Dani-Lion

Bibliography.

Morpurgo, M, (1990), Albertine, Goose Queen, London, Harper Collins Publishers Ltd

Grambling, L.G & Lewis, H.B (1998), Can I Have A Stegosaurus, Mom? Can I? Please!? Troll Communications

Childrens Illustrators, Avilable at http://www.childrensillustrators.com/subjects/ ( Accessed on April, 2011)

StanciaDynamics (2011), Dick Bruna’s Illustration Methods for the Miffy Series, available at www.youtube.com/watch?v=ywcVv0qiWmI (Accessed on Febuary 2012)

Mensinga, S, 2007, Dragon Girl Spectacular, avilable at http://sarahmensinga.blogspot.co.uk/2007/06/dragon-girl-spectacular-end-of-story.html (Accessed on Febuary 2012)

Elwick, E (2011), Ellisa Elwick, available at www.elissaelwick.co.uk/index.html (Accessed on Febuary 2012)

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Squetch, (2007) Everyone Else Has Had More Sex Than Me, avialble at http://www.youtube.com/watch?v=YwNVE37BGVE, (Accessed on November 2010)

Grimly, G, (2003), Gris Grimly’s Wicked Nursery Rhymes, Los Angeles, Baby Tattoo Books

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How To Train Your Dragon (2010), DeBlois, D Sanders, C , U.K, Paramount Pictures

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Cowell,C, Ferguson, C & Miller-Zarneke, T, (2010), The Art of How To Train Your Dragon, U.S.A, Newmarket Press`

Oram, H & Warbuton, S, (2010), The Rumblewick Letters: Rumblewick and the Dinner Dragons, London, Orchard Books

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Carle’s, E, (2007) , the world of Eric Carle, ABC, New York, Grosset & Dunlap

Evaluation.

Originally my FMP began with simple character development in preparation for a comic or short story. After brain storming many ideas and characters I became unsure of which direction to take my work. I began to look into children books that could educate children on sensitive subjects such as the understanding of children with disabilities. As part of my research into children’s illustration I went to visit the Toy Museum in Gloucester, this was where I encountered a major turning point in my project. There I saw an old, small stuffed rabbit toy. It was alone behind a panel of glass, never to be played with again. I felt sorry for him, and began to see how toys can have such deep stories behind them. From this point most of my work began to focus solely on children’s illustration and stories. 

 I was then further inspired after watching the DreamWorks movie “How To Train Your Dragon” (Deblois,D &Sanders, C, 2010), it greatly influenced my work. I purchased the Art book and began developing character’s and stories right away. I also researched into mythical creatures, focussing mainly on dragons from this point. During this time we were given a project entitled “The Sea Project”, which led to a trip to the Sea Life Centre where I was introduced to the Dragon Eel. Using my FMP as an inspiration and the thought of a sea dragon, this project came together in no time. 

During the past two years I have used my FMP to fuel my other projects and vice-versa, even trying something completely different which I wouldn’t usually enjoy; illustrating children. I used one of our projects “Rivals” to be brave and try children’s illustration from observation rather than just illustrating characters that I have created. I used the project to experiment with line art, using a Japanese dip pen, a tool that was alien to me, as well as attempting different techniques with water colours. Although my work turned out far from perfect, I felt like I had reached a starting point with which to build upon. 

After this I returned to what I know best, and completed the character development and design for my dragon. It was a long process, starting out with some rough designs of all shapes and sizes, to what I thought was an almost complete version- The purple dragon which can be viewed on my blog. However, I then decided to alter it to an angelic inspired dragon, brightening the colours and replacing the wings with soft feathers, finding it worked better. Along side the character development I finally managed to perfect the acetate technique which I have been working on since college. Learning to draw my line art by hand and print it onto the acetate rather than drawing directly onto the sheets, I got the smooth, flowing line art that I was searching for.

With the London book fair just around the corner it was time to put one of my stories into a children’s book, I originally created a series of images using my dragon and made it into a small dummy book. Though with a lack of storyline I started to wonder if I was making the wrong choice, this is when I decided to return to my sea story. I was never happy with some of the finished images, so I satisfyingly redrew many of the illustrations for the sea story, creating a cover and the extra pages that it deserved. I created a plethora of self-promotion, including my handmade Eel book, business cards and even stickers.

For me my FMP is not over, as the london book fair and all of the ideas this course has filled me with have inspired me to create a children’s book showing a range of my illustrations in different media and styles. I have been greatly inspired by children’s books such as Rumblewick & The Dinner Dragons by Hiawyn Oram & Sarah Warbutton, I know what professional standards I must meet. I already have my next few projects planned out, ready to build up the portfolio I need.

My target audience is and always will be Children, due to the nature of my stories. I feel that I have achieved this quite well so far, and, after speaking to Kimara Nye and other children’s publishers at the london book fair, I know what I need to do and change in order to achieve what I want. I am currently looking into working with young children after University, using my work to connect with them and using there imagination and ideas to help further develop my work.

http://www.childrensillustrators.com/subjects/