Meet Janine Millington — Special Guest

Janine Millington

INTRODUCTION

Hi everyone, I’m Janine Millington. I’m an artist, illustrator and graphic designer from Canterbury, New Zealand. I’ve recently joined the 52-Week Illustration Challenge, and I’m really looking forward to being part of this lovely on-line community.

BACKGROUND  

I’ve always loved to draw. As a kid, I would draw in my room for hours — portraits, scenery, still lifes, anything would do. Even when my parents sent me to my room for punishment, I would end up sitting on my bed, drawing pictures quite happily. My brother used to get me to draw caricatures of the teachers at our school and made money selling them to his friends!

I decided I wanted to be a graphic designer and also illustrate children’s books when I grew up. I planned to study full-time and get an art degree to pursue my dreams. But teenage years are tricky for some, and I became a young mum, which meant my plans were challenged. I studied foundation art, which gave me a good, broad understanding and range of skills, but with a daughter who needed to spend a good deal of time in hospital, I found full-time study difficult. Nevertheless, I managed to study enough to become a graphic designer and began to fulfil the goals I’d set for myself.

One thing that surprised me about graphic design was how little drawing was involved in any of the work I was doing. All of a sudden, 10 years had passed and I had barely picked up a pencil to draw anything. Meanwhile, I had gotten married, had three more children, moved out of the city and started renovating an old hall as a home, and suddenly I started wondering what happened to my goal of becoming a children’s book illustrator. But I was so busy — kids, work, renovations — it was overwhelming. So I decided to set myself a challenge. I would draw a little each week. Baby steps.

This was my first drawing in 10 years.

From there, I learned and researched as much as possible about illustrating books, and I started to build a portfolio. I found that I still loved drawing mostly and never got around to painting much, largely because my 3 younger kids were still very small, and I was never able to have a decent break or space away where I could have my work safely kept away from their little hands.

I spent so much time on my drawings that I never wanted to re-create what I’d already drawn in a painting. I wished that I could just colour in my actual drawings! And then it dawned on me — I could use the programmes and equipment that I used as a designer to do this, effectively combining my skills.

I started scanning my drawings and using Photoshop to paint the colour using my Wacom tablet — very much like real painting — and I could keep my work safe from the kids! My goal was to have my portfolio ready to send away to publishers when my youngest child started school. So that's what I did.

BABY STEPS WORK!

A few months later, I received a manuscript from Scholastic and began to illustrate my very first book — A Mother’s Day Dilemma, written by Juliette MacIver. Since then, I’ve licensed my art to appear on re-usable coffee cups (CUPPACOFFEECUP brand), which are sold in stores across NZ; I’ve been featured in the New Zealand Artist Magazine demonstrating my style of illustration; I’ve been shortlisted as a finalist for the Zonta Canterbury Female Artist of the Year; I was a finalist in the Bolt of Cloth 2017 Textile Awards; and my work is currently in the Wacom Australia & New Zealand The Next Level exhibition in Auckland, Sydney, and Melbourne.

As well as selling my art prints, limited edition prints and gift cards in stores and online, and taking commission work, I also run a community art group once a week, which I love. I’m still a work in progress, and I am constantly frustrated that I don’t have more time or energy to do the things I want to do, but I know that if I keep trying, and taking baby steps towards my goals, I’ll get there.

A Mother’s Day Dilemma, Juliette MacIver and Janine Millington,

Scholastic NZ 2017

From A Mother’s Day Dilemma, Juliette MacIver and Janine Millington, Scholastic NZ 2017

From A Mother’s Day Dilemma, Juliette MacIver and Janine Millington, Scholastic NZ 2017

ILLUSTRATION PROCESS

Although I am constantly changing and growing in my style and the techniques I use, this is generally the process I go through to create my art.

Step One: Subject matter

I often work from a combination of photographs and my imagination. I try to use a whole lot of images so the picture is more unique. My family and friends have been great for resource photos, too.  If I am unsure about a composition, I will mock up an image in Photoshop — this was helpful with illustrating my book. I’ve just started sketching straight onto my Wacom tablet, rather than onto paper, which is a lot faster.

Step 1: work in progress

Step Two: Drawing

I begin drawing in pen or pencil, using as much detail as possible. If I’m using pencil, I tend to draw lightly, working in layers of shading from light to dark, starting with 2H pencil and ranging to about a 4B pencil for the darkest areas. Although technology is amazing and I love working on the computer or my Wacom tablet, I still don’t think you can beat the feeling of drawing straight onto paper. 

