To Heal…

I have had a life full of ups and downs and the last three months have been some of the worst. Yet I’ve been lucky enough to have several friends that I communicate with via Facebook, email, and text messages who have been a nice support system. And in this day and age it seems as supportive as in person that one with a busy life can get. (Of course nothing is better than in person support).

The healing process for one’s self is a complex set of emotions, whether it is mental or physical. And I sure have been attempting to find the answers or at least start to put together answers while living life in the process. Thankfully I have only lost one really good friend in my latest set of ups and downs, the rest I have discovered were, dumbasses (thank you Red Forman…more on That 70′s Show in a future post) to begin with. I have had to deal with the friendship loss and learn that it requires healing and understandings I have yet to learn. And I have to learn how to accept that I know the truth and if others are not willing to understand and forgive that I have to learn to heal regardless.

I won the first drawing from Small Yellow Songbird!!

And….as you can tell I’m not the best at discussing this or the advice that one can impose. Sooooo, gratefully, my friend is doing a much better job than I could and I’m happy to direct you to her wonderful new blog “Small Yellow Songbird.” She post a new message of wellness every Tuesday. (She also has giveaways  bimonthly) Small Yellow Songbird is regarding women’s wellness, but men should also feel free to check in because of her global message of understanding your health and body is universal. Because I am overwhelmed and behind, I didn’t get the word out soon enough, so be sure to check the first post which explain why she is blogging.

Interview with Alicia Padron

Alicia as a child

Please welcome Alicia Padron to Karin Won’t Stop Talking!!!

Alicia Padron

What was your favorite book to illustrate to date?

Well it’s hard to pick just one. Books are like people in the sense that each has a different story to tell and is a different experience working on each of them. I love starting out a new project because you never know where it will take you and how you will approach it. It’s always a surprise and I do like surprises. Even though I have enjoyed all my books very much, I have to say that I have a special place in my heart for ABC, Baby Me! (Random House). Maybe it was the topic of the babies that touched me or maybe it was the fact that I had such freedom when working on this book. I have a feeling it was both.

Discuss your mediums and what you like and don’t always like about them.

I work with watercolor and then finish my illustrations digitally in Photoshop.  I’m in love with watercolor and I don’t think I will ever leave it. It’s just so beautiful and full of happy accidents. I also love the freedom of working digital with the magical undo button. That is why I use both.

What don’t I like about them? Perhaps that is hard to get bright colors with watercolor but I have learned my ways with it.  Digital takes a lot of time. Because it allows you to zoom in such a way, I find that you can easily get lost in the amount of detail you can work within an illustration.

How has your family affected your illustrations?

I have to say that I smiled when I read this question. Did not see this coming.

I think is an excellent question. I imagine everyone’s answer to this is completely different but for me, I think my family has affected my work immensely.  I can honestly say that I don’t think I could be a children’s illustrator, or at least the children’s illustrator that I am today, if I hadn’t had my kids.

Being a mom completely changed me and defined me. It is the most wonderful thing that ever happened to me and changed me to what I am today. I think that deep love for my kids and understanding of this bond lead me to be a better children’s illustrator.  I don’t mean that you have to have children in order to be a successful children’s illustrator, I just mean that to me it has proven to be invaluable.

Do you like that technology has turned into such an art medium in and of itself?

Yes I do like technology. I read everyday of people getting worried about technology replacing traditional methods. I really see technology such as a computer for example, as another tool that’s all. There are pencils, pastels, crayons, oils and computers. They are all tools the artists can use in order to express themselves.

Do you find other illustrators to be beneficial for networking and friendships or competition?

Always beneficial! If there is one thing I adore is how amazing and warm the artist community is. I am convinced that artists, writers too, basically are good people. We all just want to help one another. I don’t think we can see this in other careers.

In your past, have you ever been so frustrated that you wanted to quit, and how did you handle that to change it?

No, not really. I love my job and I know for a fact I will do this for as long as my hands allow me to. And then I’ll try to paint with my feet if I have to, haha. I do get stressed out sometimes when working on several books at a time and the deadlines sort of falling very close to one another but that’s just part of this business. I try to take breaks when that happens, let the air and sunshine fill me in.

If you could illustrate any children’s book that has ever been published which would it be and how would you do it differently?

Ok that is tough question. The books I remember is because I really liked them, chances are I wouldn’t want to change them.  I always wanted to illustrate a book where I could tell the opposite story with the illustrations though. I don’t know why but I wish I would get a chance to do that one day. Imagine how fun would it be for Little Red Riding Hood to be in charge of that big bad wolf. ;o)

 

Like to see more of Alicia’s work and keep up with her….

Website

www.aliciapadron.com

Blog

www.lovetoillustrate.blogspot.com

Children’s Illustrators Site

www.childrensillustrators.com/aliciapadron

Twitter

www.twitter.com/#!/aliciapadron

Interview with Illustrator: Guy Porfirio

Guy Porfirio

I am delighted to welcome illustrator Guy Porfirio to Karin Won’t Stop Talking.

Please give us three artistic words to describe yourself.

Observant, empathetic, and passionate — all with a sense of humor.

Does where you live affect what and how you draw even if it is not visible to most readers?

For me, it’s more about life’s experiences affecting how and what I draw than anything else. The things that have made deep impressions on me through the years tend to come out in my work. They become my go-to reference file for whatever I’m drawing or painting at the moment. The best way to make a painting come to life is to become connected to it.  This is where those life experiences really come in handy. I’ve illustrated quite a few Christmas books, all of which were painted from my studio in Arizona (usually during the month of August). But, because I grew up in the Chicago area, I have firsthand experience with things like snow, and the cold, and what it feels like to watch the snow drifting down and lit up by the street light, through the window of my warm cozy house.

What mediums do you use and will you ever switch from using just those?

