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

There are five stories in Season One of the Flower Kingdom Series. 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 four volumes complete: Fiona Breaks a Leg, Johnny Joins Ballet, Scarlet Steals the Show, and Andy Finds His Voice.

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!