Step 2: work in progress

Step Three: Scanning

I scan my artwork using the highest resolution setting then change it later so the file isn’t so large. I’m not sure if this is the most practical way of doing things, but sometimes I don’t know if I’ll want to blow the final image up really large, so I make it big just in case. 

Step 4: Painting in Photoshop 

I create a Photoshop document to the size needed, create a separate layer for the drawing and begin to colour.

Step 5: Using layers

If I’m using multiple drawings in my picture I’ll add them all on separate layers and play around with composition. Naming layers is important or they can get confusing.

Add caption

Step 6: Building up colour

I set my brushes to be pressure sensitive and quite light so that I’m building up the colour slowly. I choose my colours and start painting on a new layer. The beauty of the computer is that I can zoom in very close. It's also a pain sometimes because I end up overdoing areas that go unnoticed because they’re so tiny.

Step 6: work in progress

Step 7: Background

When I’ve done a reasonable amount of painting, I’ll start thinking about the background.This is different from painting in real life where you would normally consider it much earlier. It's fun to see how different colours can change the whole look of the picture. I’ll use a big brush to highlight certain areas.

Step 7: work in progess

Step 8: Patience!

At this stage, I’ll just be doing a combination of step 6 & 7 until I’m happy with it. I’ll save the image and then I’m done!

Finished piece!

Sparrow and Blossom

LET'S CONNECT!

Website: www.janinemillington.com 
Instagram: @j9millington
Facebook: www.facebook.com/janinemillingtonart

Meet Louise De Masi — Special Guest

Louise De Masi

Tell us a little of your beginnings and journey as an artist:

Art was always my favourite subject at school, but back in the early '80s when I graduated high school, there weren’t many jobs for artists, and I had no idea how to pursue a career in art, so I turned my back on it.

However, my love of drawing and painting never went away, and when I was in my 30s, I went to an art studio and enrolled in an acrylic painting class. The owner of the studio noticed my ability and asked if I’d be interested in teaching. That led me to teach acrylic painting classes for about 8 years.

I took up watercolour painting six years ago, shortly after I finished a teaching degree at university. I had given out my resume to some of the schools around my home, and while I waited for the phone to ring for some teaching work, I taught myself how to paint in watercolour. I’m so glad I did because painting in acrylic paint no longer gave me any joy and I stopped painting for a while. Watercolour restored my painting passion.

I taught in schools for five years, and I would paint on weekends when I had time. Half way through 2014, my husband got a job in Sydney, so we moved there temporarily. Instead of approaching schools in Sydney for teaching work, I decided to start painting full-time. I’ve been working on my painting career since then; it’s early days yet. I was reading that it takes five to ten years of full time practice for your work to mature, and years and years to succeed. I know the road ahead will be bumpy, but I am determined and self-disciplined, and I am enjoying the journey.

Antique Rose

Why are you drawn to watercolour and how did you learn this medium?

Watercolour is such a beautiful medium to use. I love to use it for so many different reasons. It’s quick. You can get instant colour on your paper quickly and easily—just wet the paper and drop in the colour. The transparency of the paint allows your painting to glow with light. The effects you can create with watercolour are unmatched by other mediums. It allows you to be expressive or, if you’re like me, you can create highly detailed paintings.

With each painting, I walk the line between competency and total lack of control. It’s an exciting medium to use, and I will be forever under its spell.

I taught myself to use watercolour mainly by looking at other artists’ work that I admire and lots and lots of practice.

Crow

How would you describe your style? We’d love to compare an early painting with a more recent one!

I love detail. I know watercolour is more of an expressive medium than other mediums to use, but it’s the detail that draws me in. I tend to paint loose at the beginning of the painting. I build the painting up with lots of washes, and in the final stages, I add all the detail. Lately, I’ve been adding some deliberate blooms to my paintings, and I’ve been playing with different types of backgrounds to add interest.

I use a lot of water when I work. Even though I like to show detail in my paintings, I still like watercolour to look like watercolour.

Early Kookaburra

Later Kookaburra

In your experience, what are the pros and cons of being a full-time artist and do you ever get creative block?

The greatest part about being a full-time artist is that I get to pursue my passion every day.

Painting gets me up out of bed and keeps me up late at night. I sometimes work 14 hour days, and I’m happy to do it. It doesn’t feel like I’m working most of the time. Being at home is another plus. I have scoliosis and I suffer from back pain. Working from home means I can sit down whenever I want and take a break.

