ILLUSTORIA Launch Party

 
launch H.jpg
 

Come join us to celebrate the launch of ILLUSTORIA!

Get your hands on our first issue! Meet the staff, color and craft, clink some glasses. Free goodie bags for first 50 kids, so come early. Enjoy snacks, a free photo booth, a chance to win a raffle prize, plus readings by Illustoria's art director, Elizabeth Haidle, and a fave local author, Amy Novesky. We look forward to growing our community of artists, writers, makers, educators, librarians, retailers, and friends--so come join! 

When: Saturday, September 17, 2016 from 2:00 PM to 5:00 PM (PDT) / activities + bubbles + snacks throughout / talks + readings at 3pm / raffle prize drawing at 4pm

Where: Minted Local - 222 Grant Ave, San Francisco, CA 94108  

Please RSVP to let us know you will be coming. 

Many thanks to our amazing event sponsors, Minted & Sakura of America:

 
 

FAQs

Can I invite friends?

Yes! We encourage you to spread the news to all your creative friends and their creative kids.

What activities can we expect for kids?

There will be coloring and crafts, a tattoo station, a free photo booth, and readings from our premiere issue.

Will we be able to purchase issue 1?

Yes! We'll be selling our first issue and you can also purchase a discounted subscription to the magazine.

What are my transport/parking options getting to the event?

Minted Local is just a 1-minute walk from the White House Garage lot and a 4-minute walk from the Montgomery Street BART station. 

Where can I contact the organizer with any questions?

Contact hello@illustoria.com with any questions or to RSVP for a large party.

 

 

 

Jules of 7-Imp reviews ILLUSTORIA on Kirkus

 

Read the full feature on Illustoria on Kirkus Reviews. 

I have admired Julie Danielson from afar for a very long time. Many of you likely know her as "Jules" from her amazing blog Seven Impossible Things Before Breakfast, which is a goldmine of inspiring, eye-opening interviews with today's most beloved children's books authors and illustrators about their work and the creative process. I was so excited (and a little nervous) to hear that she was interested in reviewing Illustoria on Kirkus Reviews, and simply overjoyed to know that she gives Illustoria her thumbs up. Jules gets right to the heart of why I started the magazine, and how utterly gratifying it is to share a love of books and reading with kids. Read the review, and read Illustoria!

 

We Heart Sakura

 

Who doesn't love a maze?! But with a selection of colorful Gelly Roll Pens at our side, doodling and writing takes on another level of playful pleasure. Photo ©  Melissa Kaseman

 

When Michaela Yee at Sakura of America heard about us through a Facebook post, she connected with us right away. Aside from the fact that we have an amazing friend (Patricia Wakida of Wasabi Press) in common--one of those connectors of people who attracts artistic, talented, energetic, generous souls into her life--we both knew right away that Sakura and ILLUSTORIA were going to get along like playground pals at recess. 

 
Mark working on the Archidoodle activity for issue 1, with his trusty Micron Pens of course.

Mark working on the Archidoodle activity for issue 1, with his trusty Micron Pens of course.

 

While Sakura as a company is nearing its centennial and ILLUSTORIA is just a newborn pup, we have a lot in common. We believe in quality materials, access to artistic expression for all, and keeping creativity alive in both grownups and little ones. I must admit, as the new kid on the block I was already smitten with everything that Sakura represented. Art supplies are one of those pleasures that need not be guilty! Micron Pens are a staple in our house, with my architect-maker husband constantly sketching with his number 01s and 02s and on up the spectrum. The Pigma Sensei Pens are never far out of reach of my 10-year-old comic artist in the making, and my youngest can't get enough of his collection of Gelly Roll Pens.

 
Paper and ink are so important to me as a reader and as a publisher. I made sure to test out our uncoated interior stock for maximum drawability before we hit the press. The Gelly Roll Pens truly glide smooth as jelly on the pages of our mag, and th…

Paper and ink are so important to me as a reader and as a publisher. I made sure to test out our uncoated interior stock for maximum drawability before we hit the press. The Gelly Roll Pens truly glide smooth as jelly on the pages of our mag, and the ink dries beautifully too--so no unsightly smudging when you flip the page! Photo ©  Melissa Kaseman

 

We pretty much as a family tote them around to every and all long car rides and dinners out. I personally use a selection of all the above to capture my wandering thoughts and doodles. There's really something so satisfying about putting not just pen to paper but really lovely ink that glides oh-so smoothly and beautifully. The words and illustrations somehow look more intelligent and attractive on the page. Really, it does!

