All Creativelike: An Interview with Illustrator Christopher Denise

Christopher Denise is one of those enragingly talented people who makes, well, everything look easy - from making the artwork, to handling the business, to teaching about creativity, to being a dad. Since he was kind enough to share his truly wise insights about the creative process of illustrating books here today, I'll try not to stay too mad at him!

How do you define creativity? I try not to. It's too ephemeral, like trying to describe the gossamer wings of a firefly to someone that has lost their sight. The closest I could get is something like water formed by a breeze. I try to recognize it (creativity) in my own work and in the work of others. I know it when I see it. It looks and feels truthful, full of life, and made with care. Pretty broad, I know. Sorry!

When did you know that you wanted to be an illustrator? I really didn't know what an illustrator was until I transferred to RISD (Rhode Island School of Design) in the 90's. I always knew that I loved to draw, all kids do.

I just never let anyone talk me out of it and somehow made it into a life and career.

What does the average day in the life of an illustrator look like? It looks pretty amazing from here and I am grateful for it! What an average day looks like depends, in part, on the season. I have been known to play hooky at a moments notice on one of those perfect Rhode Island beach-days. But we are talking averages here. 1.Most days start with the crazy bustle of getting three girls out the door to school/play-groups. Fueled by copious amounts of very good coffee. 2. A daily recap and, perhaps, some creative consultation with my often collaborator and amazing author wife, Anika Denise. 3. Out to the studio to review the production schedule and start sketching or painting on the morning's assignment. I break all of my projects into work units that can be moved around in the calendar. If a particular piece is calling to me I follow the energy and adjust the schedule later. 4. Break at about eleven o'clock to check email and take care of the social media component that has become an important part of my professional life. 5. A bit more drawing/painting here. 6. Inside for lunch with a game of Scrabble on the iPad, or a conversation with our youngest (3 years-old). The conversation tends to be pretty freeform and it is best to stay flexible. 7. More coffee, and back to the paintings. 8. Around 3-4 p.m. I will wander inside for a few minutes just to say "hi" to the kids and make sure everyone had a good day. 9. Painting until about 5:30. Anika is also an amazing cook, so I try to stay out of the way until I am needed. 10. Dinner, wine, laughs. One of my favorite parts of any day. 11. Dishes and homework help, if it is not all done. 12. Reading picture books to the little, putting her to bed, then reading a chapter from something longer for the older ones. Love this part as well. 13. I usually get back to the studio for another two to three hours. If I am on deadline, a bit more coffee here.

What's your working process like? Do you read the book then start with an overall concept, then move on to specifics, or...? I would say that it is more overall to specific. I spend the majority of my time right now working on picture books so I will outline, in brief, that process. 1. I read the manuscript in hand a few times. I need to know that I will be able to connect with something in the story. 2. I begin to break it down into a book. The manuscript needs to work as a book. There are numerous ways that it can "work", but I need to be able to get a sense of at least one of those paths that it might take. 3. Sketching/thinking/looking at other books. 4. More of the above. 5. More of the above. 6. I create very rough scribbles for the entire book. Essentially, creating a book map. Notes included about color/light/references/music notes 7. More of #3. 8. Sometimes tighter sketches, and many, many changes along the way. 9. Painting, changing, repainting. I need to get going on something to see if it is working. Acting and re-acting. 10. Around this time I start painting like crazy with many pieces going at the same time. Always staying open to change with the incredible digital tools at my disposal. 11. While I am finishing up I am usually starting the process all over again with a new book and a new journey. A normal length picture book can take anywhere from 6-9 months.

How long did it take for your "style" to develop, and what did it take to get to that point? I am still developing my style, really. Each manuscript requires different things from me as an artist.

Writing is hard work, and I think it is a great disservice to both the author and their story for me to impose a particular style on a book.

