I’m participating in an on-line collective print and greeting card sale next week. The theme is “Friendship” and the art featured needs to be something a friend would gift to another friend.
I’m trying to select a piece from my available art that fits this theme. Please help me decide! Voting doesn’t obligate you to buy anything, but if you WERE to buy one of my pieces as a card to send to a friend, what would it be? The pieces I’m considering are below.
Comment with your vote or votes (sure you can pick more than one!), or with an alternate suggestion from my available pieces .
For Artomatic, we’re reviving the Artist Interviews.  These are written interviews that will appear only on our Facebook Page.  Please keep your responses in the question & answer format.
1) Who are you and how long have you been an artist?
Mishka Jaeger: I’ve been an artist since I could finger-paint with my mashed peas and pureed chicken. I love creating and I’m scatter-brained. I’m not sure if that’s a bug or a feature because my media are inconsistent. In general, I like telling stories through my art. My focuses are children’s’ book illustration, women, food, music, and spirituality.
2) What medium(s) do you work in & why?
Right now it’s colored pencil. I didn’t realize I liked it until fairly recently. I’d been struggling with mixing watercolor and digital art with moderate success but I’m not really a watercolorist. In 2015, I began a series of illustration challenges where I needed to work faster and be more portable so I thought I’d give the pencils a try. Turns out they’re awesome!
3) What is your creative process like?
See “scatterbrained.†I tend to have too many ideas at once and many projects in the works at one time. I’m working on dialing in the focus and boiling everything down so I can be a bit more prolific. But I don’t really rough sketch. What purport to be my sketches tend to be more polished (which is why I’m showing some of them in my AoM display), and my sketchbook tends to look more like a journal. I often write out what I intend to draw instead of rough sketching because with rough sketching, I can’t always read my own visual handwriting later on. Once I’ve got a sketch that I like, I usually put it on the computer and noodle the layout around until I like it. A varying process of printing, light-boxing, inking, and re-digitizing are involved to clean up the lines. I use colored pencil over a 10% K-tone printout. I outlined this process in a little more detail while creating Art Deco Cinderella on my website blog in September 2015 (“Enchanted: A 1920’s Cinderellaâ€).
4) What is the best art-related advice you’ve received?
Really it’s from Jane Yolen who is an inspirational master of organization, focus and creation, and a phenomenal human being and author. Her main thing is “butt-in-chair.†That is to say, you need to do the work. You can’t do anything if you don’t do the work. After that, it’s that art is a business and if you want to succeed at it, you need to treat it as such.
5) What is the biggest challenge you face as an artist?
I still have small children at home, so actually finding the time, energy, and focus to do the work is a challenge. Apart from that, my challenge is to generate a following and then monetize my work (you wanted honesty, right?). I need to tell a better story so that people want to hear more from me. And then I need to tell it louder.
6) Choose one piece that you currently have on display at Artomatic and tell the story of that piece:
I’d been working through the 100 Days project when I had the privilege of attending a workshop with yoga master Tao Porchon-Lynch who turns 99 years old this August. She told us many stories about her childhood in India between the wars. One of her more popular stories was that she’d lie on the ground and listen to the grass grow. She said she could really hear it. That story inspired the first of my Little Yogi illustrations, and I drew my version of a young Tao lying and listening to the grass. Later that week while cleaning out my 20 years of magpie-collected papers, I turned up a bookmark that read, “I breathe in and out and my whole body calms down.†It was fortuitous. Now there are two things I strongly believe we need to do to live happier, healthier lives. The first is to get a good night’s sleep (and I’m still not so good at that). The second is pausing to breathe mindfully. It gives you time to think before you act, and deep, slow breaths do calm you down. So “Breathe†became my next Little Yogi. Now you can have a card to remind you to breathe too. Pick one up in my AoM space #3402 behind the theater.
7) What is your favorite part of the Artomatic experience so far?
