Children’s author and illustrator Margot Zemach was born into a show business family--her father was a theater director, and her mother was an actress. Growing up, she drew imaginatively costumed characters to retell her favorite fairy stories and folktales, something she continued to do as an adult that would lead her to worldwide fame.
As she wrote in her autobiography, Self-Portrait: Margot Zemach: "I can create my own theater and be in charge of everything. When there is a story I want to tell in pictures, I find my actors, build the sets, design the costumes and light the stage. . . . If I can get it all together and moving, it will come to life. The actors will work with each other, and the dancers will hear the music and dance. When the book closes, the curtain comes down."
“I have always thought my best stuff was in my sketchbooks. I have hundreds and hundreds of sketchbooks. I like to work at night, I suppose because that’s when my defenses are sort of low. I have my most creative ideas at night. I’m less inhibited, and I really let it rip.”
From: Ways of Telling: Conversations on the Art of the Picture Book, edited by Leonard S. Marcus. p. 96; pp. 82-106 are on James Marshall
Throughout the 1970s and 1980s, James Marshall’s whimsical drawings added humor to dozens of children’s picture books. While many were made for other writers’ works, including classics such as Mother Goose, Edward Lear, and Ogden Nash, he was also a talented writer on his own. Indeed, he became one of the most popular and prolific illustrators in children’s publishing. In high school, however, he wasn’t so much about the art--though he did doodle, as he called it--as about the music which he saw as a way to get a scholarship to college far away from swampy Texas town where his family lived.
In Grandpa Green, Lane Smith tells the story of one man's life through his passion. Topiary gardeners shape bushes and trees into fantastic sculptures of whatever they desire. We meet Grandpa Green as a gigantic bushy baby, sprinkling tears with the words, "He was born a really long time ago," beneath.
We go on to explore Grandpa's life through the garden, with different sculptures illustrating each step in his life. He grows up on a farm, escapes into the wonder of tales like The Wizard of Oz, goes to war, and starts a family. Smith combines the lush greens of the topiary scultpures with very thin black lines for tree trunks, branches, animals in the garden, and the great-grandson who narrates the story. That choice allows the sculptures to pop off the page like a vibrant special effect.
Leo Lionni was born into a family that appreciated art, and, from a very young age, he knew he wanted to be an artist. He loved nature and started keeping small creatures--minnows, birds, fish, and more--in his attic room in Amsterdam. He also created terrariums, and many of these natural details found their way into his later work. Like so many successful children’s authors, Leo Lionni was able to remember and tap into the things that were important to him when he was a child.
If you take a walk in Boston’s Public Garden, you may be greeted by a larger-than-life duck family out for a stroll: Mrs. Mallard, Jack, Kack, Lack, Mack, Nack, Ouack, Pack, and Quack. These bronze sculptures capture the frolicking illustrations of one of America’s most-beloved children’s books—Make Way for Ducklings.
When Minfong Ho was a small girl, she listened. She listened to her parents who taught her all those necessary things that parents do. Their words were Chinese, and their words went straight into her heart, giving her wisdom and strength.
When Minfong became a little older, she played in the streets, marketplaces, and temple fairs of Bangkok. All around her, she heard life being experienced: the shouting, the playing, the prayer, the love, and the daily work. It was time to grow, a time to learn how to do the practical things. Minfong came to think of Bangkok’s Thai language as the language of doing; the language of her hands.
Tomie dePaola (pronounced "Tommy de -powla") was born just as the hard times of the Great Depression were coming to an end in 1934. When Tomie was a boy, there was no television, but he never missed it! He stayed glued to the radio to listen to his favorite show, Let's Pretend. Every week, the actors on Let's Pretend acted out stories of heroes, goblins, princesses, and talking animals. The show fired Tomie's imagination. By the time he was four years old, he knew he wanted to be an artist.
Andrea Davis Pinkney's (September 25, 1963 -- ) books are full of the rhythms of the African-American community. Stroll down memory lane with Scat Cat Monroe as he follows the rise of Ella Fitzgerald from the small-town girl who liked to sing and dance on street corners to wowing the crowd at the Apollo Theatre when she was only seventeen, dressed in work boots and hand-me-downs.
Mysteries for the mind and the eye, that's what Chris Van Allsburg creates for his readers. His drawings seem quite still and perhaps a little dull-until you notice the huge snake slithering across the mantelpiece (Jumanji) or the brambles stealthily growing out of a sleeping girl's book in The Mysteries of Harris Burdick.
Vera Baker was born in Hollywood, California, on January 28, 1927. She and her family moved to New York City when she was quite young. Luckily for Vera, they lived near a studio space called Bronx House where she learned painting, writing, acting, and dance. When she was nine-years-old, one of her paintings, called "Yentas," was put on exhibit at the Museum of Modern Art. She was filmed there explaining to First Lady Eleanor Roosevelt the meaning behind her work. The Movietone film reel ran before the regular features at the movies. This, Vera recalled, made her quite a big shot in the neighborhood!