I use watercolor, acrylics, oils, color pencils, and my computer — usually in some combination or another. I once mixed dirt from my backyard with gel medium just to get the right textured background for a painting. It’s all part of what I like to call the, “everything but the kitchen sink,” method. Probably comes from my days at the American Academy of Art in Chicago, where I spent most of my time trying to imitate the great illustrators of the day: Bart Forbes, Bernie Fuchs, Alan Cober, Mark English, Bob Peak, Brad Holland, Robert Heindel, and Gary Kelly… just to name a few. I am easily adaptable to new mediums and procedures. I don’t freak out when something isn’t working; I just try something else till it does.

Sometimes, just to shake things up a bit, I deliberately throw myself into uncharted artistic waters just to see if I can make something of it. (This doesn’t really count unless you’re right on top of a tough deadline).

Did your degree in art degree affect your work in any way?

Not really. It just means that I spent a certain amount of time in art school. Art school was a very valuable experience for me, and I loved the American Academy of Art. But the real learning came after graduation. I’m still amazed at what I learn day to day. I’m always thinking, “Why didn’t I get this a long time ago?” I guess you’re never really ready for something till your ready.

What did you think when you first learned you would be illustrating Billy Crystal’s book “Grandpa’s Little One?

I thought I had finally made it as an artist. I thought — wow, a real artist is buying my art. It was quite validating. I know that sounds a little pathetic, but let’s face it, we are all our toughest critiques. I shutter to think of all the great would-be artists that never got off the launching pad just because they never gave themselves a break. Working with Billy Crystal was a lot of fun.  I was struck by how similarly we approached the creative process. It really took the sting out of that nagging, “am I going about this in the right way?” worry.

When you start working on a piece, what is the end goal you have for it?

The end goal will always be that I’ve successfully said what I wanted to say. It’s not about making a pretty picture with an interesting composition. It’s being able to connect people with an idea on an emotional level. People remember what touches them emotionally.

What do you enjoy doing most? Children’s picture books, book covers, posters, or advertising illustrations?

I make it a point to tell a story with my artwork even if I’m just drawing a toaster. (Actually that’s a bad example; toasters have plenty of character and just ooze stories.) The fun part of drawing is finding something interesting to say about everything, something, not particularly obvious. I’ve taught drawing classes where I put an object on a table and ask the class to not just draw the object that they see in front of them, but to pick a spot on the object and describe it in the greatest of detail. It’s hard not to find something interesting to say when the ordinary is taken out of context. But having said that, picture books and book covers are the most satisfying in this regard.

Your illustrations both color and black and white, are marvelous in their own right. What do you like to do more of…black and white or color?

Working in black and white is like therapy for my color work. I once went through a period where my work lacked some guts. (It’s ok… I can talk about it now.) I was well aware of the problem but I couldn’t seem to fix it. An art director I was working with at the time suggested that I do more black & white work. Perfect! Working in black and white reinforced the basics of light and form for me. I like to do value sketches before starting a painting just to remind myself to stay on track and not lose the drama.

If you could re-illustrate any book in the world, what would it be and how would you do it differently?

I would re-illustrate my high school yearbook… senior year. Only, the teachers would be zombies, and the students would be space aliens… Not really… Maybe.

But if that didn’t work out I would pick one of the classics. A Christmas Carol would be my first choice just because I like the story so much, but that’s been done too many times in movies and in books. I can see myself re-illustrating The Velveteen Rabbit. I used to read it to my kids when they were very young. I think I could have a lot of fun recreating all the characters, but, I’d especially enjoy livening it up with lots of vibrant color.

To contact or check out more of Guy Porfirio’s work:

Web Page http://guyporfirio.com

Facebook Guy Porfirio Illustration

Blog         http://guyporfirio.blogspot.com

guyporfirio.com    Blog

Interview with Laura Raveggi

Please give three artistic words to describe yourself.

Rough, movement, emotion. It’s what I first search in every illustration.

I like to see Movement, it doesn’t matter what kind of medium I’m using (animation, comic strips, photos…). In every picture, even if it’s a still frame, I like to perceive what could come next or how things were first.

Rough lines are very useful to understand it, and most of all it’s amazing to see the sign that the artist’s hand leave on the paper, so personal and unique for each one. Especially in illustrations, it makes me feel better also Emotions, which come out not only by the expression or attitude of the characters but by the draw itself.

What mediums do you use and will you ever switch from using just those?

Basically pencil and paper: I started my artistic experience as an animator and it means that my entire attention was firstly focused on drawing figures and learn how they move in space.

Build a shape it’s important to me to FEEL it’s nature, and give the general impression of that particular draw by character’s expressions. The space in which they move usually comes later.

I love so much rough drawings, so this is the funniest part of the job to me. Actually my drawings can be really dirty and confused to other eyes, but it’s necessary to me to understand how this or that line can give the better look  to my composition.

Finally I work on colors, digitally most of the time, sometimes colored pencils and watercolors. I like to experiment new media and I’m always searching for new ideas and inspiration, but still it’s important to me that the sing of pencil is definite and visible. Anyway I think the funniest part of this job is trying new things and find new solutions… my last experiment was with spray colors…

What is your favorite piece and why?

The Wizard of Oz. It’s a little different form the style I usually use (when working you always have to stay close to commercial rules) and I’d like to work on it and make it more definite and personal… having enough time to do it!

I’m still searching a personal style, for as an animator I learned to adapt my hand to different character’s designers styles, and this is good, but it also made me love too many things and that makes harder to choose only one!

If you could re-illustrate any book in the world, what would it be and how would you do it differently?

Oh well, this is a hard question. I love so many books and stories… and illustrators! I often feel enthusiastic for so many things I don’t think I could choose one only. The first answer coming out of my mind is “The Canterville Ghost” by Oscar Wild.

I really like nonsense, humor and dark stories, so I think I’d be excting to test my style and drawing skill on this kind of story. Probably I’d make some surrealistic black and white illustrations… oh god, now that I’m thinking about it I HAVE to add this to my (already full) things-to-do list!!!

