Sketchbook Peek

Depending on where I am in the creation process, my sketches will vary in their appearance. If there's a flash of an idea and I want to get it down before I forget it, the sketch will be very raw. Most of the time, I'll be the only one who can see the potential in this sketch. My husband has learned to not ask about what he sees when I'm sketching, because I get easily offended by such questions. :) If I'm playing with a concept, brainstorming if you will, I can spend hours on a sketch and get it pretty detailed and complete. Sometimes these sketches look better than the final product; they seem to have something that disappears once paint gets applied. I'm forever trying to transfer that special something from my sketches to the final painting.
This top page has an idea for a series of alphabet paintings I'm working on, an illustration to add to my portfolio, and a possible new banner for my personal blog. You can see I was playing with a variety of expressions for the crocodile.
The bottom page is cropped to show one of my desperate attempts to participate in Illustration Friday's (Discovery). For the last three weeks I've managed to rough out some pretty decent ideas, but have been unable to carry them through the final stages of painting and posting. (I'm really glad we have a month for our storybook assignment for this very reason.) One of these days.....

sketchbook spoiler

This is a page from a recent idea that I am playing with about a girl and her relationship with her dog. Usually I come up with a story text first, before I make images- I think this may be a backwards way of working for most illustrators- I try to hash out the words and actions of the character before I can visualize what the characters look like. The page also brings to light one of the aspects of illustration that I am trying to work on- drawing characters from different angles. I have been toying with the idea of creating clay mock-ups of my characters so that I can have something to draw from. There are many artists that do this, and since I am much better at drawing from life sometimes, it is something that I am working towards. We'll see.

Sketchbook Glimpse

Here are a few sketches from the Secret Circus book I've been working on. I really enjoy this stage of illustrating, once I'm in the middle of it, but sometimes it's hard for me to get the motivation to begin.

ILLUSTRATE A CLASSIC:

ASSIGNMENT: Illustrate the following extract from The Three Billy Goats Gruff. Originally written by Asbjornsen & Moe, retold by Vera Southgate.

TEXT:"Who's that trip-trapping over my bridge?" roared the troll.
The eldest Billy Goat Gruff's voice was even louder and gruffer than the troll's voice.
"It's me, the biggest billy Goat Gruff," he bellowed.

SPECS: Double-page spread of an 8.5x11" Picture Book. (Two facing pages). Bleed optional. Must leave space somewhere in illustration for the text (you don't have to show the text if you dont want to). text should fall within at least 1" from trim on all sides. Total illustration size with bleed = 17.5"wide x 11.5" deep. Total illustration size without bleed = 15.5" wide x 9.5" deep.



DEADLINE: August 31, 2007. (We have one month to create a finished illustration following with an online critique).

NEXT ASSIGNMENT: Posted on Sunday, September 2, 2007 by Tricia Tharp.

Leeza Promo

A lot has already been said that I too would advise on self-promotion. Here's a couple of other ways to get yourself in 'through the back door'. I guess you could describe a lot of what is listed below as networking but in my book it's still self-promotion and that's the point. Whenever you are out there in the world you just don't know who you might bump into or what their connections are and I am definitely a beleiver in "it's not what you know, but who you know". Sad, sometimes, but oh-so-true. Work it to your advantage in the bestest, nicest possible way you can. And always be sincere.

Don't be shy
If anyone is like me, I always feel intimidated when I go to conferences and attend workshops. Not just by editors and art directors, but also by my peers. Especially if I don't yet know anyone yet. But I want people to meet me and remember me, especially the ADs. So how do I try to make an impression? I face my fears and think of a nice way to make that impression.
• Candy!!!! Courtney, remember this? When I attended Tomie DePaola's class at last years' NY conference, I bought a big bag of sweeties and went round the room and gave everybody a handful for their table — as well as (of course) giving a few to the 'teacher.' As I did I may have smiled and introduced myself, or made a joke or just said 'enjoy.' Did it again in LA and it went down a treat. When you follow up with your thank you letters always mention you were the one handing out sweeties — no-one ever forgets that!
• Look for name tags. Find names you recognize, or people who you have seen blogging and go and introduce yourself. Either by screaming their name and jump up and down the psycho way or politely shaking their hand and telling them who you are and how much you love their work.