The cons of being a full-time artist are many. You have to have some sort of other income so you can pay the bills. You not only have to be an artist, you have to be a marketing manager and a salesman. You have to spend as much, or more, time promoting your work as you do producing it. Art supplies are expensive, and your days can be lonely.

I rarely get creative block, quite the opposite in fact. I have so many ideas and so many things I want to paint that there are just not enough hours in the day to do it all.

Orchids

What are your preferred art materials?

My favourite paper is Arches. I use both hot and cold pressed.

I use Winsor and Newton and Daniel Smith watercolour paints, and my favourite brushes are Da Vinci.

Bluebird

You offer watercolour painting classes on Skillshare and have just launched your own online school, which is very exciting! Can you tell us more about these classes and what they offer?

I’m very excited about my online classes. Skillshare approached me late last year and asked me if I’d be interested in making some online classes. I’d never heard of Skillshare and teaching online wasn’t even on my radar at the time, but I decided that I’d give it a go in the new year.

I had to learn how to film myself painting and how to edit my videos and add narration. I have five watercolour classes on Skillshare, and I’m working on my sixth now. I have nearly 900 students, and I have received very positive feedback on the classes.

Watercolour can be a difficult medium to use, and I try to simplify the process in my classes. I walk my students step-by-step through various paintings that I have completed, and I provide a reference photo and a line drawing so they can paint along with me. I think a lot of people who first start painting in watercolour have difficulty getting their water-to-paint ratio correct. They either have too much or too little water on their paper or in their brush. Understanding that is the first biggest hurdle to overcome.

My classes have been very successful, so about a month ago I decided to open my own school as well. I have one class in my online school, and I have finished filming my second class. It’s in the editing stages at the moment. Students can pay for the individual classes they want to do in my online school, rather than sign up for a subscription. I’m excited about the journey ahead!

You can visit Louise’s online school here, and her Skillshare classes here.

Yellow Rose

Do you have artists who give you inspiration?

I love the bird paintings of Karl Martens. They are absolutely beautiful. He grew up watching and painting birds. He works with giant Japanese and Chinese paint brushes for his bigger paintings, and they force him to lose control. He uses lots of water, and he makes use of salt to show greater depth. I hope that one day I will master watercolour the way he has.

Pink Roses

What are you currently working on and what will we see next from you?

I’m currently working on a painting of a waratah. I’ve been working on it for 10 days now. It is highly detailed and it’s probably my most difficult painting to date. I’m working on the leaves now, and I’m anxious to finish it because I have other paintings I want to start.

Most of my paintings have a plain white background because I like a simple contemporary look, but I plan to start entering paintings in competitions next year and I feel that I need to begin including some backgrounds and filling in all of the paper. So I think you will start to see more of my paintings with backgrounds. I’ll be painting lots of flowers and leaves.

Waratah work in progress

You can see an image of Louise’s completed Waratah painting here.

What advice can you offer people wanting to learn or improve their watercolour painting skills?

Oh, that’s easy. Take some of my classes!

Use the best materials you can afford. Good quality paper is essential. Don’t be afraid to use water.

Succulent

Follow Louise online:

Website: louisedemasi.com
Etsy: etsy.com/au/shop/LouiseDeMasi
Facebook: facebook.com/louise.demasi
Twitter: twitter.com/Lou_art
Instagram: instagram.com/louisedemasi
Pinterest: au.pinterest.com/louisedemasi
Skillshare: skillshare.com/user/louisedemasi
Online School: louise-de-masi.teachable.com

Meet Anouska Jones — Special Guest

Anouska Jones

Tell us a little about yourself: 

 

I’m an editor, publisher, author and occasional book reviewer. When I’m not editing, reading or writing, I love yoga, good food and wine, and spending time outdoors with my family and myriad animals. I’m obsessed by all things to do with language — I used to speak five languages but through lack of practice I’m probably down to three now. I’ve lived in five countries on three continents. I love to travel but don’t get to do it nearly as often as I’d like. I hate how fast-paced and constantly ‘on’ our world has become, and so I try to disconnect from it all as much as I can as often as I can without abandoning my professional responsibilities entirely!

The view from Anouska's home office

Could you please give us a brief summary of your professional background and what you are doing now?

