A Conversation with Lauren Castillo, illustrator of Imagine by Juan Felipe Herrera

 

By Cecilia Cackley

This interview has been condensed and edited for clarity.

Cecilia Cackley: This is your twenty-first picture book! You’ve written three of them yourself, but you’ve also worked with a wide range of collaborators. How do you feel like your process has evolved as an artist?

Lauren Castillo: It feels like I’m choosing a different medium for each project, but somehow it ends up looking like the same type of art to others. Imagine for instance, doesn’t look too different from Nana in the City, but to me, I definitely worked in a lot of different ways to make the art. For example, because this book had so many landscapes, I really wanted to embrace that imperfect, texture-y feeling in a more abstract way. I wanted to have a looser style, so I used something that I had been playing around with in workshops with children—printmaking by painting on foam. It’s really fun because you don’t know what you’re going to end up with until you run the print. That’s kind of the beauty of printmaking, that nothing is going to be exact and precise. I think my art, over the years, felt like I was tightening up and it felt a little too crafted. I think it was because my drawing wasn’t as strong at first, so it gave this energetic, free feeling to the work and I liked that. I’ve been trying to figure out ways to trick myself into loosening up. For this book it was helpful to use this type of printmaking for the backgrounds. I would paint on the foam and then flip it over and stamp it on the paper. I work in a much smaller scale so when it’s enlarged it gets even more texture. With each book I need to use different types of materials to keep things interesting.

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CC: Is this your first non-fiction picture book about a living person?

LC: Yes.

CC: How was the research process different than for, say, your book about E.B. White?

LC: It was very different! I did not interact at all with Juan directly. I sent some questions through the publisher Candlewick because it was a poem and it was non-descriptive in terms of the locations and the years and that sort of thing. I had this vision for it so I didn’t want to know too many details but I wanted to gauge the era, the decade and the locations that he was speaking about. I had looked at some photographs of him and most were current so I decided, although I probably could have gotten some childhood photos of him, to do my own version of him and what I imagined he looked like when he was younger. So the character development was done without photo reference. But they gave me some locations to work with so I could get photos from the computer for those. It was a lot freer than working on E.B. White’s life, for example, because that was very descriptive and specific, even down to the animals that were in the barn.

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CC: Would you say this is the most poetic text you’ve ever worked on?

LC:  Probably. I would definitely call some of the other books I’ve worked on poetic, or poems but this feels most definitely like it was pulled out of a poetry book and it’s gorgeous. The first time I read it I thought “Well, I have to illustrate this!”

CC: Tell us a little about your own Latinx family background.

LC: My dad’s father is Cuban, and my mom’s mom is Puerto Rican.

CC: Is this the first book by another Latinx author that you’ve worked on?

LC: It is, which I was very excited about. I grew up asking a lot of questions about my grandparents’ lives and their parents’ lives, coming to the United States, and it seemed like I was more interested in my background and culture than a lot of my friends. I did a lot of reports as a kid, interviewing my grandparents. I would be curious to see how connected to my art Juan Felipe was, if there was anything that reminded him of his own life or if I took liberties that were very different. It would be interesting to have a conversation about it.

CC:  Do you think that you’ll ever make any work connected with your own family history?

LC:  My Puerto Rican great-grandfather was a musician, and when he moved to New York, his family lived in the Spanish Harlem area. My grandmother told me stories about when she was young and he had a band that would play around different venues in Spanish Harlem. So when I moved to New York for graduate school, we had to do a book project, and I decided I wanted to do a visual journalism project about this really old music store in Spanish Harlem called Casa Latina. I went there and asked them if I could spend a month coming in and out of their store and do drawings, so basically I did this whole visual journalism project that I turned into a book about the people in the store and how they interacted with each other and their customers. I would have conversations with them and take notes, so it was kind of like a diary, but it included drawings from the shop and portraits of people that work there, and I called it Casa Latina. I’ve wanted to turn that into a picture book at some point because when I was going to the store I had it in my mind that although that store wasn’t around then, that’s the same neighborhood that my great-grandfather was spending a lot of time in and playing music in. So I got really invested in that area, and for a while, I’ve been keeping some drafts of stories that I want to do, some ideas to turn that project into a picture book. So yes, I definitely want to do a project that connects to that Puerto Rican background.