It is always meeting new local artists, seeing what they’re working on, seeing what we have in common, and learning from their work and creative processes.
Artomatic, the area’s largest free pop-up art museum returns to Crystal City!
This year features over 600 artists, performers, musicians, and creatives of all stripes showcasing their talents on seven vacated floors of a former Department of Homeland Security building at 1800 S. Bell Street in Crystal City, Virginia.
Living in the DC area definitely provides some weird opportunities.
Anyway, look for my work in space#3402 on the third floor behind the movie theater. Look for this sign:
As you see, I’m sharing the room with my talented and creative friend, the incomparable, Alexandra Zealand!
You’ll have to check out the project she’s working on as well!
My little helper. Maybe we should put her to work painting the living room now?
The small works I’m showing this year were created for illustration challenges Kidlitart28…
…and the 100 Days Project that produced a series of food illustrations and the Little Yogis series. It’s also where I discovered that I love working in colored pencil.
I noticed I haven’t posted much about my other works from the 100 Days project. I should fix that.
Other subjects I frequent include children, food, goddesses, spirituality, and Jewish themes.
My daughter (who is now almost 6) watches me in the studio. She often asks me to print out my line art so she can color it in HER way. She wanted to help create this display. I figured why not?
Where else but Artomatic can you really let your child crayon on the walls? She says she wants to be an artist when she grows up. But she’s an artist now (goddess, help me!)
Prices for original colored pencil pieces range from $35 – $350
Archival quality prints of everything in the show are available — just write me for details. They’re $12 for 5 x 8 — $17 for 8 x 10 exclusive of shipping.
Some prints are currently available in my Etsy shop. 8 x 10 archival prints are $17 until May 8th – throughout the run of the show. Use promotion code, “AoM2017” at checkout.
I will be making more prints available in the coming weeks.
Meanwhile, see you tonight at the opening of Artomatic 2017!
This isn’t the sort of post I’m used to writing on this website. Things have been mostly quiet here since I returned from SCBWI-NE last spring which is usually a pretty big no-no in the social media world. Obviously I’ve been busy working on various projects but nothing really post-able. Mostly, I’ve been working on another contract building digital high school math course curriculum for k12.com and I’ve started picking up smaller info-graphics and corporate graphic jobs again as well. My k12Â contract ended this week and this is the first weekend I haven’t had to work in months!
My husband, Bill’s, job also ended in October. After 14 years in federal business development, prop and grant managing/writing and tech writing/editing on staff for various companies, he decided he wanted to stay freelance and support smaller businesses. Because we both are now freelance, we decided to file for an LLC the day before Thanksgiving. We’re still waiting on the name and number before I make us some cards and an online presence for the new biz which, if all goes well, will be called Illumination Services, LLC (as in – illuminated manuscript – the combination of words and images). So today, at the Virginia Women’s Business Conference, I found myself handing out my illustration business cards with this website URL because that’s what I had on hand.
I didn’t actually plan to attend this conference. Actually, I didn’t know about it. Despite 20+ years alternating between employee and contractor status, I am still just starting to wrap my head around the idea that I’m a businesswoman. Â Today happened… by a confluence of events.
Last year, my friend, Dana asked her friends to start collecting bras for a project that helped homeless women. We were (really she was) so successful that she started a non-profit company called Support the Girls(which has been getting a lot of press – here’s one from the Washington Post). At the end of this summer, she asked me if I wouldn’t mind doing another collection. I can’t say no because this isn’t hard. So I asked my friends in the MOMs Club, the Preschool, on-line, and a Facebook group called Buy Nothing Reston for donations (the final count this year was 102 bras and a kitchen garbage bag full of feminine hygiene products!).