What keeps you motivated to keep illustrating? Are your goals to become a children’s book illustrator or magazines, cartoonist?

It’s simply drawing. It’s what I love to do, I don’t care the way it could come out, I just know I want to draw all my life and live of my job, if I can manage to!

Sometimes it’s hard but I hope I can go on as long as possible.

I said that I started as an animator, and that’s what made me know children’s illustration world.

I worked for a tv serie for children based on the beautiful illustrations of Anna Laura Cantone, so I started to study how to build illustrations and test my skills in creating a complete “still” world image, instead of drawing single little pieces and put them together to create movement. I know usually the contrary happens, so it’s a little strange to me, this sort of “coming back method”.

Anyway, animation and illustration are too totally different ways to intend drawing and to compose a picture, but I love both equally, probably because of this difference.

What is it like being an artist in Italy?

I don’t think there’s any difference in methods, or lifestyle being an artis in Italy then in any other part of the world. What everyone of us do is simply connect to the Web and start searching, following, sending mail, show the portfolio… it’s amazing to work with so many far places in the world just staying at home.

To me the basic difference is your “visual” education: in Italy we’re surrounded by artistic monuments and wonderful buildings (and I live in Florence!). It’s normal to wake up and go and breathe classical art everywhere. We live in it, we sleep and go to work surrounded by artistic thins that become an expectable part of our environment… It sounds amazing but I think actually it is not. To me, anyway, it’s kind of heavy.

I feel I can’t really appreciate what I have around me, because it’s so beautiful and because of that so overwhelming on everything else.

Sometimes you have the feeling there’s no place for anything more than the PAST, and I think it’s the main problem of Italy:  we don’t feel pushed to the future, but static.

If you’re not careful, that could mean the end of your personal artistic expression.

Describe the ups and downs of being a freelance artist.

You’re free to decide how to manage your time and it’s your choice to do or not a certain job, and that’s good for an artist. It’s also wonderful to know and meet new nice people everyday… but they’re many problems too.

The worst is that it’s difficult to be respected as an artist and as a worker in the same time. Every artis can tell you this: people often think that if you are an illustrator you’re supposed to draw – or do what you do – only because you like it. And why should that mean that I don’t have to be paid for my artwork? If I’d be a pilot should I be supposed to make planes fly only because I like it?

…  but in the end being a freelance artist allows you to do what you REALLY want to do, and that justify any problem you can find along the way.
Please find ways to connect with Laura below.

Facebook:

 http://www.facebook.com/pages/Pip%C3%AC-Pup%C3%B9-e-Rosmarina/153690582740

Interview with Author: Kenneth Weene

Please welcome author Kenneth Weene to Karin Won’t Stop Talking.

Mr. Weene

What started your career in writing?

Let’s go back a step and ask what started my reading career. I was a little guy and asked my father where babies come from – a natural enough question. He said he was too busy to talk. I always say he stayed busy for the next twenty years.

Naturally, I decided to find out the facts of life for myself. The answer lay in my uncle’s medical books, which were stored in our attic while he served in World War II. (Yeah, I’m that old.) That was motivation enough for me to learn to read. I was going to learn from those books.

Well, the reading came easily enough, but the info didn’t. Turns out his books were in Latin. By the time I realized that, I was a reader – a lover of anything with words.

By fifth grade, when we were supposed to memorize a poem, I wrote my own. Why bother with other poets when I could create words for myself. That was the first time I thought about writing. It was a high.

The next major event was in tenth grade. I was in boarding school – by that point the distance between my father and myself demanded that one of us leave the house. (Still no answers about sex or anything else.) My parents were in Florida, so my older brother and I flew down from Boston for Christmas vacation. The painfulness of the family probably helped bring about a nearly psychotic night in which I felt haunted by the moon, which was full, the waves, which were steady, and the night, which was ghostly.

When I returned to school, my English teacher assigned the predictable “what I did with my vacation” theme. I wrote about that night. I don’t remember the entire essay; if I did, I would no doubt be embarrassed to share it here. I do remember that I described the moon as white gold. The teacher took exception. “It’s silver,” he instructed in a short note that otherwise complimented my essay. At that moment I realized that he might know more English grammar than I but that I was a writer and he could never be – writers create with words; we bring new meaning and experience.

During the remainder of high school I wrote for the literary magazine. Then I stopped writing. I had become too depressed to create or perhaps to even live. One reason for that depression was the pressure of becoming something. It didn’t help that the expectation was that I become a doctor of a lawyer or an accountant.

Years passed with me doing only academic and professional writing. (I had become a psychologist.) It wasn’t until my fifties that I got out my typewriter. (If you are too young to remember Remingtons, Google.) I cannot tell you what triggered that first poem. I know it was about my love for my wife. Suddenly I was breaking out of a cocoon that had encased my life.

I wrote, but it was secondary, a hobby. Something blocked me from thinking of myself as a writer. When I retired and moved to Arizona, I knew that I had to break that block. I did what suddenly seemed obvious. I published an anthology of my work – poetry, short stories, essays, even a play. I used a vanity press and got Songs For My Father into print. The title says it all. I had to get by the monster that still scared the child within me.

Suddenly, I was free. Since then I have had poems and short stories published, and one play work-shopped. Most importantly, two of my novels, Widow’s Walk and Memoirs From the Asylum, have been published by a real publisher, All Things That Matter Press. There is another novel, Tales From the Dew Drop Inne: Because there’s one in every town, ready for publication; and I’m working on Times To Try The Soul of Man.

That’s the story. One more thing: these days I call myself an author. Yeah, that’s me, Dad.

How have your careers in teaching, psychotherapy, and as a pastoral counselor enhanced your writing?

The essence of my writing is the creation of characters who go on to live their lives on the pages I provide. It is my understanding of others – not intellectually but at a human and spiritual level – that allows me to create characters that matter to the reader.

