2006 Read Aloud Award If I Built a Car Ages 4, 5, 6, 7, 8

2006 Winner, Picture Books

If I Built a Car, by Chris Van Dusen
$15.99 Penguin Young Readers Group PREVIEW

Young Jack is giving an eye-opening tour of the car he'd like to build. There's a snack bar, a pool, and even a robot chauffeur named Robert. With Jack's soaring imagination in the driver's seat, readers are off on a wild ride of imagination!

Chris Van Dusen's interest in art began at a young age when his mother gave hiim and his four brothers pencils and paper to keep them busy. After high school, Chris pursued his interest in art by studying painting and illustration at the University of Massachursetts at Dartmouth, graduating in 1982 with a BFA. In 1985 he returned to Maine and settled in the coastal town of Camden. He is also the auhtor of Down to the Sea wit Mr. Magee, and A Camping Spree with Mr. McGee. In his spare time, Chris likes to hike and bike all over the Maine coast with his family. Click here to visit Chris Van Dusen's web site.

From School Library Journal
PreSchool-Grade 2-With descriptions and a rhyme scheme clearly inspired by Dr. Seuss, a little boy relates all of the wonderful things about the car he plans to design, including safety features, a pool, a robot driver, and the ability to go underwater and fly through the air. The rhyme scheme works well enough, although at times the rhythm falters. The artwork is the real draw here. The brightly colored, crisp, cartoon-style illustrations, reminiscent of the Jetsons, are likely to keep viewers' attention. The full-bleed pictures are animated and detailed, and the boy's dog, which appears in each picture, ties the images together nicely. This slight story may attract young fans of vehicles, but readers looking for a plot will be disappointed in what is essentially an extensive laundry list of the automobile's attributes.-Amy Lilien-Harper, The Ferguson Library, Stamford, CT
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.

From Booklist
K-Gr. 2. A young boy decides to design a better car than the old family station wagon. Driven by a robot, his sleek, supercharged vehicle can drive underwater and fly, and the interior includes a snack bar and swimming pool. The story is told in jaunty rhyming couplets, but the fun really comes from the illustrations, which perfectly parody 1950s' visions of the future, as depicted in such magazines as Popular Mechanics. The car glides past neat suburban homes with wide and perfect lawns, where everything is bathed in pastels. This may appeal more to parents (or, perhaps more accurately, to grandparents) who remember these renderings of technological dream worlds. Still, children will enjoy the exuberance and goofiness of the double-page spreads, such as the close-up of the expansive snack bar, which dispenses burgers, fries, and Cheez Whip on command. Todd Morning
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.

The Everything Book Ages 2-6

PREVIEW

ABCs, 1-2-3s, colors, shapes, nursery rhymes, finger games, and more...The Everything Book has something for everyone!

The Everything Book

By Denise Fleming

Edition: illustrated

Published by Macmillan, 2000

ISBN 0805062920, 9780805062922

64 pages Ages 2, 3, 4, 5, 6

PreS-Animals of all kinds, lively ...... insects and birds, and a diverse array of small children romp through this collection of simple rhymes, numbers and letters, and listings of familiar objects. The book includes everything needed ... more » to make it an anthology of preschool interests and concerns, from mealtimes to body parts. It even has traffic lights and trains. The very attractive illustrations, done in Fleming's characteristic bold and energetic style, were produced by pouring cotton pulp through hand-cut stencils, the result being simple forms that are attractively textured, with edges that are just fuzzy enough to look soft and friendly. The brilliant, warm colors are given depth and interest by the inevitable small differences in color produced by this process. Small children will enjoy pointing out the ladybugs crawling or flying or perched quietly on grass blades or leaves in almost every picture. There are, in all, 119 of them to be found, and doubtless young readers will spot every one. This is, indeed, an "Everything Book."-Marian Drabkin, Richmond Public Library, CA

Cahners Business Information (c) 2000

Within the Fairy Castle: Colleen Moore's Doll House at the Museum of Science and Industry, Chicago

