Growing up in Mexico, I learned to speak the language of color at a very early age. “No dar color” is a popular expression that, translated, means an inability to give off color or emotion. Using color and texture helps me to express my identity, my heritage. I've also learned that color is the most direct (emotional) route to the children (and families) who turn the pages of the books I’ve illustrated.Guest Blogger: Rafael López
Growing up in Mexico, I learned to speak the language of color at a very early age. “No dar color” is a popular expression that, translated, means an inability to give off color or emotion. Using color and texture helps me to express my identity, my heritage. I've also learned that color is the most direct (emotional) route to the children (and families) who turn the pages of the books I’ve illustrated.
By now I’ve written a number of books and have enough distance from them, to see patterns emerge. Looking back, I’ve realized that so many of the children (or mice or other animals) who populate my work use imagination—as play, as an escape, as a tool.
At the end of last year, the UK media reported the pretty disturbing fact: nine percent of British children are leaving primary school with the reading skills of a seven-year-old. As it happens, I’ve met seven-year-olds who are well into the novels of J. K. Rowling, Roald Dahl, and even J. R. R. Tolkien, but the media was talking about thirteen-year-olds—and boys are the worst offenders, naturally—who can’t struggle their way through much more than a tabloid newspaper.
Dave the Potter: Artist, Poet, Slave (Little, Brown, 2010) is based on the true story of Dave, a man born into slavery in 1800 who created approximately 40,000 ceramic pots in his lifetime. Dave was owned by six slave masters, but was ultimately sold to a plantation that produced large clay pots. It was on this plantation that Dave was trained to make pottery and became a master potter.
I admit I gave a little sigh of relief when I saw that my publisher classified my book Ling & Ting (Little Brown, 2010) as an early reader. So many times titles for this level are referred to as easy readers. I know I am biased, but to me there is nothing easy about a successful book for beginning readers!
Although my books are printed on thinly sliced pieces of tree, they would be utterly impossible without the Internet. Paper Towns (Dutton 2008), for instance, is built around this weird cartographic phenomenon wherein mapmakers intentionally put fake places on their maps.