 
A selection of colorful Gelly Roll Pens on our table beckons the creative (and silly!) spirit in all of us. 

A selection of colorful Gelly Roll Pens on our table beckons the creative (and silly!) spirit in all of us. 

 

For Sakura, then, to see this new fledgling indie press and believe in us from the start--with no track record to show of but a lot of heart, enthusiasm, a dedicated team of contributors and a mission to inspire artistic expression, they proved to me that they are true supporters of the creativity cause. Their motto celebrates the "Power To Express" and we at ILLUSTORIA couldn't agree more. May we all tap into our own artistic expression and find the tools that work best for us individually, for our own daily creative practices. 

A very hearty thanks to our issue 1 sponsor, Sakura of America, for your support of us and your dedication to creative expression in all ages! 

Creator Crush: Cece Bell!

 

When the book EL DEAFO begins, Cece is 4. When it ends, she is about 10 or 11. Cece used these photos to help "age" the bunny version of herself as the book progresses. Photos and art © Cece Bell. 

 

I first heard the adorable name "Cece Bell" spoken of while working as an editor at Lucasfilm. At the time, I was co-editing Tom Angleberger’s Origami Yoda series. I’ll never forget Tom visiting our offices and gifting me an origami R2-D2 that he folded himself. There were many perks of working at Lucasfilm, and receiving an origami Star Wars character by Tom in all his stookiness was most definitely, geekishly one of them. But I had no idea that I would soon meet Tom’s wife, Cece Bell, and be blown away by her own amazing work as a children’s book author and illustrator. I met Cece only briefly at a BEA in New York a couple years ago, where she was signing galleys of her book El Deafo. The booth was crowded with Cece fans and the galleys were quickly disappearing, but I was fortunate to snatch one up.

 

Illustration © 2014 by Cece Bell; Design by Caitlin Keegan and Chad W. Beckerman. Published by Amulet Books, an imprint of Abrams.

 

When I returned home to California, I couldn't wait to get El Deafo into the hands of my eight-year-old daughter. As I predicted, she gulped down the book in one sitting—meaning she did come up for air several times to point out some particularly hilarious excerpt from the book. (“Mom—look down your shirt and spell ‘attic’!”) The rest of the time she stayed quietly and contemplatively behind closed doors, unwilling to pull her eyes from the page—just as her mom did (sometimes teary-eyed with sadness sometimes teary-eyed with laughter) on that plane ride back to Oakland. When months later she and I discovered El Deafo in all its full-color, award-winning glory at the bookstore, we were overjoyed by its brilliance. It didn't occur to us that we had been missing anything at all in the uncolored proof.

When Cece's character can't hear anything, the speech balloons are empty. Art © Cece Bell.

When Cece's character can't hear anything, the speech balloons are empty. Art © Cece Bell.

El Deafo is a phenomenal graphic novel memoir based on Cece’s childhood experiences with hearing loss and hearing aids. It also chronicles her quest to find true friendship. The graphic novel format is a perfect medium for Cece's story, where pictures and words (in some cases, the lack of words) powerfully demonstrate what her character is experiencing. 

The elaborate Phonic Ear hearing aid and microphone set-up had Cece feeling like a superhero with superpowers! But most of the time she just felt like a confused kid. Was she deaf? And what did that mean? Art © Cece Bell.

The elaborate Phonic Ear hearing aid and microphone set-up had Cece feeling like a superhero with superpowers! But most of the time she just felt like a confused kid. Was she deaf? And what did that mean? Art © Cece Bell.

Read Cece’s firsthand account on the making of El Deafo in our premiere issue and learn about her creative process as an artist and writer.  In the meantime, here's an extended version of our Q&A with Cece.

