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In this article, the author discusses paper, his preferred art medium. His love for paper started when his mother, who was a secretary for Ford Motor Company, brought him home some company letterhead to draw on. The author discusses two different paper stores in New York City, Kate's Paperie and Pearl Paint.

The author describes the materials she uses to create her artworks for books. Her favorite is the pencil since it allows her to tell a story through the lines of her drawings. She also loves oil paint for its slow drying and odors. She adds that she likes the need to apply a scientific method when using oil paint.

The author discusses using different media for her artworks for picture books. She says that she first used pencils, erasers and paper to copy artworks. When she decided to become an illustrator, she started using crayons that turned into watercolor to paint. She used acrylics to try to emulate the painting styles of the illustrators she admired.

The article discusses the significance of art notes in picture books, which describe the media and/or techniques used by artists in the creation of illustrations. Some illustrators make art notes part of the reading experience. The outlooks, experiences and practices of editors and art directors are said to influence their decision regarding the inclusion of art notes.

The article provides updates on children's book illustrations in the United States as of November 2000. The author comments on computer-illustrated books, the utilization of computer and other technological equipment in making children's illustrations and details on the history of book illustrations and sample work of several illustrators.

The article focuses on the author Mary Azarian's work in woodblock printing. Azarian's similarities with Wilson A. Bentley is examined. Azarian was a teacher but began woodcarving as a way to stay at home with her family in Cabot, Vermont. How Azarian teamed with the author of Jacqueline Martin for "Snowflake Bentley," is explored. Details are given for the process of woodblock printing.

The author describes the techniques and materials he uses to create artworks for graphic novels. He says he prefers not to use one set of materials and one technique to create his artwork since each work has its own character and story. He adds that he prefers materials that add texture and to combine traditional and digital techniques.

The article talks about book "Picture This: Perception & Composition" by Molly Bang which was reissued as "Picture This: How Pictures Work." Topics discussed include use of picture book illustration for helping young people to develop more sophisticated eyes; the book depicts about horizontal and vertical lines, diagonals, colors and shapes; and exploring picture book's text and literal reading of illustration's content.

The article discusses collage, a medium used for creating illustrations for children's books. The author compares doing work in collage to working with puzzles or Colorforms. She also discusses the procedures she uses in creating collage pictures, as well as the factors she considers when composing a picture.

The article presents information on the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts. The article discusses features of the museum and includes details of the first exhibit curated by museum director Ann Clark. The author also discusses the role of the museum in promoting art to children.

The article provides information on Maxfield Parrish, a painter and illustrator of children's books. The author presents details on his exhibitions and art works, including the exhibition 'Maxfield Parrish, 1870-1966,' at the Pennsylvania Academy of the Fine Arts. Several books illustrated by Parrish are described, including 'Mother Goose in Prose,' by L. Frank Baum.

The author discusses creating pen-and-ink and watercolor artworks for books. He asserts that the transparency of watercolor allowed him to create color pieces while still working primarily as a drawer, and the medium forces improvisation into the work, thus making painting interesting. Difficulties he encountered in using watercolors include the medium's tendency to run and bleed.

In the article, the author, an editorial director, describes her relationship with illustrator Paul O. Zelinsky. When Zelinsky's elder daughter was an infant, he wrote the book "Dictionary of the Anna Language." The article discusses Zelinsky's childhood love of drawing geishas and tractors, his sense of humor, and his painting style.

The article presents an interview with illustrator Helen Oxenbury. Oxenbury talks about what attracts her to illustrate a book, a combination of humor and a sense of grounding in the way people really act. Her most recent books is "Farmer Duck," by Martin Waddell. She has also illustrated "We're Going on a Bear Hunt," by Michael Rosen.

The article describes the author's unusual method for creating illustrations for his picture books. The author describes how he uses an eraser to make his desired images on a background that has been coated with a "wash" of oil paint or chalk. Then the colors are applied by "rubbing" various media, such as watercolors, pastels, or oils onto the erased image.

