How the Book was Created - 'A Year with Marmalade'

It’s a big welcome today to author Alison Reynolds and illustrator Heath McKenzie as they blog tour with their new book, ‘A Year with Marmalade’, published by The Five Mile Press – and to offer you a chance to win a copy.

It’s a lovely story of losing friends, making new ones and coping with change – and delightfully illustrated and airily designed with lots of delicious white space. Maddy goes away for a year and asks her friend Ella to look after her cat, Marmalade. But Ella’s and Marmalade’s ideas for enjoyment are different. As the seasons pass... – I won’t give any more away.

I love it, but what age range is it really aimed at?

Alison: Thanks for inviting us Peter. Pre-school/early school years – children 2 – 10 years old.

Everyone will adore it, and I can also imagine that it will be very popular in schools to help teach about the seasons.

I know it will have changed somewhat from conception to publication. Who came up with the brilliant idea for raised and embossed lettering on the cover and the tactile, almost sculpted, tree, and at what stage was the decision made?

Heath: This was purely an in-house design idea – and a very good one at that! (At least as far as I’m aware – I’d happily take credit but alas, it wasn’t my brainwave!)

It’s always a joy to work with publishers and their design and production people who go that little bit further to produce books of outstanding quality that will be forever treasured.

I’ve shown my copy to several friends and they all kept feeling the cover. It really does set the scene so well. And the creative typography is an important element throughout the book, too - graphically depicting stomping, falling leaves and much much more. It adds an extra dimension. Did you envisage all that from the start, Heath? Were the word and line shapes pencilled in detail on your initial storyboard?

Heath: Unlike a lot of other projects I’ve worked on, the text placement was designed before I began illustrating. Or more specifically, I’d done a sample spread (the first autumn leaves image with all the piles on the ground) so as to give everyone a good idea as to the style I intended to work with – from there this look was used to design text placement which I then worked with when creating the remaining images. At times my vision and their’s didn’t quite mesh so I’d suggest the odd change or two, but on the whole I did my best to maintain what had been designed.

Did you make any suggestions for word changes so that you could add particular design features? Was there any collaboration between you and Alison? Did you receive any useful suggestions from your art director?

Heath: I made no word changes and only became in contact with Alison after all was done! So on the whole, aside form the text design influences – I was free to carry on as I pleased! Of course, then some editorial discussion takes place and little tweaks are made, but on the whole, things generally remained intact from the initial roughs through to final art.

Do you start off with a pencil, ball-point, Wacom Tablet...?

Heath: I start off with a Wacom tablet and end the same way! From pencil roughs to final art – all digital but all most certainly as traditionally freehand-drawn as possible.

I know you’ve illustrated a significant number of books and are highly skilled at portraying children, but do you ever get children to perform particular actions for you to draw realistically?

Heath: Not yet! Though having just had a daughter – as she grows up, she may become a model more often than she might like! On the odd occasion, I’ve asked my wife for assistance, but that’s been for hand modelling, getting a particular hand pose right that I can’t model myself. Otherwise, my model is a Spider-Man action figure – he has an abundance of articulation points (right down to each finger) and has come in handy many many times!

Are the characters based on any people you know?

Heath: In this book, Ella bares a bit more than a passing resemblance to my niece.

Alison: I grew up with two neighbours/best friends and we played together every minute we could. I tried to imagine what it would have felt like if one of them moved. Marmalade is based on my very special green-eyed cat, Charlotte, who I had when I was little. I wanted to explore how even though things can change we can adapt and things will be even better.

My first pet was a ginger cat - Tom. As soon as we went out for the day or on holiday, he automatically and immediately went next door to get fed along with their cat, but normally never visited.

Can you share a page from the inside with readers, too – and websites people should visit for more information?

Heath: For more information about me, visit:

www.heathmck.com

It’s in need of an update but does the trick nevertheless!

As for a page from the book, instead I’d like to share a rare behind the scenes moment! For every book, I generally begin with designing the characters (very important!). Sometimes it all just comes naturally and easily, sometimes it’s a bit of a struggle to get the look I want right. As can be seen here, Poppy and Ella came quite easily and naturally – Marmalade on the other hand, took a bit of mucking about before I had something I was happy with. (Note also name changes – as I worked on the book, little bits and pieces changed around me along the way, character names being one thing!).

Wow – that’s even more of a treat. Thank you so much for letting us see those, Heath, and for telling us about the process of your book’s creation and development. I’m sure it’s going to be highly successful worldwide. Congratulations to you both and to all the team at The Five Mile Press!

Thanks Peter. It’s been fun!

Congratulations on the birth of your daughter, too, Heath - and to your wife.

And ‘A Year with Marmalade’ is available right now – ISBN 978-1-74248-880-6
RRP:  $14.95.

Alison’s website is full of wonderful things to discover:

www.alisonreynolds.com.au

...including a competition with a chance to win a signed copy – and a copy of the picture book ‘Lighty Faust the Lion’ (a much bigger cat), too.

I hope I'm right in saying that readers need to share their favourite photo that shows their cat’s personality.

Upload it to Alison’s Facebook page at

https://www.facebook.com/alison.reynolds.524

or email it to her as a low res jpeg file at alrey@msn.com.au and she’ll upload it on her website. www.alisonreynolds.com.au

Entries close on the 1st of September.

