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Articles by "andrea offermann"
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1:39 AM , , , , , ,

the SCWBI flyer announcing the workshop - yay!
This September, I had the chance to take part in a fantastic SCBWI weekend workshop with Lisbeth Zwerger. Together with 9 other illustrators we spent the weekend at beautiful Lake Constance, working on illustrations while discussing books, ideas, process, watercolour techniques, mistakes and how to work with them. 2 days were so short,  but it was an amazing experience and my head was full of impressions and inspiration when I returned home.

Here are a few things that stayed with me especially:

1. The devil is in the detail.

Saturday we started off with looking at everybody’s favorite children’s books, discussing what we liked about them, where we saw problems. Lisbeth shared with us her great perception for detail, pointing out that small things like the shape of a window can complete the overall style of a house, or disturb it. On the other hand, sometimes details like the extreme curl of a foot to show discomfort can go a bit overboard.

discussing our favorite children's books

2. Does the way you are composing a scene suit/support the story you want to tell?

In the late morning we started taking out our sketches and prepared for painting. Lisbeth sat down with each of us individually and discussed our idea.

Lisbeth Zwerger discussing color palette choices with Maria Bogade...

...and composition with Sanne Dufft.

She liked my sketch, but suggested I take a step back and think about whether my approach with a very designed ornamental line really suited the scene I wanted to portray. This pushed me to go back to „start“, rethink my idea and plan for execution, and try something else that I felt really supported the mood and story of the scene I had chosen.

my original sketch

3. Be brave.

I know, that’s not a new one. But taking your painting and putting it under the shower? I think that’s a new kind of brave. Lisbeth’s approach to painting is very matter of fact, if it doesn’t work, try something new. Take the paint off, start over. She encouraged us to play, to find new ways to make the paint do what we want it to do. For example, Sanne Dufft ended up with a beautiful almost impressionistic painting of a water surface, something I never thought watercolour could do.

We all finished our paintings and sent them to Lisbeth after the weekend, and got great final feedback from her. Here is my piece after the weekend:

the final painting

Not only did I learn a lot from Lisbeth Zwerger this weekend, but it was so inspiring to work in one room with this amazing group of illustrators, see everybody’s work, discuss process, ideas, and learn from each other’s mistakes and successes.

working on our illustrations

Thank you Maria Bogade for organizing it, thank you SCBWI for making it possible, and thank you Lisbeth and to all the illustrators who were there, it was fantastic!

Happy holidays everybody!

the first snow...
(illustration for "Wie der Weihnachtsbaum in die Welt kam" by Astrid Fritz)

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Andrea Offermann recently illustrated  Troon Harrison's "Der Eisdrache" and Kate Milford’s „The Broken Lands“. You can see her work at www.andreaoffermann.com.





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12:47 PM , , , ,

my portfolio for the SCBWI winter conference

The SCBWI LA conference is just a few days away and all of you are probably putting the finishing touches to your portfolios. There are already several great posts out there with wonderful information on how to put a great portfolio together. I wanted to post a few of the links to these insightful posts again and add a few thoughts that helped me especially in editing my portfolio for the conference in New York this winter, where I was honored to receive the portfolio prize.


First of all, the links:

 - Eliza Wheeler's post on her beautiful prize-winning portfolio, with a comparison of her 2010 and her 2011 portfolio

- Juana Martinez-Neal posted step-by-step information about her process of putting her winning portfolio together, and also shows her entire portfolio before and after.

- Molly Idle , another SCBWI portfolio winner, posted great information of her process here.

- And last but not least I want to recommend taking another look at the advice on putting together a portfolio in SCBWI’s THE BOOK.

Here are the things that stood out to me and that helped me improve my portfolio:

1. NUMBER / ONLY THE BEST:

In the SCBWI BOOK it says on putting your portfolio together:„submit only your best work, 10 to 15 pieces“. Scary? Yes. Especially if you want to cover all the subject matter that should be presented in a children’s book portfolio. And while that is important, I believe it is even more important to make sure that you show your very best work. 

But how to decide?

What worked for me in the end was sitting down with a blank sheet of paper and writing down the titles of the pieces I ABSOLUTELY HAD to show. You know, the ones that pop into your head right away. This got me started with an already well-sorted list, and after printing these pieces looking at them in sequence (see 3. FLOW) helped in refining the selection further.

putting together the list of illustrations I want to show...

2. SIZE:

Show the illustrations in the size they are meant to be printed. When printing your images, of course it is vital that the quality is good and the presentation is clean ( Juana posted a lot of great information about choosing and putting together a perfect portfolio presentation ). But something I hadn’t paid enough attention to before was size. This is something Yuko Shimizu said when she talked about putting a portfolio together: if the illustration is meant to be big, show it big.


... consider the size in which you want to show an illustration...

3. FLOW:

You should consider page turns, flow and consistency in your portfolio as much as you consider it in making a book dummy, because it shows how you will solve this issue in your books.
Molly Idle explains this very well in her post.

For my book, I laid out the pages I had printed on a big desk, and looked at them in sequence, taking pieces out, exchanging their place, until it felt right to me:

...lay out the pages of the portfolio like the story board for a book dummy. Consider flow and consistency...

Then, I put them into the book, and went through them again, checking how the page turns worked:

...put the pages together and look at how the page turns work...

Sometimes it makes sense to group your images or divide your portfolio into sections, like Eliza Wheeler did with her portfolio. Because I have a lot of work for MG and YA books, I ended up dividing my portfolio too,  into a color and a black and white section.

4. CONCENTRATION:

I also realized when putting this book together, that it took a lot of concentration to make choices and stick to them. After working on it for a while, I felt my resolve dwindling. I realized that for me it was best to work on this at the start of the day, when my mind was fresh and focused, and to take a break when I got stuck.  

5. NO-BRAINERS:

And then there are a few little things that I guess should be no-brainers but can get lost in between the big decisions:

-       your name and information should be on there, e.g. on the left side when you open the book, or you can start with a lovely introductory page like Molly Idle does.

...include your information at the beginning of the book...

-       A flap at the end of the book with cards or printed samples would be nice, so the interested art directors or agents can take away your information:

...and take away material at the end...

-       This is your book, you are introducing your work and yourself. Have fun and make it exactly what you want it to be!

... my portfolio and the case I made for it.

I hope this helps, and wish you all the greatest success in putting together your books!


~Andrea
_______________________
Andrea Offermann is an illustrator living and working in Hamburg, Germany. You can see her work at www.andreaoffermann.com. 
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9:33 AM , , , , , , ,
I am very excited to report that Andrea Offermann won the SCBWI New York conference Portfolio Showcase Grand Prize! She will be flown back to NYC to meet with art directors sometime later this year. This year's showcase had over 300 portfolios - more than ever before! Congratulations Andrea!! You can see Andrea's wonderful work here. 

Andrea receiving her award
Andrea Offermann
Andrea Offermann
Andrea Offermann
Go KidLit Artists!! This makes 6 of us now that have won a portfolio showcase award, most after being in the Mentorship program for a year or two: Andrea Offerman (Grand Prize, SCBWI NY 2013), Juana Martinez-Neal (Grand Prize, SCBWI LA 2012), Eliza Wheeler (Grand Prize, SCBWI LA 2011), Juliana Brion (Honor Award, SCBWI LA 2011), John Deininger (Honor Award, SCBWI LA 2011), and Debbie Ohi (Honor Award, SCBWI LA 2010). 

Portfolio Showcase - photo by Debbie Ohi
P.S. For anyone wondering, the mentors are not judges for the portfolio showcase awards.

MKRdezign

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