Here’s a look at the digital files for the front and back covers:
Photography of the pages was a challenge because I wanted to keep the warm creamy tones of the paper on which I wrote and illustrated the poems. I wanted this book to have a nostalgic handmade feel. By and large I’m pleased with how it turned out.
For the ebook version of Patch La Belle on Storyberries.com I was able to have each page of the ebook be 100 percent my hand made pages. Because it’s not a printed book blank pages aren’t needed.
In the printed books I had to have blank pages in strategic places in order for the covers to attach properly. So I used the blank pages as a chance to visually foreshadow what was to come in the book. For example the little illustration on the blank page attached to the cover visually relates to the dedication page:
And the candy on the book info page (above left) visually relates to the page just before the about-the-author info.
There’s also a visual relationship between the characters on the cover of Patch La Belle and two of the poems inside the book. The paintings of books on the list of “other books by Clancy” also echoes one of the poems.
Yes, I tried to rhyme in my artwork as well as in the words of the poems!
I strongly believe that children (all people really) need exposure to all kinds of images including complex images just as they need exposure to all kinds of food including complex foods.
Homemade cookies are often more robust and complex in flavor, more, more full of love, than a box of store-bought cookies.
I like to think of my artwork, my books, as the visual equivalent of a sheet pan full of homemade cookies.
Thanks for following my progress on this project!
If you’re just joining this party – welcome! – there are details about Patch La Belle and links to past posts about Patch located here.
(There’s a surprise inside this blog suitable for all ages) This week has been a flurry of finishing pages, and the cover art for Patch La Belle. I’ve also been doing the graphic design hocus pocus for both the printed books version and an ebook version for Storyberries.com
As per my last post I’m still thinking about the topics of enjoying and trying things:
There’s the trying that is an effort to make something – like a cake or a book.
Then there’s the trying things so as to learn what you prefer – like a type of food or a hat.
Trying things also gives us abstract information about how much food is too much and what time bedtime is.
It’s an important lifelong skill to cultivate the willingness to try things.
And here’s a photo of me working on the cover art and finishing a few pages.
I slipped all the artwork into archival sleeves so the pages could be sorted without risk of damages. Prior to being sprayed with a fixative and varnish the gouache colors could be easily smeared.
I asked my first editor, my wife Judy, what page order she thought was best – and I sticky-note flagged her page order and it was such a good order that I followed it! And if you’re looking at the picture above thinking “that looks like a lot more pages than have been shown on this blog” – you’re correct, I’ve impishly saved some for when the book is formally released.
My desire to hand make all of the words and images for this book has also resulted in a relaxed way of working – everything exists in the real world and can be laid out on a table.
In the past when I’ve done a hybrid of computer typewritten words and hand made illustrations the page sorting and design was more abstracted. But this time everything was made by hand. The “graphic design hocus pocus” that I refer to above is simply the photography of the finished art and laying out the photos in a software package for uploading to Blurb.com the place that will print and ship the books on demand. A different software package is used to make the digital file for the ebook on Storyberries.com [Btw: the art page photos above are just quick pics for sharing here on social media. I have another camera for photos of art to be reproduced]
Here’s the cover artwork as photographed for reproduction. I think I managed to keep the warm tone of the off-white paper I used to make the original artwork. (Yippee!)
Anyway, showing Patch La Belle to the folks at Storyberries.com generated some excitement there! They said “it’s going to be really engaging and the families will spend a long time reading it and looking over the pictures… it’s so beautiful!”
As I worked this week on a new children’s book (see my last post) titled Patch La Belle I’ve thought more about the importance of enjoying and trying things regularly.
Too often we expect our enjoyments to be big life changing experiences when in reality a good life is a cumulative of many small pleasant moments. To have a good life one has to be able recognize a pleasant moment when it happens (even in the midst of a pandemic). This ability to recognize something enjoyable, while also absorbing it, is a skill to be learned and practiced all of one’s life.
Anyway, I spent time this week rereading my poetry sketchbooks, thinking, writing notes and sticky-flagging pages. Here’s a picture of two of my poetry sketchbooks. They’re small books, about 5 x 3.5 inches and I wrote in them with a fountain pen
As a way of working creatively I find it helpful to collect a bunch of thoughts into sketchbooks for sorting into something, a published book or an art exhibit, later. (I do a version of this sketchbook method with my fine art exhibits too.)
When I work in a sketchbook it feels random, the thought I’m recording feels unconnected to any future book or exhibit notion. The book or art exhibit ideas come later from rereading the sketchbooks and refining elements from my sketchbook. Essentially every sketchbook is a series of very rough drafts along with notes on what inspired me.
Here’s a page from my poetry sketchbook. Please note the margin notes, my thoughts in connection with my poem effort.
That poem with its marginalia sat for a long time. Months later I tried this effort, pictured below, to shape it a bit… still without a firm plan for what published book or exhibit it might become.
That finished art sat in my files for a while, gathering dust, unconnected to any project.