Also, the thousands of hours I have spent in close personal contact with others makes me aware of what happens in conversation. The result is that I write good dialog, conversation that sounds like real people.

Do I wish I had had more and other experiences to contribute to my writing? Of course. There are places I haven’t been, situations I haven’t experience, and discomforts I haven’t faced. However, I wonder if anyone can ever have enough of life. Perhaps that is part of why I write, to experience through my characters what I have not experienced myself.

What do you want your readers to gain from your three books?

My first book, Songs For My Father, was written not for the reader as much as for myself, to free me from the thrall in which my father held me. It is no longer in print, and the few copies I have I reserve to give to friends. I thing Amazon may have a few copies left, which they may sell but from which I get no royalties.

Now let’s get to two important books that are out there.

Widow’s Walk is about religion and spirituality. It is also about how destructive guilt and responsibility can be and how wonderfully love and sexuality can open life. I hope that readers will empathize with Mary, Sean, Kathleen, and Arnie. I hope they will think about what Jem, Max, and Pat have to say. Most of all, I hope they will find ideas that will make their lives fuller.

Memoirs From the Asylum is about freedom, fear, and choice. The major characters in Memoirs are each trapped within their own lives and the asylums of their own seeking. Is such safety sufficient? This is a novel that asks the reader to question what safety is and at what price it is obtained. Memoirs is also about language – a book in which I have poured much of my poetic talent. It is a book work for those who appreciate the use of words.

By the way, both Widow’s Walk and Memoirs From the Asylum are published by All Things That Matter Press and are available at Amazon and other Internet books sites. They are both on Kindle.

How have you benefited as a writer from social networking such as Twitter and Facebook?

Social networking really didn’t exist when I got into serious writing. In recent years it has grown wonderfully. I use it as a means of getting the world to know about my books, and I have met some very interesting people on line – some I have met in person and have liked them as much in the real world as I had on the net.

What is the one thing you hate about being a writer and what is the best thing about being a writer?

I won’t say that I hate the marketing end of writing, but it is time consuming and not how I want to spend my efforts.

I am also frequently asked to read books by other writers. That can be great if they are well done. Sadly, many people think they can write and publish on their own. The result is often a poorly edited and unpleasant read. I do wish people would think about that. My books are edited twice, once by my private editor and then again by my publisher.

The best thing about being a writer is easy to answer: When I have a print copy of my book in my hands that I’ve been asked to autograph. Talk of being on the top of the mountain.

Please catch up with Mr. Weene or to purchase his books:

Website: http://www.authorkenweene.com/

Publisher: http://allthingsthatmatterpress.com/

Trailers for novels:

Widow’s Walk

Memoirs From the Asylum

Artist Interview with Rhonda McCormack

Please welcome Rhonda McCormack to Karin Won’t Stop Talking.

Orange Flowers in the Park

Talk a little about how your artwork ended up at home-ology in Scottsdale, AZ?

I met the owners of homeology (homeologyaz.com) when they ran another boutique called Armoire Home.  Part of their vision was to sell home decor items that were hand-made, and I decided to approach them about selling my paintings.  The interesting thing about our relationship is that as I evolved into a more environmentally-conscience artist (and person), they were also transitioning into more eco-friendly home interior products.  They’ve been incredibly supportive and enthusiastic about what I offer them.  I fit their boutique philosophy because I’m local (shop local first) and I work in a ‘green’ space with as many ‘green’ and recycled art materials as possible.  I love the direction they’ve gone, they’re cool people, and they like my funky style just as much as my more refined work.  It’s a good match.

Discuss your environmentally conscience way of producing artwork and what Brought that about?

I’ve always been all in on the movement to support our environment, but this way of thinking really began for me about seven years ago when I became interested in organic food and farming.  I learned a lot about what’s good for the soil, water, and air.  And for plants and animals.  Oh, and humans.  From that point, it just seemed reasonable to incorporate healthy, responsible choices into all parts of my life.  How you do anything is how you do everything.

Describe the mediums you use?

Puddle One

I use mixed media on canvas for 90% of my work.  I use pre-stretched and gessoed canvas, and it’s not always easy to find eco-options here.  Hint: check out the wood used in the frame as this can be one area that makes a difference.  I also use acrylics and glaze, which can be found in eco-friendly versions.  I love paint, but I love- love art paper, including tissue paper.  The archival glue I use to adhere paper is always ‘green’ and I use less paint when introducing paper into a piece.  The texture and depth that paper brings to a work is unmatched, in my opinion.  And it turns out that I have friends and relatives who often use interesting art paper as wrapping paper and also make good tissue choices.  I rarely have to buy the papers I use in my pieces…recycling, anyone?  I’m now starting to use fabrics, too.  I’ve always collected fabrics, and again, these are “finds” and it feels good to re-use.

We recently discussed your compulsive issue to save tissue paper…what got you started with that art medium?

My tissue collection grew knowing I could re-use when wrapping my own gifts.  I’m a sucker for a great pattern or unique color.  But the inspiration for using tissue in art began with my love of collage.  I’ve always been drawn to artists (and this includes many picture book illustrators) who use paper (and other materials) in interesting ways.  For me, the transparency of tissue lends itself to my vision.  Which tends to be abstract.  And all about layering.

You are also a writer and illustrator, how does that lend to your work as an artist?

The jump from painter to illustrator goes both ways.  One inspires the other.  They are a yin and yang for me…you can see some of my abstract vision in my illustrations, and my eye for order in some of my paintings.  Also, I’m crazy about modern architecture and have created many pieces for my own homes, which have all been contemporary or mid-century modern style.  This influence is also in my illustrations where characters are surrounded by modern furniture in modern rooms housed in modern buildings.  T

Saturday Drive in Phoenix

he link between writing and art varies.  With my young adult or middle grade novels, the inspiration goes one way.  I’m not usually working on a novel and have an idea for an amazing painting.  But, many a plot or character development issue has been worked out through brush-on-canvas.  Art is a meditation that clears my head and gives me space work out an idea.  Now, I do have a few picture book manuscripts and this writing is almost always happening in tandem with the idea I have in my head for the illustration.  But that’s the nature of a picture book, a story told in words and pictures.  With novels, the words are the art.  I’m grateful for how it all works.