Thank Yous
As I mentioned before ALWAYS send Thank Yous. To other illustrators who have helped you; Art Directors who gave workshops; Editors who gave critiques; Publishers — because you really enjoyed a book that you just bought. Thank them for inspiring you or for pushing you to want to work for that publisher one day; events organizers for throwing such a fantastic conference. And don't forget to ALWAYS include a postcard/biz card with a PS: "I have enclosed a sample of my work so you might rememebr me!" Handwrite all your messages and try to individualise them. It takes time but as I have discovered, people really appreciate thank yous.

Be Selective
Sending postcards is effectiive for most illustrators, especially if you are organized well enough to maintain your lists and send frequently. (Something I am BAD at!). However, what I do do is, cut my list down to just a handful of publishers that I really want to work with. And I stay as best I can on top of those — usually twice a year. Some people recommend three or four, but I'm just not at a point where that can work for me. I don't always send postcards, sometimes I send a manuscript or a dummy but I find a way to do something on the envelope out front that is consistent so they know it's me.

Critiques: One-on-One
Whether you plan a day to NYC and make appointments with ADs or attend a conference. Try as much as you can to sign up and/or sit down with an editor or AD for a one-on-one. you'll have their time devoted to you and your work. You can ask questions, get feedback and above all ask if you can stay in touch in the future. If they ask you to send them some more of your work, make sure you write "REQUESTED MATERIAL" on the front of your envelope. You will avoid the slush pile.

Follow-ups
• Good to know if you write AND illustrate: If you have had a one-on-one with an editor or AD whose company doesn't accept unsolicited manuscripts, you are no longer considered unsolicited. The term does not entirely mean "not represented by an agent."
• Always mark your outside envelope you are a SCBWI member. That too, in most cases, sits work on a seperate pile to the slush.

Target editors
Whether you write or not, if you have a dummy, send it to editors as well as ADs. Double your chances of being rememebered and getting your work out there. Also send postcards to editors, you never know! Some of the smaller imprints have editors scout for artwork too.

Volunteer
Okay, for me this has been the best way to make myself known and remembered in more ways than I could have imagned. I volunteer with my local state chapter. I design the newsletter and co-ordinate articles etc, but I also help at conferences and workshops. Whether it is by selling books, making signs, selling raffle tickets or offering to give a workshop — I do anything they want. I arrive early and help set up, I stay late and help pack up. I have even driven editors and ADs to the train station or picked them up. Several in my car at one time! BINGO! I'm not in their face about my work, but politely making my contacts and asking for their business cards. I stay in touch by sending them my work and reminding them where we met.
• Sometimes in return as a thank you for volunteering you might get to attend a workshop for free, be given a free years' membership to SCBWI or the RA may personally introduce you to a publisher or someone who has good contacts.
• Sell prints of your artwork at the conferences. Usually people can buy authors's books, but there are few artists. It's a good way to stand out and I always have postcards for everyone to take. Sold a few prints, too!

Libraries, bookstores and coffee shops
Last one for now. Get in touch with some local businesses and public places and ask if they wouldn't mind displaying a stand with your postcards to give away for free to anyone who wants one. Every couple of months, go in and top up the stack or give new designs. Better to have those left-over postcrads out on the streets in plain view than on a shelf in your house!

Frizz promo

Promotion...the work side of being an artist. Ugh.

Y'all seem to have it covered. The only advice I can add is ...

* get Children's Writer's & Illustrator's Market
(have it, read it - but it's overwhelming...help!)
* check out Trade Secrets by Meg Hunt
(uber talent blogs about tricks of the trade)
* joining Childrens Illustrators portfolio site
(takes a little dough $$$)

The promotion side of illustration is where I'm stuck. Sketching, painting and creating a web site is one thing but getting the right people there is another. I feel I need more advice about the subject than have anything to offer.

Should I join something like a Childrens Illustrators first? Should I try postcards instead? Do both? I tried to create art specifically for a postcard. It's a scene from a story I've created. It came out something like this...


...but, it seems too bland. There's no story to it. I don't think it make a great first impression - no wow factor. Maybe I should use Bayou Betty (like Dee suggested - use something from your current portfolio)?

Taking that next step is so scary to me. I've got tons on my plate at the moment - how would I even fit in an assignment if I got lucky enough to land one? If I did get one could I really pull it off? What if I'm not good enough? Can I ever get out of my own way and just do it?
Oy, I think I need therapy!!

Personal Projects

Hello everyone, just wanted to introduce a few of my new characters that I am working on at the moment called PeppaFam Series and would like you all to meet Mr. Habanero Chili —

Self Promotion

I think Dee and Johanna have given some really great tips about self promotion. I have found that my website is my biggest advertisement with conferences getting a large amount of hits and targeted postcards running a third.

