A Thesis Project by Melissa Crowton MFA Illustration Practice 2016
This is a story about an idea. An idea that got so big it turned into words. Which turned into sentences and then turned into a book with color and pictures. My work on Inside, Outside, and Inbetween grew out of a desire to better understand the magic of everyday landscapes and the surprises they hold for the most perceptive of observers. My thesis is the development of the writing, sketching, planning, and making of a picture book and other various components.
IN(PROCESS) I grew up in Utah next to the rural Rocky Mountains. With the nearest house half a mile away, I was often forced to look for play outside of traditional parameters and I lost myself in the art and language of storytelling. Reading became my world. I developed a hunger for anything new and exciting on each page of every book that I claimed as mine. This love only continued to intensify as I grew older. During college, I completed my degree at Brigham Young University (BYU) where I chose to study a combination of the things I loved: illustration and English literature. After graduation, I re-evaluated my professional goals and chose to attend Maryland Institute College of #TVoU /+%# /(# +NNWUVTCVKQP 2TCEVKEG 2TQITCO VQ JGNR HWTVJGT FGĆ‚PG my artistic vision. During my time in the program, I sought to produce work that was authentic to my interests. Having developed narrative work in my other classroom projects, I knew that I wanted to dedicate my thesis towards a serious study of both the written and the visual. My work primarily focused on style and content: what did I want to say and YJCV V[RG QH YQTM FKF + YCPV VQ ETGCVG! + YCU URGEKĆ‚ECNN[ FGXGNQRKPI the craft of illustration and how I could set up my own practice when creating personal imagery. I strengthened my skills in hand lettering, book design, pattern making, color, composition, and character development. However, because each project was compressed in time, I was unable to fully develop a long-term project. My thesis was the RGTHGEV QRRQTVWPKV[ VQ RKEM C RTQLGEV CPF OQTG ENQUGN[ Ć‚PG VWPG GCEJ aspect. I made the decision to narrow my topic and chose to explore the process of picture book making. &WTKPI VJG UWOOGT DTGCM QH + Ć‚TUV GZCOKPGF YJCV V[RG QH stories interested me. I paid attention to books that I gravitated to as an adult and also to books I remembered loving from my childhood. I studied classic illustrations from experts such as Ludwig Bemelmans, Hilary Knight, Mary Blair, Barbra Cooney, Ezra Jack Keats, and Virginia Lee Burton, to name a few. I also enjoyed the inventiveness from modern bookmakers such as Oliver Jeffers, Mac Barnett, Jon Klassen, Carson Ellis, and Peter Brown. Their products were wide in scope but all had compelling stories told in appropriate language for their mood and audience intent. Over the course of four months, I wrote four different picture book manuscripts. I chose a variety of characters, tones, and approaches to better understand my interests as an author. These projects served as the jumping off point for the beginning of the semester and in a larger sense, the beginning of my personal professional goals.
WRITING Writing is the foundation for me to approach any project. Having practiced creative writing in the past, I was experienced with writing poems and personal essays; however, I was undeveloped in writing picture book stories. To help facilitate my lack of skill, I took a picture book writing course taught by Amy Eisner so that I was able to explore other book formats. During each project, I learned something new. The class developed character-centered stories and I learned more about rhythm and rhyme. Word choice was examined on a more intimate level. Consistently I tried to push outside of my comfort by approaching each manuscript with a different intent. Overall, I learned to trust myself but to also take the advice of my peers and my intended audience. Going forward with my project, I chose to develop two picture books, Inside, Outside, and Inbetween and Knock, Knock, Knock. Each project presented its own set of challenges. Inside, Outside, and Inbetween was developed in a common rhyme scheme. While the story stayed mostly consistent, I was aware of its challenges. Its mood displayed a more quiet tone so I had to keep the momentum and surprise through the various arcs of the story consistent so as to make it more successful and unique. Knock, Knock, Knock was harder to tackle. Originally it was a story that examined a child’s capacity for noise in the form of dance. Through different story revisions and reinterpretations, it changed from human to alligator to swamp and ended up as a story about a mail mix-up. While each change felt necessary, it started becoming a manuscript that demanded further investigation. Writing is still a process that will continue to be developed and strengthened. However, I learned that constant revision continues to play an important role in the picture book making process.