To find out more about Rhonda, and check out more of her artwork please visit:  gongoozlerart.com

Interview with Children’s Book Illustrator & Artist Extraordinarie Kathleen Rietz

Meet Ms. Rietz

Please welcome Kathleen Rietz to Karin Won’t Stop Talking. Ms. Rietz has been the illustrator on numerous children’s picture books, and I am delighted to share our interview with my visitors.

You have illustrated four children’s picture books, with a fifth one, Prairie Storms, releasing this year. Discuss the mediums you use?

The 1st one I illustrated was back in 1996.  It was a book titled “Prayers for Children”.  It is out of print now.  It gave me a taste of illustrating books for children.  But it wasn’t until 10 years later that I decided to pursue children’s book illustration full-time.

My latest book, “Prairie Storms”, which is set for release in August 2011, is my best work as an illustrator to date.  I feel that the writing of the story, by author Darcy Pattison, is very strong.  Her wonderful descriptions made the book exciting to illustrate.  Besides, what better combo is there than wild animals and storms?  What a great combo for a picture book!

Most of my book illustrations are a “hybrid” of traditional and digital art.  The one exception is “Little Black Ant on Park Street”, which was all painted traditionally in acrylics on board.

I prefer to use the aid of a computer, though, for the special effects that can only be achieved digitally.  One example is the book “Prairie Storms”.  I had to illustrate a dust storm, fog, a rainbow, and a blizzard, among other storms, and a computer is irreplaceable for that kind of work!  I began each piece in watercolor, then scanned them and finished them in Photoshop.

Beside your illustrations, you also have an array of fine art, licensed and product design. Why branch out so much?

I began my career as an illustrator, product developer and designer.  The combination of being able to do all 3 equally well gave me a name in the industry.  I loved all art, so it was fun doing something different every week.  Back then, I always hoped to get back into fine art.  So I began drawing and painting from life a couple of years ago.  I find it strikes a nice balance for me between my illustration work for children, and my fine art for adults.  I started creating fine art exclusively for the love of it, but friends encouraged me to show my art, and have sold several pieces and receive commissions from time to time.  Studying the work of other fine artists and experimenting in my studio have also made me a better illustrator.  I have learned a lot about color, light and atmosphere, which I have learned to apply to my illustration work.

What got you started as an artist?

I was born an artist.  It’s really all I have ever known.  I have other interests, but I could never deny that my destiny was to one day make a living as an artist.  Art has been my best friend throughout my life.  As odd as it may seem to some, I usually work in solitude, but I rarely ever feel alone when I do.  I enter a very contemplative and meditative state when I am creating.  Time passes hours at a time.  For me, it is bliss.

Discuss how Licoricegirl came about and the differences between your two Esty shops.

Licoricegirl is one of my shops on Etsy.  I sell all kinds of items on Licoricegirl, from “up-cycled” mosaic containers to prints of boutique children’s art to block prints that I have created.  You never know what I will stock in the shop.  It’s something different all the time.  I hope to create and add new mosaic items this summer.  My mosaics sell out pretty quickly.

My other Etsy shop is Kathleen Rietz Fine Art, where I sell fine art originals and reproductions.  I felt that my fine art needed its own shop.

If you could re- illustrate any book what would it be, and how would it be different?

I often wish I could go back and make changes to the illustrations in my books.  I am a perfectionist in that sense.  But, I think it also shows that I am constantly evolving and growing as an illustrator.  I am always seeing something in a new way, something I wish I could change in my books to make the illustrations better.

What do you wish for other artists and illustrators to know, either newbies or veterans?

There are 2 things I would like to say.

First off, never work for free or for the promise getting “exposure”.  It may be tempting to do so when you are starting out and trying to earn a name in the industry.  Realize that your art has worth, and set a standard.  When you work for free or for less than you feel you are worth, you bring down the perceived value of all artists in the industry.  There is a reason for the cliche “starving artist”. Don’t be one of them.

Second, never put your name on a job that you don’t believe in.  Whether it has been for personal or ethical reasons, I have never regretted turning away a job that did not feel like a “fit” for me.  Again, set a standard for yourself, and be true to it.

To stay in touch with Ms. Rietz, or to purchase items please visit the following:

• http://kathleenrietz.com
• http://licoricegirl.blogspot.com
• http://happysketcher.blogspot.com
• http://www.etsy.com/shop/licoricegirl
• http://www.etsy.com/shop/KathleenRietz

Interview with Italian Artist: Barbara Nicora

Please welcome Genoa, Italy born, and still a resident, artist Barbara Nicora.

What artist or illustrators have influenced your work?

Well, the artists who influenced me most are Norman Rockwell and Carl Larson, which I studied to learn human anatomy, face mimic and composition. But there are so many artists I love, in so many fields, so different from one another, as Rackham, Moucha, Sean Taun… and I think every single of them make me who I am. For example, when I was a kid I saw  Walt Disney’s Fantasia and then I drew horses and unicorns everywhere for a while. In high school I loved Impressionists and Macchiaioli artists. And Magritte, Van Gogh, Klimt and so on.

In the comics field I can name Milazzo, Giardino, Moebius, Watterson, Taniguchi, Adachi… and the list could be infinite of who influenced my work.

I think Dodo’s House probably would no exist if I never red Calvin & Hobbes! I didn’t draw as Watterson and I don’t create characters
inspired to Calvin neither, but he is one of the authors I care most for.

What caused you to get started in illustrating?