Then more recently when I was talking with the folks at Storyberries – www.storyberries.com – about formats for doing my words and picture combinations for them I remembered my illustrated giraffe poem and shared it with Storyberries. The above format of my poem it turned out wouldn’t work for my future Storyberries projects. So I shoved it back in my files.
Later on when rereading my poetry sketchbooks for the umpteenth time I came across the original poem yet again. As I reread my sketchbook I’m noting themes; multiple thoughts on a topic. The raw poem and my thoughts that inspired the giraffe poem fit with my reoccurring theme of trying things. Seeing this theme and thinking more on the topic is helping me to organize my current project Patch La Belle. So this week I reworked both the text and illustration for this particular poem.
That format fits much better with Storyberries guidelines and with my desire [more on that here] to do an entirely handwritten book. Now the poem has a place, it has become – at least for now – part of my newest children’s book effort. It will stay there till all of my pages for this project are finished and I reread them and decide what ultimately fits together best.
This project still feels “in flux” and uncertain but I just keep working, trusting that as I bring my vague notions into the real world as touchable objects I can see better what to do with them. My project idea firms up as I work. The trick is to roll with the feelings of uncertainty until that point.
And here are some more new Patch La Belle pages that have been done and redone in similar fashion to what I’ve just described. To save time I’m skipping ahead, omitting the sketchbook draft pages, and showing the finished work here.
I’m sure you’re seeing my working method now. My way of getting a thought outside of my head into a sketchbook, however messily, however vaguely, and then working with it multiple times in multiple ways just to see what it can become.
It’s my way of trying out ideas, of practicing enjoying something, of taking a notion and playfully exploring it. It’s also a way to have a small pleasant moment of fun regularly.
Thanks for reading. See you here next Monday?
P.S. if you’re just joining this party – welcome! – and you can see my other children’s book projects on my portfolio page here.
I’ve been asked how I manage projects, like my “Readings From The Heart” exhibit, over a long duration. Half jokingly I replied “one bite at a time”. My joke is in reference to this saying I have thumbtacked to my art studio wall.
Seriously though when starting I create a general big picture, a kind of map for the entire project. Or, if you prefer, an outline. When I design a long project I do a hybrid blend of the two writing techniques: outlining and seat-of-pantsing. I apply these writing technique concepts to fine art making. I described in my last post what my big picture became for this exhibit that opens this week; the exhibit statement and the exhibit catalog Readings From The Heart. Here’s a few photos of the printed catalog. An ebook version is also available.
But when I began, more than 8 months ago, my big picture for this project was extremely vague. It was akin to a map of a forest without many details. It was akin to a book jacket blurb, with barely a teaser of what might be inside. It was akin to a writer’s outline with whole sections labeled ‘more research needed’.
My big picture map/ loose outline, was handwritten on a legal pad. Vague as it was it still served as a starting point. I keep a notebook/file box for each project so I can store all of my notes in one spot for easy updating and consultation as I work by the seat of my pants and a lots of “Very Small Goals” (VSG) for the project.
Then with the vague map in hand I identified some Very Small Goals (VSG) that would help me start and proceed on my project. These VSG’s can be as small as ‘buy a new art boards by Friday’. The VSG’s change as the process develops. The trick with VSG’s is to make them absurdly small, easily achievable and very specific – including what and when. It’s important to also find some way make each VSG fun.
I think of the creative life as an Eco-system rather than an Ego-system – what’s important is participating, showing up and finding ways to keep things fun. I can’t stress enough the importance of playing and keeping things fun. That makes creativity over a long project sustainable. Here’s another saying I have thumbtacked to my studio wall.
As I proceed to work I know many changes to my big picture/exhibit design will happen. I also know I don’t live in the big picture. I move organically back and forth from big, medium and small pictures of a project. It’s okay to be uncertain, to experiment and play. I just remember to update my big picture map as I have new thoughts. Slowly over time the picture map comes into focus. A project also changes as life happens.
In this case I began my Readings series well over 8 months ago. Then the pandemic happened and threw a monkey wrenchs in my plans. For example I had to suddenly adapt the way I was artistically inspired: to change from being inspired by things I experienced out in the world to a stay-at-home life, things that I read about or only happened in my imagination.
So to think through how to cope with the pandemic and quarantine I reread Dr Bob’s Emotional Repair Program First Aid Kit, which I had created some time back, about mental health coping skills and wrote notes, drew pictures in my sketchbook in order to think.
I also worked daily in my sketchbook on the topic of how to adapt finding books to read, and the development of one’s mental life to a stay at home quarantine situation. Eventually this book was published as Another Sketchbook in order to share my entire process.
Being in quarantine meant cooking at home more so I consulted our Favorites So Far book. This is a sketchbook full of recipes that were enjoyable ways to feed body and mind. You could say that my work on these artist books/sketchbooks is the medium picture, the inset details within the bigger map, the more developed areas in the outline.
All of this sketchbook work inspired my fine art, where I developed specific thoughts with ink and gouache on board. You can almost think of the fine art as the most visible leaves and fruits on the artist book “trees”. In the exhibit catalog I’ve tried to show the connections between the artist books and the fine art I created.