WRITING
WRITING
LEFT: Idea exploration for Two Little Feet RIGHT: First draft of Two Little Feet
WRITING
WRITING
LEFT: First draft of Inside, Outside, and Inbetween RIGHT: First draft continued
WRITING
WRITING
LEFT: Additional work from Amy Eisner’s class RIGHT: Notes on research on anthropomorphism
SKETCHING Sketching was an opportunity for me to examine multiple styles and media without feeling constricted by the end result. Often the most fun part of the process for myself, I enjoyed being able to see the project go from words to images. I heavily examined character development and environment creation during this stage. Almost immediately, I ran into problems related to look development. Because I explored a wide variety of styles, I was unsure how to solidify my characters. Each iteration contained certain characteristics I wanted to maintain, and I struggled with how to pull those points all together into a character that closely developed the one that I had written from the beginning. At this point, I more heavily developed the work from Knock, Knock, Knock. This character during VJG NCUV JCNH QH VJG ƂTUV UGOGUVGT JCF DGGP EJCPIGF from a human girl Patti to a female alligator Priscilla. While the character personality stayed the same, the look and anatomy was completely different. The shape language changed and the environment in connection to its animal habitat also began to shift. While I struggled to keep a consistency, I learned that as an author and illustrator, it was important for me to have the freedom to lengthen my schedule at certain points of the process than what was initially planned. Up until this point, I had in mind a certain time line I had developed before I was deeper in the process. As the controller of both components of the book, it was pointed out that “Melissa the Illustrator” needed to be separated from “Melissa VJG #WVJQTq KP QTFGT VQ UQNXG URGEKƂE RTQDNGOU As the semester continued, I began to develop OQTG EQPƂFGPEG KP O[ EJCTCEVGT UMGVEJGU 2TKUEKNNC took shape and started becoming consistent. The world of Inside, Outside, and Inbetween was also becoming more concrete as the project progressed.
SKETCHING
SKETCHING
LEFT: Dance reference from 1950s icons like Fred Astaire RIGHT: James Marshall’s George and Martha & Roger Duvoisin’s Petunia
SKETCHING
Character sketches for Two Little Feet
SKETCHING
+ Ć‚TUV DGICP YKVJ EJCTCEVGT GZRNQTCVKQP HQT VJG Ć‚TUV FTCHV QH -PQEM Knock, Knock which was titled Two Little Feet. This character was a little girl named Patti. I tried to keep her age, personality, and energetic dance moves in mind with these sketches. I referenced vintage clothing and looked at different vintage pictures of children at school in their uniforms. Driven by a sense of playfulness in the sketches, I wanted to reference nostalgia but still keep the character fresh and modern. This characteristic was essential.
SKETCHING
SKETCHING
Character sketches for Two Little Feet
SKETCHING
Character sketches for Two Little Feet
SKETCHING
When I changed my character from Patti to Priscilla, the alligator, I had to immediately tackle the shift in visual language. While the personality initially stayed the same, the sketches revealed other aspects of her personality that could be further explained in the text. At this point of the process, the sketching helped to inform the writing, which was addressed at later revisions.
SKETCHING
SKETCHING
Character sketches for Two Little Feet
SKETCHING
SKETCHING
Character sketches for Knock, Knock, Knock
SKETCHING
SKETCHING
Character sketches for Knock, Knock, Knock
SKETCHING
LEFT: Color Inspiration, Matisse RIGHT: Carson Ellis, Emily Sutton
SKETCHING
Character sketches for Inside, Outside, and Inbetween
SKETCHING
When it came time for me to work more closely on Inside, Outside, and Inbetween, I started by looking at illustration work that captured seasonal moods successfully. I was drawn to artists and paintings that use broad, colorful strokes. I also looked at artists who sometimes use limited color palettes in their work like Carson Ellis and Emily Sutton. I wanted to try a different approach than what was more comfortable for me to produce. By limiting myself in certain elements, I could focus on making other aspects of my illustrations more strong.