What are the most important considerations when translating the written word into visual imagery? A few things come to mind right away: Stay sensitive to the material. My job as an illustrator is to create a parallel emotional narrative. Be certain that my communication is clear: I am a visual communicator. I love pretty pictures, I love painting them as well! But my job is to communicate something about the story. If I am not doing that part of my job then it matters little how nice the picture looks. Trust your instincts and stand your ground when you need to. At the same time, listen to constructive feedback and see what works for the book.

Favorite artists or influences? A few off the top of my head for different reasons: N.C. Wyeth, Edmund Dulac, Pablo Casals solo cello recordings of the Brandenburg concertos (no offense to YoYo Ma who did a fantastic job with the material), Wes Anderson, Pierre Bonnard, Brad Bird, E.B. White, Monet, David Lynch, Isaac Levitan, J. F. Millet, The Penguin Cafe Orchestra, Beatrix Potter, Andrew Stanton, Neil Gaiman, Ernest Shepard, Harold Budd & Brian Eno, George Inness.

Any daily or weekly habits and practices? I try to start each session, each day as a novice. It helps me to stay sensitive and, in a way, helps take off the pressure. I also try to start each day as a beginner and allow myself to make mistakes. It keeps it interesting for me, and I grow as an artist.

Advice for aspiring illustrators? Besides marrying an investment banker with a penchant for the arts? Make sure that you love this job. It is really, really hard work and many wonderful artists can get run down and fall by the wayside. And that is fine - it's not for everyone. Having said that, it is one of the most fulfilling and enjoyable things you could do with your time. So if you are in love with it, then love your life, and trust your instincts. Don't let anyone talk you out of it!

Christopher Denise is an award-winning children’s book illustrator and visual development artist. His first book, a retelling of the Russian folktale The Fool of the World and the Flying Ship, was pronounced “a stunning debut” by Publishers Weekly. Since then, Chris has illustrated more than twenty books for children, including Alison McGhee’s upcoming Firefly Hollow, Rosemary Wells’ Following Grandfather, Phyllis Root’s Oliver Finds His Way, his wife Anika Denise’s Bella and Stella Come Home and some in Brian Jacques’ acclaimed receive series. His books have appeared on the New York Times bestseller list and have been recognized by Bank Street College of Education, Parents’ Choice Foundation, and the Society of Illustrators Annual Exhibition. He can be reached through his website or Facebook page.

Photo credits (in order): Anika Denise, Corey Grayhorse Photography, From Sleepytime Me by Edith Fine (Random House Kids, 2014), From Following Grandfather by Rosemary Wells (Candlewick Press, 2013), From Sleepytime Me by Edith Fine (Random House Kids, 2014), From Baking Day At Grandma's by Anika Denise (Philomel Books, 2014)

All Creativelike: An Interview with Pattern Designer Holly Emidy

Artists seem to inhabit the nooks and crannies of the world. We're holed up and hidden away making things - things that don't always see the light of day. Despite the fact our orbits were overlapping, it took years before I met my neighbor Holly Emidy. Both of us were plugging away on our own little creative planets. Fortunately for everyone, Holly's beautiful work does see the light of day. In fact, you might even have some of it in your home. I asked her this week about the process of designing patterns, and she obliged with an interview that gives great insight into that world, with all its highs and lows. How did you get started as a pattern designer? My parents both worked in the design department of a large textile manufacturer - my mom as a design director, and my dad as a textile designer. As a kid I spent many vacation days and afternoons after school waiting in my Dad's office, drawing and doing homework. One day one of the VP's asked if I could paint something for the line. I had never worked in repeat or painted with gouache, but I did it and never looked back. I was seventeen years old.

What do you love about pattern? Just a little bit of pattern can turn the everyday into something artful and interesting. A geometric can look cool or retro. A Jacobian can be traditional or fanciful. A beautiful floral can make you think of a spring day. A bright graphic really pops in an otherwise plain space. There are so many possibilities.

"A good pattern can make you feel happy & inspired."

How would you define creativity? Being creative is like having an extra sense that allows you to see possibilities where others just see what is right in front of them. It is a sense of wonder that can be expressed in writing, making music, creating visual art, or doing crafty stuff with the kids. You don't need talent or skill to be creative. You just need ideas.