A few additional tips on how to get the most from this advice.

Track your website hits.
Statcounter, and google analytics are just two free tracking sites. It really helps to see who is looking at your site after a conference or postcard mailing. I saw that a particular publisher was really looking at my site extensively after my last postcard mailing and I plan to prepare a complete package to send to him to continue his interest.

Participate in collaborative online ventures.
illustration friday, picture bookies showcase, sugar frosted goodness are just a few examples of places to share your art and network. I don't know if any art directors frequent these sites but they are a great way to make friends and connections. And you never know where the next connection will lead you.

At conferences, plan to talk.
I love conferences. They are a great place to hear fantastic advice, meet people who share your passion, get feedback and expose your work directly to your intended audience. Don't go into a conference expecting to walk away with a deal or on winning a top prize but do go in with lots of business cards and your friendliest game face on. I met Leezy, Dee and Johanna at the NY SCBWI conferences as well as many other cool illustrators and writers. Take lots of business cards and talk to the person sitting next to you. I met super talented illustrator John Rocco that way.

Use your postcards wisely.
As Dee suggested, if you have a small budget research your audience and use a site like the USPS postcard site which is one of the most reasonable I've found. (lower your saturation by 15%) Also, choose your image wisely. I've done about four postcard mailing and had the most success with the piece above.

Use it all.
For my last postcard mailing I put the question on my blog about which image to send. I used the advice of my friends that I have met through illustration friday, at conferences and through my site and then tracked the hits I received using sitemeter and google analytics.

The key is to put yourself out there in as many ways as possible. The more people who see your site, the more support you'll get, the more friends you'll make and you might just hit the right person at the right time.

Self-Promotion

I'm at the beginning of my illustration career so I haven't really started heavily self-promoting. You know, I want to wait until I'm "ready" and everything's "perfect." Fact is, I'll need to do it before either of those things happens, or I'll never get started! Here are just a few of the many methods of self-promotion that I've discovered. (And yes, some are repeats of Johanna's recommendations.)

1.Research and gain access to as many kinds of resources in the field as possible. Joining something like the SCBWI is just one example of a resource that provides information in the form of booklets, newsletters, listserves and conferences to its members. It also provides you with the chance to network with others in your field, leading to career opportunities and/or wonderful friendships!

2. Become friends with your mailperson. It's been acknowledged that promotional postcards can be a lot of work, but it's still one of the best ways to go about getting that AD's attention. Don't create a piece just to put on a postcard. Go through your portfolio and pick the best piece. Then create a mailing list from that fantastic resource: CWIM.

3. Getting yourself a website is probably the most obvious method of self-promotion. Remember: a website is not a static tool! You must update it at least seasonally to make sure the art you're showing reflects the most present you. Also, put some work into making your site easy to find. Where on google do you want your name falling when someone types in "illustrator?"

4. The one method of self-promotion that I didn't consider until recently was a link exchange. Either on your blog or on your professional website, have a page of links dedicated to other artists. They don't necessarily have to have your same style, although that might be something to consider. You might have an AD or other interested party be directed to your website through a link on another artist's page and vice versa. This reciprocal relationship costs nothing and benefits everyone.

Obviously there's a lot one can do to break into the field. After deciding to pursue illustration, and having spent some time researching all I need to do, I've realized that nothing just comes to anyone. No one is "discovered." Every successful artist put themselves out there in some way or another. We all just need to work at getting ourselves to the right place so that when the right time comes along, we're ready.

Self Promotion

Hello Friends!

I happen to believe that approaches to self-promotion should be as individual and personal to you as your very own favorite pajamas. They should suit just you and your style, whatever that may be.

I've been making a living as freelance painter and illustrator for ten years, but I've gone about it in some pretty strange ways, from selling my work on the street to making little documentaries of my painting process. Here are some things that have worked and are still working for me today:

1. Go straight to the people.

I think that going to craft and art shows is a great way to make some money, hone your craft, and gather some really loyal fans. I've found that having this kind of structure around your artwork (a fan base, and knowing what pieces of yours will sell the most) is really attractive to publishers. One of my favorite fairs of all times, is the Renegade Craft Fair. There are two in Chicago and one in Brooklyn. Both are amazing events, but there are fairs all over the country, all of the time! Something I highly recommend. I always print up plenty of postcards and business cards to take along.

2. A website!

Duh. They're awesome. You ladies already know that!