This renowned doll house, conceived as a fairy castle, is one of the most beloved permanent displays at Chicago's Museum of Science and Industry. A gift to the museum from Colleen Moore, star of the silent-film era and the original "flapper, " the Fairy Castle has appealed to the imaginations of thousands of children since 1949. The minute and precious detail of this cherished residence of Moore's imaginary fairy prince and princess has been captured in color photography, giving the reader a close-up tour of the nine-foot-square and twelve-foot-high castle's rooms and their treasures. We enter the miniature palace of make-believe through the Magic Garden, with its working fountain and weeping willow tree that cries "real tears"; travel through the Library of diminutive books, with contributions from F. Scott Fitzgerald, Willa Cather, and others; move on to the Great Hall, with its tiny paintings, dainty chandeliers made of diamonds and emeralds, Cinderella's glass slippers, and more; and explore the castle's wonders from top to bottom.
Within the Fairy Castle: Colleen Moore's Doll House at the Museum of Science and Industry, Chicago

By Colleen Moore, Terry Ann R. Neff, Scott H. Rose, Barbara Karant, Ill.) Museum of Science and Industry (Chicago, Museum of Science and Industry (Chicago, Ill.)

Edition: illustrated

Published by The Museum, 1998

ISBN 0821225197, 9780821225196

127 pages Ages 7, 8, 9, 10, 11, 12

Poetry by Douglas Florian Ages 6-12

April is Poetry Month

BEAST FEAST: POEMS










MAMMALABILIA

INSECTLOPEDIA


All by Douglas Florian





Ages 6, 7, 8, 9, 10, 11, 12

Comets, Stars, the Moon, and Mars Ages 6-12

PREVIEW

Comets, Stars, the Moon, and Mars: Space Poems and Paintings

By Douglas Florian

Illustrated by Douglas Florian

Edition: illustrated

Published by Houghton Mifflin Harcourt, 2007

ISBN 0152053727, 9780152053727

56 pages
Blast off with Douglas Florian's new high-flying compendium, which features twenty whimsical poems about space. From the moon to the stars, from the Earth to Mars, here is an exuberant celebration of our celestial surroundings that's certain to become a universal favorite among aspiring astronomers everywhere. Includes die-cut pages and a glossary of space terms.

Stunning mixed-media illustrations ...

... accompany a series of poems that celebrate the wonder and mystery of space. From the universe, the sequence narrows its focus to the galaxy, the solar system and then each body in turn, from the ... more » sun to poor demoted Pluto, and beyond. The verse is characteristically playful, wrapping itself around astronomical facts with ease. Readers will learn about the temperature and size of the sun, our moon's phases and Voyager 2's discovery of Neptune's rings. Delightful as the poems are, however, it's this volume's illustrations that surpass. Bright gouache on brown paper bags lend texture to each spread; stamped words allow the illustrations to incorporate such details as names of moons and "sun" in several different languages; collage elements add further whimsy to the whole. To top off this feast for the eyes, occasional die-cuts provide telescopic windows onto adjoining spreads, firmly establishing for the reader the truth that space is a vast continuum, with new surprises in every corner of the sky. Each poem receives a thumbnail gloss at the end, offering additional facts or extending the information presented earlier. Glorious. (Picture book/poetry. 7, 8, 9, 10, 11, 12)

Kirkus Reviews Copyright (c) 4/1/2007 VNU Business Media, Inc.

Gr 1–5 Ages 6, 7, 8, 9, 10, 11— Nothing gladdens the heart of ...