It’s a long story, but in short: I started drawing  in nursery school (where, I have to suspect, everybody started at). And I decided I would be an artist, in nursery school. And I was six when I decided I would be an animator as Walt Disney was (ta-da!). But… I had to face the fact I didn’t know where to go to start with animation (in Italy there aren’t animation schools or courses, at that time). So I decided, in high school, I would be a comic artist (so, the big plan was: I will become famous with my stories and then someone will make cartoons from my comics. The big plan is ongoing). But some health issues forced me to a diversion. I started to make illustrations and I sent them around; then I made an audition and I was chosen. I really liked the work, more than comics (I could use colours!), so I wanted to continue with it.

What is it like being an artist in Italy?

I have no experience with foreign editors yet, so I can’t compare. I think it’s like every other country. In my experience, it’s a lot of work and strict deadlines, but I really think it’s the same in every part of the world. Every single artist I talked to is concerned about the deadline!

What mediums do you use?

I like oil, the most. But I prefer gouache often, cause I work in my house and the turpentine smell bothers my neighbours. Then oils take time to be used so I often prefer something more quick to dry. Sometimes I use watercolours, but I feel more comfortable with gouache.

Are you apart of any artist groups?

Yes, I’m a member of SCBWI from a year now. I picked SCBWI for several reasons, first of all because is an international association. It’s a good place to meet new people; plus its bulletins are very interesting and useful.

Members of SCBWI share their own experience with others and this is the most important thing, I think. If you are a beginner, but even if you are not, sometimes it’s easy to feel sadness or be discouraged. Most of people out there think that writing and illustrating are easy and funny jobs. But they are not. Of course you have to enjoy your work, but there’s nothing easy in writing or illustrating. As you know, you have to work very, very hard to obtain something good. So, it’s nice to have a place where you can find people like you and remind yourself you’re not alone. Or simply you have to make choices about work and without help maybe you could sign agreements that are not proper and so on.

And SCBWI helps you by ways of articles, news and so on. SCBWI people are very open-minded; and, because of its internationalism, you can get an idea about how the market is outside your country. Also I picked SCBWI because is not an exclusive illustrator association. You can find writers and publishers there and all those people have a different idea about making books. They see things, or think about things, that illustrators don’t. And they share that with you. That’s very important, I presume.

How has your work in puppet creation with puppet master Carlo Timossi helped your illustrating?

Well, puppets inspired me a lot. I really wanted to learn more about them. Carlo Timossi and Gino Balestrino were my masters and I think they are great artists. I loved to be a puppet master for a while, but I realized soon I like the backstage more than the acting part. Even if I left this field, I still care a lot about puppets and I like to use them in my art. I illustrated some classic fables in a puppet style form. I think it could be a new way to show them to children, so they can do their own puppets and play with them after the reading. Puppets can be created easily with very few and simple objects. The real magic is in the hands. I’d like to make children feel this magic, as I felt it too when I was a child.

If you could re-illustrate one children’s book what would it be?

I’d like to illustrate the Charles Dickens Christmas Carol, absolutely! I love that novel!

Can you talk a little about Dodo’s House and Pen & Jin?

Yes, of course! Dodo’s House and Pen & Jin are part of the big plan! Until few months ago both of them were self published web-comics, so I’m very happy right now, cause Dodo’s House found his editor. It will be published in France by Clair de Lune http://editionsclairdelunebd.blogspot.com/ in either 2011 or in 2012. The comic tells the story of Lisa, a human, Dodo, a dog, and Dado, a cat, who live together in a new house. The first volume will have 46 full coloured pages and will tell about the moving. Dodo’s idea was born with few sketches of a funny dog I made on a train trip back to Bologna Book Fair. I spent the rest of the train trip wondering what this dog was doing and why. Then Dado came, and Pit (readers don’t know about him yet), and Lisa and I made some strips time to time, while I was on a bus, on a notebook. Only a year after I decided to make strips and put them online. At the first, my idea was to create occasional strips without a story. But then I realized I could keep the strip format (cause I still wanted to use internet) and write the comic with a continuity. I preferred this way cause I imagined the blog as Lisa’s diary. I  meant to show Lisa as authentic. She would have had to post recipes, gardening advices, talk about  read books and so on. Of course this never happened, but, even though I couldn’t fulfill the original idea, some people asked me if Lisa does exist for real. That’s the thing made me happy the most, cause it means I really gave her a life.

Pen & Jin,  is based on two characters only (two penguins) and it is a proper comic strip with single illustrations and no continuity. This fact doesn’t preclude the opportunity I could write a proper story one day, of course. In fact I already imagined this… but, for now, I think I’ll continue as it is. The funny thing in Pen & Jin is the relationship between the two characters. They have very different tempers: on this side there is Pen, the adult, with his calmness and accuracy; on the other side there is Jin, the chaotic and untidy kid penguin who drives Pen crazy. Recently they were guests in the online magazine Fumettomani@ http://www.fumettomania.net/ in a special number for the 40^th anniversary of Marvel in Italy. I feel a bit guilty lately, cause I’m focusing on Dodo and I’m being neglectful of them. I hope they will grow up without an inferiority complex! After all, they are older than Dodo’s House. Plus, I think Pen & Jin would be great as short films (one minute per episode). So they are really part of my personal big plan.

Please discuss some of the past published illustrations you have done.

My first published work was “Marina e il Ragnetto”. It was hard for me cause I had a strict deadline and one of the character was a big, hairy and not very nice spider. I have nothing against spiders cause they were distant and reasonably small. I think there is a good reason spiders and insects are so small. It’s a courtesy that creation does to us, cause it knows we should run away from them. For example, I prefer remembering grasshoppers for being nice green jumping little things rather then for their terrible jaws. But I was forced to look at a spider’s macro picture all the day to draw one of them properly (and then draw it, of course!). At the beginning I shut the book as quickly as I saw the picture. I had to overcome my natural repulsion and I had a short time to succeed. I had a stomachache for a while, but in the end I did it. Now I can look at macro pictures with no problem and I’m really grateful (but I still think spiders are better in small size)!

