Overall Narrative, Thinking Vs Drawing and NAKED! Sketching: What I'm Learning About The Picture Book Creative Process - by Debbie Ridpath Ohi

In case you haven't heard, I'm going to be illustrating another Michael Ian Black story: NAKED! Yes, the exclamation mark is part of the title. :-) The news was first announced on Entertainment Weekly site last week. I'm excited to be working with Justin Chanda (editor/publisher) and Laurent Linn (art director) at Simon & Schuster again.

Anyway, I'm a few weeks into the process and working hard on the first round of sketches so we have something to discuss at my Simon & Schuster meeting at the end of the month.

I learned a lot during the I'm Bored process, and am using some of the techniques that worked well for me before. As I finish a version of a drawing or sketch, for example, I use painter's tape to hang it from my office ceiling: 

Photo of my office ceiling last year during I'm Bored

I do this for two reasons:

1. I like being able to see all the drawings I've done so far for a particular project, mainly so I can check for consistency but also for overall narrative flow (more on this later in the post).

2. Because it gives me a sense of accomplishment: the ceiling starts out bare, and then gradually fills up, which is satisfying to watch. Later on, I start replacing the rougher sketches with more polished versions. Tall people have to duck when walking through my office during this time.

One of the things I love about Michael Ian Black's stories is that they leave a lot of room for the illustrator. This is even more true for NAKED! Michael told me he did this for me on purpose. I love that: knowing the author trusts me enough with his story. 

Above: my ceiling right now as I work on sketches for NAKED! Sorry for having to censor out part of the image -- some of my sketches were showing through the paper. 

What I'm finding different about the process this time: 

I do more staring at the sketches I'm taping up on the wall than actually drawing. Reason: I'm spending a LOT of time thinking about the overall narrative flow. Not just what's happening in the text, but also what's being shown in the illustrations, and how that can enhance the overall story.

There's an ebb and flow, I'm discovering, with the narrative in the illustrations sometimes diverging (but still enhancing the story) from the text but then drifting back, merging and then away again. 

Hm, I'm not explaining this very well again, am I? I'll have to give it another go at some point in the future. In any case, I'm having even more fun working on NAKED! than I did on I'M BORED.

My advice for aspiring illustrators:

Before you plunge into sketches for your story, or someone else's text, think hard about the overall story. When you do start sketches, take regular time during the process to sit back and look over what you've done so far. Instead of just examining each image on its own, make sure you scan them in sequence to check for a smooth narrative flow. Then compare to the narrative flow of the text, and how you could adjust your images to improve how both work together.

I'm finding it an immensely satisfying process. I'm meeting with Justin and Laurent in a couple of weeks; we made a great collab team during I'm Bored, and I'm so looking forward to getting their creative input.

But now it's time to take my own advice and get back to work. I'm looking forward to seeing fellow Pixel Shavings member Fred Koehler at the SCBWI Winter Conference!

- Debbie

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Debbie Ridpath Ohi's illustrations appear in I'M BORED, a picture book by Michael Ian Black (Simon & Schuster Books For Young Readers) that was chosen by The New York Times for its list Notable Children's Books Of 2012. Writer's Digest recently chose Debbie's blog Inkygirl.com as one of the Best 101 Websites For Writers. Twitter: @inkyelbows.

Cloudwatching - by Debbie Ridpath Ohi

This piece began as one of my Daily Doodles, where I experimented with a very loose and very sketchy line (no initial sketch/shapes) in Photoshop CS5:

I initially envisioned the little girl and her monster to be on a rooftop, but decided to put her on a hillside looking up at clouds in the sky instead:

I added some subtle shading in the bottom part of the hill to add a feeling of depth. I also used more than one pale grey for the clouds...again to add some texture and depth.

Next, I colored in the girl and the monster. Then, to make the hill look more like a natural part of the illustration, I added grass and flowers:

I drew in the stalks of grass by hand (digitally, that is) but did some cheating -- I only did a few sections, then copied and pasted those sections around the hill, altering the rotation a bit so it wouldn't look so obvious I was cutting and pasting. Then I added in some extra blades of grass here and there by hand.

Here's a screenshot of my layers, for those curious:

Yes, I love layers!

Next up: the fantabulous FRED KOEHLER.

I'm starting to blog about the process of creating I'm Bored (written by Michael Ian Black, illustrated by yours truly) with Simon & Schuster Books For Young Readers, for those interested. Included: photos, quotes, sketches & process info from the very beginning, working with editor Justin Chanda and art director Laurent Linn, through to finals and launch. I'd be delighted if you joined me.

-- Debbie Ridpath Ohi

I'M BORED book illustration from sketch to final - by Debbie Ridpath Ohi

In this post, I'm going to show the step-by-step evolution of one of the images from I'M BORED, a new picture book from Michael Ian Black and illustrated by yours truly. You can see a bigger version of the spread above on the Simon & Schuster website graphic excerpt page from I'M BORED.

I love Michael's story. It's funny and inspiring, and I think it's going to appeal as much to grown-ups as it will to kids. I had a ton of fun creating the illustrations for this book and thought I'd share part of the process.

Above: an early version of the "little girl pretending to be a rampaging monster" image. I made the notes during a meeting with Justin Chanda (publisher & editor) and Laurent Linn (my art director).

With Laurent Linn & Justin Chanda at S&S.
Photo by Danielle Young.

They loved the monster hat on the girl. We decided to make the girl's mouth look more interesting; Justin & Laurent suggested making it look a bit more like the monster's, maybe echoing the shape. We also decided at this point to make any fantasy elements in the story easier to separate from the real-life elements by coloring them blue.

Above: the preliminary sketch for my revamped drawing. My sketches tend to be very loose, as you can tell, mainly to block in the shapes. Next, I added the line art:

Then I added the fantasy elements in the background (the town), color and the woodcut finish to the line art.

At my next meeting with Justin and Laurent, we decided to color in the girl's mouth throughout the book and to move the potato to the foreground where it would be more noticeable. Plus I needed to add the screaming people back into image (oops, I'd forgotten them). Here are my notes during the meeting:

And here's the revamped image:

In the final layout, Laurent flipped the image so it would work better with the overall spread, then added text:

I LOVE how it turned out and can't wait to see this book on the shelves.

I'll be talking more about the process of creating I'M BORED with Simon & Schuster Books For Young Readers in the I'M BORED Facebook Page, so please do bookmark/Like.

Next up on Pixel Shavings: the fabulous Fred Koehler!

For more info about my projects, please visit DebbieOhi.com. I blog about kidlit/YA writing and illustrating at Inkygirl.com.