Ok, get ready for some goosebumps and watch this movie Cecil Castellucci made in honor of her Grandmother for today-the release of
Grandma's Gloves! I love this little movie so much:
I think I should take a moment for my own grandmas too. When I got the manuscript, both of them had just recently passed, and both were very close to me. It was difficult at first, but cathartic to paint through it. I had brilliant models for my Grandma's Gloves grandma: Pocca and Nana.
Pocca:
Pocca was Scottish, an accordian player/mother of 5/saint who spoke in the softest southern accent, hugged with the strongest arms, and had a love of endless puns, JOTTO, and children. She let me name her anything I wanted which was "Mocha Pocha" for no apparent reason, so she became Pocca (pronounced "polka") to us all. She always put playtime, imagining and her strong faith before anything "real" and would defend these things fiercely. We lived downstairs for a while, and she and Pop Pop lived upstairs. She had painted toenails. She was one of those high-cheekboned southern beauties in the reel-to-reels, and her family traces their roots back to the Scottish Munroe clan with a castle. She was adept at drawing children's faces and painting cats. One of the last memories I have of her is saving a baby bird that had fallen from its nest. Above: Pocca, Pop Pop, sisters and I on our front porch.
Nana:
Gloria Denos was my red-haired grandma; an Italian, sauce-making, trend-spotting, feisty little lady with a sarcastic sharp wit and a generous and vulnerable heart. She made us a giant Christmas tree out of presents every year, and called jeans "dungarees". She loved CSI, late night TV, and was more private with her spirit and thoughts, but we later found her journals full of dreams about angels. One of eleven children. She was always our honored guest at Thanksgiving and she saved every single tiny card or drawing from every child, we found them all organized in albums after she died. She would do anything to protect what she loved. She teased, demanded kisses on the cheek, and wore slippers when she came to visit us (and it was the coziest thing ever if Nana came to visit). Her teasing nickname for me was "Shirley". Her handing writing always slanted to the left. Above: Nana and I on the back porch circa 1983.
These ladies loved me in a way that formed me and my art-making.
When I sat down with the manuscript many times, I would just watch flickers of them. I cried a lot too. Due to this emotional struggle and the invigorating stylistic challenge (you can see my growth in the concept art all the way back to 2006 below) this book was the most pivotal work for me of any assignment thus far. I remember beginning and drawing grandma after grandma on loose pieces of paper. I struggled with achieving the "perfect grandma". Concept work 2006-2008, click to enlarge:
The line I loved most of Cecil's in her description of Grandma, was "I run to her and she folds me in her fleshy arms for a big kiss." I decided to make my starting point those soft arms because I knew them well (they were Pocca's). The long string that attaches her glasses belongs to Pocca too. Grandma's spunk and short haircut is Nana's and she is most present in that kitchen scene with her chin in her hand, taking a gossipy story in.
I think a lot of the gardener element and funky clothes, especially in the sunflower scene, are my own mother. Because of her, no matter where we lived, or what our situation was, we were spoiled by her spilling wildflower gardens. She is a passionate gardener and mother. She is not a grandma yet, but she is part of that maternal love that follows you around into stories when you are illustrating things like hugs, and children. The book is dedicated to her for that reason.
I gave this book to Pop Pop (Pocca's husband and my grandfather) for his surprise 80th last weekend. I told him he'd be able to spot Pocca and the "old days" in there. So grateful to have him.
So this a post for the GRANDMAS! For Nana and Pocca and Cecil's grandmother who gave her rich stories in a toaster, and of course for all of the grandmas with us or gone ahead. And Grandmas: your grandchildren will always remember you at your best times, the time you made for us, what your hugs smell like, and how you never forgot to water your violets
♥
---"She's forgotten it all," Mama says sadly.
I tell Mama and the nurse that Grandma didn't forget to water the plants in her room.
They are big and green, and the violets are blooming---
August 10, 2010
So I've gathered necessities (paper, chocolate, etc.) around me to hibernate and finish art for a number of book deadlines. We will be constructing (with the help of a contractor) my in-house studio at the same time too! It's gonna get wild!
Yes! It is officially FALL! Here is a painting on wrinkly computer paper because I had to capture the feeling without any good paper around...one of those absolutely cozied-out moments, I think McPartland's cover of "A Ship Without a Sail" was on, smell of possibility was in the air, bright colors floated in my mind, left over back to school jitters shivered. I tried to capture it via a lime-yellow park, school bus, Mary Janes and composition notebook. Ohhhh there is nothing like Fall in the city!
The (mostly British) word "twee" has been following me around. I think I could use it in place of "cute"– yes? no? Hm. I scanned these little shoes in for the book I'm working on. I daresay things are getting rather twee over here.
The magical Jules Danielson interviewed me at Seven Impossible Things Before Breakfast. Click here if you want to read. I am so honored to be sharing the breakfast table with her! A million thanks, Jules. Surprise treat: also joining us are lovely authors, Cecil Castellucci and Erica Perl!
So, why mayhem/destruction/robots? check out my blog post about the theme here. My painting features Dan's heroine from OH NO!, atop a taxi in a bumbly traffic jam with her cut-out homemade sign, urging her giant (unseen) frog to DESTROY said robot.
The line I loved most of Cecil's in her description of Grandma, was "I run to her and she folds me in her fleshy arms for a big kiss." I decided to make my starting point those soft arms because I knew them well (they were Pocca's). The long string that attaches her glasses belongs to Pocca too. Grandma's spunk and short haircut is Nana's and she is most present in that kitchen scene with her chin in her hand, taking a gossipy story in.
I think a lot of the gardener element and funky clothes, especially in the sunflower scene, are my own mother. Because of her, no matter where we lived, or what our situation was, we were spoiled by her spilling wildflower gardens. She is a passionate gardener and mother. She is not a grandma yet, but she is part of that maternal love that follows you around into stories when you are illustrating things like hugs, and children. The book is dedicated to her for that reason.