SKETCHING
SKETCHING
LEFT: Character sketches RIGHT: Page layouts for Inside, Outside, and Inbetween
SKETCHING
SKETCHING
Page layouts for Inside, Outside, and Inbetween
PLANNING 1PG QH VJG ƂPCN UVCIGU DGHQTG ƂPKUJKPI VJG CTVYQTM is planning the story out into a dummy book format. This preliminary book gave me a sense of what the ƂPKUJGF RTQFWEV EQWNF RQVGPVKCNN[ NQQM #NVJQWIJ difficult at first, I started having more success when I began laying out the look of the book in small thumbnails. By mocking the dummy up into miniature scale, I could quickly see if the narrative was maintained from beginning to end. During this stage I referenced a lot of books, articles, and online resources to help me better understand how successful authors and illustrators were able to tackle challenges that I may have been facing. Molly Bang’s Picture This: How Pictures Work and Ann Whitford Paul’s Writing Picture Books: A Hands-On Guide from Story Creation to Publication were books I heavily relied on for composition and writing revisions. I also kept books close at hand that interviewed authors so I could hear about the experience of writing a book from other RTQHGUUKQPCNU KP VJG ƂGNF $QQMU UWEJ CU Ways of Telling: Fourteen Interviews with Masters of the Art of the Picture Book by Leonard Marcus and Writing with Pictures: How to Write and Illustrate Children’s Books by Uri Shulevitz were also very helpful. At this point, I was half way through the year. &WTKPI ƂPCN TGXKGYU + TGCNK\GF VJCV GCEJ RTQLGEV was at a similar point. Originally, I had planned on moving forward with Knock, Knock, Knock, but after receiving feedback again on the story structure, I felt that Inside, Outside, and Inbetween had greater potentially and less of a story structure problem, so + OQXGF HQTYCTF VQYCTFU ƂPKUJGF URTGCFU YKVJ VJCV project. Although one project had to be pushed to the side temporarily, I still kept in mind the critiques and feedback on that work so that I could continue with that work in the future.
PLANNING
PLANNING
Research material on picture book writing
PLANNING
PLANNING
Thumbnail exploration for Two Little Feet
PLANNING
PLANNING
LEFT: Thumbnail exploration for Knock, Knock, Knock RIGHT: Dummy books in various sizes
PLANNING
PLANNING
Thumbnail exploration for Inside, Outside, and Inbetween
PLANNING
PLANNING
Thumbnail exploration for Inside, Outside, and Inbetween
PLANNING
PLANNING
'ZCORNG HTQO Æ‚PCN &WOO[ 5MGVEJGU HQT Two Little Feet
PLANNING
PLANNING
'ZCORNG HTQO Æ‚PCN FWOO[ UMGVEJGU HQT Two Little Feet
PLANNING
PLANNING
'ZCORNG HTQO Æ‚PCN FWOO[ UMGVEJGU HQT Inside, Outside, and Inbetween
PLANNING
PLANNING
'ZCORNG HTQO Æ‚PCN FWOO[ UMGVEJGU HQT Inside, Outside, and Inbetween
THE FINISH Inside, Outside, and Inbetween was intended as a book that hearkened back to nostalgic childhood space. I wanted to create a certain mood that echoed the feeling of my own childhood. Each image should reference certain moods, atmospheres, and seasonal EJCPIGU + Ć‚TUV DGICP VJG RTQEGUU QP RCRGT YKVJ sketches, line, and textural scans that were then used to enhance the digital process I used to complete GCEJ URTGCF $[ URGPFKPI VKOG QP RCRGT Ć‚TUV + VTKGF to echo the freedom I often felt as I created the initial sketches. Digital manipulation was also then helpful for me to pull the color palette together once I had established a general theme. When it came time for the exhibition, I wanted VJG ICNNGT[ GZRGTKGPEG VQ TGĆƒGEV O[ QYP NGCTPKPI process. I approached the space as if I was a child in an art museum. What type of things would l like to see on the wall and what could I do to help me better engage in the space? At the suggestion of various critics, I came up with the creation of “art cardsâ€? that would act as a family guide that led you through the space. Each stage of my process was broken down into four parts and then corresponded to different sections represented on two pedestals installed in the space. I also complied three books that collected all of my materials, sketches, and drafts I used during the year. For me, it was as KORQTVCPV VQ UJQY VJG Ć‚PKUJGF RTQLGEV CU KV YCU VQ show my learning experience. Taking the time to add something else to my work helped me see my project more objectively. I utilized other skills and I approached the gallery space in a more playful way. This opportunity opened up even more projects which was unexpected. Giving myself the freedom to do something I was passionate about yet at a lowpressure commitment allowed my work to take on a new dimension.
