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.
As his interest in drawing grew, he was mentored by his Uncle Piet, who was both an architect and an artist. Leo was very lucky to live just a few blocks from two wonderful museums. Further, as a child he had a special pass so he could go there to draw whenever he wished. He learned to draw details from great works--plaster casts of famous statues, and they made such an impression on him that many decades later he could still remember them perfectly, as he could with clarity recall so much about his tiny pets and naturescapes.