{"id":2330,"date":"2013-05-15T07:00:44","date_gmt":"2013-05-15T12:00:44","guid":{"rendered":"http:\/\/wendymartinillustration.com\/wordpress\/?p=2330"},"modified":"2013-05-15T08:03:29","modified_gmt":"2013-05-15T13:03:29","slug":"childrens-book-illustrator-courtney-pippin-mathur-isnt-grumpy-any-more","status":"publish","type":"post","link":"https:\/\/www.wendymartinillustration.com\/wordpress\/childrens-book-illustrator-courtney-pippin-mathur-isnt-grumpy-any-more\/","title":{"rendered":"Book illustrator Courtney Pippin-Mathur isn’t grumpy any more"},"content":{"rendered":"
\"book<\/a>Please welcome author and book illustrator extraordinaire Courtney Pippin-Mathur. It wasn’t until college and an awesome teacher that she realized she could draw for a career. She switched from government to Studio Art and never looked back. After graduating with a Studio Art degree she got married, had a baby and moved to the east coast. Find out more at her web site http:\/\/www.pippinmathur.com\/.<\/a>
\n<\/em><\/h5>\n

Q: When did you get started as a book illustrator for children? What did you do before?<\/strong><\/p>\n

A: In college, I majored in Studio Art taking photography, life drawing and watercolor classes. I always knew I wanted to illustrate children’s books, but I didn’t start pursuing it seriously until my daughter could occupy herself in the studio while I worked.<\/p>\n

\"maya-cover-small-for-web\"<\/a> Q: Your newest book released this month is \u201cMaya Was Grumpy\u201d which you also wrote. What did you find the most challenging thing about the creation of this book?<\/strong><\/p>\n

A: I wrote the story pretty quickly and my editor was incredibly helpful with revisions. I think the process of illustrating a picture book is a monumental task. You don’t realize the vast\u00a0 amounts of revisions you will go through to get it “right”. I remember despairing about 2\/3 of the way through, after painting after painting didn’t work. With (my style of) watercolor, if it doesn’t work, there is no going back and adding a new layer. You have to start over again from scratch. Now that I survived, I appreciate the process a lot more and look forward to going through it again.<\/p>\n

Q: You have a very unique style. Did it take you a long time to arrive at a place where you felt satisfied with your signature look?<\/strong><\/p>\n

A: It’s funny, but my style is constantly evolving. When I started corresponding with my editor years ago, my work was a bit more “wild”. After a few years of rejections, I was working towards taming my style. When my editor and I started working on the book, she encouraged me to return back to the more vibrant washes that I had previously discarded. It was like returning home again, but it took a while for me to get back into that style of creating. Then, I started to take my paintings into Photoshop and that further evolved my style. So, I guess I’m still not completely satisfied. \ud83d\ude09<\/p>\n

\"Maya-page-6-small\"<\/a>Q: Will there be more Maya adventures in the future?<\/strong><\/p>\n

A: None in the works. Yet. \ud83d\ude42<\/p>\n

Q: What other children\u2019s books have you worked on?<\/strong><\/p>\n

A: This was my first book.<\/p>\n

Q: What are you working on now? Do you have any other art projects you\u2019d like to talk about?<\/strong><\/p>\n

A: I am in the land of subbing now, getting my stories into the hands of editors.<\/p>\n

Q: Do you do non-children\u2019s book art (licensing, fine art, etc.) or art just for fun? Is that art similar or different from your art as a children\u2019s book illustrator?<\/strong><\/p>\n

A: Not really. I do create a few custom pieces for clients. But it’s usually similar to my watercolor illustrations.<\/p>\n

Q: Can you explain your art process?\u00a0<\/strong><\/p>\n

\"Maya-expressions-2\"<\/a><\/p>\n

\"monkey-swing-with-bleed-lines\"<\/a>\"Maya-monkeys--very-small\"<\/a><\/p>\n

\"MAya-reaction-very-small\"<\/a> \"MAya-reaction-18-19-small\"<\/a><\/p>\n

A: I start with a very rough sketch. Then I draw on watercolor paper (smooth or rough, usually 140 pound or 300 pound if it’s for a book) I ink my lines, erase the pencil marks and paint with watercolors and watercolor pencils. Then I scan it into Photoshop and clean up and tweak\u00a0 the paintings.<\/p>\n

\"Maya-circus-small-\"<\/a>Q: What is your favorite medium to work in? Have you always worked in this media? If not, why did you switch?<\/strong><\/p>\n

A: Pencil and Watercolor always. Since college when I would create large abstract watercolor paintings.<\/p>\n

Q: Do you use models\/source pictures or do you draw from your memory\/imagination?<\/strong><\/p>\n

A: I look at photos or sketch from life then draw from those sketches.<\/p>\n

Q: What gets you through an illustration when you\u2019re stuck for inspiration?<\/strong><\/p>\n

A: Usually walking away from it. Then I try to fill my brain with something interesting, like a trip to the museum, other illustrators work that I admire, going to a national park and just hanging with my kids. When I return after a few days, I can usually find a solution immediately.<\/p>\n

\"Maya-hippo-small\"<\/a><\/strong><\/p>\n

Q: If you could be anything other than a book illustrator, what would you be?<\/strong><\/p>\n

A: A writer or teacher.<\/p>\n

Q: What book do you remember from when you were young?<\/strong><\/p>\n

A: Shel Silverstein and Roald Dahl books ere my favorite.<\/p>\n

Q: Is there a children\u2019s book illustrator whose work you gravitate towards in the bookstore now?\u00a0<\/strong><\/p>\n

A: Polly Dunbar, Oliver Jeffers, Peter Brown, Marla Frazee to name a few…<\/p>\n

Q: If you could illustrate any writer\u2019s new work, who would it be?<\/strong><\/p>\n

A: Ack, that’s a hard one! I’ll go with Roald Dahl and Shel Silverstein, since they were my favorites growing up.<\/p>\n

—<\/p>\n

Thanks so much for visiting, Courtney. Congratulations on your first book. I’m sure it will be one of many.<\/p>\n","protected":false},"excerpt":{"rendered":"

Please welcome author and book illustrator extraordinaire Courtney Pippin-Mathur. It wasn’t until college and an awesome teacher that she realized she could draw for a career. She switched from government to Studio Art and never looked back. 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