... believers in good poetry for children more than a new collection by Florian, whose verses and paintings consistently capture the essence of his featured themes. This one literally sings the music ... more » of the spheres. Twenty playfully lyrical poems treat topics such as the universe, the individual planets, constellations, and black holes. Each selection is presented on its own spread and adorned with a magical painting done in gouache, collage, and rubber stamps on brown paper. Circles abound in the artwork, and many pages have round cut-outs that lead into the next picture. For example, "the earth" ("Two-thirds water./One-third land./Valleys deep./Mountains grand") is illustrated with a colorful globe decorated with circled collage prints of animals and plants. A smaller orb appears nearby, made from a cut-out circle that reveals part of the illustration for the next selection, "the moon." Some of the paintings incorporate mythological names and images. The pleasing blend of faded shades and brilliant colors, of old-fashioned prints and fanciful sketches, makes the illustrations seem both antique and high-tech. An appended "Galactic Glossary" provides additional information. In both language and artwork, Florian strikes the perfect balance between grandeur and whimsy. Like Myra Cohn Livingston and Leonard Everett Fisher's Space Songs (Holiday House, 1988; o.p.), this book is a work of art worthy of the vastness of its subject.—Kathleen Whalin, York Public Library, ME

School Library Journal vol. 53 iss. 7 p. 90 (c) 07/01/2007

When Pigasso met Mootisse Storyline Online AudioBook

When Pigasso met Mootisse

By Nina Laden

PREVIEW
http://www.storylineonline.net

Edition: illustrated

Published by Chronicle Books, 1998

ISBN 0811811212, 9780811811217

40 pages Ages: 4, 5, 6, 7, 8, 9, 10
Read by ERIC CLOSE.
When Pigasso met Mootisse, what began as a neighborly overture escalated into a mess. Before you can say paint-by-numbers, the two artists become fierce rivals, calling each other names and ultimately building a fence between them. But when the two painters paint opposite sides of the fence that divides them, they unknowingly create a modern art masterpiece, and learn it is their friendship that is the true work of art. Full color throughout.

During their youth in Paris, Picasso and ...

... Matisse had a brief falling out after a competitive spat. Here, art imitates life as Laden takes that episode and, through transformation and embellishment, turns it into neat little lessons in art history and ego reduction. Pigasso and Mootisse have separately garnered such fame that they each must flee the hordes to concentrate on their art. When they become neighbors in the countryside, all is bonhomous until their temperaments--and their artistic visions--clash, so much so that they build a great wooden fence between their houses. Gradually their hearts soften. To make amends, and since neither knows how to simply apologize, each simultaneously paints a tribute to the other (and, of course, to himself, as befits such self-importance) on the fence. There are plenty of good (modified) examples of the real artists' works, as well as a couple of surprises, such as a Jackson Pollock--style explosion between the painters. The characters come across as bumptious, strong-willed, and appealing. Laden further lightens the story with goofy wordplay--moosterpiece, pork of art--that adds little when the quality of the artwork and the book's detonation of color are already such pleasures. ... more »

Kirkus Reviews Copyright (c) VNU Business Media, Inc.

Hands On Crafts in North Carolina

http://www.handsoncrafts.org/

Come Play!

Try this site for interactives! Learn about
Pottery Making in Studio 1 and

Basket Weaving, Textile Weaving and
Quilt Making in Studio 2.

There is a Road Trip through North Carolina
to Web Sites for for Arts and Crafts and Library sites.

Imagine a Dragon Ages 7-9

You might think Imagine a Dragon would be collection of fluffy poems going nowhere special, but you’d be wrong. Instead, esteemed science writer Laurence Pringle has compiled a treasury of true stuff about this beast, illustrious but wholly imaginary. Starting with the earliest rumors in China, Egypt, and present-day Iraq, a dragon worked nicely as an explanation for natural disasters, scientific phenomena, anything that seemed scary. Pringle zooms around the globe to glean the primo dragon facts and legends, while lush paintings in acrylic by Eujin Kim Neilan make the pages swirl. Good example of a handsome nonfiction picture book, and an appealing choice for kids shifting out of fairy tales (Boyds Mills, 2008, ages 7, 8, 9). FROM:

Snowflake Bentley

By Jacqueline Briggs Martin

Illustrated by Mary Azarian

Edition: illustrated

Published by Houghton Mifflin, 1998

ISBN 0395861624, 9780395861622

32 pages
A biography of a self-taught scientist who photographed thousands
of individual snowflakes in order to study their unique formations.