CC: What are you working on now?

LC: At the moment I’m working on a very unusual project for me, which is completely imagined, because so far, my three picture books have all come from some sort of life experience, and so I’m working on this early chapter book. It’s about the hedgehog character that I had drawn that kept popping up in my sketchbook, and it’s all animals and one human character, and it’s very much a made up story. And also it’s a long format book, which is a lot of fun since I don’t have a lot experience with that!

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MORE ABOUT LAUREN CASILLO: Lauren studied illustration at the Maryland Institute College of Art and received her MFA from the School of Visual Arts in New York City. She is the author and illustrator of the 2015 Caldecott Honor winning book, Nana in the City, as well as The Troublemaker and Melvin and the Boy. Lauren has also illustrated several critically acclaimed picture books, including Twenty Yawns by Jane Smiley, Yard Sale by Eve Bunting, and City Cat by Kate Banks. She currently draws and dreams in Harrisburg, PA. You can find out more about her at http://www.laurencastillo.com/

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

A Studio Visit with Illustrator Zara Gonzalez Hoang

 

By Cecilia Cackley

Zara Gonzalez Hoang is an illustrator who is just beginning her career in children’s literature. She created the art for the picture book Thread of Love by Kabir Sehgal and Surishtha Sehgal and recently sold her book A New Kind of Wild which is inspired by her father’s experience moving from Puerto Rico to the United States as a child. We met at her studio in Falls Church, VA to talk about her journey to becoming an illustrator.

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Cecilia Cackley: Tell me a little about your path to becoming an artist

Zara Gonzalez Hoang: When I was little my dad was really artistic and he used to draw with us. Some of my favorite memories are of me and my dad just laying on the floor in the porch or something and just drawing horses. My mom was a teacher so we always had paper and pens and I just always drew as a kid. And I think, too, everybody has things in their growing up that are probably not all that fantastically awesome and for me drawing was my escape. I would go hide in my room and draw and make up all these different worlds. I really liked to combine animals into new animals. My favorite was the “horseger”—it was a horse and a tiger which were my two favorite animals.

I’ve always been doing art, but I never considered doing it seriously. I went to college and took art classes but I also studied computer science and that was the practical side of me. There’s always been these two parts of me, the very logical side and the creative side. I’ve always been drawn to computers, and I’ve always been drawn to art. I majored in art, but then I worked doing network administration and web design—merging art and computers in a way. I didn’t start seriously drawing until the iPhone came out and I started a company with some friends making apps for kids and I illustrated them.

I never wanted to do kids books, it’s so weird! And it’s because I was afraid. I was afraid that I wouldn’t be able to be consistent, that it was too much work, that I just wasn’t good enough. After I had my son, and I was reading all these picture books, I came back to this place I really loved that I thought I couldn’t have anymore. I always looked at picture books and wanted to buy them, but I always thought, I don’t have any kids, I can’t buy them, which is such a silly thing. There’s no reason why you can’t have these things you want just because you’re not a child. It doesn’t mean they’re any less beautiful or valid. I’ve always been someone who hid that part of me. I always hid my sketchbooks. It was such a personal part of myself that I felt I couldn’t flaunt it.

It wasn’t until I had my son that I felt like I really had permission to do this. I was looking for something to do with more meaning, and I realized–or my sister realized for me–that I have this gift for art and for writing. So I started putting together my portfolio for children’s books, and then I started going to SCBWI conferences, and I realized that everyone there was just like me: super nerdy about books and picture books! My friends talked me into submitting my work to agents, and I got a super awesome agent who I love. When I queried agents, I queried them as an illustrator who wanted to write, and I sent my portfolio but not any writing. The reason I knew she was the right agent for me was that she read my story A New Kind of Wild, and she told me how to make it better, and we spent the next year working on it to get it to a place where we could send it out. I feel like I finally came back to where I was supposed to be.

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CC: You started out working digitally, but in your studio, you showed me more traditional media like pen, ink, and watercolor. How has that process gone?

