“Do you currently have a great studio?”—Anna Faktorovich, PhD Interview

Faktorovich: In the OUTBACK, one of your characters, Marq, seems to reflect some of your thoughts when he tells Driew, “‘I think I-4’s been under construction since they started. It’s like a house or this studio – a perpetual work in progress. Seventeen years of seeking a studio when what I wanted was out back all along.’” Then Driew proposes visiting a Kentucky State Park, and Marq agrees, and then he says he admires Marq’s drawings, and asks if they are for a new book, but Marq explains: “‘Actually, they’re not for new books. They’re from thoughts – past and present. I figured getting them on paper would free me to focus on the money makers…’” (148). Have you had any difficulties building an art studio in terms of constructing it, gathering funds for it and the like? Do you currently have a great studio? Is it open to the public? Do you think a modern artist needs a studio, and if so why?

AdamsI-4 (Interstate 4) is the highway that extends from the East Coast to West Coast of Central Florida. Informational text is included throughout OUTBACK and the series to educate both U.S. and international readers who may visit the places in the books. The continuous construction of I-4 and of a home is to show how environment shapes family life. The Family Tree Novel Series will have two editions: a novel and an illustrated novel version.

As an illustrator no one asks me, “Which character are you?” As an author, that’s the first question readers ask. My answer: I’m every character, action, and moment. In OUTBACK, Marq, Driew Qweepie’s father, is a freelance illustrator who never became a professional. I won’t cause a spoiler, but Marq’s back story is reveled throughout the series. His character is a compilation of numerous illustrator friends and the challenges we all face. Marq voices his concerns, like a parent, to help Driew and readers understand an illustrator’s career. Rarely do illustrators have a studio bigger than a table in a remote corner of their house. And when we get a studio, it’s years in the making.

Mark Wayne Adams and Elaine Goldberg.

I do think some artists need a studio, not a hideout. Every book I illustrate is created remotely: kitchen table, poolside, gymnastics practice, airport, or a Costa Rican rooftop deck. I’m an illustrator dad. While my children finish homework at the kitchen table, I work. During gymnastics practice, I work. Even while the family sleeps in on vacation, I work. Author/Illustrator is a family friendly career. Managing and committing to a work schedule is the greatest challenge.

I have three main “studios”: an outdoor patio table by my screened pool, the Kentucky book warehouse, and a Panera Bread. My best work is created in public. While illustrating Parts of Speech Parade: New York City, written by Irina Dolinskiy, I painted in various Orlando, Florida Panera Bread locations. Patrons compelled to comment would say, “I’ve been to New York City before!” Instant feedback and a new fan eager to purchase a prerelease copy of the book!

Ciao Rolling Carry On BagHonestly my art studio is a rolling bag, stocked with several pads of watercolor paper, Prismacolor pens, five favorite brush sizes, and a Grumbacher watercolor set (24 colors). One $40.00 watercolor set creates illustrations for approximately fifteen children’s books. The watercolor paper investment in each 32 page book is about 3 pads of 12 sheets (roughly $30.00). Gathering funds to start an illustration business is easy. For under $100, anyone can start an illustration business!

IMG_3796My business model is unique in that I license the digital illustrations to the publisher. All physical artwork remains property of MWA, Inc. The words “digital illustrations” in my contracts helped my business make choices. MWA, Inc. owns illustrations from over 40 children’s books (approximately 1,200 original illustrations). My CPA says the art is valued at the cost of the paper, $1,200.00. When sold as art, the value ranges from $500–$1,000 each. Most fine artists don’t consider illustration as art, but I beg to differ. This children’s book illustration collection could cover a football field; fill multiple art galleries at once; and continues to generate an annual income through reproductions. The reproductions generate more money than the original is worth. I’ve only sold a few originals to serious collectors.
Read the complete interview with Mark Adams, Award-Winning IllustratorAdams-Author Bio Photo-mwa.company-template with Anna Faktorovich, PhD

“Is there pressure to mimic popular books?”—Anna Faktorovich, PhD Interview

Faktorovich: Most illustrated books today look very similar to each other in style and technique. Why do you think this is the case? Is there pressure to mimic popular books in any genre because failure to conform to genre norms is seen as a mistake by reviewers, award organizers and others in the publishing industry? In other words, the styles of classical painters such as Leonardo da Vinci and Michelangelo are sharply different, but if an art historian attempted to tell two popular illustrated children’s illustrators’ work apart, they would be stomped as to how to tell them apart. For example, paint types, brushstroke style, and various other elements differ in the best canonical painters, but modern digital illustrations lack most of these characteristics, and frequently top illustrators mimic techniques others utilize to conform their art to the industry standard. If an illustrator attempts radically different art, the work is typically either ignored by reviewers or negatively criticized as a mistake. Have you made any attempts to break with these formulaic requirements, and if so, what was the result of this experiment?

Adams: Fine artists and illustrators are educated using not only paint mediums, brushstrokes, and art history, but also computers. My college drawing professor, Dale Leys, refused to let me draw cartoons during my four year degree program. He believed a fine artist could become a great cartoonist, but not the reverse. Talented illustrators rely on art techniques that apply in a variety of medium using any tool.

Many of my clients are independent authors or publishers who take liberty in pushing the bounds of traditional publishing. Reviewers, award organizers, and publishing purists stubbornly hold to publishing tradition and labels.

Nicholas,That's Ridiculous!-Carpenter-www.mwa.companyWith Nicholas, That’s Ridiculous! I learned even “mistakes” add value. I had flooded an illustration with water and dropped magenta paint onto the page of a story about being a boy. Rather than discard the illustration, I submitted it for author approval. Author Christa Carpenter loved the liberty I took. Many clients request my bold color choices for their books.

When I was younger, my librarian mother never allowed me to fold pages, write in margins, or cut my books. I experimented doing this in my Best Sketchbooks. In the illustrated edition of OUTBACK: Bothers & Sinisters, readers are allowed to cut or fold the over 100 illustrations. Each illustration is an experiment from the first sketch to the final cut illustration.
Read the complete interview with Mark Adams, Award-Winning IllustratorAdams-Author Bio Photo-mwa.company-template with Anna Faktorovich, PhD