Where does your inspiration come from? A lot of my inspiration comes from nature. There are so many colors and patterns, so much fabulous flora and fauna. It's all around us, and it's amazing. Of course, I also have to stay on top of trends since I'm trying to sell my patterns to the home fashion industry. I find out what's going on now through Pinterest, magazines, and window shopping, then I put my own spin on the trends. I like to take a look and move on. I don't ever want my work to be overly influenced by someone else's.

Tell me about the process of developing a pattern. Some start with photos I take myself or ones I find online, anything from flowers and animals to African kuba cloth or vintage toiles. Intricate motifs may be worked out on paper then scanned in. I do most of my drawing in Photoshop & Illustrator. Anything I've done in the past 8 years is on file in the computer, and copies of what I had done in the 10 years prior to that are in my file drawers. So I have a large library to look through if I get stuck.

When the company I worked for many years ago switched from painted work to CAD I was disgusted and wanted to quit. Now I really enjoy the ease of it. It is so much better for working out repeats and changing things around. It is also easier on my hands. I don't hold the stylus quite as tightly as I held those #00 paint brushes. I remember not being able to use my hands after finishing a highly detailed design.

What are the challenges and rewards of being a work-for-hire artist and having to navigate clients' needs and desires? My work seems to come in cycles of all or nothing. When I get a bunch of assignments at the same time, it's hard to balance life and work. I often wear myself out. When there is no work I freak myself out and question what I've done with my life. Trying to figure out what someone else wants is not always easy, but I've had pretty good luck with being on target. My biggest challenge is getting paid and getting paid enough. It's difficult for companies to realize that this is my living. I am just a small part of their operations, but they are all big parts of mine. If I don't get paid in a timely manner, I don't have money to live. I also have a habit of putting way too much work into a project that may have a small budget. Honestly, I could use a manager.

"The biggest reward is the feeling of accomplishment after finishing a great pattern, especially if it had been really challenging in the beginning."

What kinds of things have your patterns been featured on, and do you have a favorite item? Most of the patterns I've sold have been used on upholstered furniture. I've also seen them on journals, cards, bedding, packaging, and apparel. It's cool to see my work out and about, especially when I can afford to by it. Of course my name isn't on them, and I don't get any royalties after the initial sale. Pattern designers don't make the big bucks. I have favorite patterns, but I'm not sure what my favorite item is. Maybe my Nate Berkus throw (featured above). Handy Living's Angelo Home is putting out some cool furnishings featuring my patterns, so I'm hoping to buy something for my family and for me. My grandmother told me she walks through stores wondering if any of the patterns are mine.

Do you have any daily or weekly habits and practices? All of my habits are bad ones. I waste too much time. I don't exercise. I don't drink water. I take my computer to bed. And, I stay up too late. I want to change, but maybe not enough. It is really dangerous working at home without a daily schedule... another thing to add to the list.

Favorite artist(s) or influence? My father was my biggest influence. He was always drawing and painting. He taught me everything I know. Also, living in a community of artists is a constant inspiration and influence to keep going. My boyfriend wants me to have a show at one of the local galleries some time, and I have two friends in town who want me to put some of my work in their shops. It's so nice to have that kind of support.

Any advice for aspiring pattern designers? I can't say I would recommend it to anyone. I've been doing it for 24 years and I love it, but I often wish I was good at something else. It isn't easy. If you really want to do it, one tip would be to start with your drawing and painting skills. Don't skip that step to go directly to the computer. If you establish your style with a paint brush and gouache, you should be able to carry that same hand over to CAD. If you start on the computer your look tends to be less organic and more "computery." I would also go to one of the surface design trade shows in NYC: Printsource or Surtex. See what people are doing. Ask questions. Make connections.

Holly Emidy is a surface designer and day dreamer living in a charming waterfront town in Rhode Island. She enjoys hearing seagulls and fog horns as she creates patterns for home decor, upholstery, apparel, stationary, and wallpaper markets. View more of Holly's work at her website HERE.