Sometimes, as the pandemic continued, the fine art on the topics of reading, cooking and thinking felt too serious. Needing some self comfort and to have some fun I began drawing portraits of dogs and cats. In order to organize these dog and cat drawings I decided to make them into a children’s book as a gift for some kids in our friends’ lives. Many of my adult friends enjoy my dog and cat portraits so I decided to share each pet portrait on my Instagram page as I finished it in hopes of cheering my friends as I created the kids book.
The finished artwork became an artist book titled Alphapets and was picked up by Storyberries.com. A sequel Alphapets Too followed. Many stories begin with love and an alphabet – so this portrait project felt fun, relaxed and like a small picture, a detailed map insert or a sample bit of text to be fitted into an outline. (In fact, I spoofed some of the pet portraits within my larger fine art paintings.) Here are the pages in the big picture book Readings From The Heart that tell about the smaller picture of Alphapets and how it fits in.
The original artwork for both Alphapets and Alphapets Too is on exhibit at the Aurora Gallery during August and September. More details about those projects here with lots of pictures of the artwork.
When all of the artist books and all of the artworks were finished I reread my notes and used those to create the exhibit statement I spoke of in my last post. I also used these notes to create the exhibit catalog Readings From The Heart. That was the very last thing I did for the August and September exhibits at Burnt Bridge Cellars, the Aurora Gallery and Caplan Art Designs. Well, the last thing besides the framing and art delivery.
Below is a photo of all of my artist books that relate to my Readings From The Heart exhibit. Additionally I’ve created a webpage with all of this projects more than 20 fine art pieces and details about each of the 3 exhibits here.
I hope this look at how I work on long projects has been amusing for you. The exhibits open this week. Many of my upcoming Instagram posts will likely be about that. And I will update the above mentioned portfolio pages too.
Then next Monday when I post here I hope to be beginning a new long-ish project; an illustrated poem for a children’s book titled Numpurrs. I found I quite enjoyed the serialized posts I did for Alphapets and Alphapets Too. So I look forward to doing that again!
I’m working towards 3 one-person fine art exhibits this year and I’m using writing techniques to design them. Gathering sources, aka a bibliography, is a starting spot for nonfiction works. So I’m borrowing that concept only I’m creating the books I’ll use as, ahem, source citations.
For example, in my last post I depicted a woman reading and having breakfast. Here is the source for the breakfast within the art… the source is my kitchen sketchbook:
During my exhibits I’ll want to show my sources (like a writer would) so I’ve published a new artist book based on my kitchen sketchbook titled Favorites So Far. The recipes come from both me and my spouse, a kind of memoir sketchbook cookbook… and part of the basis for my fine art. Anyway, here’s a picture of the cover:
That you could make your own meals from this book is a happy bonus…it’s primarily yummy source material!
I’m finishing up a fine art commission for someone’s holiday present. So instead of talking about that – here’s a painting I finished just before the holiday rush began. Titled “Hare Heritage” and created with ink and gouache.
As I work I’m experimenting with the 3rd person omniscient narrator – and other narrator writing techniques. The viewer of Hare Heritage (the third person) can see and speculate on 2 visual story-lines within this painting.
It’s a fun challenge to apply writing techniques to fine art! And using the topic of readers and books adds to the pun.
Around the edges of doing a cat portrait commission and Chef Carosi’s illustrated recipe I’ve done some wine label artwork to be used by Burnt Bridge Cellars for their 2018 Holiday Wine. To meet the winery’s request for art that was “festive but not religious” I used 5 writing techniques along these lines to generate visual art ideas:
Freewriting: I wrote and doodled in my sketchbook concepts that called to my mind a social festive season not attached to religion. This also meant writing down the religiously associated concepts so as to avoid them!
Listing: I wrote a list of items one would buy when planning a casual social event. I doodled some of the items too. I also looked up some event-planning websites and went to a local party store and browsed – adding to my list.
Clustering: I selected a verb/adverb from my free-write or a verb related to an item from my list and wrote further associations that came to mind when thinking of that word.
Thesaurus/Dictionary/Encyclopedia/Google: I looked up words like “party”, “festival”. I looked up historical references to past well-known holiday parties. I read poetry that mentioned parties or was associated with the Holidays. (Twas the Night...) I thought of, and researched, holiday fashions such as the “ugly sweater”.
Consider the Audience/Project Purpose: After I had done the above 4 techniques, in a wild free-wheeling way, I looked at what I had written/doodled from the point of view of the Burnt Bridge Cellars winery and what they wanted to accomplish with the label art during the Holiday season.
Then I created several images based on the above brainstorming sessions:
Cat A List by Clancy
“Celebrate!” by Clancy
Then I sent the above artwork in for the winery owners consideration.
Here below is the artwork they chose and how it looked on the bottles:
The winery was pleased with my work – and has said that their customers were too! (Whew!)
The Holiday Wine inside the bottles is very good (I’ve tasted it!) and I feel like I got to participate in a collective effort to add enjoyment to people’s Holiday Season! What fun!
P.S. I originally got the idea to use writing techniques when generating visual art ideas from reading a book by Umberto Eco titled “Confessions of a Young Novelist“.