Recently Sasquatch Books hired me to illustrate a children’s book called A Ticket to the Pennant, written by Mark Holtzen. It’s a story about the beer company-sponsored Seattle Rainiers baseball team winning the Pacific Coast League pennant in 1955. Set in Rainier Valley near long-gone Sick’s Stadium, the story provided me with a great opportunity for researching 1950s Seattle. I’ve discovered so many interesting things –some included in the book, many not– that I wanted to blog some of it here for posterity. Starting with the cover, featuring the main gate on the northwest corner.
I found this fanciful early, art deco conceptual design in the MOHAI photo archives. You can see some toned down art deco elements in the finished stadium design.
Two aerial shots of Sicks Stadium. I don’t have dates but the top one is clearly older. The trees are still above the gates. Even though the trees were probably present in 1955, I left them out for a cleaner composition. Rainier Avenue runs along the right side.
The Rainiers neon sign. Sometime in the 50s, based on vehicles. We’re not sure whether the sign was actually there in 1955 (it was built around that time) but it was too iconic to leave out. I even used it on the endpapers.
The Angels came after the Rainiers.
Exterior, main gate. 1940s? With apostrophe (Sicks’) and trees over the gates.
1970s, without apostrophe.
This is a view of our hero, Huey, sprinting south on Rainier Avenue toward the stadium. The car in the street is the Mount Baker Cleaners truck, seen here.
One of the great things about working in a large art department is the ability to walk around and see what other people are working on and how they do it. Everybody learns little software tricks and techniques from each other. Now that I don’t work in a big department I have to learn these things on the street.
My all time favorite colorist, maestro Dave Stewart appeared at a panel of colorists at #ECCC. (Full disclosure, I can’t name any other colorists.) He’s the go-to guy for Mike Mignola and Darwyn Cooke. Like them, his aesthetic is rooted in mid century print design and analog brushwork, even if everything is done in Photoshop.
Two photoshop tricks I learned from the panel.
1. Anybody who is trying to achieve natural, painterly strokes in Photoshop uses Kyle Webster’s brushes. That was unanimous among the 7 colorists at the panel. The brushes are very affordable but require CS5 or higher.
2. This one may be embarrassingly common knowledge but was news to me. In Photoshop: Window > Arrange > New window for… This creates a duplicate version of the image you’re working on. If you have an extra monitor you can leave it up there at full screen while you work in closeup on your main monitor. The other image will continually update so you can see how your work is affecting the whole image.
Just finishing up San Francisco ABC. The cover is still in progress but here’s a peek at the interior pages in the meantime.
Because the ABC books are a more simple narrative than the Larry Gets Lost books, I like to play with the design in a bolder way. Every spread is an opportunity for a different poster-like graphic. With this book I tried to evoke the feel of vintage 2- or 3-color printing.
I’m obsessed with Game of Thrones and eagerly awaiting season 5. Here’s a Little Golden Book tribute to my favorite duo (and favorite scene). Since this is season 4 specific I thought I’d better get it out before the new season starts.
I’m pleased to announce an exciting new project I’ve been working on for the past year. It’s an interactive storybook app called Clementine Wants to Know… available now for iPad and iPhone (Android any day now). I’ve been working with the people at Puddle Tap and we plan to do a series of Clementine apps. For the first one we tackle the Big Question: Where do babies come from? (Warning: this tells the whole story of conception in medical detail with words and pictures. If you’re not sure where babies come from you’d better look through the app before showing it to your child!) Content was developed with sex education specialist Meg Hickling, RN.
Clementine is a curious girl with a magical talking camera, Zoom Zoom. Using her camera she (and you, the viewer) can zoom in to a microscopic level, see through walls and inside a human.
Clementine’s mom is having a baby. In this scene Zoom Zoom can see inside her body and scroll through the 9 months of fetal development to watch the baby grow.
This scene is the frantic drive to the hospital. I illustrated the elements on different layers so everything can whiz by just like the chase scenes in old Hanna-Barbera cartoons. It’s been a blast to see the people at Puddle Tap animate my artwork, some of the best animation I’ve seen done specifically for an app.
At the hospital you get to cut the umbilical cord. (Spoiler: It’s a boy!)
A really interesting blog post from a “road schooling” family that travels the U.S. continuously. They used Larry Gets Lost in Seattle as a guide when they visited Seattle. We don’t endorse Larry books for the purpose of navigation, unless you really do want top get lost.
Unfortunately I only have cell phone photos from the Story Tellers show at The Works Gallery in Newark, Ohio. The show was like a virtual reunion for me because so many people from my days at Disney Consumer Products were represented. (Show ends on October 11.)
A renown local illustrator of the early 1900s, Mary Sherwood Wright Jones, was represented. This rendering of a public execution caught my eye.
My old boss, George McClements.
Antoinette Portis (who hired me at Disney), author of the award-winning Not a Box, among other books. She shared a lot of interesting development art.
The terrific Tim Bowers, an Ohio native.
One of Carlo LoRaso amazing Disney bronzes. Carlo, aside from being another DCP alum, also curated the show.
Some of my art along with development and research.
This is a sketch I did for The Works’ fundraiser. It features a local Newark, OH landmark. The First National Bank has a carved face over the doorway that is actually a likeness of Civil War veteran and alleged arsonist who burned down the previous building at that location.
And what visit to Newark would be complete without a visit to the giant basket?