WHY I NaNoWriMo

It's been a busy time around the blog. I've added a sale area to cut down on the distracting extras in my studio. Enjoy my post on NaNoWriMo and if you have time, I hope you'll head over to the studio sale on my blog and check out the cards and prints for my botanicals and Faery Medicine characters. They're going fast and I've heard a rumor that the gift giving season is right around the corner...

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I generally illustrate best on assignment from clients. I like the challenge and having a well developed story to work from makes a big difference. Right now though, I don't have any assignments. That's why I'm taking full advantage of National Novel Writing Month or NaNoWriMo. It's time to take the challenge and write a 50,000 word novel in 30 days. This is a great opportunity to create characters for my illustrations.  By living with my characters and going on this journey, I really get to know them and it gives me plenty of material to illustrate in the slow months.

I won't have to illustrate a generic child swinging on a swing or running through a field to show that I can draw a child in motion. I'll have characters that are ready to go when I need them - all with names and reasons for doing what they're doing. Not only that, but I'll know all their idiosyncrasies like whether they're deathly afraid of kittens and whether that's a secret they're willing to share. All these details affect how a character moves in a scene and relates to everything around them. Yuyi Morales taught me that well developed characters can lead to illustrations with more depth. Feedback from my portfolio critiques definitely supports this. 

Is it necessary to write a 50,000 word novel to get to know your characters? No, but it's a challenge I love. It also keeps my portfolio fresh and I'm always surprised at the amazing places my characters take me. Join me?

THE POWER OF THE RIGHT CRITIQUE: A PORTFOLIO CRITIQUE WITH MARLA FRAZEE

In my past portfolio critiques I have received nice compliments on my technique, composition and palette. In the end I usually hear something like this, "Keep doing what you're doing. Soon you will be published." I must admit - I float away from critiques like this with a special shiny feeling, but that soon gives way to the nagging feeling that something fundamental is missing from my illustrations for the children's market and finding "IT" would set me free...

A good start:

My critique with Marla Frazee at the SCBWI LA Conference was different from any other critique I've had and it was by far the most useful. In 20 minutes Marla learned about my illustration background, assessed my work and gave me direction.

The tip of the iceberg: 

Marla said, "If you hear something 3 or more times about your work, really pay attention to what's going on." I hear over and over that my palette is unusual, unique. I heard it again from Marla. It's always a relief to hear that my palette is alive and kicking. The many color theories I studied in college totally confounded me - as did every other art theory. Thankfully, my palette is a completely intuitive part of how I speak visually. Chalk one up to my quest for "IT".

The gift:
Marla went on to talk about the same aspects my other critiques have in the past, but then she gave me a priceless gift. She identified the best pieces in my portfolio (seen in this post), why they were the best and why I needed to do more pieces like them. She saw a departure from generic character development in them and said, "Elevate the rest of your portfolio to the level of these pieces." It was then that I realized what these three pieces had in common. I hadn't relied on photo references to develop the characters. I was inside every one of the characters as I drew them - making the movements, feeling the emotions and making adjustments until - as Marla puts it - I recognized them.

Afterward:
I left my critique with a little bit of that special shiny feeling, but it was different this time. I wasn't floating away. My feet were firmly planted on the ground. I received confirmation on my movement away from photo references and into a new world that resides solely in my head. I love this place, but I had no idea anyone else would enjoy it too. There is something fundamentally solid and comforting about that that isn't in the least bit shiny. In fact, it is a well weathered place with a rather unusual patina and the most interesting cracks. It's a place I want to hang out in...and draw...