To see more of Ms. Nicora’s work or contact her, please visit her at:

• http://digilander.libero.it/mondodiandro/
• http://penjin.wordpress.com/
• http://dodoshouse.wordpress.com/

Lucky Me! My Interview with Deborah Coonts

There I was sitting with the novel, Wanna Get Lucky, my fingers between the pages of Ms. Coonts’s words, reading as Lucky O’ Toole, head of Customer Relations a.k.a chief problem solver at Babylon in Vegas, searches for answers the the horrid incident which takes place at the start of the novel.

From my wonderful lucky self, and to my wonderful lucky blog readers and wonderful lucky new visitors, I share with you my interview with Ms. Coonts here on Karin Won’t Stop Talking.

First off, what got you started in writing?

Author Deborah Coonts

As my mother will tell you, I was a storyteller from a very young age. ( I spent a lot of time in ‘time out’ because of it.  Had I only known someday I could make a living at it, boy, life would sure have been different!) And I was a voracious reader long before I started “embellishing.”  While most adults in my purview wanted me to focus on schoolbooks, I loved fiction.  There was a bookstore a few miles from my house and when I was nine or so, I used to ride my bike there.  Frustrated, and probably fearing for my safety, my mother told me I could no longer pedal my way to the story purveyors.  That was okay with me–I rode my bike to grandmother’s house then I rode my pony to the bookstore.  Hey, it was Texas back before the earth was cool–certainly a different time and place. But, such was my love for stories.  And yes, I was destined to be a lawyer…

However it took me about twenty years from that point to work up the courage to try to write one.  Had I know how much I had to learn, how daunting the task would be, I might have bailed.  Thankfully, I was blissfully ignorant.  And today, playing with words is my passion.  I can’t imagine doing anything else.  And I would do it even if no one paid me to–which, come to think of it, I did for a long time.

From the first sentence to the bookshelf, how long did the process for, Wanna Get Lucky, your debut novel, actually take? Can you explain some of the highs and lows of the process?

I like to say it took me fifteen years and six months to write LUCKY–and that’s pretty much the truth.  A long time to learn my craft–LUCKY was my third full-length manuscript–several years to find my story and then six months to write it.

The funny thing about LUCKY is that I had the first sentence about five years before I had the story. When I started to once again noodle a Vegas story, I had to go back to an old computer to find that lead-in. In those intervening years, I despaired of ever finding MY story (you see, I thought I wanted to be Sandra Brown or Nora Roberts–I mean, who wouldn’t?  But, alas, it turns out I have way too much hambone…).  So I accepted a challenge to write a humor column for a national magazine. It was there I learned how to write tight, write sharp, and I got a short lesson in what folks thought was funny, and perhaps more importantly, what they didn’t. These were tools that made all the difference when I sat down, threw all the rules out the window, and turned Lucky O’Toole loose.

Low points:  To be honest, writing for me is a get-to not a have-to, so there really aren’t any low points–well, other than when Lucky and my other imaginary friends wake me up at night, get me out of the shower, and otherwise disrupt what I had previously considered to be my life.  My SO is a psychologist and he tells me many of his colleagues would consider me and my ‘friends’ to be an annuity. I can live with that.  Thankfully, he can as well.

High points: I was giving a talk recently to a group of writers and one lady asked me how long it would be before she saw any payoff from all her hard work at the computer.  I asked her to define payoff.  She said, “You know, awards, accolades…money.” I laughed and said, “I have no idea.  When you find out let me know.”  Then I really answered the question:  The high-points–the payoff–comes everyday for me.  Sometimes it’s a witty bon mot.  Other times it a paragraph that sings and flows as I want. Or it could be coming up with a great plot twist or interesting character development.  I told the lady that if she didn’t bring that kind of passion to her work and didn’t get that kind of satisfaction from it, she needed to find something else to do.

Wanna Get Lucky seems to have such accuracy with regards to behind the scenes of Vegas. How extensive was your research?

I live in Vegas and have numerous friends in the industry.  Of course, when you move here, they make you sign an agreement that you will personally help keep the magic going.  Kidding of course, but this is a one-industry town, and all of us are invested in our visitors having a good time.  As a result, there is a ton of info floating around that this writer can mine.  That being said, all of that is great for firing the imagination, but for me, good writing comes from experience. Sooo, all the real places I put in my books?  Been there. And the swinger’s party?  What?  You really expect me to admit to that?  And the sex toy show?  Okay, yup, been there.  My cohort-in-crime and I had a contest to try and figure out what all the ‘toys’ were for.  Laughed myself silly.   And as for that scene at the male strip club?  I plead the Fifth.

As a current Vegas resident, have you found a large support group of writers there?

Now you want to get me in trouble, right? The Las Vegas Writers Group is a wonderful organization, but there aren’t very many members who are doing what I’m doing.  A few, and they are treasured friends.  Lost one of them in December to brain cancer.  Still reeling a bit.

Wanna Get Lucky arrives to bookshelves in paperback, today, February 1^st. How does this compare to when it was released in hardcover?

Having a book published in any format is a huge dream come true. Of course I was excited about the hardcover, but I think for most of us, hardcovers are out of reach in this economy–simply too pricey.  So, I’m very excited about the paperback–and the fact that Target is going to carry it (a HUGE feather in my cap).  The publisher, Forge Books, has been very supportive and they have priced the paperback at 5.99, which, I think, will allow a lot more readers to find Lucky.  THIS is exciting for me.

How is writing a novel differ from your career in law and owning a business?

I write funny in a not-so-funny world.  My goal as a writer is to make people laugh, to lighten their load.  Being a tax lawyer, well I could help lighten their load, but make them laugh?  Tell me, do YOU find anything funny about the IRS?  Yeah, me neither.