See the Snowflake Crystals

http://snowflakebentley.com/

Wikipedia

Critical Review of Illustrations

Snowflake Bentley

on-line unit: http://www.eduscapes.com/caldecott/99a.html

other on-line resources for snowflakes:

http://www.teelfamily.com/activities/snow/science.html

Caldecott Award

Each year a Caldecott Medal, named in honor of English illustrator Randolph J. Caldecott, goes to the artist of the most distinguished American picture book for children published in the United States during the preceding year. The American Library Association sets the criteria by which a committee views and judges children’s picture books each year. The committee members consider (American Library Association:

- excellence of execution in the artistic technique employed.

- excellence of pictorial interpretation of story, theme, or concept; of appropriateness

of style of illustration to the story, theme, or concept; of delineation of plot, theme,

characters, setting, mood, or information through the pictures.

- excellence of presentation in recognition of a child audience. (p. 2)

Using this list as a measuring stick, it surprises few that Mary Azarian won this year’s Caldecott Award for her outstanding artwork in Snowflake Bentley (1998). Jacqueline Briggs Martin’s eloquent portrayal of the life of Wilson Bentley, noted authority on snowflakes, provides the perfect prose for Azarian’s colorful woodcut art form. The pictorial interpretation of the story complements Martin’s description of the rural landscape of Vermont as it looked in the late 1800's. Simple, detailed illustrations provide the visual beauty of this book. Woodcuts give a flavor of times past and emphasize line and structure. The framed borders reflect the beauty of snowflakes as Martin describes them to the reader and also provide space to include bibliographic information about Bentley that might have slowed the text down too much for children to enjoy.

Cleverly done illustrations portray the literary elements of a picture book. To judge the worthiness of Azarian’s work in Snowflake Bentley, a look at the way she portrays these elements helps us make sound judgements about the true quality of the illustrations. The illustrations in this award-winning book reflect character, plot, theme, setting, point of view, style, and tone.

Azarian’s portrayal of characters in this book compliments Martin’s description of Bentley, at various stages in his life, his parents, and his friends. On the first page of the book, Martin describes the difficult life of a farmer who must do his work with an ox and sled. Azarian chooses to depict a stoop-shouldered figure coming from a barn in the dark with only a hand-held lantern to light his way as he walks back to the warm glow of the yellow window-lights of his home. The deep snow surrounding the farmer parts way to leave him only a narrow path by which to walk to his house. The lantern lets readers know that the snow’s true color reflects white, but the surrounding snow appears to have a blue-gray tint, alerting the reader to the fact that no artificial street lights exist on this farm. From the very first page readers know something about the farmer holding the lantern.

Azarian’s characters appear robust, round, and solid looking. The clothes they wear seem appropriate for the time in history that this story takes place. Rosy cheeks and smiles let the readers know that little turmoil surrounds the family in this story. Illustrations of Bentley as he reaches adulthood make him look very much like his father. A strong feeling of "family" permeates the text and the accompanying illustrations. Facial expressions on Bentley’s mother suggest demureness and worry lines on his father’s face imply concern and a feeling of disconcertedness. Bentley’s youthful face reflects joy and wonder when he works with his snowflakes, cameras, and as he shows his parents what he discovers.

Azarian’s illustrations also add to the plot of this story. From observing the second page of this book, readers can tell much from the open arms of Bentley as he welcomes the snowflakes onto his mittens. The abundance of snow in this scene reinforces the text in declaring that 120 inches of snow fall occurs here every year. Without words in this text, readers would know that Bentley loved nature, as depicted in the illustrations of him gently holding a butterfly, Bentley bringing his mother apple blossoms, his intent work with a grasshopper, and his constant fascination with snow. Perhaps the most gripping portrayal of plot comes at near the end of the book as Bentley seems "lost" in a blizzard of snow. Azarian depicts Bentley walking away from us into oblivion, his footsteps disappearing behind him.

The theme of this book seems to suggest that people should follow their passion, regardless of what other’s may think or how impossible it may seem (Azarian, 1999). Subordinate themes might suggest the merits of a supportive family and of hard work toward reading a goal. Azarian chooses to show us Bentley depicted as an outsider as he walks past his friends building a fort, to pursue his passion. Other important illustrations relating to theme show Bentley explaining the camera he wants to his mother and his parents discussing the impracticality of such a purchase.

