"How to Draw Otto" Videos

Lately I've been messing around with creating a "How to Draw Otto" video. I ended up with two, a short, speeded up version:



And a longer, guided tutorial version:



Let me know if you like them. I will be posting them (hopefully along with others in the future) on their own "How to Draw" page, accessible through the Pages bar above.
Enjoy!

Very excited …

I just received news today that advance copies of Big City Otto are now in at my publishers. For the uninitiated, these copies are those sent ahead of the slow boat from China (or wherever the books are being printed - but probably China) to be sent to reviewers, bloggers and persons of influence. If I'm lucky I might even get one myself!
As the book gets closer to its release date the publicity and promotional machine begins to go into high gear. In addition to the sampler that I mentioned in my last post, I also have a stack of promotional post cards in my hot little hands to distribute to the four winds.
And if you really can't wait for the book, here is a link to a 16 page preview that Kids Can has posted on their web site. (Just click on the image below.)

Enjoy!

Click on image to go to preview.

Bits and Pieces

Here are a few bits and pieces I'm working on these days as I wait around for my editor to get back to me with comments on the second book in the Elephants Never Forget series (Hometown Otto).

Here's a self-portrait I was asked to do, to be included in a promotional sampler
of Kids Can's fall graphic novels. It will also have a few spreads from Big City Otto,
so keep your eyes peeled for it!

Above: Some first round character sketches for Birdy, a retired dancing bear
that helps get Otto and Crackers pointed in the right direction. There are a lot more
characters in the second book, and I want to start to get a feel for them before
 I get into the actual thumbnailing of the story.
Below: Sketches for Harriett Tubby, a pig that our heroes meet who is running an underground
railroad escape route for mistreated farm animals. She is based on the remarkable Harriett Tubman,
who was famously pictured with gun in hand as she led escaped slaves north to freedom. A the moment
I have opted for a broom, but that may change. Any suggestions?

Wrapping It Up

This week I was finishing the last bits and pieces of the graphic novel – title page, end papers and cover. It all went down to the publisher’s yesterday and this morning I woke up unemployed!

As we all know, you must, MUST not judge a book by the cover. But yet, as an illustrator, I know how important it is to get the book cover as right as possible. This will be the reader’s first encounter, and along with a brief  flip through and perusal of the jacket copy, will be the deciding factor as to whether your book gets read.

Whenever I do a book, I always prefer, if possible, to do the book cover last. By then I’ve had time to think about the book, what it’s about, what its essence is, and hopefully, have some ideas that can be distilled down to something that is eye-catching and, more importantly, captures the story.

When we were kids I think we were all frustrated by covers that were clearly done by someone who hadn’t read the story – small details that we knew were just dead wrong. But it doesn’t mean that the illustrator can’t stray from the text a bit because, as a cover, you’re not simply reflecting a part of the story, but rather something that is emblematic of the entire story. Also, there needs to be a tie in with the title, so that the title and cover image make sense as a whole. So what ends up on the cover might be a particular scene that captures the essence or it might be a constructed scene that doesn’t actually appear in the book itself.

Finally, the cover is something that most publishers are pretty hands on with. They may let you run fast and foot loose in the interior of the book, but when it comes to covers they will want their say. This can lead to multiple versions or, if you’re lucky or inspired, you may nail it on the first go.

Below are the three versions of the Big City Otto cover that I went through, along with the final art. I’m happy with where the cover ended up, and feel that it is a fairly good representation of what you will find between the covers.

Here is my first quick sketch for the cover, executed a few months ago. I wanted to communicate  a "lost in America" feel, hence Otto with suitcases, looking like a newly arrived immigrant 40's style straight off the boat. And as the Alligari Boys feature prominently in the story, I wanted to include them in a menacing role. I elected to go with an all black background with a single pool of light, trying to give the whole thing a film noire retro look.