THE FINISH
THE FINISH
Inside, Outside, and Inbetween, pages 1-2
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THE FINISH
Inside, Outside, and Inbetween, pages 3-4
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THE FINISH
Inside, Outside, and Inbetween, pages 7-8
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THE FINISH
Inside, Outside, and Inbetween, pages 13-14
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THE FINISH
Inside, Outside, and Inbetween, pages 21-22
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THE FINISH
Inside, Outside, and Inbetween, pages 35-36
THE FINISH
THE FINISH
LEFT: Exhibition materials and art cards RIGHT: Gallery exhibition space
THE FINISH
THE FINISH
LEFT: Writing art card, Sketching art card RIGHT: Planning art card
IN ACTION As part of a collaboration with Jia Liu, Ashley Yazdani, Cinyee Chiu, and Ricardo Nunez, we created a space in the middle of the exhibition gallery space and organized free art workshops to local Baltimore residents. This “Tell and Create” event was a way to engage with the community and teach activities that were related to our individual interests yet still connected to storytelling. This was one of the more rewarding aspects of the gallery experience. Having previously worked with groups of children in other jobs prior to graduate school, I enjoyed presenting my material on a more specialized basis. My workshop presented various activities on the theme of book making. To begin the workshop, I let the group choose a picture book from a pile I provided and we read it together. After pointing out the different parts of a book like the spine, dust jacket, and author’s bio, we discussed what was the difference between book dummies and published books. I then read them my story, which was extremely helpful in pointing out to me what was working and what needed to be further polished in future revisions. Having a variety of age groups gave me the opportunity to see where I needed to balance text vs. image. The remaining two activities focused on developing imaginative storytelling skills as a group and as an individual. Each child was given multiple post-it notes and told to draw anything they wanted. As a group, we told a story together with the different images we drew out. It was amazing how imaginative the group became the longer the story was created. Everything from volcanoes to swords to monster palaces were incorporated into a cohesive story. We then folded paper into a book with multiple pages to give each of them the opportunity to write their own narrative. I wanted to empower each attendee with the skills to continue their own book creation.
IN ACTION
IN ACTION
LEFT: Workshop materials, Book making project RIGHT: Product of storytelling activity with post-it notes
IN ACTION
IN ACTION
LEFT: Pop-up card workshop with Jia Liu, Storytelling activity RIGHT: Building a story together
WHAT’S NEXT? Overall, looking back, I could not have predicted the way my thesis project would ultimately have been completed. Grown from the beginnings of a simple idea, this project expanded into an immersive experience as I rediscovered my interpretation of the picture book. Through each transformative step, I YCU CDNG VQ ƂIWTG QWV YJGTG + PGGFGF GZRGTKOGPVCVKQP and where I needed rigidity. Unable to fully conceive QH VJG RTQEGUU YJGP + ƂTUV DGICP O[ VJGUKU RTQLGEV has allowed me to become not just an illustrator but also an author. As an artist in a world of dynamic visuals and immediate information, the picture book for me still stands the test of time. Children live inside special moments when they claim a story of their own and I feel privileged that I may one day facilitate that experience. As I move towards graduation, I begin as always at the beginning: what comes next? My future EQPVKPWGU VQ TGƃGEV O[ RCUVtDQQMU JCXG CPF YKNN CNYC[U DG O[ ƂTUV NQXG /[ KNNWUVTCVKXG RTCEVKEG YKNN move forward with a storytelling spirit as new ideas and more books wait to be written. Pencil in hand and paper at the ready, the most important story is UVKNN DGKPI ETGCVGFtVJG UVQT[ QH O[UGNH + EQWNFPoV ƂPKUJ VJKU RTQLGEV YKVJQWV OGPVKQPKPI some of the greatest mentors, teachers, peers, and friends that have made all of my work possible. Without their polish and patience, this project would be much different. First, thank you to the inimitable Whitney Sherman for seeing what I couldn’t see and always being there to show me. To Kimberly Ellen Hall and Joyce Hesselberth, thank you for your advice and kind words. We are lucky to have you. To O[ HGNNQY ENCUUOCVGUtVJCPMU HQT CNN QH VJG NCWIJU and forever friends. To my family and most especially VQ O[ UKFGMKEM /GICPtVJCPMU HQT HQNNQYKPI OG QP this journey. There will always be time for another one.