Where did you grow up? Where do you live now?

I grew up in a little city called Salem, in the southwestern part of Virginia. Now I live in an old church just a half-an-hour away, but more in the mountains (and therefore, in the boonies!).

What were you like as a kid?

I was driven to do well and pushed myself hard. I wanted people to think of me as “that smart girl in our class” instead of as “that deaf girl in our class.” I loved making people laugh, especially my older siblings. My sense of humor veered toward the absurdist...and the naughty!

 What were some of your favorite childhood books?

Our Animal Friends of Maple Hill Farm by the Provensens

The Meanest Squirrel I Ever Met by Gene Zion and Margaret Bloy Graham

The Snowy Day by Ezra Jack Keats

Ed Emberley’s drawing books

Arnold Lobel's Frog and Toad series

Judy Blume's books

Beverly Cleary's books

The Secret Garden by Frances Hodgson Burnett

The Little House books by Laura Ingalls Wilder

Caddie Woodlawn by Carol Ryrie Brink

When did you know you wanted to be an artist and writer?

 I started to figure the art stuff out in college. I had always loved drawing, but never really saw a career in it until I saw other kids making a go of it. As to the writing, no one would hire me to illustrate their children’s books, so I realized I had to write my own books and make my own path.

Who or what inspires you? 

My husband, author/illustrator Tom Angleberger, is a huge source of inspiration. He's so encouraging...and he's so good, which triggers my competitive reflexes to be better and to make more stuff.

When do you feel your most creative?

In the morning, when the house is quiet and nothing has happened yet.

Do you have a favorite type of pen, or brush, or paper for drawing with?

I like lots of media and have to admit that I love drawing on my Wacom Cintiq. I love to draw LINES so simple pen-and-ink is a favorite. Gouache! Watercolors! But no oil paints, ick. If I could make a book with illustrations made of felt and colored thread, I'd do it. Love that stuff.

What advice would you share with young aspiring artists?

 If you aren't enjoying it, don't do it!

Thank you, Cece, for your words of wisdom and for sharing El Deafo with us!

Children's Book Week Roundup

 
 

Children’s Book Week is 97 years old this year, and ILLUSTORIA is brand spanking new! But the nice thing about children’s books is that they bring together the young and the old, the new and the nearly-forgotten. So I thought I might take a moment and talk about a few of my favorite new and upcoming picture books, and also some older books that those titles bring to mind.

The Airplane Book, by Lisa Brown

The Airplane Book, by Lisa Brown

What Do People Do All Day?, by Richard Scarry 

What Do People Do All Day?, by Richard Scarry 

Remember the joy of being a kid, sprawled on the floor for hours, staring at Richard Scarry books? They gave me the sense that if I just stared long enough, I’d totally understand the world, with all its various details and motions and people and parts. Well, The Airport Book by Lisa Brown gives me that very same sense—that if I read it again and again, I might genuinely comprehend all the details and inner workings of the airport. (And let’s be honest—kids LOVE airports.)

When Green Becomes Tomatoes, by Julie Fogliano; illustrated by Julie Morstad

When Green Becomes Tomatoes, by Julie Fogliano; illustrated by Julie Morstad

A Child’s Garden of Verses, by Robert Louis Stephenson; illustrated by Tasha Tudor

A Child’s Garden of Verses, by Robert Louis Stephenson; illustrated by Tasha Tudor

I can still recite the poems I read in A Child’s Garden of Verses. In fact, I still probably mumble "The Swing" at least once a month, whenever I walk past a playground. And though the subjects here are different—Julie Fogliano’s new poems are all about the new buds and cold snow and falling leaves of the four seasons—I can’t help but wonder if kids today won’t be mumbling them in a few decades. Julie Morstad’s pictures are poetry too, and a perfect match for the grace and natural delicacy of When Green Becomes Tomatoes.