The article discusses a particular illustrator's favorite art medium, pencil sketching. The artist prefers to use the Berol Turquoise 2B pencil for her preliminary sketches. The article discusses the characteristics of that particular kind of pencil and includes her comments regarding pencil drawings.

The author describes his work as an illustrator. He almost always uses a Staedtler Mars technico leadholder when drawing since the mechanical pencil allows him to get an extremely sharp point. He used Bic pens to create the illustrations for his first book, "The Houdini Box." He decided to make small drawings for the books "The Invention of Hugo Cabret" and "Wonderstruck."

The author discusses his use of digital technology to create pictures books for children. He says that he prefers to use different techniques in creating artwork, but his newer ones are partially digital. He created an illustration style combining the handmade look of folk art and the polished, three-dimensional look of Pixar films. He decided to use digital and traditional illustration techniques for his books "Children Make Terrible Pets," "Creepy Carrots!" and "Mr. Tiger Goes Wild."

The article profiles book illustrator Pauline Baynes, who is known for her work in C. S. Lewis' book series "The Lion, the Witch and the Wardrobe." Particular focus is given to the nature of Baynes' relationship with Lewis. Also mentioned are her professional library, major book projects and the 1968 Kate Greenaway Medal for her work on Grant Uden's "Dictionary of Chivalry."

The article focuses on illustrator David Diaz, who received the Caldecott Medal for his work in "Smoky Night." The author discusses how she met Diaz. Particular attention is given to Diaz's career in illustrating, including the development of hand-crafted books. The author recounts how Diaz was told that he had won the Caldecott Medal for "Smoky Night." The importance of family to Diaz is also considered.

The author reflects on the technology involved in the publication of picture books. The author discusses how picture book illustrations have changed over time, but that the story of the book must match the medium that illustrates it. The effects of technology on picture book illustrations is also discussed.

The article presents the acceptance speech of Paul O. Zelinsky, the illustrator of the book "Rapunzel," at the annual meeting of the American Library Association for receiving the 1998 Randolph Caldecott Medal. According to Zelinsky, his first challenge in writing his book was to find a way to portray the story underlying the various versions of Rapunzel, a multi-leveled story about children and mothers, about coming of age, about home and the world Outside.

The article presents a profile of the 1992 Laura Ingalls Wilder Award winner Marcia Brown. The article describes Brown's studio, a seemingly chaotic room in her Connecticut home filled with painting and printing materials, Chinese brush paintings, and a flute. Brown's books are set all over the world, much like her life; she spent years in Venice, Italy, and Paris, France, studying art and music.

The article focuses on the evolution in the printing process for children's book illustrations. The author discusses the art and literary scene of the 1960s and compares it to the era's printing processes. The shift from primarily black and white illustrations in children's books to the large variety of methods employed in illustration in the nineteen nineties is discussed.

The article presents the author's personal profile as an artist. The author, who illustrates children's books, describes several projects including his work on the books "The Adventures of Spider," "Song of the Trees," by Mildred Taylor, and "The Talking Eggs." He describes the help of his wife and colleagues when creating dummy versions of the illustrations.

An interview with Brendan Wenzel, author and illustrator of the book "They All Saw a Cat," is presented. Particular focus is given to Wenzel's reasons for choosing a cat as a subject to relate differing perceptions. Also mentioned are his research and writing process, mediums used for the book's illustrations, and influence of folktales on his book.

The author comments on developments in the publishing of picture books. He asserts that the definition of a picture book has expanded with the acceptance of comics and graphic novels as children's books and the resurgence of illustrations in middle-grade fiction. The author believes that the children's book community has had a far greater impact on picture books than technical advances in the creation of illustrations.

The author describes her use of gouache as her main medium in creating drawings for books. She discusses the appearance of the medium's colors, its water-solubility and the disadvantages of using gouache. She also cites the difficulties she experienced in getting a supply of her favorite brand, Turner Design Gouache.

In this article, the author discusses her preferred art medium for drawing, marker. The author specifically focuses on how she uses Sharpie markers in drawing. The article presents details of how the author designed her picture book "Best Friends Think Alike" and her favorite characteristics of marker drawing.