ZGH: When I did Thread of Love, I didn’t think I’d want to do anything the traditional way. I didn’t think I was any good at it. I liked digital, I liked the control of it. So when I got the manuscript of Thread of Love, that was how I was going to do it. I could see the color palette as soon as I read the manuscript. I don’t know if it’s my background in graphic design or what, but I saw the color palette first. It wasn’t until after that project that I started moving into more traditional media. Two things happened. One, I started thinking about the things that I liked and the illustrators and artists who I love the most work traditionally. There seemed to be a disconnect for me between what I did and what I liked, and I wanted to bring that closer.

When I started writing A New Kind of Wild, it had originally been digital to me, and that’s how I submitted my dummy, but I wanted to do it traditionally because in my mind that’s how it was. So I was doing all these studies of my characters traditionally and posting them on Instagram. My editor was creeping on me, and she saw them and she asked me if I would consider doing it traditionally. It was like she was seeing into my mind or my heart because that’s what I wanted, but I didn’t feel comfortable enough to say what I wanted. I’m not at the point of making the art yet, so it may end up being digital, but it may end up being a hybrid mix. And that’s fine because I have a lot of comfort with the ability to erase mistakes digitally.

I’m a perfectionist in some ways. I don’t like the mistakes and even when I’m working traditionally because I’m using watercolor and colored pencil and ink, the things I love about watercolor I also hate. If you have a big swatch of color, you’re going to see the way the water moves in that swatch of color and those imperfections are the things that make it interesting.  I’m constantly fighting with myself to be okay with the imperfect, but I want to try and embrace it because the reality is, life isn’t perfect. I think there’s more emotion and interest in things that are loose rather than tight.

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CC: Thread of Love is about a very specific Indian holiday, Rashka Bandhan. What was the research process like for that?

ZGH: I am not Indian, so I had to do a lot of research to make sure I got things right. It’s something that was constantly on my mind while I was working on the book. Since I’m not of that culture, I worked really had to get it right. I checked out all the books I could from the library about the holiday, and I relied a lot on the authors telling me that I was portraying things correctly.  I also talked to friends who are Indian and who celebrate Rashka Bandhan. I wanted to make sure my illustrations depicted Raksha Bandhan accurately, especially since it is a holiday that is not one that I celebrate.

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CC: A New Kind of Wild is inspired by your own family history, so what has the research process been like for that?

ZGH: I wrote this book without thinking that it was about my dad’s story—it wasn’t until I was reworking the book that I realized that was the story I was telling. My dad passed away, and he’s not here for me to ask him, so a lot of the stuff I’m relying on is memories of the stories he told me about him growing up. My dad grew up in Puerto Rico with his grandmother until he was ten or twelve, when his mom was in New York. So, in the book, there’s a page where he’s leaving his grandmother. Pieces of my dad’s story are woven through like that. When we went back to Puerto Rico, we went to my dad’s house that he grew up in, so there will probably be some of that place in the book.

CC: What are some goals you have for where you want your career to go as a writer and illustrator?

ZGH: I think where I want to go does involve being a writer, so it means telling my own stories, and that’s both on the Latinx side and also on my other side because I’m half Puerto Rican and half Russian/Polish/Belaruski because my mom’s family came from a place where the borders kept shifting. I want to tell stories about people who are mixed. I have all these ideas for stories about things that are interesting about being from two cultures. I’m also Jewish and I think I’m the only Jewish person I know who had a big pork roast on Hanukkah sometimes because Hanukkah and Christmas fell on the same day and we always had a big pernil and arroz con gandules. I want to write more about that experience. There aren’t really a lot of stories that talk about what it’s like to be part of a family where you eat pho and also matzo balls. It can be confusing to be in the middle of everything. I want to start telling stories about my reality and the reality of kids that are mixed growing up. I don’t really feel that there are books out there that are telling those stories in a way that shows all the fantastic things about having multiple cultures.

CC: What advice do you have for other Latinx artists who are just starting out?

ZGH: The only real advice I have is to find other people that are doing it and try to make friends. One of the best things I ever did was meet someone who created a critique group that let me in. Having people to talk to who understand what you’re going through is priceless; even if nobody’s published, just having somebody to say keep going. It’s hard to talk to people who aren’t trying to be in publishing because they don’t understand how weird this industry is. There’s no rhyme or reason, it’s just persistence and luck. The advice is keep going and find people to share the experience with.