3. Mass mailing list

I try not use this too much, but when I do I feel like I've wielded a really powerful tool.

4. Conferences

Like the SCBWI conference last February! So much fun and a great place to make contacts. That's where I got to meet Courtney and Dee in person, and met some folks that led to two fantastico book deals!

So there are a few things that keep me moving forward. Have a great Monday, happy promoting!

Personal Favorite

I can't post the image that I like most at this time, because it's not published yet. However, this image here is done in the same technique. It "happened" one day that I had a free assignment, so I played around a bit, ending up with this combination of vector style (Illustrator) with airbrush (done in Photoshop), plus swirlie strokes (done in Painter). It seems a nice update to the cooler vector-only style, and adds some depth. After showing this style on my website, I'm getting requests to design in that style =)

Personal Favorite

This is for a story I wrote for at the request of an agent. It represents possibilities and opportunities to me even if it is a completely different direction than I thought. It is one of the few times I have completed an illustration about an animal. Of course, it is also my favorite because it is about a superhero pig. Who wouldn't want to see their own piggie dreams fly?

Personal Favorite

I'm cheating a little bit here as my favorite work isn't currently in my portfolio. I wanted to post about it anyway, because I think it's an important step in my development as an illustrator.
This piece was created for my son's nursery. I realized as I was painting it (acrylic on canvas)that since no art director or anyone else "in the field" would be seeing it, I was free to follow whatever whim hit me. This led me to play more with color choice and brush movement, with no thought to my current "style".
As a result, I'm more in love with this piece than any other piece currently tucked into my portfolio. I feel like it shows more of who I am as an artist.
I've labored over many of my portfolio pieces: vigorously critiqued myself along the way, analyzed layout, palette, line quality, etc. By doing that I think I unconsciously box myself in. This painting will serve as a reminder to let go as an artist, and I might be pleasantly surprised with the results.

Tree Sleeper...

Happy Monday everyone!

Well, this is kind of a new painting. I haven't done a lot of night scenes, so it was an interesting thing to try.

I've been a little obsessed with trees this year, and I've been stuck on repeat, painting them again and again. I guess that's kind of just how I learn to make things better. Just as quickly as the obsession comes, it will go again. Last year it was birds, birds, birds!

I've found that my favorite pieces usually come from some kind of mistake. Spilled paint, an ink blotch, an angry wash that I threw on top of something that just wasn't working...In this case it was adding the stars when the blue background was still a bit wet. The result was pretty dreamy!

Personal Fave

I recently illustrated a book cover called Playing It Their Way. I was very happy with the outcome of the illustration for its simplicity. It's a book about how to teach piano to children with special needs. Other books that appear on the shelf in this genre are rather boring — just type mostly — so to bring this book to life in an illustrative way meant a lot to me. It's digital/mixed media: this is my secondary style that seems to create a lot of interest with art directors and editors when I have critiques, so I thought I should continue to try and develop it.

Five Alive!

Elephant with Blue Balloon. Acrylic & Indian Ink.

Things that may (or may not) tell a bit about myself

5 Reasons …
Why I'm hooked on illustrating (and authoring) children's books
• My love for creativity has escalated and taken on a new meaning now I have a little girl
• I love to tell a story with silly, wacky words that are fun to say out loud
• I've got to a point in my commercial art career where I really think it's time for a change while I'm still young enough ...ahem ... I think!
• To create a body of work that will bring joy to children all around the world (cheesy I know, but oh-so-true)
• It's a wonderful industry to be a part of — much different to adult publishing — where I feel like part of a global family. The support of fellow illustrators, authors and others who love children's books as much as I do helps me push myself forward

4 Goals …
for 2007:
• Launch my new book: think.jot.draw
• Finish revamping my Web site
• Getting some new work together
• Finish the revisions of my four/five manuscripts, three of which need finished dummies ready to send out to publishers in the autumn

3 Sources …
of recent illustrators who inspire me:
• GLIN DIBLEY I love his work because of his unusual perspectives, angles and approaches to assignments. His work is layered, textured, and simply delicious!
• DAVID SHANNON His books are refreshing, full of fun, energy and texture.
• IAN FALCONER (Creator of the Olivia series) He writes and illustrates — and his books are just so clever but simple and to me, hilariously funny.