On the Buy nothing group, Kim Lysik Di Santi noticed my post requesting donations. She and I were still strangers but she had met Dana a few years back and was very impressed with Dana’s work both at her primary company, Accessibility Partners, as well as Support the Girls. Kim has attended and volunteered for the Virginia Women’s Business Conference since its inception. She asked me if I would like to nominate my friend for their annual Stellar Woman Award. I said sure! and she emailed me the forms. My eyes crossed a little. This was more Bill’s bailiwick than mine. I asked him and he very kindly helped me put together the nomination with additional help from Dana’s colleague, Sharon.
Surprise! I was informed two weeks ago that Dana was a finalist for the award! Wooooo Hooooo! So, slightly unprepared and glassy-eyed, I attended the conference today as Dana’s guest. I participated in some informative business 101 sessions and a fascinating legal presentation by Nancy Greene. I met a bunch of truly fabulous women in all stages of the business world, and ultimately felt a lot less like a fish out of water than I’d expected to.
For some reason, this year has been busier than usual. I haven’t had a lot of time to work on personal projects, and so this blog as well as my Twitter and Instagram accounts have been dormant for a few months. So I’m not doing that well in the social media/follower departments.
Apart from managing our household and the lives and endless paperwork (overnight diapers still included) of the 3 and 5 year old Jaegerlings, I can’t complain that it was paying contract work from my main client, k12.com, that ate the remainder of my free time! Whatever higher power placed me with K12 14 years ago sure has a sense of humor since, once again, I’ve been working in my worst academic subject -Â math! Trust me, it’s a lot more fun for me to graphic design and code it than it ever was for me to study it. Ah well.
In addition to the craziness of this year, my husband got laid off from his proposal manager position this week. Well then! It’s certainly going to be an interesting next few months as he very well might be joining me in the consulting and contracting world.  For right now, if you need any freelance writing, editing, resume formatting, grant application or proposal work, he’s your guy. If you need graphics I’m your gal. Hmmmm maybe we could work together? That’s so crazy it just might work! What could possibly go wrong? Check back with me in a few months.
In spite of all this, I HAD to make time for my favorite muse, Susanna Hill’s 6th annual Halloweensie competition. This is the 5th piece I have written for Susanna’s competitions. The parameters, restrictions, and deadlines are great for exercising the puzzles of character, plot, and wordcraft for me. So for this, I will make time! And then… back to geometry for the remainder of November.
The Contest:  write a 100 word Halloween story appropriate for children (title not included in the 100 words, children here defined as 12 and under), using the words spider, ghost, and moon.
It’s hard to believe it was only a week ago that I was in Springfield MA, attending the NE SCBWI conference. Wow, what a fantastic weekend! I met great people, connected with “internet friends” (in person!), learned lots, got inspired, and now have quite a lot of work to do. I made a a bunch of mental notes to try and remember to blog about — I probably won’t get it all but hopefully I’ll get the interesting bits.
There were sooooooo many wonderful workshops to pick from when I registered. I had a hard time choosing them as I couldn’t be in two or three places at once. My only disappointment was not getting more time with Patrick Carman. He’s doing some amazingly innovative work integrating media but his keynote didn’t really go into this and I unfortunately had to chose other workshops over his.
Randomly (because if you know me, I often toss in something totally random) the best out-of-context quote I overheard all weekend was “Yes! She found her dongle in her chamber pot!” (I can only assume they were talking about Sarah Albee)
A pre-conference visit to the Dr. Seuss garden.
Tips for Storytelling
I’m not sure if anyone talked about “what does this character want more than anything in the world?” but I heard a few people mention it as something we should already know and then going on from there. Maybe that focus is already old news?
Be careful that you don’t write an idea instead of a story. You can have a great concept but it’s nothing without an arc.
If your story has an emotional theme (heart), it should boil down to one unifying emotion overall. (This ties in nicely with a parallel through-line of action)
“This story is about x, but it is REALLY about Z” (for example, Little Blue Truck goes out for a drive but it’s REALLY about the virtues of being a good friend.)
