I think I’m kind of freaking out.

Do you ever compose a dialogue in your mind with a famous person while washing the dishes?  Maybe I’m completely alone in this practice, but I regularly interview people I admire while scrapping away at my panini press.  What is amazing (other than a Garlic Chicken Goat Cheese Panini) is that these interviews are coming true.  So I’m a bit excited.  A LOT a bit.

Since November is National Picture Book Month my fellow illustration buddies Juana Martinez Neal, Molly Idle, Laura Jacobsen and I will be hosting a series of Mini Interviews.  We will be relentlessly grilling those we admire, respect and secretly seethe with jealously over their abundance of talent.

Check out who we’ll be featuring throughout the month this November…it’s pretty incredible…

Kevan Atteberry

Lynne Avril

Alexandra Ball

Alexandra Boiger

David Christiana

Kent Culotta

Adam Gustavson

Jeremy Holmes

Brian Karas

Kelly Light

John Parra

Greg Pizzoli

Amanda Shepherd

Mary Sullivan

Constanze Von Kitzing

Wendy Watson
So stay posted!  You don’t want to miss this exposition of talent coming straight at you!  And yes, sandwiches will be served.

Kevan Atteberry

#1. What elements of a manuscript first capture your attentions? Plot? Language? Imagery? Tone? Sound? Theme?

Kevan

Obviously, all of those things play a part in choosing to accept a manuscript, with a light edge given to Plot and Tone.  The story has to engage me. It must be fun, hopefully funny, and when you finish it feels complete. (And as a note, if the tone is odd or bordering on irreverent, I jump at the opportunity. But even above the elements you list, I think a strong, likable character is the thing that most often says, “Do this!” Though I love most genres of picture books, the ones that stand out for me, the kind I like to illustrate are character-driven. I want characters that endear themselves to the reader. Characters with strong established personalities in the text alone, but that I get to flesh out visually. Maybe add my own traits or peculiarities to.

#2. What elements of a manuscript inspire your choice of style, line, and palette? For example, your illustrations in FRANKIE STEIN, LOTS OF LETTERS, and BOOGIE MONSTER are at once related, yet still different from one another.

Kevan

To be honest, when I am offered a book, the art director or editor has chosen me because of a style they have already seen of mine. In discussion with them, they will reference a sample illustration and let me know that that is why they’ve asked me to illustrate the book. I’ve had editors and art directors make suggestions on both line AND palette. In TICKLE MONSTER, we changed the palette a couple of times because the publisher had a particular vision. I did so reluctantly, but in the end I was certain that they had made the right choice. I LOVE the palette in TICKLE MONSTER and BOOGIE MONSTER—as do others—and give all the credit to the publisher for that decision.

#3. Is there a picture book text that you would love to re-illustrate? What about the text excites you?

Kevan

If you are talking about a picture book text by anyone, hmmm…let me think. The first book that comes to mind in Mercer Mayer’s, ONE MONSTER AFTER ANOTHER. A charming story with lovely, fun illustrations and characters. There is no way I could improve on what Mayer did, but I could have the best time creating my own spin on it. GEORGE by Robert Bright would be fun, too. A sweet story with an endearing protagonist. Jose Arugeo’s LOOK WHAT I CAN DO is a wonderful illustration-dependent picture book that would be hilarious to interpret.  The text is nearly non-existent so I don’t know if this is a good example of what about the text excites me. It really is just the inanity of the two characters and their one-upmanship. And then I’d really love to illustrate a collection. Where the illustrations weren’t linear but rather vignettes. Each illustration standing on it’s own, not linked to the previous or the next illustration—like a collection of nursery rhymes, i.e. Mother Goose.

#4. As an illustrator, what is it that you most want writers to understand about your creative process?

Kevan

Probably that ‘I know what I’m doing.’ And to trust me. I will not ruin their story. I will bring it to life and I will treat it with great respect. But the illustration part is mine. It is my half of our collaboration. I am open to any illustration note that is imperative to the story otherwise it is all up to me. And the editor. I don’t want that to sound standoff-ish, I just want to feel comfortable—have them feel comfortable with me—interpreting their story visually.

 THANK YOU, Kevan, for sharing your thoughts. You can find out more about Kevan’s books and illustrations at:  www.oddisgood.com

Illus. by Kevan Atteberry

Picture Books Referenced Above

FRANKIE STEIN by Lola M. Schaefer. Illus. by Kevan Atteberry. Marshall Cavendish, 2009.

LOTS OF LETTERS by Tish Rabe. Illus. by Kevan Atteberry. Innovative Kids, 2006.

TICKLE MONSTER by Josie Bissett.  Illus. by Kevan Atteberry. Compendium, 2008.

A cartoon by the talented Kevan Atteberry.

Kevan’s work has appeared in Microsoft Office, among other fine publications. He is the illustrator of many books for children, most recently, Boogie Monster Dance Kit.

The Tickle Monster is in town and he loves to tickle! The boxed kit includes the storybook authored by television actress Josie Bissett and illustrated by Kevan Atteberry, as well as some really soft “Tickle Monster Mitts.” We sell the boxed set (book and mitts) as well as just the mitts separately.

Dinosaur train, dinosaur train, dinosaur train, dinosaur train, we’re gonna ride, the dinosaur train.

Dinosaur train is now for sale up in our Childrens departent. We have individual figurines and packages of several too. And the train set, which your little dinos can ride.