2 Styles ...
I'm trying to define for myself:
• Acrylic — something free, flowing and full of texture
• Digital/Mixed Media — combining painted textures and pencil lineart with digital layering

and 1 ...
person to thank for leading me to children's illustration:
Tricia Tharp — yes that's right, our very own Frizz! It was an illustration of hers that led from some research on SCBWI.org to IllustrationFriday.com and back again. If it hadn't been for that day I'm not sure I'd have pursued the industry in quite the same way but I am so glad I did. And here we are sharing a site together — cheers Frizz!

5, 4, 3, 2, 1 from PotatoMammaDesign

(illustration 2007, for German magazine DECO)

Hi guys!
Since I got mixed up last time and posted on an own topic, here come "my numbers" now!

5 illustrators who inspire me (and 500 more!):
* Tokidoki
* Nilludesign
* Cedric Hohnstadt
* Tara McPherson
* Hulagirl Design

4 jobs from my past:
* airline catering conveyor belt robot
* public swimming pool welcome desk girl
* life insurance clerk
* housekeeper and waitress on guest ranch

3 area's of art that I love:
* learning about marketing, promotion, and ways to improve my business
* girlie illustration
* trying new techniques and suddenly something cool pops up!

2 things I can't live without:
* potatoes (duh)
* internet connection

1 big dream:
* to live in a house with my sweetheart with view on the ocean from a jacuzzi, a wooden back porch, and making a good living working as an illustrator working from home (dream on! haha).

Astrid
PotatoMammaDesign.com

Better in the Bayou

There's Betty of the Bayou
and her itty, bitty babies.
They're scaly and they're squirmy
and they really drive her crazy.
So she scoops them in her mouth
when the night is long and hazy.
She sits and rock and knits
because you know that she ain't lazy!(c.frizz)

Betty's probably my favorite so far. The bayou's so magical and mysterious. She was actually fun to paint and it just feels like it came from me. When I discovered the world of art blogs I was so in awe of all the great stuff out there. I wanted to paint like this person... I wanted my art to look like that artist's. I think most people start out that way. But there's a point where that has to change. You've got to limit your blog surfing and sit with yourself. There's a lot going on in there if you look hard enough. Of course, I still stalk the bloggin' artists and I still think, "...why didn't I think of that?" But hopefully one day some new up-and-comer will say the exact same thing about me. Wouldn't that be cool?

I'm off for a vacation but I'll be back. Keep the soup warm for me!

Introducing artipantz!

Hi everyone, my name is Rebecca, aka Artipantz.

my 5 favorite places to create artwork:
1. in my classroom, as my syudents are working
2. at my art desk, as my husband "works" at the computer
3. at the dining room table, with my daughter as she spreads glitter glue all over her body
4. in bed, while my children nap
5. in my head, where most of my artwork simmers and boils.

4 stages of my art work (so far)
1. ages 0-15 "The Early Years"pen and ink illustration, various mixed media, especially playdough
2. ages 17-22 "The Earthy Years" Ceramics and life drawing
3. ages 23-29 "The Hipster years" Oil paintings of naked women
4. ages 29-33 "The Birthing Years" Illustration again, also the creation of two little people and approximately 575 young artists (and perhaps some future convicts who appreciate Picasso)

3 illustrators that inspire me
1. Ezra Jack Keats -the perfect collage
2. Peter McCarthy- the perfect dog
3. Patricia Pollocco -the perfect grandma

2 places where I feel completely at peace
1. At the ocean, sitting on a beach chair next to my mother
2. Between 1:30 and 3:30 if stars align and both of my children are napping

1 goal I have as an artist
1. to be able to call myself an artist without giggling

Waiting

Howdy from Texas.

I was born and raised in the Lone Star State and my mom and sister still live here. So, I get to come back and visit often. This trip is the first one in a long time that is just for fun and I am determined to relax and not stress. Why would I be stressing, you ask? I'm in the waiting phase. Sitting in the green room waiting to hear if a story is up to par, worth a second or even a third glance. This is a game we often play in the creative field and I came across a few links that deal with it well.

Roz talks about waiting for the next job and Robin and Eve at the disco mermaids write about the torture of waiting for that first glorious and elusive phone call.

Good luck to all of us in the holding phase, now I'm gonna go play.

Happy Monday!

Hello Friends,

Johanna here. Most people call me Johanna, though my family calls me Hanna and my childhood friends call me Hanner.

Hooray, I’m so excited to be a part of this group soup!

Stone Soup was one of my favorite stories as a kid, so I am doubly excited about the concept of everyone bringing something special to the pot.