A Hungry Lion, or A Dwindling Assortment of Animals, Lucy Ruth Cummins

A Hungry Lion, or A Dwindling Assortment of Animals, Lucy Ruth Cummins

Pierre: A Cautionary Tale in Five Chapters and a Prologue, by Maurice Sendak

Pierre: A Cautionary Tale in Five Chapters and a Prologue, by Maurice Sendak

These two books are very different, but I can't ever read about a hungry lion without remembering Sendak's Pierre. Both books marry sweetness and darkness, and both books end up in a slightly different place than readers might at first expect. There's also a generally classic feel to Lucy Ruth Cummins' art, and the book's design. I intend to give A Hungry Lion as a baby gift, as I've often given Pierre. Children need a little healthy fear in their lives. 

Good Night Owl, by Greg Pizzoli

Good Night Owl, by Greg Pizzoli

Owl at Home, by Arnold Lobel

Owl at Home, by Arnold Lobel

I dare any fan of Arnold Lobel to stare at the cover of Good Night Owl, and not immediately think of  another owl, tucked into bed. 

 
From Owl at Home, by Arnold Lobel

From Owl at Home, by Arnold Lobel

 

Greg Pizzoli must have known this, and I admire his chutzpah. In fact, the two books are very different. Pizzoli’s story of an owl who can’t fall asleep because of a mysterious noise doesn’t offer quite the melancholy of Arnold Lobel’s tearwater tea in Owl at Home, but Good Night Owl is a wonderful book for early readers, and will make a perfect bedtime story for a jillion kids who can’t (or don’t want to) sleep.

This Is Not a Picture Book, by Sergio Ruzzier

This Is Not a Picture Book, by Sergio Ruzzier

The Wedding Procession of the Rag Doll and the Broom Handle and Who Was in It, by Carl Sandburg; illustrations by Harriet Pincus

The Wedding Procession of the Rag Doll and the Broom Handle and Who Was in It, by Carl Sandburg; illustrations by Harriet Pincus

I can’t exactly put my finger on why Sergio Ruzzier’s new book, This Is Not a Picture Book, reminds me of The Wedding Procession of the Rag Doll and the Broom Handle and Who Was in It, an odd picture book from my youth. But I love them both. In Ruzzier’s tale, a funny looking duck finds a book with no pictures, but then discovers how the experience of reading can conjure vivid images all the same. The Sandburg book is a strange tale of two household objects getting married, and really, couldn’t be more different. Yet—there’s something in the off-kilter landscapes Ruzzier creates, and the slightly surreal creatures, that leaves me feeling similarly (and wonderfully) discombobulated.

LAUREL SNYDER is the author of many award-winning novels and picture books for children and a mom to two boys. Her most recent titles include Swan: The Life and Dance of Anna Pavlova, illustrated by Julie Morstad, and Seven Stories Up. Visit her at laurelsnyder.com. 

Process: Designing ILLUSTORIA's First Cover

 
 

Introducing...our cover for the premiere issue of ILLUSTORIA!

After a long cover design process during which we conceptualized, developed, reiterated and debated for many months, we had that "A-ha!" moment when we saw this version. We think it's contemporary and fresh with a DIY feel that speaks to who we are: a totally new kind of magazine for kids & grownups. 

As we worked on our cover, we asked ourselves: how do we spark the curiosity and interest of a 9-year-old and his or her parent? Will artists and writers find camaraderie? Will teachers and librarians see value? How do we stand out from the crowd with a single image and just a few words? 

It was a real identity challenge and pushed us to make an authentic statement about who we are and what we value through pictures and words—which is what our magazine is all about, after all. 

For those who want to get beneath the surface, here’s a behind-the-scenes look at the making of our very first cover. 

Step 1: Settle on a logo!

Our very first logo, which we still love and use sometimes. 

This is the logo we were very happy with for quite some time. Interestingly, when we applied it to a mock-up cover we learned that what worked on stationary and business cards felt out of sync with our visual aesthetics, which had evolved over almost two years of incubation and development. 

We wanted our logo to show off a DIY attitude and be, as one of our team members put it, “perfectly imperfect.” Our aim was to not stray too far off course from the original which, as mentioned, we were still smitten with.

Logo variant #1

Logo variant #1

Logo variant #2

Logo variant #2

Logo variant #3...which we really liked.

Logo variant #3...which we really liked.

