Illustrator Interview with Sean Qualls

I love teaching my children's book class at The School of Visual Arts in the Continuing Education department: every term there is always an exciting mix of people with a broad range of experiences and training. There is a lot of give and take and exchange between everyone - and then there are a few exceptional people who are truly an inspiration to us all. When Sean Qualls was in class several years ago we were all in awe! He was already a published illustrator and was working at that time on The Baby of the Way, written by Karen English. Every week he brought in beautiful sketches and color art work. Probably he just needed us as a sounding board - as an illustrator it can be hard to work in isolation. The book went on to be published in 2005 to great acclaim. These days he has more offers than he can do. (What a great position to be in!) One of his most recent books is Phillis's Big Test, written by Catherine Clinton. I was very happy to have the chance recently to catch up and to do this interview with him.

Phillis's Big Test is a historical picturebook for young children about Phillis Wheatley, the first African American to publish a book of poetry in 1773. When she was a young child, probably about seven years old (it was guessed because she was losing her front teeth), she was taken from her home in Africa and sold as a slave in colonial Boston, as a house servant to the Wheatley family. She was treated kindly by them, and learned to read and write, and was encouraged to study and write poetry. Her achievements attracted a lot of attention, although there were some people who questioned whether she, a young African-born slave, really could be the author of such wonderful poems. Before a panel of great and distinguished men in Boston she had to prove that she had indeed written these poems. She passed this "big test" and her poems were published in 1773. Phillis's Big Test, through the words and pictures bring us close to the young poet's plight and anxiety. "She shuddered and started to turn away, but then Susanna Wheatley's words echoed in her head: Your talent will speak for itself." In a calm and harmonious way (I'm especially thinking of Sean's beautiful use of color and composition), the book conveys a valuable message: Believe in yourself! 

I hope you enjoy hearing more about the book and Sean's process of working. 

First, how did this book get started?
I received an email from Margaret Raymo at Houghton asking if I was interested
in illustrating the story. I had met Catherine Clinton (the author) a couple of
years prior at a portfolio review. Even though I didn't have any published
picture books at the time, Catherine was very interested in my work. I've
always loved the image of Phillis Wheatley at her desk by the African American
artist Scipio Moorhead. Its the only image of her that exists from the time
that she was alive and the only surviving image from Scipio Moorhead so I agreed to illustrate the book.

How long did it take you, from start to finish, and can you describe the various stages of working on the book? What were some of the challenges, ups and downs, and high points?
From start to finish the book took about a year.
I always start a book by collecting reference and sketching the main characters; figuring out
what I want them to look like. I’ve learned that these early sketches are crucial
to developing the character and invaluable when putting the dummy together.
When making the dummy I’ll begin by doing a bunch of thumbnail sketches of
scenes that really appeal to me. Then I blow them up on my photocopier to
determine a size that is comfortable for me to work. Once the size is
determined I make the dummy and then use many of my earlier sketches for
various scenes. I reduce and enlarge the sketches on the photocopier and then
paste the down using a glue stick or tape. I’m not that good at drawing an
entire scene so each page comes together as a result of drawing all of the
individual elements separately and then pasting them into the dummy.

Some sketches, then a more developed sketch leading to the color painting:

The highpoint was definitely completing the dummy and starting the final art and
then completing the art and sending it to the publisher. Sheila Smallwood, the
art director was very happy with it so it was great to get her feedback.

These are a couple of my favorite pictures which give a flavor of the book. There are a lot of historical details in costumes, furniture, architecture. In your style, in your distilled way, they really evoke 18th century Boston.

The biggest challenge for me was to be historically accurate. I had planned to visit Boston to get reference but that did not work out. Every project has its own challenges but I always reach a point when I think “Oh my God, can I do this.”