If you wish to gain some tips and learn more about the writing, illustrating and publishing process of this book, you may like to visit other stop off places on Alison’s and Heath’ blog tour.

Please add a comment or question here, too, if you you wish.

Peter Taylor
Writing for Children
www.writing-for-children.com

'A Year with Marmalade' Blog Tour

7th August Dee White

http://deescribewriting.wordpress.com

9th August Karen Tyrrell

http://www.karentyrrell.com/tag/karens-blog

11th August Tania McCartney

http://www.kids-bookreview.com

13th August Pass It On

http://jackiehoskingpio.wordpress.com/school-magazine
14th August Kathryn Apel

http://katswhiskers.wordpress.com/blog

17th August Dale Harcombe

http://orangedale.livejournal.com

20th August Peter Taylor

http://writing-for-children.blogspot.com.au

22nd August Susan Stephenson

http://www.thebookchook.com

23rd August Robyn Opie Parnell

http://robynopie.blogspot.com.au

27th August Sally Odgers

http://spinningpearls.blogspot.com.au

29th August Angela Sunde

http://angelasunde.blogspot.com.au

31st August Chris Bell

http://christinemareebell.wordpress.com



Illustrating for the Indigenous Literacy Foundation

On Friday of last week it was a great pleasure to be part of a team of illustrators given the challenge to each create an artwork in 4 hours (no pressure!) that can be auctioned to raise much needed funds for the Indigenous Literacy Foundation. On the day, were were given a word to act as our stimulus. The venue was the foyer of the ABC Radio Station in Brisbane and materials were provided by Micador. The project, part organised by the ASA (the Australian Society of Authors), is called 'One Word, One Day', and similar events, but using different words, are being held in other areas of the country over the coming month.  All the works will be auctioned online in July - I'll give you the details closer to the day in another post!

Our theme word was 'Skidaddle'. What do you first think of when you hear or read that word? You can see all our results on the ABC website - I suggest you click on 'Related Photos' and look at them in expanded view. I can't wait to see what the ABC comes up with next week when they provide a time lapse of our creation processes.

This was mine - a 3D paper-sculpture like a decorated letter on an illuminated manuscript (the background was produced by sprinkling table salt on moist watercolour paint). Well, actually it was partially a team effort. The session was open for the public to wander through and watch us. Brisbane contemporary jewellery designer Megan Rowe stopped for a few moments to see what I was up to and I asked her if she'd like to help. She painted, folded and glued the leaves and cut the template for embossing and raising the design of the skidaddling mouse. Thanks, Megan - it would have been a struggle to finish on time without your assistance!

The other artists involved were Joanne Brooker, Angela Sunde, Greg Rogers, Lucia Masciullo, Stephen Axelsen, Lynn Priestley, Kerry Argent and Rebecca Berrett.

Special thanks to Laurine Croasdale and the ASA, the ABC, Micador art products and Brisbane organisers Lucia Masciullo and Helen Ross. I hope we all get to do it again next year.

Peter Taylor
http://www.writing-for-children.com/

The number '4'

Yes, it’s another new start. This really is the year of the blog. Well that’s the plan! Something for adults wanting to create books for children, and something for children who like to write, draw and be creative.

It’s pretty obvious last year was a write off for blogging for me – but not for book writing. GMC Publications, in the UK, is just putting the final touches to ‘Calligraphy for Greetings Cards and Scrapbooking’ and should send it to the printer on January 24. It will be out in June. Yipee! It was a very time consuming project – but I’m delighted with the colour proofs I’ve been sent.

Next project: This one’s for charity and organised by www.uTales.com . uTales allows authors and illustrators to use their enhancement tools to create and sell  books with basic animations without charge. A percentage of profits go to www.PencilsofPromise.com, a very worthy charity that helps communities in the developing world to establish schools and libraries. A group of creators are now collaborating to produce one spread each of an alphabet book, and a counting book, for which all profits will go to Pencils of Promise. I’ve composed the verse for the number ‘4’ and the wonderful Anil Tortop www.anilmation.com will illustrate it. I’m finding it incredibly hard to wait to see how she interprets it. I may write the words in calligraphy, if there’s room. We’ll see. I’ll let you peep when it’s done.

Four green frogs with big googly eyes

Eating wiggly worms and crispy crunchy flies

This one's for me, and here's one for you -

A special one for Mummy, and my Daddy, too.

Four full frogs with big googly eyes

And fat froggy tummies - just look at their size!

Special thanks to my ‘think-tank’ friends who helped refine the choice of words!

If you’d like to draw pictures yourself to go with the words, and send them as images, I’ll add them to this blog and to my website – Peter (at) writing-for-children.com. You could print out the words first and draw the frogs around them to make a picture or poster. Or you could imagine it was for an open 2 page spread in a book, and if you want to, have some lines of the verse on one page and some on the other, splitting them up as you like.

Book illustrators usually start by making rough sketches of where everything might fit. They try lots of ideas and then work more on the one they like best. One big wide picture could be drawn for a double page spread with a background to cover the whole area, but no important drawings where the words will be positioned. The words are usually created on a transparent layer that a computer can arrange over the top of the picture. This allows new replacement words to be used if the book gets published in a foreign country.