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)

7 Things You Can Do Right Now To Advance Your Creative Career

Anyone who's been plugging along at this creative lifestyle thing for a while knows it ain't easy making a living in the arts. You've got a lot of people vying for what few paid jobs there are, cultural assumptions about the work you make, a widespread belief that you are creating something that isn't considered a "necessity" by most, no clear blueprint for success, self-doubt and/or inner demons, and much more that may be working against you. It can be hard to remember that there are always things you can do to help yourself along. The powerlessness that can creep in must be regularly and consistently kept in check in order to stay focused on being creative. How do you keep it in check? By getting into action.

So, here are 7 actions you can take right now to move your art career forward despite all else:

Change Your Mind. Your mind is your greatest asset. It's also your worst enemy. How you act in relation to your creative career starts with your mind. There's an old saying that goes, "Whatever you believe, it's true." Right now take stock of where your mind is. What exactly do you believe needs to happen before you can "make it" or move forward? Chances are those beliefs - especially the ones that create limitations on you -  are only deep-seated opinions based on your personal or, even, familial or cultural history, and have nothing actually to do with what's possible. Once you change your mind about creative possibility - and expand your viewpoint of it - doors open, energy shifts, opportunities appear. The truth is, changing your mind leads to other changes as well.

Be Decisive. Most artists I know are multi-passionate and full of ideas, so it can be hard to nail down what to do and when to do it. One of the big ways artists hurt their careers is by procrastinating, waffling, or otherwise being wishy-washy about creative decisions. Remember, it's worse to make NO decision, than it is to make an incorrect one. You can always adjust your sails or redirect the course you're on. You can't do anything when you simply remain rooted at the crossroads. Take stock of where you've avoided making decisions, then get in action around that.

Enlist Support. Maybe it's hiring an intern. Maybe it's working with a mentor. Maybe it's getting a web designer or copy writer to firm things up with your online presence. Whatever it is, you need support. (Because we always need support in order to grow.) Take a look at your weak spots - the things you prefer not to do but do anyway or avoid altogether - and figure out a way to get help.

Get More Visible. Think of the all the contemporary artists you admire and are inspired by. How did you ever hear about them in the first place? They got visible in one way or another. They didn't hide in their homes, offices, or studios making their work waiting for a "magical" opportunity to arise. I guarantee, they put themselves out there. We must stop looking at getting visible as self-centered, and look at it instead as service, because the more people who know about you and have access to your work, the more you can support them with your creativity. It's not serving you, your career, or those who would be moved by your work, to keep playing small.

Invest in Yourself. Investment is so important for moving your career forward. Every successful person has invested in themselves, whether it's by purchasing equipment to enable greater efficiency or quality, or investing in a creative coach who supports you in moving to a higher plateau. The trick is to know the difference between an expense and an investment. An investment always pays for itself and then some. Distinguish what you need to go to the next level and get invested.

Eliminate Distractions. Distractions come in many forms - doing more research, reading, going to a movie, the kids, the dogs, the historic preservation committee meeting, the party your friend is having on Saturday night, etc. I'm not suggesting that we don't live life to the fullest. Not at all! We need a well-rounded, full life to keep informing our work and, of course, to be happy. But, there's a point at which all that life stuff adds up to a boatload of distractions, and those distractions push you further and further away from your ideal art career. Someone once said (okay, it was actually Michelle Pfeiffer in a magazine), "You can have it all, but you can't DO it all." So, you gotta make clear decisions daily, weekly, and monthly about what's important to you and your creative career, then eliminate or curb the distractions that get in the way.

Find Community.  Every now and again I hear an artist say something like, "Yeah, but that sale doesn't really count, because she's my friend." Guess what? MOST of your clients, customers, and supporters will be friends. Somehow we've become accustomed to the idea that the "real" people out there, whoever they are, are the true supporters who will validate our creative work. Even if your creative circle grows wide enough to include a boatload of strangers, you'll still have an inner circle of supporters who will be the most consistent. So, it's important to nurture the community around you, as well as expand your circle of acquaintances. Find an online forum, go to an open studios event or an open mic night, start a writers group. Supporting other artists and being supported by them is key in a lasting creative career.

Image by Impact Hub//cc.