From Tara Lazar (Beginning, Middle, End – I’m bummed I had to miss the MIDDLEÂ of Tara’s workshop for my portfolio review. Only slightly ironic.)
Give the who, what, when and where but lead your reader to ask “why”?
First sentences are your hook but a resolution need not be the end. What happens after “happily ever…?” (not strictly necessary, but it leaves room for a sequel) Also, don’t give away the farm. It’s ok to leave some things ambiguous.
A great ending is inevitable – audience cannot imagine it ending any other way (this was repeated by several other presenters over the weekend).
If your ending isn’t satisfying, the problem is probably in your middle.
Children need to solve their own problems. No Parent ex machina.
From Aubrey Poole (Getting Outside Your Zone of Comfort: The Hero’s Journey applied to Character Development)
Using the Hero’s Journey as an arc, a character enters an unfamiliar situation and has to adapt to it.
Going outside the character’s comfort zone creates tension.
Character wants something (it may not be his dream), pays a price for it (sacrifices his dream for it), and maybe gets a different version of it than he thinks he wants, Â concluding with a return to a “new normal” (falling action), the resolution having changed the character.
Exception to this is the “steadfast character” who re-commits to who they are rather than changing who they are.
Echoing Tara, If your ending feels flat, without emotional response, your resolution is unsatisfactory (again, a great ending is inevitable).
From Wendy Mass‘ Keynote (Getting from Here to There (and Back Again)Â with your Sanity Intact)
Cut out unnecessary words (thank you, Stunk and White) and avoid any form of the verb “to be” (can someone please remind me which play that was in? I can’t ever hear that without being reminded of a play I saw in middle school…)
“Substitute ‘damn’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be.†– Mark Twain.
“Live as if you were to die tomorrow. Learn as if you were to live forever.† Gandhi
“Don’t look back, you’re not going that way.â€
And then she gave us all awesome waterproof notebooks made of stone because of course we all do our best thinking in the bath or shower.
“Don’t do a $50 job like its a $50 job. Do a $50 job like its a $500 job and eventually you’ll be doing $500 jobs.” – Oren Sherman
I’m a writer because I’m telling stories with my pictures.
“Who pays you for that?” (What a great way to be a supportive grandfather (or parent)! Much better than “Get a REAL job!”)
Send your postcards to the editors, not just the art directors.
Words AND ART flow from left to right.
As a kid, every year he was given a storage bin and told to save what was important to him (what a great idea).
Portfolio Notes
A quick thank you to Talia Levitt of Studio Goodwin Sturges for reviewing my work and giving me thoughtful and constructive feedback. I have a lot of work to do.
Sarah gave us A LOT of great information on how to present our work to optimal marketability.
There is subjectivity as to whether or not you should put your contact information on the front of your postcard. Some say you MUST in case you get pinned to a wall. Others say it’s not a big deal to just turn the card over.
Be careful not to include “portraits” in your portfolio. They don’t tell stories.
Avoid showing character’s backs for sample art.
An illustration needs to tell a story, make the viewer ask questions about what is happening in the illustration and what is going to happen next.
An illustration needs to show emotion and relationship between characters (keep an eye on the eyes. The eyes have it!).
Use motion and gesture.
Details! Plenty of details (this was also mentioned in the First Look panel as well as Brian Lies’ workshop – see below)
Details are even more important in fairy tales because we already KNOW the story.
The technical execution of the piece and it’s medium is less important than the story it tells and the emotion it conveys.
If an image is meant to be a postcard, make sure it works in a small scale.
For a portfolio piece, it may be a good idea to leave room for text – a space where the text will obviously go.
Be aware of the gutter. Don’t put important stuff in the middle of a spread (1/2″ at least).
If submitting to magazines, review their formats and submit with those formats in mind (tall and skinny? side panels?)
If there is something out there that you really want to illustrate, put samples of that in your portfolio. Show the work you’d like to do more of.
Keep the style consistent. Push a style that is your signature. You will be hired for predictability.