We see Bentley in complete solitude as he works with his microscope and his drawing of snowflakes, suggesting how lonely and long the nights might seem to those pursuing a dream.

Azarian uses all the tricks up her sleeve to bring us the setting in this book. This seems the most powerful story element portrayed by the artist. Azarian’s use of line appears consistent throughout the book. Horizontal and vertical lines meeting at right angles suggest stability. Doorways, panels on doors, paneling, window frames, flooring, and sideboards all indicate to the reader that a sense of security and permanence exists in this story. The artists use of color with muted shades of white, blue, and gray give character to the snow in all phases of the snowfalls. The farm and farmhouse appear inviting and summon the reader to a simpler place and time. Warm colors used inside the house suggest comfort and assurance. We can tell from the illustrations in this book that the place where Wilson Bentley grew up provided him an ideal place to grow and dream. Azarian’s depiction of the setting in this story initially "grabs" the reader and the images stay with the reader long after the book closes.

The point-of-view that Azarian takes in her illustrations matches that of the author, third person. Readers are invited inside Bentley’s home and his dream as the author and illustrator work together to make readers informed observers. Looking at the illustrations in this book mimics browsing through a Bentley family album of snapshots of their lives.

Azarian’s style and tone of illustration in this book plays heavily on realism. People, buildings, and animals appear in proportion to the surroundings. Very calm pictures match informative and straightforward text to tell Bentley’s life story. Openness and honesty flow both from the text and the illustrations in this book.

The very effective pictures in this book enhance and compliment the text. Children will love a book about snow, but on the surface the story of a man who thought of little else seems less than compelling. Azarian lets children feel the snow, feel the passion, and sense that a dream pursued can provide a fulfilling life. We get the emotional context of this story from Azarian’s talented portrayal of the elements that make a story worth telling.

Bibliography

American Library Association. ALSC: Caldecott medal descriptors, history, & criteria. On-line:

Azarian, M. (1999). Caldecott medal acceptance. The Horn Book Magazine, 75(4), pp. 423-429.

Second Interview with Ed Beard, Jr., Award-winning Fantasy Artist

The second weekend of
The Renaissance Faire in Wake Forest
is April 4 & 5, 2009

Visit Ed Beard Jr's Website

Describe the process of creating a dragon or wizard portrait.

The dragon can be looked at in several ways. It is often compared to a flying lizard or pteranodon, a giant chicken with wings or in the eastern culture more of a serpentine snake-like being. Whatever way you perceive the dragon is entirely open to debate. I personally think of a dragon as a combination of a reptile, horse and a bird or bat. With a basic understanding of the anatomy of each of these three creatures, I can combine appendages at certain skeletal junctures to create a functional, or at least somewhat believable, dragon.

How long does it take? Or, which one took the most time? Why?

Paintings that contain multiple figures and many different colors generally take far more time due to the color palette changes. I use acrylic paints therefore the drying time is faster than oils. Typically for a single figure dragon or wizard I will take from 10, to as many as 20, hours. When I am working on a more complex battle scene, it can take upwards of 100 hours, or more.

What inspires you?

I love mythology and legends in folklore, however many writers, such as Tolkien, have laid the base or ground for the imagination to expand from. I personally enjoy speaking with the public when I attend conventions and Renaissance Faires and getting the wide variety of concepts they offer.

Who or what was the most unusual (for you) inspiration for a fantasy work?

Not long ago I received an e-mail from a young collector from Florida. The commission request entailed creating a Red Dragon that epitomized this young man's battle with a chronic illness. The request described a Red Dragon trapped in a cave (representing the lack of a cure) with heavy chains around the neck, arms, and legs of the dragon just beginning to be broken (symbolizing the power to overcome this disease) and a break in the ceiling of the cave where light would come shining through that symbolized the hope of a cure. In the end, this was the most moving and inspirational work I have done using a dragon as the subject.