Let’s see here

5 of my favorite things to do:

*swimming in rivers, oceans, lakes, or pools..
* drinking iced coffee while writing stories for kids.
* Painting while listening to books on tape.
* Watching 3rd Rock from the Sun while eating dinner.
* Dancing like crazy at weddings.

4 of the instruments that I like to play:

* baritone ukulele
* violin
* banjo
* glockenspiel

3 of my favorite foods:

*tofutti cuties
*yam fries
*iced toddy coffee

2 of my favorite kids books:

*From the Mixed Up Files of Mrs.Basil E. Frankweiler
*Just Only John

1 of my all time favorite illustrators:

* Errol Le Cain

PotatoMammaDesign?? And Children Book Contest

Yes, pretty crazy name, I know. However I do love potatoes, so one silly day, I chose my email address "potatomamma(at)...". I got such cool reactions that I kept the name for my business: PotatoMammaDesign.

I specialize in illustrations for ladies and girls, but I'm about to expand into the world of children illustration too. It's one of my dreams to one day get published in a children book. Guess what, last month TWO children book authors asked me if I'd like to illustrate their story. I see you frowning. Yes the authors asked, not a publisher. After catching up on the basics of the market I found out that it's not such a good idea for a children book writer to submit a manuscript to publishers together with illustrations from another person (your own is another story).

I've now decided to create a dummy with 3 finalized illustrations for one of the authors, and we'll take part in a contest for unpublished children picture books that closes on August 1 2007. No one loses, I'll be able to practise, and use the images in my portfolio later. Needless to say, I've got to get to work immediately! Cross your fingers that I'll manage to come up with a dummy I won't have to be embarrassed to show ;-) (Pressure's on!). I'll keep you posted!

For you children book illustrators and writers out there: If anyone needs translation of the terms into English, feel free to send me an email! I'll be happy to help.

Astrid

Frizz here!

My name is Tricia but everyone calls me Frizz. I'm so excited to be an ingredient in this here soup. Here are my five...





5 illustrators who inspire me:
* Calef Brown
* Christiane Engel
* Caroline Hamel
* Jessie Hartland
* Irene Schoch

4 jobs from my past:
* contact lense cleaner
* horse stall mucker
* retail assistant manager
* kid's textile artist

3 area's of art that I love:
* doodling
* embroidery
* photography

2 things I can't live without:
* Caribou Coffee peppermint hoof mints
* my I-pod nano

1 big dream:
* to live in a cabin on a hill in the woods where I make a living as a full time artist.

Happy July 4th!

Following up on Dee's meme...

My name is Courtney and

5 sounds like a good number to give myself to make it as a published illustrator. (I think I'll start the countdown in a few years) After that, maybe I should take some vocational training. Air conditioning repair, perhaps?

4 is how long I will have lived on the East Coast next February.

3 is the age of my daughter and what an age it is.

2 is the number of years I have been painting my illustrations with watercolor and posting them on my blog.

1 movie that I love above all others is Fiddler on the Roof. (I also have the soundtrack in my car. So if you see someone singing tradition! and If I were a rich man with a 3 year old singing along in a car on the east coast, it's probably me.)

My name is...

Dee and when I grow up, I want to be an illustrator. Here are five things about me you might not know:

5-Is the unofficial number of years I've allotted myself to make a go of being a professional freelance illustrator. (It's also the number of tattoos I have.)

4- I have to make a conscious decision to put people in my illustrations. Illustrating animals is as easy as breathing for me.

3- Maurice Sendak is one of my favorite illustrators (although he supposedly disliked children), along with Holly Hobbie. I also like Peter Brown, David Wiesner, Peter Reynolds and Marie Louise Gay-although I can't look at their art too much or I get a huge inferiority complex.

2- The number of times I've attended the SCBWI National Conference in New York. It was invigorating and inspiring both times. Someday I hope to attend the L.A. Conference and get all I can out of it.

1- This is the year I am making my official leap into professional illustration. I hope that with a lot of hard work, the support of the fabulous soup group and a lot of crossed fingers, I'll be able to complete a few assignments by this time next year.

(This scene is from a collaborative art project I was part of last year. I had every intention of posting new art today, but my one month old had other plans.)

David Ezra Stein with his second book, NED'S NEW FRIEND, is appearing on Tuesday, July 10 from 5-7 PM at Books of Wonder, undoubtedly one of the world's coolest children's book stores. The store is at 18 West 18th Street in Manhattan.

There will be cupcakes!

You can view David Ezra Stein's work here.

Was I right to post this here rather than the Group News Blog?