![]() ![]() So let’s find an illustration note you might need using the same story: That is a bad-scold it and send it to time out-illustration note. In fact, you DO NOT need an illustration note for that line at all. “The night Max wore his wolf suit and made mischief of one kind …” Here’s an example using Where the Wild Things Are: The notes are intended to stand in place of an illustration that might be needed in order for the reader to understand what the author intended.Īn illustration note is not a play-by-play of how the author sees the characters, settings, and scenery of the story. ![]() First off, an illustration note is a quick description of what the author envisions at a certain point in the story. There are so many conflicting opinions about illustration notes, it’s hard to know where to begin. Readdrawtheline.Illustration notes-the bane of a writer’s existence. “Draw the Line” is her first book with Roaring Brook Press. She travels across the country to encourage children to develop strong character assets and to help teachers find creative methods to engage and connect with their students through the power of reading, art, and literature. Kathryn Otoshi is an award-winning author/illustrator, best known for her number/color book series: One, Zero, Two and Beautiful Hands, all character-bulding books that promote kindness, empathy and building community. What better way to start talking with our kids than through reading and the power of children’s literature. When we read an inspirational story, we open up our hearts, minds and develop critical thinking …but most of all what we give our youngest members of the human race – is hope. So as a start, we need to start building bridges wherever we can ,and close gaps that aren’t so far away. It sometimes feels difficult - even impossible when we feel the “other” isn’t listening. With today’s climate, we need to know more than ever where are ‘edges’ lie, but also how we can join forces together whenever and wherever we can connect them. But like life, the story became an evolutionary process, ever shifting, ever changing, sometimes pushing, sometimes pulling with a goal to reach for the greater vision of working together. And even the final resolution for the conflict in the story didn’t come easy. The transition of the line going from a frayed line to a crack took many renditions. our circular thinking, our understanding of “other” and our own identities friendship and conflict, and of course, the question that begs addressing throughout the whole book: where exactly do we draw the line? And how do we mend it if it tears? Thus the concepts in the book became very layered: our linear thinking vs. The use of colors came later (thanks to my editor, Connie Hsu – see I was listening!), and I realized they could signify emotions as well. ![]() I felt the illustrations for the boys should be “black and white” at first. What happens when someone else walks into your life and pushes their own agenda on you? Especially when that “other” person might seem very different or even opposite from you? We negotiate, push, pull, stretch and our lines sometimes get frayed in our relationships with others. ![]() Then the book took on a whole new meaning when the concept of “other” was introduced into the story. I grabbed a black pencil and started to go with it. We can walk the line, jump the line, read in between the lines, and can even cross a line. Suddenly I saw a stark visual “line” becoming a clear metaphor for our own boundaries –thus “Draw the Line” was born. A few years back, I was feeling stretched too thin, saying ‘yes’ to too many things and not giving myself enough downtime for my art and creativity. That feeling of being overwhelmed, overworked, and yes, even underappreciated. ![]()
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