What inspires the skeletons of dragons?

I recently embarked on an instructional "How to Draw the Dragon" book project that I will be publishing, just as I did with "The Enchanted Realm, Art of Ed Beard Jr." art book that came out two years ago. In this book, I will take the reader from the anatomical skeletal structure, to the musculature and variety of scales and characteristics. I also will take the reader through the variety of species and their environment. The European or western dragon tends to have elements of the horse, reptile, and bird or bat skeletal anatomy.

What is the "back story" on your favorite dragon?

One of the dragons, that seems to be somewhat iconic for my work due to the fact that it has appeared on many different licensed products, is called "Bravery Misplaced". This is the classic portrayal of where the brave knight has underestimated his abilities when he comes around a bend and is face to face with a gigantic Dragon. The other dragon is entirely a different approach in that it shows an intellectual scholarly dragon sitting in his study transcribing the ancient tongue of his ancestors. This is titled "Ancient Dragon Scholar."

Who is your favorite wizard?

It would have to be Merlin as I am fond of Arthurian Legend.

Your favorite monster?

The werewolf has been a favorite of mine but I would also include other horror-type subjects like the headless horseman from "The Legend of Sleepy Hollow."

Describe the most fantastic wings you have ever created. What inspired you or them?

The majestic nature of dragons incorporates the wings spread wide open. I have created two versions that I feel depicted this characteristic most effectively. The first is titled "Winter's Spirit" a celestial spirit Dragon that returns to its favorite perch from the heavens on a cool winter's night. The other is a crimson Red Dragon who has taken possession of a keep or castle and is powerfully perched upon the top of this castle looking down on a warrior who has requested access to this castle of treasures.

When you speak to a young artist (age 10 to 12), what advice do you give?

1. To study anatomy, light sources, perspective, and all of the nuts and bolts that are required for a good foundation in illustration. 2. Repetition and practice are the only way to master the skill. 3. To ignore anyone who attempts to tell them that Fantasy Art is a waste of talent or an invalid art form. 4. Have those negative individuals to visit my website if they are in doubt of the legitimacy of this amazing field.

When you speak to an artist in high school who wants to create fantasy art, what advice do you give?

Basically the same as the younger student, but with an emphasis on maintaining a tangible medium and not simply surrender to what is easier or more "efficient" as with digital programs. I remind them that creating a one-of-a-kind original painting that can be collected is a great source of income as well as sustaining the original art form. I further express how being able to do both digital and hand-painted work create a more sustainable career and a much better income.

When you speak in schools, who asks the best questions? What are some of the most interesting?

Definitely the grades 3 to 6. They are the least inhibited, and their minds are like a sponge calculating all of the most inquisitive questions imaginable. Once I was asked by a third grade student, "Have you ever painted a picture that you got stuck half way through and run out of ideas for?" or "How do you save a painting that you have made a mistake on without starting all over?"

In one case a fifth grade student asked whether I "have ever been stumped and not been able to imagine a scene, and just stare at the black canvas."

Define creativity.

The ability to take a thought or a concept and manifest it to a visual or auditory representation of that thought or idea. Music, art or literature are all conduits to communicating with one another; each is the vehicle for creative expression.

What great questions did I not ask?

What should be the role of an art teacher?

An art teacher should identify the student's strong and week points, then watch how the student approached the task at hand. Once these evaluations have been established, it is the teacher's job to find a way to utilize these natural tendencies of the student and direct and use those tendencies to improve the techniques of the student. A teacher should never attempt to mold the student into a clone of himself or herself. It is the job of a teacher to take the spark in that student and grow it into his or her own unique flower.

Investigating the Renaissance

Investigating the Renaissance

Examining material aspects
of three Netherlandish paintings
using digital imaging techniques

http://www.artmuseums.harvard.edu/Renaissance/

Medieval Art Story Starter Castle from Above

Middle Ages Castle and a dozen more
at Karen's Whimsey.