Another thing you are showing off in your portfolio is your design sense.
Send postcards 3-4 times a year when you are first starting out, then twice a year when you’re more established.
Don’t forget to send to junior editors and art directors. They keep boards too.
Illustration Games
Exercises similar to theatrical improv games that are meant to spark your creativity and enhance your skills.
In which we created 30 sketches in 1 hour. Wow, that was painful. Sergio gave us verbal prompts that we had to draw and timed us. I think some of the participants got a little frustrated but this was an amazingly liberating exercise.
Our last assignment was to take 3 of these sketches and combine them into a 3-panel story or logical sequence like three mice meet a hippo and then go off to watch the sun set. I actually kind of like what I came up with and plan to finish it.
This is a great exercise which, of course, we can all do at home, or over Skype, or something like that. We just need to make a list of 30 prompts.
From Dan Moynihan (Spark New Ideas with Drawing!” and “Pictures First! Draw Out Your Story”)
“As I draw the characters, I learn about the characters.”
Both of Dan’s workshops consisted of games. The first was really an after dinner game where we all drew in magic marker colors and passed our work around the table embellishing each other’s sketches.
Our second game was constructing an illustrated story by passing work along after each spread. The results were hilarious. I pretty much forgot how to draw entirely right about then. Some of us presented these monstrosities to “the class” afterwards.
The second workshop the following day was similar to Sergio’s in that Dan had us draw, but instead of different things we drew to the same prompt word over and over and over again in order to help find the story within our illustrations.
And then we drew the same character over and over and over again doing different things. This is one way to learn about the character.
I’ve always been more linear and had never thought to “draw out” a story this way but it totally works. You draw different sketches until they connect, piece them together until the story arc makes sense, then put them into the dummy and proceed to tighten them up.
From Brian Lies (The Angel’s in the Details: Going Beyond First-Order Thinking in Illustration World-Building)
Sidenote – I could just sit and listen to Brain read the phone book (if I still had one). He has such a great voice!
Details give us information (historical, geographical, demographics)
Details puzzle and delight us.
Details take us away from the generic and tell us stories about the characters. Like props and costumes. We know people and characters by their “stuff.”
Name (and nickname) your characters.
Put in things for the “grown-ups” to find – especially when they have to read the book over and over again (and you want them to, right?)
Convincing details lead to a convincing illustration – Mice wouldn’t have cheese wallpaper any more than humans have pizza wallpaper.
Scale is important – A bear would write a BIG letter. A mouse would write a LITTLE letter. A bear’s letter in a mouse’s house would be pretty big.
Brian gave us an exercise where we were to populate a portion of a character’s life with thoughtful details. This exercise taught us a little more about our characters (If you are a writer and don’t want to draw, you can simply make a list).
Finally… About the (my) Creative ChallengeÂ
And this one was definitely a challenge.
Before the conference we had to do the usual promotional prep work (cards, portfolios, in come cases buttons — I’ll have to remember that for next time! They’re just jingly fun to share). But we were also tasked with an illustration challenge to “Re-Invent Jules Verne. Choose anything written by Jules Verne and reinvent it, bring it into the 21st century. Anything goes, as long as it’s kid through teen friendly” at a double page 16″ x 10″ size.  I picked From the Earth to the Moon. As part of my updating, I rewrote the quote.
I don’t consider this piece finished. I just ran out of time. And it’s got a lot of problems (hopefully I see more of them than you do!) but I do like it. I challenged myself to push a little more into the abstract layout than I usually go, mostly because of the Folger Theatre’s production of A Midsummer Night’s Dream. Seriously.
I realize that there is absolutely no obvious connection here. But it had to do with the stage set and the placement of a wedding cake high up in the back wall ABOVE the wedding scene. But it made the point. This was a wedding. And we didn’t question the placement. I had an “aha” moment. I’ve always been too straight-forward with my design. My set designs back in college were also always too… literal? I’m not sure when I got that grounded. I used to draw flying people like Chagall when I was a kid… Aha.