We finally settled on a design close to the more understated original but with a bit of an edge. 

Final logo. We opted for the simplicity of b & w + red.

Final logo. We opted for the simplicity of b & w + red.

Step 2: Cover art!

We went through several really strong cover mockups that were quite beautiful. But beauty isn’t everything and we needed to make an instant connection on an emotional level too. That happens through tone, mood and an original voice which can be really hard to pinpoint. We wanted to say to our readers-to-be, “This is good stuff. We have something unique to offer you. Look and linger a while.” Even, “You and I—we’re gonna become quick friends, I can tell.”

The experiment that inspired our cover art.

The experiment that inspired our cover art.

It's strange how you sometimes find inspiration--or rather, it jumps at you--when you least expect it to. Our creative director, Elizabeth Haidle, was working on an ILLUSTORIA gift card. Out of convenience she used an existing piece of art to create a placeholder fake cover, meaning to swap it out later. But seeing the image and the logo together…something immediately clicked for us. A happy, happy accident.

I asked Beth to illustrate a young reader in the same pose, perhaps with a book in her hands. Within a day she came back with several cover options that instantly said to us, “Watch out, world—there’s a new kid (err, magazine) in town!”

These were gorgeous though I'm sad to say we ended up nixing the egg being laid in midair!

We experimented with a colored background and hand lettering. Along the way we corrected the trim size, which was off in the first iterations. See how minor details take time to finesse?!

Step 3: Integrating text and art

We experimented with showcasing our featured articles through words and pictures—sometimes only pictures. A high priority for us, as a magazine that celebrates visual storytelling, was to integrate the text callouts with the cover art in a way that worked together seamlessly. I didn’t want the text to feel secondary, and we certainly didn’t want the art to get cluttered by too much editorial content. It was important for the callouts to not be dry and overly informative. They needed to engage and appeal to both kids and grownups.

As much as we adored the thumbnail images, they distracted some from the simplicity and impact of our main illustration. It was a tough call, but ultimately the word balloons won out. We continued to futz around with the typefaces and hand lettering and even corrected a typo that had (admittedly) been overlooked for weeks, until we settled on...our winning cover!

Step 4: Make it look effortless

 

Our final cover

 

So get to it and spread the word! Order and subscribe to ILLUSTORIA and ask your local bookstore or shop about stocking it. You won’t be disappointed by all the good stuff in the packed 64 pages of each issue. We're just scratching the surface of what may become a wonderful, lasting friendship with all of you: our coveted readers-to-be. 

Who We Are: Elizabeth Haidle

Me & Eli

Me & Eli

Location: 

Portland, OR

Profession: 

Freelance artist & musical saw player (& Creative Director of ILLUSTORIA)


Favorite artist/illustrator: 

recent discovery: Nathaniel Russell; also Jillian Tamaki, Brecht Evens, Emily Carroll 

Best book you've read in the past year: 

Your Illustrated Guide to Becoming One with the Universe, by Yumi Sakugawa

Kids’ book you could read every night: 

What Was I Afraid Of?  by Dr. Suess

Best memory of being a kid: 

Dressing up as a ham sandwich for Halloween, made with scraps I scrounged from my dad's studio. My head stuck out of a bite mark at the top. I had a little trouble climbing on the bus & standing during the ride to school, but it was worth it. Absolutely zero other people were a ham sandwich that year. 

Favorite weekend activity: 

3-course breakfasts. Also anything involving a hammock.

 Song currently on repeat: 

"The Very Thought of You," by Billie Holliday; I just know everything's gonna be alright when Billie sings.

Favorite meal: 

Blue Star Donuts

Last time you made something with your hands: 

Accordian fold mini book entitled: 'Inner Donkey'

Patterned postcards using eraser chunks as stamps

Fun fact about you: 

I'm terrible at wrestling and my son always wants to, so I made up my own moves. One is called 'Cheek Pin', where you press the other person down by smushing your cheek really hard against theirs. Also they are maybe paralyzed by laughter, which helps. Another is called 'Cashmere Head Clamp' and requires one to be wearing a cashmere robe. Which I wear often.