In a funny sort of way, writing is a lot like owning a business except now I produce the product in addition to doing everything else.  In days of old, an author could sequester herself in a garret on the Left Bank, torture herself over her deathless prose, then send the whole thing off to the publisher and….start on another novel.  The publisher would take it from there.  Not so in today’s publishing world.  A writer now has to not only write a 100,000 word, perfectly paced, brilliantly plotted, story with compelling characters and sharp prose that will make you laugh and cry (preferable on the same page) but she now has to market, sell, edit, tweet, Facebook, and in all manner shamelessly self-promote.  All while writing the next 100,00 word,, perfectly paced brilliantly….well, you get my drift.  So now, being a writer is like being a business owner only harder.  And better.  After all, I write when I want, where I want, usually accompanied by the beverage of my choice, and dressed as I see fit. I get to hang all day with people I like in places I find fascinating.   All-in-all writing is truly the perfect job.

Wanna Get Lucky is the first in a series…Lucky Stiff, is the second, which comes out in hardcover on February 15^th. How was writing Lucky Stiff different than Wanna Get Lucky?

You mean besides the fact that now other people had expectations?  That now I wasn’t just playing at being a published novelist?  People had actually paid me money to write which changed the whole game.  WANNA GET LUCKY? was a labor of love.  Could I do it again? Would I suffer the sophomore slump?  Only one way to find out.  I pushed all the doubts and concerns out of my mind–yes, sometimes that took copious amounts of weird and wonderful healing waters–and dove into the next novel. Taking everything I had learned while writing LUCKY, I tried to make LUCKY STIFF even better.  And, if you believe the reviews, I’ve done that.  Personally, I welcome any and all opinions.  I love to know what my readers think–so fire away.

To learn more about Ms. Coonts, her work, and connect with her:

Website is www.deborahcoonts.com. Twitter is @deborahcoonts.  Facebook is Deborah Buell Coonts.

Thanks to my wonderful publisher, my books are sold through all the normal channels–brick-and-mortar stores and on line.  They also are in MP3, CD, and all the major e-book formats.

Wanna Get Lucky – Paperback release February 1, 2011

Lucky Stiff – Hardcover release February 15, 2011

Interview with Illustrator Megumi Lemons

Meet Megumi Lemons

I am pleased to welcome illustrator Megumi Lemons to Karin Won’t Stop Talking for a fun interview.

Please discuss the mediums you use in your work.

I use acrylic paints most of the time, but recently I’ve started using acrylic gouache paints as well.  On the last couple of paintings I started with acrylic then built up successive layers with the acrylic gouache.  Most of the time I’ll put in some details in colored pencil or Caran d’Ache crayons at the end.  The textures you see in some of the paintings are created with molding paste or clear gesso.

How is it you discovered your artwork was better suited for children’s illustrations?

When I first started looking for freelance work I intended on becoming an editorial illustrator.  I sent samples out to different publishers and publications with a reply postcard that they could send back to me with some feedback.  I got several back that suggested that my style seemed more suited for the children’s market.  At that point I took a good hard look at my work and realized that they were right.  I’ve always loved children’s books and my personality is more suited for that niche.  Shortly after that I enrolled in a children’s book illustration class at Art Center and tried to learn as much as I can about the business.

Do you find your Japanese heritage plays a part in your style? And do you feel it is as widely accepted as “traditional” to the American society?

I think my heritage does influence my style.  My painting style doesn’t look like traditional Japanese art, but people have pointed out that when I paint children, they always look kind of Asian!  That being said, I think if you didn’t know my background, it wouldn’t be that easy to tell that I was Japanese based solely on my art.

If you could re-illustrate one children’s picture book what would it be and how would you make it different?

This is a really difficult question to answer!  It’s hard to imagine my favorite books with any other illustrations than the original.  It’s not a picture book, but I’ve always wanted to do some illustrations of Alice in Wonderland with my own twist on it.

You are a member of SCBWI (Society of Children’s Book Writers and Illustrators), how have they been helpful and a part of your journey?

Being a member of SCBWI has been invaluable.  I have learned so much from attending their conferences and workshops, as well as the networking opportunities.  I’ve also made many friends as a result of being a member.  It’s always great to have a group of people that you can bounce questions off of about the business, art techniques, etc.  It’s my support group!

What keeps you motivated to keep illustrating? Are your goals to become a children’s book illustrator or magazines?

I know it sounds like a cliché, but I keep illustrating because I need to.  Nothing makes me happier than when I’ve created something on what was once a blank piece of paper or canvas.  I’d like to illustrate both children’s picture books and magazines and am interested in licensing my work at some point.  I like writing as well, so writing and illustrating my own picture book is another goal.

What makes “Happy Ice” your favorite piece?

This is my favorite piece mostly because of the girl.  I really like the way she looks and the warmth of the expressions on her and the dog.  There’s also a lot going on – it tells a story.  It always gets a good reaction when people look at my portfolio.  I’m thinking about writing a picture book story about them.

If you could attend a conference or talk to young artists what advice would you give them?

I would tell them to learn as much as they can while they are in art school.  Use that time well, because once you’re out in the real world, time becomes a luxury.  I would also advise them to draw everyday and carry a sketchbook, to continue to sharpen your skills through workshops and classes.  You don’t stop learning after you graduate from school, it’s a lifelong process.  It’s also important to be aware of everything around you – movies, books, travel.  Have a curiosity about the world; you never know where something you’ve seen will inspire you!

To connect with Megumi and discover more of her illustrations please check out the following!

Website: www.megumilemons.com

Blog: www.megumilemons.blogspot.com

SCBWI: www.scbwi.org/MemberProfile.aspx?u=106319000288543

You can follow her on Facebook, where I was lucky enough to win a one of a kind illustration.

Facebook: www.facebook.com/home.php?#!/pages/Megumi-Lemons-Illustration/112519345461985