Click Here
for
Medieval Clipart:
Middle Ages Castle

and
Click Here
for
Medieval Castle:
Image 2

Medieval Art Story Starter At the King's Table

From Karen's Whimsey
Fashion in the Middle Ages

Click Here

for

Fashion in the Middle Ages :: Image 5

Butterfly Coloring Pages

Six Images at Karen's Whimsey

Click Here

Medieval Art Story Starter Dragon Slayer

From a Karen's Whimsey Public Domain
Dragon Art Collection

Click on Link
for
Dragon Art: Image 2

Medieval Art Story Starter A Royal Audience

This is a Karen's Whimsey Coloring Page.

Click Here
for
Love Coloring Pages - 3

Renaissance Coloring Pages

~ 100 Renaissance Coloring Pages
by
Karen's Whimsey

Click here.

Coloring Pages Ancient Rome

In searching coloring pages
for Easter,
I found
10 Coloring Pages Ancient Rome.

Click here to link.

Interview with Ed Beard, Jr., Award-Winning Fantasy Artist

I had the pleasure of meeting Ed and his wife Kelly at
The Renaissance Faire in Wake Forest,
March 28, 2009
VISIT HIS WEBSITE

Here's a Review:
I have been collecting and selling fantasy art for several years
at my store Mark's Comics & Collectibles in New York.
I have dealt with Ken Kelly, Larry Elmore, Clyde Caldwell, Brom,
R.K. Post, Luis Royo, and too many others to name.
I own originals from all of them. Out of all the artists I know and have dealt with,
I have only asked one to do a commission for me. You guessed it, Ed Beard Jr.
I gaze at both the original painting as well as the original pencil as I type
this review, and I am still awed by the them. I am biased,
but I feel the painting he did for me, "Valkyries Raid",
is the best he has ever done, and that is what you want in a commission.
I loved it so much, I recommended to a friend to commission
Ed to do one for him as well. His is called "Sword of Solaris",
and I know he was overjoyed with it as well. Make sure you contact
Ed if you are even thinking of asking about a commission.
You will not be disappointed. I have never met anyone else,
except for Larry Elmore, who can pick up a pencil or marker
and just draw like Ed can. I sat with Ed for hours at a convention once,
as well as at my dining room table, and watched him draw,
with no reference material, dragon after dragon, wizard after wizard,
and goblin after goblin and no 2 are the same and all were fantastic.
Ed is not just an artist, he is a personality.
Make sure you find time to go to a convention or a Ren Faire he will be at.
You will not be disappointed.
He is one of the most giving artist's with his time.
He will talk to you about anything and everything, not just art.
Artist, teacher, husband, father, and friend,
"Ed Beard Jr." the true renaissance man.
by Mark Aronowitz

We had a great chat about the role of art in literacy
and
the creative process.
He agreed to an interview.
This is Part 1 of 2. Enjoy!
Sharon

What role does art play in the enjoyment of fantasy literature?

Art and illustration play an even more significant role in fantasy literature because of the subjects that are often based upon myth or legend. It is the goal of the fantasy Artist to make that which is not of our realm appear believable or at least plausible. The challenge for the fantasy artist is to capture the essence of the written word and transform that concept into visual reality.

Is the role of fantasy art in young adult fiction different from the role of art, say, in picture books or chapter books?

In some cases the young adult fiction cover art may incorporate more graphic images, such as great peril or battle scenes, that may be a bit too aggressive for young readers. Creating images that are both appealing to a specific target age group, as well as unique and dynamic enough to draw the young reader's imagination, is always an invited challenge.

How do students say they come to fantasy art? For the art? For the literature?

In other words, for students, does art lead to literature, or does literature open the world of art?

It truly is a synchronistic process from the student's point of view. Students are engaged both visually and through the written word. However, the offspring to the marriage can be inspiring to seek out more visual stimulation. This in turn, more times than not, inspires great fiction. Sort of like the phrase "which came first the chicken or the egg".

What was the process of creating illustrations for novels?

