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December 02, 1994 - Image 99

Resource type:
Text
Publication:
The Detroit Jewish News, 1994-12-02

Disclaimer: Computer generated plain text may have errors. Read more about this.

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Ir %11 1%1

and Op eniny
b Wdebration

Ms. Patz worked with the
book's designer, Chris Paul, to
formulate what she calls "the vi-
si la] concept" — the look — of the
book. It was not easy.
Ms. Patz had been recom-
mended to Little, Brown as being
an artist whose style would work
well with the book's text. And
when the Boston-based company
called to tell her about the book
and the diversity of art that was
needed, "I could taste it," Ms. Patz
said.
But when she submitted ear-
ly samples to the publisher, she
discovered that she and the book
designer were on different wave-
lengths.
"I had to find out what they
wanted that I also liked," said Ms.
Patz, who lectures around the
country on the subject of illus-
trating picture books. She also
has taught courses on writing
and illustrating children's books
at local colleges.
Children's books is a crowded,
competitive field. More than
5,000 new titles are published
every year, Ms. Patz says. Pub-
lishers market their books by age
categories: infant to 3 years old,
3 to 7 years old, and up. Picture
books appeal to younger children.
By third grade, or about age 8,
children are reading and they
prefer "chapter books."
All of Ms. Patz's previous
works are picture books. She likes
to set up a reading rhythm, inte-
grating the words and the art.
Her story ideas come from her
own experiences. Themes range
from dealing with grief and loss
to maintaining a long-term lov-
ing relationship. "I ask myself
questions, but the answer doesn't
come down from heaven," Ms.
Patz said. "I have to think about
it awhile."
Her next step is to decide if she
wants to use people or animals
for the story's characters. There's

In the book's chapter on Rosh
Hashanah and Yom Kippur, a
drawing of honey cake
accompanies the recipe.

a reason so many children's books
have animal characters, she says.
"Animals allow the child to ex-
perience the book's emotions but
not make them uncomfortably
close," she said.
Another consideration: if she
uses animals, which animals. For
her books, Ms. Patz's drawings
have ranged from elephants to a
happily married pair of "nice, fat,
middle-aged bears."
Picture books can have no
words at all or some short, sim-
ple text. Not surprisingly, says
Leslie Morrill, an instructor in vi-
sual communications at the
Maryland Institute College of Art,
the illustrations can make or
break a book, especially a picture
book.
"The intent of the writer is re-
vealed in the illustrations," he
said. "But the best illustrations
take you beyond that. They open
up your imagination. They be-
come an additional factor in the
appreciation of the book."
For books like The Family
Treasury that are targeted to a
specific, rather than a general,
audience, the illustrator has an
additional consideration. A spe-
cific readership is knowledgeable
about the subject. They want, and
expect, historical accuracy. The
illustrator's job "is to get it right,"
Mr. Morrill said.
The characters in each chap-
ter wear the authentic period
clothes that Jews wore in various
parts of the world.
Historical accuracy is one
thing. But in Ms. Patz's opinion,
there was another element to il-
lustrating The Family Treasury.
"I can't imagine someone who
isn't Jewish doing the illustra-
tions," she said.
"The book is intended to be
part of a family's observance," she
said. 'We made it for parents and
children to read and use togeth-
er." ❑

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