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

 

Spotlight on Latina Illustrators: Andrea Galecio, Saskia Bueno, and Jeannette Arroyo

 

By Cecilia Cackley

This is the seventh in a series of posts spotlighting Latina illustrators and this time we are shifting focus slightly. Instead of interviewing illustrators of picture books, I had the honor of speaking to two artists who work on book covers and an artist who is publishing her first graphic novel soon.

 

Andrea Galecio

Andrea Galecio is a designer and illustrator from Lima, Peru. Her art can be seen on the cover of Sal and Gabi Break the Universe by Carlos Hernandez, released in March 2019 from the Rick Riordan Presents imprint at Disney/Hyperion.

Q: What or who inspired you to become an artist?

A: I always liked cartoons and then I began to draw little by little. But in adolescence I learned to draw better because I found a page that was called Deviantart and I saw many great illustrations of many good artists, that inspired me a lot.

Q: Tell us something about your favorite artistic medium—why you like it, when you first learned it, etc.

Related imageA:  I work in all art media, traditional and digital, but I like more the digital art. The illustrations I make in Photoshop, there are a lot of great brushes. I learned to draw in the digital medium when I was 15 years old and at the beginning I was watching tutorials, exploring different techniques, then I studied at the university and improved my skills as an illustrator.

When I learned to draw in traditional and digital, I created a channel on YouTube where I talk about being an illustrator, I give advice and I love it.

Q: Please finish this sentence: Books with pictures are important because…

A: … they help us improve our imagination a lot more and give us a guideline about the literary world.

 

Saskia Bueno

Image result for saskia buenoSaskia Bueno is a graphic designer and lettering artist from Barranquilla, Colombia. Her work can be seen on the cover of Sal and Gabi Break the Universe by Carlos Hernandez.

Q: What or who inspired you to become an artist? 

A: Well I believe art runs in my family. My grandpa was a painter. I remember he used to sit at his table, which was full of papers, colors and art stuff, and he would paint for hours. Sometimes he would let my brother and I paint with him. He would give us some sheets and colors and he always loved what we did with them. Years later, my brother began to study Graphic Design, and I liked so much what he did. I even used to help him with his homework, and that’s when I realized I wanted to study Design, too. So yeah, if I am an artist today its thanks to my family.

Q: Tell us something about your favorite artistic medium–why you like it, when you first learned it, etc. 

A: My favorite tools are, without a doubt, my iPad Pro and Procreate. I fell in love with the iPad a few years ago, when I saw an artist on Instagram and her beautiful work. So the following week I went to an Apple Store and got myself one. What I love about the iPad is that is extremely practical and working with Procreate means having a world of possibilities. You can create sketch, draw, paint landscapes, portraits, watercolors and of course, letters, and that is just amazing.

Q: Please finish this sentence: “Books with pictures are important because…”

A:…in every single one there’s world full of wonder that a kid can discover and be inspired.

 

Jeannette Arroyo

Jeannette Arroyo is the artist for the YA graphic novel Blackwater with Ren Graham, which will be published in 2020 by Henry Holt.

Q:  What or who inspired you to become an artist? 

A: I’ve always loved drawing since I was little. I was mostly inspired by animated movies and a love for cartoons. Tom and Jerry is an old favorite.

Q: Tell us something about your favorite artistic medium–why you like it, when you first learned it, etc. 

A: Right now, I predominantly work in digital media. It is less frustrating for me and less messy. I got my first tablet around fifteen and I have just stuck with it since.

Q: Please finish this sentence: “Books with pictures are important because…”

A: Books with pictures are important because it’s another avenue of expression and communication. I myself have always found it difficult to convey what I feel just through text, and the ability to incorporate images, color, texture into a book is important to me, and something I am having a lot of fun doing with our graphic novel.

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

A Studio Visit with Author-Illustrator Lulu Delacre, one of the most prolific Latinx artists working today

 

By Cecilia Cackley

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“I’ve decided that this is going to be my best decade!” declares Lulu Delacre. She has just turned sixty and after thirty-eight years in the publishing industry, she has written or illustrated over thirty different books for young readers, making her one of the most prolific Latinx artists working today. Her latest book, Turning Pages is an autobiographical picture book by Supreme Court justice Sonia Sotomayor and arguably Delacre’s highest profile collaboration to date.