Although not typical for most publishers, I prefer to work directly with the author, when I can, to get the first person interpretation of what the author feels is the pinnacle moment or scene of the book that best summarizes or focuses on the topic. The key is to not give away too much in the image that may be obvious to the faithful readership especially if the book is in a series. I never want to spoil the plot before the reader digs into the book. The key to illustration and representational art is to capture what the author is essentially trying to communicate, yet maintain the artist's own unique perspective.

Has a writer ever been inspired by your art and created a work around it?

Yes, as a matter of fact, I host many young authors (age 18 and younger) on my website. They choose a painting that I have created entirely in my own mind's eye, and they create a short story about the image. After review of the submission, I publish the short story along side the art offered in my website via a link. Lit Link Bravery Misplaced

Lit Link Winter's Spirit

Speak about inspiration versus perspiration in your creation of art.

Before I actually begin to lay out my pencils, paper, paints and canvas, (yes I am old school in that I actually prefer real tangible mediums over digital programs) I spend a great deal of time researching any possible connections with the real world such as history, legends, myth and folk lore. Although ideas come to me often through trying to create an even more interesting version of the last Dragon or Wizard I have painted from my imagination, referring to something that people can relate to is what connects the viewer to the world I am trying to portray. Once I have the basic concept locked in my imagination, I proceed to put it on paper. Once I have a detailed rendering of the image, I then decide on a color palette. The actual painting takes me on a journey of its own in many cases. I am often amazed at the direction and end result of a painting, as it developed from a B/W line drawing to a full-color finished painting.

Why do you continue visiting schools?

Aside from the fact that children need to have a passionate, motivated person to inspire them to consider art and the legitimacy it can offer as a future career, I feel a great sense of obligation to share my experiences and blessings. In addition, young people are often full of wonderment and not afraid to ask the tough questions. I get just as much out of a day at the Book Faire as the students do.

To what factors do you attribute your success?

I think that the key to any creative-based career, whether it be music, art or theater, requires a combination of qualities and characteristics. I was blessed to have been given the eye and imagination to create. I then had the passion to hone my skills and put in the work necessary to bring it to the market place. Then I had the burning drive to accomplish what I wanted in the life of a Fantasy artist and illustrator. The final ingredient was to be able to connect with people and nurture a collector's audience that enjoyed collecting my work and wanted to share in that journey as well. So, in short, hard work and practice, passion and drive and good communication with those who like what I do.

Enchanted Realm, the Art of Ed Beard, Jr.

Ed Beard Jr.'s first Art Book. Inside this amazingly detailed book you will find over 200 images! This book has 98 pages and includes; in-depth discussion about technique, the artist's roots in fantasy art, creating visual reality from creative written fiction, creating dragons, fey folk and monsters that are based in Myth and Lore.

Inside you will find many familiar published works of Ed's from Tolkien to Magic: The Gathering and even never before seen and unpublished art. Over 80 images in full color! Foreword by Legendary Fantasy Artist Larry Elmore.

Art across the alphabet: over 100 art experiences that enrich early literacy

By Kelly Justus Campbell

Edition: illustrated

Published by Gryphon House, Inc., 2003

ISBN 0876592892, 9780876592892

160 pages

Create readers while creating art!

Art Across the Alphabet contains art-centered
activities for children aged three to six to reinforce
letter recognition, build phonemic awareness
and pre-reading skills, and associate reading
with FUN! The book links art and literacy seamlessly,
explores the magic of language, and offers
unique opportunities to create readers while creating art
-- from Airplane Wings to Zany Zoo Animals!

Contents

Letter B	19
roll paper , Band-Aids , food coloring
Letter F	45
roll paper , fingerpaint , Hermit Crab
Letter I Activities	65
shoe insert , dowel rod , Kool-Aid
Letter P Activities	101
disposable camera , masking tape , sequins
Pretty Paper	104
sea sponges , Pet Rock , pantyhose
Letter T Activities	122
oil pastels , Paper Town , tissue paper

more »

Letter V	130
watercolor paints , Georgia O'Keefe , butterfly
Letter Y Activities	146
letter Z , yarn , Popsicle