SO, I decided to try and break out of this a little and loosen up on this project. At which point the illustration started fighting with me. I wanted to do it in colored pencils, it wanted to be digital. We wrestled our way to a happy medium around an agreement on the concept. You may notice there are windows in the sky and stars on the background buildings? I’ve always been fascinated with city windows. Every time we drove over the 59th Street bridge at night, I would gawk as best as I could into the apartment windows at eye level, then look past them at the twinkling lights of Manhattan and think about all the people behind all those lights. The distance makes musing more poignant until it doesn’t matter if we’re looking at windows or at stars…
Next, I wanted to stay true to the concept of the story; that a group of people are trying to plan a trip to the moon. So my kids are out on the rooftop in various stages of planning or dreaming about how they’re going to get to the moon. Also, all the roof-top water towers of the city look like rocket ships. I’ve always thought so, anyway. Here’s where my Aha moment came in… I wanted to break the reality of my illustration and have the children’s plans and ideas floating above their heads to try and convey that this is what the illustration is really about. And I also wanted to make the plans LOOKÂ like plans. So I inversed the graphite and added a grid to the water towers on the left that looks like graph paper. Continuing with the inversed graphite for the children and foreground was an experiment, and I’m afraid I cleaned up the lines too much on the right-hand side. I like the idea of what I did here better than my execution, but as I said, I don’t consider this piece done.
All in all, it was a good exercise for me. But it’s not the portfolio piece that the challenge suggested it might turn out to be. But I did get to scan a slice of bread for the moon texture.
In Conclusion
WHAT A FANTASTIC WEEKEND! I got to hang with some great people – I now have at least 30 new Facebook friends, enjoyed dinner with strangers who are strangers-no-more, Sharon Abra Hanen (who invited me to dinner by overhearing me say I didn’t yet have dinner plans), Sarah Ignatius, Lin Norman-Lyman, and Heather Steffens. I was privileged to spend quality time with folks who have been inspiring me from afar for years including Jane Yolen and Tara Lazar (who are BOTH hilarious in person), and Kelly Light and Heidi Stemple (whom I also know from social media and who are ALSO hilarious in person. I’m fairly sure Kelly and I crossed paths in college, and Heidi reminds me so strongly of my cousin that I’m quite positive we’re related), Jannie Ho (whom I “met” doing Illustration Friday 10+ years ago and finally got to meet in person!) Courtney Pippin Mathur (the only person I’d met “in person” prior to the conference because she lives near me!), Vita Lane and Jason Hart (for one of the most wildly coincidental lunches I’ve had in a while – Not often I run into someone who remembers seeing a play that I designed in college!) all my #KidlitArt friends (@emilywayneart @AutumnSeybert @reneekurilla @ClarElizabeth4 @ioanahobai @APSabourin @scillabert @juliaanneyoung @erniedelia @fultonbeal @matusic @sarahlynnereul @ClaireLordon @IllustratorPG1 @PSWCreative @AJSmithillustr, joshfunkbooks) and  Marlo Garnsworthy (I’m sorry Carlyn couldn’t make it but happy she introduced us!), Jennifer DesAutels, and Roya (so lovely to meet you!!).
I know I’m still leaving many, many people out!
I got tons of inspiration and advice and some conflicting feedback about what I need to do next work-wise that I still need to parse… But now… back to my reality where I’ll be spending the next 8 months parsing this all out!
I realize that there is absolutely no obvious connection here. But it had to do with the stage set and the placement of a wedding cake high up in the back wall ABOVE the wedding scene. But it made the point. This was a wedding. And we didn’t question the placement. I had an “aha” moment. I’ve always been too straight-forward with my design. My set designs back in college were also always too… literal? I’m not sure when I got that grounded. I used to draw flying people like Chagall when I was a kid… Aha.