All your books so far have been written by other people - have you met any of your authors? Is there any back and forth with them? And are you doing some writing yourself?
I’ve met all of the authors of the books that I’ve illustrated except for Karen English (The Baby On The Way). I suppose that there is back and forth but it’s all done via the editor or art director.
I never hear from the author directly regarding changes. I keep files on my computer for potential that I may try to sell but at this point I have not shown any of my writing to a publisher although I hope to soon.

Quite a few of your books have been about jazz figures. How did this happen - Do you know a lot about jazz? Do you listen to music when you work?
I don’t know a lot about jazz especially compared to people who really study it
but at around the age of 20 I set out to learn about it.

I don’t know how I came to be associated with biographies about jazz luminaries.
Arthur Levine from Scholastic (editor of DIZZY) really liked the portraits I
did for POWERFUL WORDS and had a sense that I would do well as illustrator of
DIZZY. I’ve always loved music. When I was a kid the idea of becoming a
musician trumped wanting to be an artist. My inspiration has always been fueled
by a desire to play music. Maybe that’s why I’ve been asked to illustrate books
about jazz musicians.

I listen to a lot of things while I work – mostly music but also audiobooks and
talk radio. I usually set my itunes to shuffle so I listen to everything including jazz.

How do you do your artwork? What is your medium and do you have any tips about your technique?
I paint mostly with acrylics but sometimes I use tempera too. I also use collage. Most of the
time I make my own by painting over old papers and then cutting or tearing but
sometimes I also use magazines or newspapers for collage and colored pencils.

My tip is a basic one and that is your style and technique should suit your
temperament and not just be a copy of someone else’s style. And don’t be afraid
to trace. I used to believe that it was a sacrilege to trace but I now do it
all the time. If I draw something perfectly once I trace it instead of trying
to redraw it again and again. It’s saved me a lot of time.

Sean's wife, Selina Alko, is also an illustrator. They met at a wedding and bonded over both being illustrators. They have two young children, which makes for a busy family and work life! What is your day like?
Having children definitely competes with getting work done but it also makes it more meaningful too. We both work from home. Our studios are on the bottom floor of our house in Brooklyn. Selina and I rely on each other for feedback but not as much as we used to. Both of our children are in childcare. Isaiah is 3.5 and Ginger is 8 months old. They both go to daycare - Isaiah full-time and Ginger part-time. I work Mon-Fri from 10:30am-7:30pm.

In that fabulous jazzy shirt it looks like you were destined from a young age to become an artist! How did you decide to become an illustrator, and specifically for children’s books?
I went to art school. I went to Pratt for 3 semesters. Halfway through my first semester of illustration I changed to fine arts. Children’s books sort of found me. When I was launching my career I would send postcards to anyone and everyone. My greatest ambition was to be a full-time illustrator. At first, most of my clients were
magazines and an occasional ad job. Books took off for me once I was asked to illustrate THE BABY ON THE WAY. Honestly, my work is more narrative and emotional rather than conceptual so all of the self -promotion I was doing paid off but not in the way I expected. Now, most of my work is for children’s book publishers and occasionally I do an illustration for magazines.

What is your advice for aspiring illustrators?
Don’t give up. Draw and paint everyday. Keep a journal or sketchbook. Get excited about
your work and if you can’t get excited about your work get excited about someone else’s. Look
at your work objectively against other work that you love and ask yourself “how can I improve what I do, how can I make it better.”

Here are some of Sean's other books mentioned in the interview:

He will have a new book, due out in the Fall - WHO WILL I BE, LORD? by Vaunda Micheaux Nelson (Random House).

1/26/09 update with BIG NEWS:  American Library Association annual literary awards were just announced. Before John Was a Jazz Giant by Carole Boston Weatherford, illustrated by Sean Qualls, published by Henry Holt and Company, is an Illustrator Honor Book for the Coretta Scott King Book Award, recognizing African American authors and illustrators of outstanding books for children and young adults. CONGRATULATIONS!

And to find out more about Sean and his books here are the links for his website and for his books on Amazon  

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