I’ve worked in book publishing for almost 25 years, starting out in South Africa after completing postgraduate studies in translation, and then in Australia after moving here in 1997. From my first role as Junior Editor — which consisted partly of cataloguing travel photographs for full-colour gift books on various African destinations, and partly of checking the French translations of those same books — I’ve worked my way up to Publisher and have covered pretty much every genre along the way. Cookery, gardening, travel, military history, memoir, literary fiction, self-help, health and now kids’ picture books — I’ve done them all! Currently, I’m the Publisher for Exisle Publishing and their children’s picture book imprint, EK Books.

Anouska Jones, speaking on a panel at the NSW Writers' Centre Kids and YA Festival

Describe EK Books:

Our goal with EK Books is to produce beautiful, high-quality children’s picture books aimed primarily at the 5 to 8 age group (although we do stray either side of that range a little) and focusing on great stories with great characters and great messages. Part of the branding that we are introducing with our 2018 titles is that they are ‘books with heart on issues that matter’, and I think that pretty much sums up our philosophy and intentions.

As with all books in the Exisle Publishing stable, our titles are published in Australia, New Zealand, the UK, the US and Canada, and we also pursue foreign rights deals wherever possible.

EK Books logo

Does EK Books have a particular 'house style' when it comes to illustration?

There’s no house style. My aim is simply to find the right illustrator for each story we publish, and if you look at our list you’ll see that styles vary widely.

Grace and Katie by Susanne Merritt and Liz Anelli, EK Books, 2017

How do you match an illustrator to a manuscript? Please describe your discovery and selection process.

I think this might just be the best part of my job! I operate completely by instinct and what feels right when it comes to matching illustrators and manuscripts. Quite often I can ‘see’ the illustrations in my head and then it’s a matter of finding an illustrator who matches that vision. Sometimes the author will have an idea for who might be a good match and I’m always happy to take that on board and see if I also believe they’d be the right fit. And very occasionally a manuscript will come with an illustrator as part of the ‘package’. I’m constantly on the lookout for new illustrators to add to my database. I watch the Challenge page, for example; and several Challenge members have illustrated books with EK as a result.

Through the Gate by Sally Fawcett, EK Books, 2017

How much art direction do you give an illustrator? Do you provide page break suggestions and illustration notes?

Because EK is a small publisher with a small team, we can break the rules a little, so we work more collaboratively than most. The author, illustrator and designer all work together with me to produce the best book possible. And that means the process can differ slightly from book to book. The most common way is for the illustrator to provide a storyboard showing how they envisage the text flowing across the illustrations, and we tweak it from there if necessary. Sometimes, however, the author will already have suggested page breaks and then it’s a matter of seeing if those work in practice when the illustrator adds their vision to the story.

I usually never provide illustration notes. I will provide a brief on the style that I want and the feel that I want to achieve, but not specific notes. The only exception to that so far has been with my own picture book where poor Gwynne received detailed notes for every single page. I could see the entire story so clearly in my head that I just didn’t have a choice — I had to write my notes down. Although I did tell Gwynne she could feel free to ignore them!

Patch and Ruby by Anouska Jones and Gwynneth Jones, EK Books, 2016

How much time do you allow for a picture book to be illustrated and do you set delivery deadlines? 

Because of our distribution in the UK and the US, we have very long delivery schedules. For example, I have already completed submission of pre-sales material (including front cover and sample internal spread) for all of our EK titles up to the end of August 2018. And by the end of this year, I will have supplied that material for all titles up to the end of February 2019. That’s just how far in advance of publication that companies like Amazon operate. We also print in China, not locally, so that adds three months to our schedules as the books are printed and then shipped. All 2018 titles are already underway — in fact, the first titles for 2018 have already gone to print — and I’m about halfway through building the 2019 publishing program. So the average illustration schedule is probably about a year, but usually divided into two key artwork deadlines: delivery of the front cover concept and sample internal spread for the pre-sales material; and then delivery of all complete artwork in time for the preparation of the final print-ready files.

Deciding on the right font for Don't Think About Purple Elephants, EK Books, 2015

Who have been some of your favourite illustrators to work with and why?

Oh that’s a hard question! I can honestly say that I’ve enjoyed working with every illustrator on the EK list. I find that generally the people involved in children’s book publishing are some of the nicest on the planet, so it’s a lovely working relationship. However, I will single out just one, and that’s Nicky Johnston. Nicky is the illustrator of two EK books, The Fix-It Man and Grandma Forgets, and both of these books coincidentally are very close to my heart for very personal reasons. My father passed away in late 2014 from dementia-related disease, so The Fix-It Man, dealing with the death of a parent, and Grandma Forgets, dealing with how a family copes with their grandmother’s dementia, were at times very hard but ultimately very healing for me to work on. And Nicky’s illustrations were a large part of that healing. She captured so beautifully all the love, warmth, heartache, hope and resilience in Dimity’s and Paul’s words, that it brought enormous comfort to me. And now that the books are published, it’s been wonderful to see the response to both as they’ve gone on to bring so much comfort to others.

