Johnny Joins the Army

will be released in May! (Yay!)

Time to get to know: Anthony Alex LeTourneau

www.anthonyletourneau.com

Dennis and I first met Tony in February of 2007, as he was the artist who prepared the book, Fiona Finds the Son, for eventual printing. (A job which included lay-out, text insertion, text revision, artwork sizing, as well as page design, etc.). Shortly thereafter, I began a working relationship with him on the second book in the series. He started the initial illustration, character sketching, text layout, cover design, etc. process which brought Johnny Joins the Army to life in April of 2007.

Tony's early pencil sketch of a new character debuting in Johnny Joins the Army

Carol, the Columbine queen

2-29-08 interview with Tony...

Where, and when, did you receive your formal education/art degree? I did my undergraduate work in commercial art at Northwestern College in St. Paul. However most of my formal training in traditional painting has been acquired thru various workshops and self-taught.

Where were you born and raised? Where do you now reside? Tell me a bit about your family my formative years I grew up in St. Paul suburbs and moved north to greater MN late in my teens. It was in rural minnesota where I began to focus on the possibility of a career as an illustrator. Rural living does not offer a lot of things to do, other than draw and play a few sports.

The combination of sports and art greatly aided my understanding of human anatomy, It was through conditioning and strength training that I began to internalize how the human form moves and started to translate this understanding into my art. As I grew in this understanding I challenged myself to visualize the muscle groups, see them under the body’s form. I use these ideas even today in creating art.

I still live in rural Minnesota, now with my wife of 20 years Michelle and our 3 boys whom I often use as models or subjects for paintings.

Tell me a bit about a particular art teacher, or another mentor, who greatly influenced you. In college, I had several good mentors. Douglas Latta my illustration professor was not only a mentor but a friend. His understanding of color theory and color effects broadened my understanding and follows me today.

Have you taught any classes, or mentored another artist, in the past? I really enjoy teaching and sharing with others the mysteries of creating good art. It is a joy to see others grow in the artistic pursuits. I teach workshops often and I am always excited to do live portrait demonstrations in both oils and charcoal. Over the years I have held both private art lessons and formally mentored students.

What are some techniques, or ideas, that you feel artists, writers, publishing firms, and others in the industry can use to bring the magic back to the traditional storybook? Children and adults are moved by and thru great story. A well told story drives everything. Great stories are told both in word and in visuals, and the visuals of the story are not just the drawings but the use typeface and fonts in addition to the layout and use of space within book. If all these elements are crafted well and woven together seamlessly, I believe we can re-ignite the passion of story.

(Andrea’s thoughts on this subject): It seems that children have less free time, and also that they have now come to expect vivid imagery, and a fast pace, in all mediums. I feel that in order to compete with shrinking free time, and the abundance of other mediums, TV, computers/etc., traditional picture books will need to step up the quality in order to survive. Writing needs to be extra tight and characters and scenes need to be original and fresh. Also, longer storylines, which may have been done in the past without illustrations, may now be illustrated in order to gain interest. The rise in popularity of the graphic YA novel, points to this trend. Exactly, your example of graphic novels is perfect. The storyteller (author) is dependent on the visuals to move the reader energetically with a fresh and exciting look. Likewise, the artist is dependent on the author to tell a story with clarity from a unique perspective.

 Are you consciously implementing these ideas as you illustrate a book? I try to. It is difficult sometimes in trying to get all parties to understand the direction of the project. Planning early in storyboard form, almost like a screenplay sometimes is helpful.

 Explain any further thoughts you may have, if any, on that subject. What I mean is, the pre-production format has been effective in movie making. To successfully tell a visual story clearly and cohesively it is important that all parties... publisher, author, designer, illustrator and printer, each understand the end goal and how their role will aid in a successful product launch.

In Johnny Joins the Army, which character, and which scene, was your favorite to create? Why? The illustrations in Johnny were fun and enjoyable all throughout. However, two that stood out as the most enjoyable were...  the scene where James Iris shares with Johnny the plan of salvation. I liked this illustration because of the intimate scene of true sharing. I tried to create each character as a believable person and I feel in this scene I was successful.

The other scene I enjoyed most was the closing scene of the team sliding down the compost hill. I enjoyed the action and vibrancy of color. I wanted to convey contagious joy of life in this scene.

As an artist, what influences you the most? And why? I am influenced by so many things. Great artists of the past. Classical painters like John Singer Sergeant for his bold and elegant brushwork. Similarly, I like the works of contemporary figurative painters like Burton Silverman and Richard Schmid. Modern authors like Donald Miller who write and speak of joy in creating and our creative contributions to the body of Christ. I enjoy going into bookstores and libraries to see what the young and creative illustrators are doing. and most of all I love light. I feel it doesn’t matter what you are creating... character designs, figurative paintings, traditional portraits, landscapes or still-lifes; if the lighting has the right feeling it creates drama and  I find this to be the most stimulating and creative.

Thank you Tony, for taking time to answer those questions. It was a delight to work with you on this project! Andrea

Back to the very beginnings...