My editor Tara Walker came back to me with the comments that although she liked it, she felt that it didn't really say "Big City".  She suggested some buildings in the background. In the meantime I had begun to think that the first one wasn't animated enough and that it might be fun to show the scene immediately after Otto had unwittingly helped the Alligari Boys knock over a convenience store. I've taken the title copy to a more finished state, distorting the Baddaboom typeface that I had used in the interior for sound effects and loud shouting. I've also dropped Esperanca's name off the cover (by mutual consent!) as her involvement in other book work had taken her away from a major role in this project (she still gets a writing credit on the title page). I liked the hand-lettered effect for my name, which I had first used in the title bar of this blog, so I went with that, and added a city skyline in the background  to communicate "Big City".

Here's the third go around. Again, Tara was encouraging (as editors have to be!) but said that she felt that the second attempt didn't really focus in very effectively on Otto and that she preferred my first take but with more city. I could see her point, and took another look at this to see how I could incorporate that. It occurred to me that if I flattened out the perspective a bit and went to solid black for the mid-ground, I could make the somewhat tricky transition from a three quarter bird's eye view in the foreground to looking up at the city skyline in the background. I also thought it would be fun to actually have Big Al emerging from the sewer hole to reinforce the "alligators in the sewers" theme that runs through the second half of the book. (You will notice that Big Al's cigar has disappeared in the second and third versions. Smoking on the cover, even by a bad guy who's height has clearly been compromised by this activity, was an absolute no-go.)

And here is the final go. Tara circulated the third pencil around Kids Can Press and it received enthusiastic approval, with the only concern being that too much of the title was obscured by Otto - an easy fix.
I'm really happy with the retro feel of this, the contrast of the red type against the black background. Synchronicity even played a part as I had accidentally added a coarser dither to the colour in Photoshop, but realised that I liked the effect, which mimicked the coarser colour screens of earlier printing processes.
In the end I think the cover has accomplished exactly what a cover needs to do. It right away says "Big City" in both name and image, reflects one of the major dynamics of the story (the interaction between Otto and the Alligari Boys), and shows Otto as a bit at sea and innocent in a foreign environment. This was one of those covers that doesn't show an actual scene in the story, but captures its essence. And it was truly a collaborative work between my editor Tara and myself, who's sage comments helped lead me to exactly where I think this book cover should be.

Done!

Spoiler Alert! As you can see by the final panel of Big City Otto,
neither of the principle characters is knocked off in Book One.
Not to say it isn't touch and go at times!

I coloured the last of eighty pages yesterday. That’s eleven months of steady work doing the final art, almost three years of planning, months of thumbnails and editing. Or, to put it in a more visual way…

Not that it’s all done. I have a cover still to work out, and a title page, and text and art have to be married in InDesign. Things need to be proofed and corrected. But as of today, the book, for all intents and purposes, is done.

Looking at the stack of boards that comprise the inked portion of a project this size, I find it’s a formidable pile of art. When I go to schools and speak to the kids, this is something I always do, show them the physical evidence, the stack of thumbnails, pencil roughs and final art that comprise this thing we call a book. Try to make it real for them. Because for a lot of kids, and adults, too, they’ve never really made that connection between the labour involved, the creation of art, and how that translates into a pile of paintings.

There will never be a coloured version of this book to show kids, at least not as finished art. And I think, as I now struggle to find the room in my ever dwindling studio for yet another stack of art, that a lot of young illustrators and those of my generation who have made the switch to digital don’t have to deal with this space issue. They also won’t have that stack of art to show aspiring artists, that opportunity to wow them with the sheer volume of what you have produced, and in a way, I think that’s too bad. In fact, as more and more books are delivered digitally, that physical manifestation of the artist’s work continues to dwindle. And I wonder, when there is no original art anymore, no books as we have known them, how will we continue to value something that has become so abstracted? But maybe I worry too much.

In the meantime, I’m going to revel in the pleasure of a job well done, and start to ruminate about Book 2 in the Otto and Crackers saga. And on the upside, as my sister in Saskatoon has helpfully suggested, “Esperança will be glad to see the end of this project too so you don't have to make elephant jokes together all the time.” At least not for a while!

Available now while quantities last! Your very own Otto bookmark. Lovingly printed on Coated Two-side 90 lb. Cover Stock and accepted as legal tender in Pugganooga, this remarkable piece of memorabilia can be yours for only
$19.95 (+ shipping and handling) 

Offer not valid in Pugganooga.