Has your family influenced your pursuit of art?
I think the majority of my early influences stem from my family, and the environment in which I grew up. My
family ancestry is a potpourri of ethnic cultures-Spanish, Armenian, Irish and Italian. Spending time with relatives
from each of those backgrounds really helped to expand and mold my visual vocabulary. I was surrounded by
Spanish paintings, patterned walls and tapestries, old Armenian textiles, ornate furniture, and beautiful ceramics.
These rich visuals influence and play part in my illustration work today.
When considering a story, how do you choose the moment to illustrate?
On the very first read of a new manuscript there are parts that immediately stand out to me. At that point the
imagery is already in my head. I don't like to struggle in order to make something work. I think, with a good
manuscript, the right moments to illustrate will pop out. I want to illustrate those moments that excite me. And,
when I can, I like to incorporate elements that are not spelled out in the text. This helps enhance the story, giving
the audience a richer visual sense.
How does illustrating a serial story-as contrasted to illustrating a book-change your approach?
With a serial, I feel I need to be able to showcase the importance of an entire chapter through one single image.
That's a very different approach than illustrating a picture book. Here, the reader/viewer sees one image along with
each chapter. I try not to pick a specific scene from the chapter I am illustrating, but rather incorporate several
elements of the chapter text into that one image. Finally, by revealing what may not be written in the text it is
much more interesting to my audience.
What are your thoughts about your illustrations appearing in newspapers?
I am very excited. It's great to be able to share my illustration work with an audience that wouldn't necessarily see
my children's books.
Any advice for young people interested in the illustration field?
DRAW! If you don't already, always carry a sketchbook around with you, and draw as much as you can. I think the
key to illustration, is to think of yourself as a journalist. Draw what you see, and it will strengthen your
visual vocabulary. This will really help to refine your illustration work/portfolio. When you're ready to take your
portfolio around and promote yourself, make sure to bring those sketchbooks with you. It's great to be able to show
your daily ideas, thoughts, doodles, and experimental imagery, ALONG with your final illustration work. This is
something I have found to be a very important element when meeting with editors and art directors. And lastly,
don't give up if you really want to illustrate. The illustration field is very competitive, but you'll have to develop a
thick skin. Keep promoting your work even if jobs don't come right away. If you work hard and are passionate about
what you're doing, success will come.
BIBLIOGRAPHY
What Happens on Wednesdays,
Farrar, Straus and Giroux
- forthcoming
When Pigs Ran New York,
Star Bright Books
- forthcoming
Buffalo Music,
Clarion
- forthcoming
ANSWERS TO QUESTION/PREDICT/EVALUATE (AWV= Answers will vary.)
Chapter 1
1. Thad lives aboard the Neptune, a side-paddle steam freighter. He shares a cabin with bunk beds with his kid
sister, Abigail. They have cramped quarters with barely enough room to stand and nowhere to sit. AWV.
2. Pa could mean that he feels in control with rules and having control of their day to day living gives him
comfort. Pa probably felt out of control when his wife died and he had no way to save her or stop her from dying.
AWV.
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