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Delacre was born in Puerto Rico to Argentine parents who encouraged her love of drawing. After beginning her college career in the Fine Arts department of the University of Puerto Rico, she transferred to L’Ecole Supérieure d’Arts Graphiques in Paris, France. Delacre says she was inspired to apply for the school after learning that a famous Puerto Rican artist had trained there. Her father was skeptical, telling her she wouldn’t get in because of the quality of work required, but she was accepted into the third year of the five year program and eventually received a full scholarship to finish her degree after her family ran into financial hardship. Delacre studied many different artistic disciplines at the school, including typography and print-making, and the course included real-world assignments such as designing a new currency that she remembers as challenging and fun. Some of the more traditional European assignments had amusing results for a student from the Caribbean, she says.

“[For] one of my first assignments we had to illustrate the four seasons, and of course, I was coming from Puerto Rico. So, winter—I did something in pastel pinks and blues and everyone laughed, but of course it was a matter of perspective! I came from an island, I had never witnessed winter before, never in my life.”

Delacre says that she had no idea at that point that you could become a children’s book illustrator. “Books that we got in Puerto Rico were mostly fairy tales from Spain, which didn’t speak to me. The concept of the picture book was entirely foreign to me.” She discovered picture book illustration at an American gallery in Paris which was showing art from the book In the Night Kitchen by Maurice Sendak. “That was a revelation. I had no idea before that moment what I wanted to do.” Delacre had been focusing on graphic arts because she wanted to earn a living and recognized, “I was not at the level of a Picasso,” but now she had found the work that would become her passion.

After finishing school, Delacre moved to San Francisco with her husband, who was in the military. She had no contacts, but started knocking on doors and found work doing textbook illustrations and commercial artwork. When her family moved to Massachusetts, she started giving to the children’s section of the public library and taught herself to create picture books by analyzing examples such as Where the Wild Things Are. With no connections in publishing, Delacre had to hustle to break into the industry.

“In order to get into the field, I went to New York. I created two identical portfolios and made twenty-two appointments in five days, stayed at the Y, and by that Friday, I had my first job illustrating for Sesame Street magazine. From there, [I moved to] Simon & Schuster when they had Little Simon. I started illustrating public domain material like these [nursery rhyme] board books.”

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Delacre’s first book to incorporate Latinx culture was inspired by the birth of her daughters, to whom she wanted to introduce to traditional Latin American children’s rhymes.  “I went to the library looking for a book of our folklore, from Latin America, our nursery rhymes, and I couldn’t find anything. Why do American kids get to have these books and kids that come from Spanish speaking countries don’t?” Delacre had recently published the Nathan and Nicholas Alexander books with Scholastic, so she went to her editor there and suggested the book of songs and rhymes that eventually became Arroz con leche, which turns thirty this year and is still in print.

Delacre’s first books with Simon and Scholastic were done in colored pencils, over a thin layer of watercolor to make the process go a little faster. In her home studio in Maryland, she has two large art tables surrounded by materials, including colored pencils, acrylics, watercolors and collage materials. “I do everything the old-fashioned way,” she says. “I like to touch materials. I try to do things that the computers cannot do yet. That’s why I use collage and the textures, pressed leaves—things that the computer doesn’t do or doesn’t do as well.”

Delacre pushes herself to try new art styles and materials for each project she takes on. Salsa Stories has linoleum cuts because the stories are being told by characters who would have been familiar with that style of art in Puerto Rico in the 1950’s. Her book US in Progress pairs short stories with illustrations created from collaged newspaper, pencil drawings on acetate and texture created from tiny holes in rice paper. Olinguito A to Z, a Spanish alphabet book, was based on scientific information about the different animals who live in the Ecuadorian cloud forest. The different species were painted in flat colors, a graphic version of each animal that reaches back to Delacre’s work as a graphic designer. The background paper for each spread was created from actual leaves from the cloud forest. She also created the typography for the letters that appear on each page. “I created the letters because I wanted them to fit in a square to mirror the shape of the book. I wanted to show the kids what the mist looked like. In the cloud forest, you would see everything through the mist, so to reveal the true colors of the species, I gathered the mist in the squares surrounding the letters.”