Grandma Forgets by Paul Russell and Nicky Johnston, EK Books, 2017

Describe your experience creating Patch and Ruby. What was it like being the author and the editor? Did you choose and work closely with the illustrator, Gwynneth Jones?

It was absolutely fine being the editor, but absolutely harrowing being the author! The production process was actually quite easy. I knew right from the start that Gwynne had to be the illustrator. As I’ve joked with her, I loved how she drew chickens so I knew she’d be perfect to draw the horses that are the lead characters in the book. (Have I mentioned that I operate by instinct?!) And Gwynne liked my illustration ideas, or at least was too polite to mention if she didn’t. However, what I did learn is that I'm much more comfortable behind the scenes putting books together than I am with a spotlight anywhere near me promoting a book as ‘the author’.

Gwynne's chickens are wonderful! From Patch and Ruby, EK Books, 2016

Is EK Books accepting portfolios from new illustrators? Where can they find information on how to submit them?

We are. Please send either a link to your portfolio or a PDF no larger than 15MB to: submissions@ekbooks.org

Finn and Puss, EK Books, 2017

What advice would you give to illustrators wanting to break into the children’s book world?

Keep creating. Keep putting your work out there. Join relevant societies and attend relevant events. Be prepared for lots of rejection, but don’t give up. Getting ‘discovered’ is definitely about talent but it’s also about persistence. And don’t even think of trying to break into the industry unless you genuinely love it. Book publishing is not something you choose for the money (generally), but it’s full of wonderful people, and it’s all about engaging kids in reading and fostering a love of story. If that makes you happy, then in the words of the adorable Dory, ‘Just keep swimming …’

The Fix-It Man by Dimity Powell and Nicky Johnston, EK Books, 2017

What advice would you give to illustrators about working with authors?

The best picture books are those where the illustrations don’t just ‘tell the story’ but bring an added richness to the text. They don’t simply reflect the words but instead go deeper, providing added detail and meaning, creating an entire world. So I would tell every illustrator not to be afraid to bring their vision to an author’s work. That said, I would also ask them to be respectful of the author’s work. Their vision still needs to be true to the author’s intentions.

Most illustrators don’t get to work closely with authors, but if you do get the opportunity to collaborate closely, then seize the opportunity and enjoy it! Whenever I come out of a meeting with an author and illustrator where we’ve tossed around ideas, perhaps solved a sticky problem on a certain page, or just nailed the final storyboard, I’m always on a high for the rest of the day.

Smile Cry by Tania McCartney and Jess Racklyeft, EK Books, 2016

How important is it for illustrators to promote and market themselves and, eventually, their books? Does EK Books consider this when selecting illustrators?

It’s becoming increasingly important as the influence of social media on buying decisions continues to grow. Plus, so many new books are published every month that publishers need authors and illustrators to be invested in promoting their titles if they’re to continue to sell in the long-term. However, I select the illustrator for a manuscript first and foremost on whether they’re the right fit for the story. And fortunately, the illustrators I’ve worked with to date have all understood the need to do their bit to promote both themselves and the book — I think that’s an accepted norm for the industry now.

Australia Illustrated, EK Books, 2016

Which EK Books titles are you feeling most excited about at the moment and what can we see from you in the near future?

Another tough question! These books are like my children so I really can’t pick out favourites! Instead, I’ll take this opportunity to mention our final three books for the 2017 publishing program: Reena’s Rainbow by Dee White and Tracie Grimwood; Finn and Puss by Robert Vescio and Melissa Mackie; and Grace and Katie by Susanne Merritt and Liz Anelli. Three very different books with three very different illustration styles, but all equally wonderful :-)

Reena's Rainbow, EK Books, 2017

Follow Anouska Jones and EK Books online:

Website: www.ekbooks.org

Facebook: www.facebook.com/ekbooksforkids and www.facebook.com/anouskajoneswriter

Blog: www.anouskajones.com

Twitter: @EK_Books and @anouska_jones

Instagram: www.instagram.com/ekbooksforkids and www.instagram.com/anouskajoneswriter