Sleepytime Me, new art-the back cover that never was.

Final cover for Sleepytime Me by Edith Hope Fine

The cover for my most recent book, Sleepytime Me by Edith Hope Fine, came together very quickly. Those of you who are in the business picture books know this is a rare occurrence. We all loved the image of the house and wanted to stay with that theme. I could have done a wrap but was enjoying painting the images so much that I wanted to produce another piece of art. I was so excited when I had the idea of painting the same scene after the kid went to bed and the moonlight and stars had shifted that I went ahead and painted it. I loved painting the moonlight on the leaves and having it dapple over the house. Sadly, the art was never used but the incredible designer I worked with, Jan Gerardi, came up with a wonderfully elegant solution. Her design was beautiful but even with that we almost had the cover changed on us at the eleventh hour. Fortunately, we were able to compromise and meet the needs of the marketing department by zooming in on the house and character. For fans of the book, here is a look at never before seen art! Which one do you like?

Original cover art ©2014 Christopher Denise. I remember stargazing from the bedroom.

Original back cover art ©2014 Christopher Denise. ".ooo..what a little moonlight can do..."

How it might have looked...

My proposal

Jan Gerardi's design. I loved working with Jan! Love her type on this version.

Bookmaps and Storyboards using Photoshop. Part 1-Why digital tools?

In January I gave a series of talk at Kindling Words east and can now share a bit of what I talked about during the breakout sessions with the illustrators. May 27th will mark the release date of Sleepytime Me by Edith Fine, my next book with Random house so it best to focus on this title for this series of posts.

First I need to address the question of why I am using digital tools. Not for myself, but because I am asked...all the time. Technique and materials are really of little interest to me. Photoshop is a tool. Pastels and charcoal are tools. I am more interested in what you create with them. However, the question is always in the air so I will give you the cliff notes version of my thinking on the debate.


I started using photoshop when I began work as a visual development artist working on animated films and have found the program to be an invaluable tool in my book production work. First a quick note to all the skeptics who ask: "Don't you miss traditional materials?"Quick answer: No. While there is a learning curve, I have been able to customize my tools to create a process that not only replicates my traditional technique but removes many of the limitations of working in pastel and acrylic. Here are two examples of work. The one on the left is from my pastel work on the Redwall  picture books, the image on the right is a detail from my book due out at the end of August 2014,  Baking Day at Grandma's by Anika Denise. The image on the right was created using only digital tools.

I am impatient with my art. I work best when I can act and react. With digital tools changing the piece as it begins to emerge is far easier and I can get to the fun stuff faster. The goal is not necessarily to shorten the production time, though in this day  of ever tightening deadlines and shrinking advances this is clearly a very good byproduct. The goal is to get as much of original inspiration down on the page as possible. With digital tools, I can cut right to the chase and then have the flexibility to edit, change, and repaint the piece to suit the needs of the entire book.

In the next post I will focus on the previously time consuming process of creating a bookmap with Photoshop.