Delacre’s most exciting recent project is the picture book autobiography Turning Pages by United States Supreme Court Justice Sonia Sotomayor. She explains that the process of getting the assignment was a bit unusual. “I got an email from [editor] Jill Santopolo asking if I had an agent, and I said not any more, and so she goes, “I need to talk to you, can I call you tomorrow?” and I said sure and gave her my number. I get a call the next day and she begins by saying, “I have a somewhat secret project that needs to be fast tracked and we want you for it.” And then she explains about the project and I pause, it’s sinking in and I said “Why me?” I had never worked for this publisher, and I had never worked with her. And she answers, “’Because she chose you,’ meaning the justice. This is very rare—this is the very first time that the author handpicks me.” Delacre goes on to explain that Sotomayor was given a stack of picture books to look at when selecting an illustrator and that one of the reasons she chose Delacre was because the justice wanted the illustrations to be lifelike. “I know that one thing that was very important to her was to portray her mamá and her abuelita as close as possible to reality.” Sotomayor also appreciated that Delacre has a strong relationship with the island of Puerto Rico. Although the book mostly takes place in urban settings such as the Bronx, Delacre began each oil wash with a layer of green sap oil, because Sotomayor wanted the island to be present in the illustrations. The original artwork from Turning Pages can be seen in the Zimmerli Art Museum at Rutgers University through March 17, 2019.

Delacre says that her advice to Latinx illustrators trying to break into publishing is “Follow your heart. Tell the story that you really have within you and you really must tell. Don’t feel like you have to be like someone else. Just be yourself.” Delacre points out that unlike other children’s book illustrators such as Tomie DePaola, she doesn’t have a specific, recognizable art style. “In the beginning of my career, I thought it was a flaw because I understood if I didn’t have a certain style, I wasn’t as recognizable name wise. But I can’t be that way because I get bored doing the same thing over and over again. I have to push myself to try new things because each project is about learning for me. What can I do with this that I haven’t done before?” She is talking about using mono prints for her next project, in black and white, a major departure from her usual paint and colored pencils. “Now it’s like I don’t have to prove anything. You know, this is going to be my best decade and after that who knows? Maybe I’m not going to do another book. I’ll be creating, but something different. Every single project I do is really to reach a community that perhaps wasn’t finding their image in books. I’m always trying to create what is needed.”

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

Spotlight on Latina Illustrators: Lulu Delacre, Cecilia Ruíz, & Yesenia Moises

 

By Cecilia Cackley

This is the sixth in a series of posts spotlighting Latina illustrators of picture books. Some of these artists have been creating children’s books for many years, while others will have their first book out soon. They come from many different cultural backgrounds, but all are passionate about connecting with readers through art and story. Please look for their books at bookstores and libraries!

Lulu Delacre

1136d-luludelacremediaphoto1Lulu Delacre is the author and illustrator of many books for young readers, including the Pura Belpré Honor books The Bossy Gallito, Arroró, mi niño, and The Storyteller’s Candle. Originally from Puerto Rico, she now lives and works in Silver Spring, Maryland. Her most recent book is Turning Pages, My Life Storythe picture book autobiography of Supreme Court Justice Sonia Sotomayor.

Q: What or who inspired you to become an artist? 

A: Creating art has always brought me to a place of inner stillness, comfort, and peace. That feeling and the encouragement of my family and teachers have inspired me. One of my earliest memories is of drawing on white sheets of paper to the classical music my abuela Elena played in the second floor apartment of that old pink house in Rio Piedras, Puerto Rico. Abuela Elena saved every drawing I made inside her closet until one day the pile grew taller than my four-year-old self! Later, I clearly remember Sister Antonia, my kindergarten teacher, telling my parents in a very serious tone, “Lulu is going to be an artist.” Witnessing this faith in my talent definitely fostered its growth.

Q:  Tell us something about your favorite artistic medium–why you like it, when you first learned it, etc. 

A: Hmm…this is a difficult question. I say that because I don’t think I truly have a favorite artistic medium. Many illustrators master a medium and stick with it throughout their careers. I thrive in challenging myself to figure out what medium and style each manuscript calls for, which is often a new technique for me. The 39 titles I’ve illustrated include oil paintings, watercolors, color pencil art, collages, oil washes, linocuts, dry soft pastels, graphite drawings, acrylics and mixed media images. It’s thrilling to stretch myself and forge new ground with my artistic endeavors.

