Design & Execution

So continues my unpolished sketching of illustration layouts for Lucy's Dance , a children's picture book dealing with the Yup'ik dance festival Curukaq . Layout sketches 5-8 show relatively modern settings, but still required some odd research. TECHNIQUE NOTES: Two of these illustrations are gift-gathering montages, which I will keep a bit abstract. I tried a few collage elements in the first gift montage just to see the effect. The color comes from an ink wash that I scanned and converted to different hues. KITCHEN: On this page, Lucy points out Apa's loss of appetite and sad demeanor, convincing her mother to re-initiate the festival of Curukaq in order to cheer him up. In order to do so, she uses the citizen's band radio, which sits at ready on the counter, like the Bat Signal. I drew two of my original character studies with this page in mind, so I decided to drop them in for layout purposes. When I was sketching Lucy's mom, I wasn't sure at first wh

This week I sketched layouts for the first four illustrations of Lucy's Dance , Deb Vanasse's forthcoming picture book celebrating the Yup'ik dance festival/potlatch. These sketches are meant to be primitive rather than finished drawings. I've included some greeking (sample text) here to show where the story might appear. The wider images will fill two pages. These layouts may have to change a bit later to create a gutter for the binding crease. The first and third illustrations show overviews of the village, which is inspired by the village of Stebbins, Alaska. My setting studies helpfully acquainted me with a view of the Stebbins coastline. The first view shows the village in its original state, with kayaks, a fish-drying rack, and winter subterranean dwellings called qasgiq and ena . The opening words of Lucy's Dance mention the potlatch, called Curukaq , so I wanted to show the potlatch somewhere in the first picture. In the book, Stebbins Dance Festival , Y

In junior high school I collaborated on a project with a small, mostly-female group of students. We were to design a unique, fictional culture and build illustrative cultural artifacts. We would bury said artifacts in a cardboard box filled with soil. Another team would then excavate our artifacts and guess about our culture. After several days of creative deliberation, we designed a pyramid-based matriarchy wherein men were kept underground as slaves, brought out occasionally to build more pyramids. Elvis was God. According to the artifact of my memory, middle school was a confused and hostile culture. I began this week's illustrations, again, with visual research. I still don't know everything about these artifacts, but my Stebbins Dance Festival book has some interesting statements about them. Part of what I do know I impart below. According to their cultural artifacts, the Yup'ik people practice artful dancing to drums while waving furred objects. They also spend time

I promised further discussion of the Curukaq festival and its customs, but I've decided to save that bit for later, for there are many entries ahead of me. Also, I appear to have written a short novel in the place of my last entry, and I'd like to keep this installment relatively terse. This week I continue my study sketches for Lucy's Dance , a children's book by Deb Vanasse that celebrates Yup'ik culture, specifically the Curukaq potlatch festival. I have heard recently that a group of students and teachers from Stebbins, Alaska (the town that inspired the story), may be perusing my blog. I invite them to correct me on any point, or better yet, to send photos of their gymnasium and their general landscape during the months when Curukaq would normally be recognized. When I first set out to create setting studies, I envisioned myself drawing and naming lots of plants, weather, etc. However, a brief perusal of the manuscript informed me that the better part of Lu