Description
Product Description
One of the most acclaimed children's book illustrators of our time now takes his legendary skill with watercolor to new heights in this lavish visual adventure. As a curious little chipmunk leaves his nest to greet the twilight, he gazes at the glittering sky above him. He can't help but also notice the sparkling dewdrops on a spider's web, the lights of the fireflies, and the shimmers of moonlight on the water. "How I wonder what you are!" marvels the tiny creature, launching a dreamlike quest to reach for the stars.
Inspired by one of our most popular children's lullabies, Jerry Pinkney's gentle world--where the loving arms of nature embrace us despite darkness or uncertainty--is perfect for easing little ones into dreamland.
Amazon.com Review
Author One-on-One: Jerry Pinkney and Andrea Davis Pinkney
Andrea Davis Pinkey: Jerry, let me say right off that I was delighted to be asked to have this dialogue with you. Even as your daughter-in-law, I'm still one of your biggest fans. Although we talk frequently, it's hard to keep up with all of the wonderful things you're doing. So the chance to take a moment to connect is a true pleasure.
Jerry Pinkey: Thank you, Andrea. I’ve been a fan of yours as well. You’ve added your own unique voice to this magical publishing world.
Andrea: In the time I've known you, I've marveled at your creative process, which, over the course of your fifty-year career, seems ever-evolving. Is there a "typical" time frame for illustrating each of your books? How long does it take to create all of the art for a story?
Jerry: In the past, most of my projects took about six months from start to finish. However, these days it’s much harder to stick to that time frame because of the nature of the books I’m focusing on. I strive to select projects that offer that “mysterious something” that gives the book the potential to grow and evolve during the creative process, while I’m trying to find the right direction for it. I initiate many of my new book projects by working with my editors, which provides me with more room to stretch ideas. I’ve discovered that it doesn’t necessarily mean more time at my drawing board, but more time for concepts to percolate and take shape. As a result I’ve been completing about one book per year.
Andrea: One of the aspects of your books that I love is that they include so much visual storytelling. To me, it seems that you’re thinking very carefully about the compositions and characterizations. Do you sketch a lot of rough drafts before starting your paintings?
Jerry: Yes, the number of exploratory drawings seems to grow by great measure with each new project. These early sketches are a way of exploring and searching for a sequence and rhythm. I’m also considering the relationship of art to text and how to visually interpret the story. At this stage, composition often evolves. I quite enjoy seeing how many ways I can view a subject or action by turning something inside out. As the drawings develop I think about the characterizations, not necessarily in facial expressions yet, but though body language. When I’m satisfied with the right amount of pictures to tell a story, as well as the trim size, I prepare a dummy book .Then I rework and refine these drawings. Recent projects have required two revised dummy books before proceeding to the final art.
Andrea: What’s your favorite part of the process of making a new book? Are there some aspects that are easier? Where do the challenges lie?
Jerry: When adapting a project that has been illustrated many times before, I have to find that fresh perspective, a new lens that allows me to take ownership in re-imagining a narrative. For me, this part of the project could best be described as a roller coaster ride, with a pushing and pulling to get me to a place where ideas will gel. This stage can be exhilarating and frustrating. I see what I do as work. If it appears to be easy, I know that I’m not reaching deep en