Q: Please finish this sentence: “Picture books are important because…”

A:…they are an art form like no other in which the images and words have equal weight in creating a unique experience for the reader. An experience that has the power to delight, move and/or change us.

        


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Cecilia Ruíz

Cecilia Ruíz is an author, illustrator, and designer originally from Mexico City, now living and working in Brooklyn, New York. Her first picture book A Gift From Abuela, was published by Candlewick Press in August 2018.

Q: What or who inspired you to become an artist?

A: I think my biggest influence in becoming a visual artist was my aunt. She is a graphic designer, and when I was little and saw the kind of work she did, I knew right away that I wanted to do the same. I think I went to graphic design school because of her, and that’s how my career path in visual storytelling started.

Q: Tell us something about your favorite artistic medium—why you like it, when you first learned it, etc.

I love printmaking techniques. My first encounter with printmaking was in college in Mexico City. We had a class where we learned screen printing, etching, and linocut carving. I was enamored with the process, the crafty texture, and the charming accidents. It was years later that I discovered that I didn’t need access to a printmaking lab to do it. I started carving erasers and rubber instead of linoleum and printing at home with just a stamp ink-pad. I now do a mix of traditional and digital— technique that I learned and developed while going to grad school at SVA in NY. I carve and print multiple pieces by hand. I then scan all those separate pieces and put them together in Photoshop. I also do the final coloring in Photoshop. This allows me to have the best of the two worlds—the crafty look of printmaking, and the control of the computer.

Q: Please finish this sentence: “Picture books are important because…”

A: They are a door, a window, and a mirror.


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Yesenia Moises

Yesenia_HeadShotYesenia Moises is an Afro-Latina illustrator and freelance toy designer from the Bronx. When she’s not off filling the world with bright and colorful art, her pastimes include playing really silly dating sims and kicking back with her wildly photogenic dog Divo. Her first picture book is Honeysmoke: Finding Your Color by Monique Fields, which will be published by Macmillan in January 2019.

Q: What or who inspired you to become an artist? 

A: Growing up I watched a lot of cartoons and I started off drawing because I wanted to draw my favorite characters. I do think a big turning point that got me really wanting to get better at drawing was when I started watching Sailor Moon. I really loved how it was unlike the other shows I was watching in both its plot and the way the characters are portrayed. The show was also what started my interest in anime and continues to inspire my work to this day. Unlike the episodic nature of American cartoons, there was an overarching plot and characters that were developed over the course of a show’s season and not just quick shorts that wouldn’t leave too much room to get invested in them. Sailor Moon was the first time I felt like I could relate to characters in a show and as I found myself wanting to draw better because I wanted to be able to capture all the details in my fan renditions of the character but also to be able to create stories of my own that others could find to be relatable and could invoke the kinds of warm feelings I get when I remember those days. I’m still working on it but for now, I think it’s safe to say that the show really inspired me to want to draw more!

Q: Tell us something about your favorite artistic medium–why you like it, when you first learned it, etc. 

A: My favorite medium would have to be watercolor. I don’t often get to use it because a lot of the work I do now involves frequent revisions that would be tough to accomplish as quickly as I can digitally. The medium was something that I picked up on my own back in my high school days. I was really into doing everything traditionally since I couldn’t afford a Wacom tablet and I was addicted to looking up as many tutorials as I could on Deviantart to try and teach myself anything and everything just for the sake of being able to create. Watercolor ended up being the medium that I had the most fun using out of the many things I was trying at the time. I loved how soft and delicate things could look with them and how you could really feel have a physical connection between you, the paper, the paint, and the water (provided you got over the initial learning curve of course.) Last year I took part in Blick Art Materials’ 31 Days of Watercolor Challenge and I really enjoyed applying some of the techniques and color palettes that I’d built up from years of working digitally to a medium where prior to that I’d only ever aimed to have a delicate touch. These days I spent a lot more time working on projects for clients in Photoshop but there’s a special place in my heart for the tactile feeling you get when putting paint to paper that digital art just can’t replicate.

Q: Please finish this sentence: “Picture books are important because…”

A: Picture books are important because they offer a viewpoint that children don’t get to directly see in the world around them. They offer a space of imagination and creativity that helps create a gateway to an early interest in reading and learning which I think is a really important lifelong skill.

