by Angela Burke Kunkel
One of the most gratifying moments in the process of making a picture book, at least for text-only authors like myself, is when we get to see images from the artist. Watching the illustrations develop over time, from first sketches to final art, is a thrill I can’t quite describe. We’re often reminded that picture books are a collaboration between two people, and never does that feel truer than when watching word and image come together.
Read to the end for the cover reveal!
For that reason, I’m so glad Cat Odell agreed to answer a few questions about our upcoming picture book, PENGUIN JOURNEY (Abrams Appleseed, October 2021). The story is a spare, lyrical look at the incredible length emperor penguin parents go to in order to raise a chick. We’re so excited to give readers a sneak peek at the process and reveal the final cover art. So, without further ado, here’s Cat!
Angela: Hi Cat! I’m so glad we’re able to chat a little about the book and your illustrations for PENGUIN JOURNEY. But first, tell us a little bit about yourself!
Cat: I would say I’m an Artist, Author/Illustrator, Builder, Skater, Wave Rider, Musician, Tree Hugger. Someday I’ll figure out a more eloquent way of summing that up.
Reading your bio for the book, it’s clear you have passion for the environment. Did that inform your artwork for PENGUIN JOURNEY in any way?
I think it informs everything? Or it’s become that way over the years. As my awareness has grown, my relationship with the Earth has deepened into one that I carry everywhere. I like to challenge myself to constantly improve my habits around consumption. It’s certainly a challenge in our current system, but I’m here to learn and try. For PENGUIN JOURNEY in particular, I wanted the characters to feel relatable, so that a child or parent could see themselves in the story. I wanted the illustrations to nurture a connection and hopefully a curiosity. I think those are foundational to an interest in protecting our home.
Illustration by Catherine Odell
It’s so interesting that you say that, because as I revised the book, that relatable aspect informed what I wanted to convey in words, too. Penguins’ co-parenting struggles are so recognizable to human parents, I think.
Can you talk a little bit about your process? How did you create the illustrations for the book? And were there any specific challenges from sketches to final art?
If it’s a subject I haven’t spent a lot of time with, I usually need to start with observation. In this case, that meant watching all the YouTube penguin videos and documentaries I could find. Unfortunately, libraries were closed when I was working on this, but I’m so grateful for the wealth of information at our fingertips! It was like taking myself on an imaginary expedition. I did loose sketches in this “getting to know you” phase, exploring form and movement and all the various body positions penguins take. This was also when I spent time figuring out how I draw penguins, for this story in particular, and what level of fidelity feels best.
Sketch by Catherine Odell
Alongside the character development ... I also dive into mapping out the story itself. Who’s doing what, where, and when? Those thumbnails are very small and rough, just helping me to see what’s on each page and think about camera angle and how I'll position everyone. I suppose this part is a bit like directing a very tiny film.
Because I’ve had challenges in the past going from sketches to final art, I played with a lot of styles and mediums early on. Doing this exploration sooner rather than later, and not over-developing my pencil drawings, was an improved part of my process this time around. I went back and forth with the publishing team quite a few times for the first spread to really dial it in before marching forward into the rest of the book. I also worked on the final art in a mostly linear fashion, which I’ve never done before. Typically, I follow my fun compass, and that can be a bit scattered. I think it helped me to go from beginning to end because of the nature of a story (it being a journey and all). Which is all to say I really enjoyed working on this book, in so many ways.
Sketch by Catherine Odell
I love that you can relate your process to the journey we go on in the text. The penguins have to travel across a dramatic Antarctic landscape, the feel you had to convey in your art. Can you tell us about how you decided on this particular style?
In trying a lot of styles in the beginning, I also happened to start playing around on the iPad. It was a lot of fun experimenting with snowy scapes using a few of the gritty pastel brushes. As you know, that’s where we ended up, but it didn’t start there. Initially the art director [Hana Nakamura at Abrams Appleseed] and I discussed using watercolor and ink. I had done a few penguins in ink before and it seemed like the obvious answer. Then I sent sketches that were done on the iPad as well as some watercolors done by hand. Oddly the digital ones looked more painterly than my hand-done watercolors. Arm toss. So there it was. A new way of working. I ended up using bits and pieces of watercolor throughout, and doing final adjustments in Photoshop, but the bulk of it was done in Procreate.
Illustration by Catherine Odell
The text of PENGUIN JOURNEY relies on spare language and rhyme, but it’s still nonfiction. Did you need to research any specific aspects of penguins or the Antarctic? Any tidbits of information that surprised you?
I love the spare language! I think it’s closely related to one of my biggest takeaways from learning more about emperor penguins, which is the TIME that passes between each parent’s journey to the sea to feed themselves. So much devotion! And I still don’t understand how they find each other.
Illustration by Catherine Odell
It’s amazing, isn’t it? The sheer volume of all of the penguins doing calls to find each other again. You’d think that Antarctic landscape is quiet, but not always!
You’re also the author and illustrator of the Pepper and Frannie books, about two rabbits with very distinct personalities. What would you like to tell us about these two friends?
Their stories focus on the beauty of supportive friendships and the bravery that can blossom in them. They’re very much inspired by some of my experiences in skating—trying new things—and playing music.
What’s next for you?
I have no idea! Right now, I’m following an obsession with picking up plastic pieces on the beach. I broke my foot this summer and ended up doing more sitting than usual, but was lucky enough to do some of that sitting on the rocks at the beach. And I got in the habit of picking up tiny bits of microplastic. I usually carry a bag for litter when I’m adventuring, but this was different. It was so small you could ignore it, or maybe think they were colored shells or rocks, or in my case, become slightly obsessed with picking it up and processing how much must be out there. I’m collecting and using the pieces to make illustrations. It’s actually a lot like doing a puzzle, but one with endless possibilities. I’m hoping to tell a story using the stuff, just not sure what yet. As you can see, I’m not exactly wed to a particular medium. So that’s consistent.
Anything else you’d like readers to know about the cover, the rest of the book, or about you?
There are underwater scenes! And starry night scenes! So much to look forward to. I can’t wait to share it.
Thank you, Cat! I can’t wait either. But in the meantime, it’s been such a thrill to get a peek into your process. Speaking of scenes, let’s pull back the curtain on that cover!
PENGUIN JOURNEY’s cover was illustrated by Catherine Odell and designed by Hana Nakamura. The book releases October 26, 2021, from Abrams Appleseed and can be pre-ordered at abramsbooks.com. ISBN: 978-1-4197-4589-8
Catherine Odell’s childhood spanned the globe and helped her to develop an appreciation for the interconnectedness of life on planet Earth. She now lives in Portland, Oregon, working as a freelance illustrator. She is the author and illustrator of the picture book series Pepper and Frannie. When she is not drawing and painting in her garage studio, she can be found selling her artwork at local street fairs, skating a mountain road, or surfing in the cold waters of the Pacific Ocean. Visit her at canyoufeedthedog.com.
Angela Burke Kunkel is a school librarian and the author of Digging for Words: José Alberto Gutiérrez and the Library He Built. After soaking up the sun in the Southwest for a number of years, she now lives in Vermont with her husband, two children, two dogs, a guinea pig, and one rapidly-growing bearded dragon. She hopes to meet a penguin (or three!) up close one day. Visit her at angelakunkel.com or on Twitter and Instagram @angkunkel.
