures and words. For some reason I thought that wordless picture books were a lazy way to create a story. Maybe I just didn’t find many books that did it well. If Flotsam had existed when I was in elementary school it would have knocked my socks off. This book is amazing; I hugged it the first time I read it.
If You’re Afraid of the Dark Remember the Night Rainbow, Add One More Star to the Night, by Cooper Edens is a twofer. Night Rainbow is printed on one side and if you flip the book over you can read One More Star. The original book (If You’re Afraid of the Dark Remember the Night Rainbow) was published in 1979, and is one of my all time favorite books of any genre. I’m not entirely sure if it was intended to be a children’s book, but I read it over and over as a child anyway.
After hearing me reminisce about it for years, my boyfriend bought me this new edition with 36 more pages than the original! The writing is minimal, (only one sentence every other page). There’s no plot to the book(s). It begins, “If tomorrow morning the sky falls… have clouds for breakfast.”, and it continues, “If you lose the key… throw away the house.”; ‘If the clock stops… use your own hands to tell time.”. One More Star is an extension of the original book: “If you’re at the end of your rope… untie the knot in your heart.”; “If one day you must leave home… draw stars on the bottom of your shoes to light your way back.”. I’m not sure what it all means, but I think it’s lovely all the same.
The pastel illustrations are really pretty, too. In one drawing a man in a top hat stands on a ladder placing a colossal strawberry in the sky with adhesive bandages. In another, giant safety pins hold the horizon together as a couple embarks on a paddleboat ride. Another page shows a woman sitting on a veranda holding a human-sized swallow in a maternal embrace. The illustrations are surreal and add to the strange beauty of the writing. It’s almost ethereal.
I’ll continue with part 2 of my collection in a few days. I don’t want to compete for your attention any further (I’m sure you have other blogs to read and a Facebook status to update). Stay tuned for more books!
My name’s Jovan and I love children’s picture books.
If you’re anything like me you couldn’t get enough Reading Rainbow as a child, never quite grew out of looking for Waldo, and still spend hours perusing the shelves of the children’s section in book stores-- even if you don’t have kids of your own to shop for! You’re a still a kid at heart and make no apologies for it.
Me and Tiberius, my guard tiger.
The goal of this blog is to share my picture book obsession with other like-minded people. I’ll talk about childhood favorites, new books, perspectives on the art form, and other related musings. I invite you to join me in conversation and share your opinions. I’m also an aspiring author and illustrator so I'll keep you posted on my endeavors, too.
I’m new at this blogging stuff so please be patient with me. I’m going to attempt to post once or twice a week as I create content worth sharing.