 

 

Cackley_headshotCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

 

 

 

 

 

 

 

Book Review: Alma and How She Got Her Name/ Alma y come obtuvo su nombre, by Juana Martinez Neal

 

 

 

 

 

 

Coming to a shelf near you on April 10, 2018!

Reviewed by Dora M. Guzmán

PUBLISHER’S DESCRIPTION: If you ask her, Alma Sofia Esperanza José Pura Candela has way too many names: six! How did such a small person wind up with such a large name? Alma turns to Daddy for an answer and learns of Sofia, the grandmother who loved books and flowers; Esperanza, the great-grandmother who longed to travel; José, the grandfather who was an artist; and other namesakes, too. As she hears the story of her name, Alma starts to think it might be a perfect fit after all — and realizes that she will one day have her own story to tell. In her author-illustrator debut, Juana Martinez-Neal opens a treasure box of discovery for children who may be curious about their own origin stories or names.

MY TWO CENTS: What is in a name? A name is a gift given to you at birth and you carry it through all your stages of life. Parents and guardians spend months deciding on their baby’s name, sometimes even long before a baby is in the picture. But what if your name doesn’t fit on your paper because of its length?

In a world where we tend to question our differences, this story does quite the opposite. Growing up in the United States, one tends to have a single first name, maybe a middle name, and just one last name. However, this differs in certain other countries, including in Latin American, where it is not out of the ordinary to have more than one name.

Meet Alma Sofia Esperanza José Pura Candela, the main character of this story. Yes, her name is long. However, wondering about the length is what leads Alma on the journey to discover the story behind her name. Throughout the book, we learn the rich history and origins of each of Alma’s names. Many of her names were inspired by her ancestors and their humble traits and contributions to the world. The people behind her names influence Alma’s passions and character, even as she embraces each person and the love they gave her as a baby. She quickly learns that those same traits are present in her everyday life, and she rightfully claims that name through her affirmation of “I am____”. Alma soon learns that with claiming her name comes a lot of love and culture. She will now be able to contribute those gifts to the world. As Alma declares, “I am Alma, and I have a story to tell.”

This story wonderfully illustrates how to embrace YOU and the name you carry throughout life. In this story, Juana demonstrates that our name is a spotlight on not only our ancestors and the imprints they left on our lives, but also a forever part of us and what we can give to this world.

This picture book illuminates an essential connection to ancestors. Inspired by her own name, Juana reminds readers that our names are not just our own, but a reflection of our culture as well.

I am always amazed at Juana’s illustrations, especially in this picture book. The beauty of the main character connecting to her past is captured in colors and soft shades that will delight the reader’s eye. Juana also brings attention to each name through the addition of colorful accents and font styles. In page after page, the illustrations offer a collective reflection of everything that Alma’s ancestors represent, forming a visual reminder that who we are is a collection of everyone who came before us.

TEACHING TIPS: Teachers of all grade levels can use this picture book to illustrate our Latinx identity. This book is a perfect addition to an identity unit, where readers can delve into their own names and family trees. Teachers can also use this book as a reading mentor text around the main character’s learning process, as well as understanding the author’s message. The Spanish version is authentic to the Spanish language and perfect for bilingual/dual language classroom settings. Alma and How She Got Her Name/Alma y como obtuvo su nombre is a definite must add to all libraries in classrooms and homes!

 

ABOUT THE AUTHOR-ILLUSTRATOR: Juana Martinez Neal is an award-winning illustrator and artist. Her passion for art started as a child and led her to study at one of the best schools in fine arts in Peru. Her journey as an illustrator led her to the United States, where she continues to illustrate a variety of children’s books. For updates on her art, follow her on Instagram @juanamartinezn. Juana’s official website can be found at http://juanamartinezneal.com/

 

 

 

ABOUT THE REVIEWER: Dora M. Guzmán is a bilingual reading specialist for grades K-5 and also teaches college courses in Children’s Literature and Teaching Beginning Literacy. She is currently a doctoral student with a major in Reading and Language. When she is not sharing her love of reading with her students, you can find her in the nearest library, bookstore, or online, finding more great reads to add to her never ending “to read” pile!