First of all, I must note that from the initial concept landing itself in my head, to what is going on today as I write this, the entire process has been a journey. One of those, where in the world are we going?-- types of journeys! HA! Writing the stories turned me, a novice, into a writer/creator. Where I was in the beginning, is not necessarily where I am today. And where I am today, may not be where I am tomorrow. And, you wonder, where am I today? I don't know exactly, but I like it here, it's kind of fun, right where I am at... The very first book, Fiona Finds the Son, of a series which I later named 'The Flower Kingdom Fables', came into my heart on the morning of March 15, 2006, while I was brushing my teeth before work and had just thought about my artist friend, Linda.

And so I sensed that Linda Roesch was meant to be its illustrator, I mean, that was the logical (to me) assumption to make at that point! HA! I wrote Fiona Finds the Son that very day it came into my head (even tho I had other work to do...) and showed it to Linda. She began to paint characters and scenes with acrylic paints, onto canvas in April of 2006. Linda was living near the tiny South Dakota town my husband and I and our two boys live in and so she began to paint/work at the farm store we own, beside me within the same office. In the beginning I felt strongly that the characters should be plant based. In painting Fiona, the main character who was staying in a giant Bleeding Heart 'hotel', Linda used photos of Bleeding Heart blossoms for inspiration, and I often took Linda home to my garden, or brought plants and flowers with me to work, trying to make the characters and scenes resemble real plants/flowers, not necessarily real children. We were both novices, and so along with figuring out the style and basic character development, we also had to figure out the basics of making a book. Errors were made, but as a result we were both refined, and the rest of the series began to be written during the 'figuring out what to do' illustration production time. Those months spent creating the first book, alongside Linda, remain to be one of the 'funnest things I've ever done'. It was delightful to be a part of the process.

After Linda had completed the artwork for Fiona Finds the Son, in October of 2006, she was struck with an idea to use a different technique and redo the characters/scenes. She still planned on using acrylic paint, but wanted to mix it with water to acheive a look and feel similar to watercolors, and instead of painting on canvas, to use smooth surfaced, thin wooden boards. She showed me a sample of the 'new way', and I was blown away, as was Dennis (my husband and business partner) and we all agreed that an artwork redo was necessary. It incidentally began the first move toward a representation of fictional children and adults within the series.

Linda's talent grew astoundingly fast as she continued to paint using the technique she'd invented. She finished the characters and artwork for Fiona Finds the Son in early February of 2007. Fiona Finds the Son, in book form, was later released on September 29th, 2007.

We met a fork in the road in February of 2007, when it became clear that Linda would not be able to illustrate the rest of the series, which at that time was comprised of five completed stories in 'Season One', and thirty some original character concepts. Parting ways at that point in time was tough for all involved. Another artist, Anthony LeTourneau, (whom you may have just read about above!) stepped in and began creating the characters for the next book, Johnny Joins the Army. The characters and artwork are now being computer generated. He also began revising some of the original characters to represent real (albeit fictional) children in their appearance. i.e. 'Fiona' is below -

Throughout 2007, I wrote three stories in 'Season Two', and decided on the conceptual ideas for a fourth story in 'Season Two', as well as three conceptual stories for a final season, 'Season Three' to round out the series. After we parted on the project, Linda then became a writer and creator in her own right, penning, and illustrating a book entitled 'Happy Birthday Tiny Town', released in June of 2007. Linda has many ideas for other children's works, which she plans to write and illustrate herself. We remain good friends, and catalysts for one another, both crediting our time together as needed to become creators on our own. And hey, it's pretty amazing that two novice women published a children's book that was created at a farm store in a tiny town in South Dakota!

The only constant is change!

However much the series has evolved (changed), the back drop of the Flower Kingdom stories remains the same, it comprises everything inanimate around the fictional Gardener's big brick home - the back yard, the front yard, and the side yard, wherein lay the giant dwellings of the Flower Kingdom, Rose City, and the Vegetable Village. The child, and adult, characters now represent every age, race, and diversity that the human race represents, with real emotions, and real problems that real children encounter. They are dressed in colorful clothes, and sometimes hats, and have the same last names as many beloved old fashioned flowers. Most live within giant plant and flower homes and dwellings based on the beloved, old fashioned varieties of flowers and herbs that I was familiar with as a child, many of which towered over my own young head, within my grandmother's and mother's gardens.

That's me on the right, with my older sister, in front of Grandma and Grandpa's house on the farm I grew up on. The plants behind us are Hollyhocks. I loved to play with Grandma's Hollyhocks, pretending the blossoms were tiny princesses and the towering spires, castles, proof that...

The more things change, the more they stay the same!

The changes which lie ahead; where this all will lead; I cannot presume.

I am, however, thankful to be on the journey! Peace to you and yours, Andrea

Specifics:

There are five stories in 'Season One'. In order of occurance/eventual release they are: Fiona Finds the Son, Johnny Joins the Army, Audrey Learns to Trust, Davy Sings Praise, and Charlie Keeps His Word. Andrea is currently writing the rest of 'Season Two' and has the first three volumes complete: Fiona Breaks a Leg, Johnny Joins Ballet, and Scarlet Steals the Show. God willing, Johnny Joins the Army will be available for purchase by early May of 2008... You may pre-order your copy now.

Each story has a fun premise and plotline which children will find engaging and true to life. The entire series is sprinkled with biblical truths. The stories are written at a level suitable for 8-10 year old's to read on their own, and younger children as well, with an adult reading to them. With the unique characters and artwork, whimsical storylines, and biblical truths shared, this series is delightful and edifying for ALL ages!