Señorita Mariposa does several things all at once. It pays tribute to one monarch butterfly, and the many like it who travel together, pollinating flowers along the way.
It shows the beauty of these magnificent marigold insects dancing through the sky by way of Marcus Almada Rivero‘s lush, crisp, and joyful illustrations.
It captures how those of us in the city or desert (my favorite spread!) or forest get to see this epic event if we look up to the sky in wonder.
And finally, it encourages love and care for the world around us, for these creatures who are part of a vast ecosystem that connects us all. The above spread in particular shows people doing just that through a community garden.
I love the way the text shows the lyrics in both English and Spanish and alternates in terms of which one is sort of singing lead (while always including translated text) on each spread.
A lively book that takes monarchs as its muse to inspire song and sweetness and science!
Big thanks to Penguin for the review copy and images!
Not only that, but this book has also inspired a butterfly clothespin craft!
Kait Walsh is the visionary behind the Zinnia and the Bees pom-poms I’ve made with kids in libraries and bookstores for the last two years AND she devised a yarn bomb for us to do with young artists the week my book launched, so I’m already a big admirer and super grateful to her.
She’s a former teacher and illustrator who makes books for kids—you can check out her latest one, Don’t Cry Duck. She tells stories and facilitates crafts and does art-inspired community projects all over Los Angeles and I’m happy to have her on This Picture Book Life.
Over to Kait!
“Little butterfly you caught my eye”
This craft was inspired by the beauty of one butterfly and the incredible journey they make when millions of them come together.
Making this with your family? Create butterflies in honor of your relatives and discuss how the butterflies migrate north over three or four generations.
Making this with your class? Use it as a lesson about working together. Have each student make a butterfly, attach the clothespins to yarn or a string, and hang it somewhere in your classroom as a bright and beautiful reminder of connectedness.
Allow your child or students to play and discover new and unique shapes as they paint the wings. But the real fun happens when you clip all the butterflies together in a group, reminiscent of the beautiful illustrations by Marcus Almada Rivero of the Sierra Mountain butterfly hibernation in the oyamel fir trees.
The sky’s the limit! xx
Thank you so much, Kait, for making this little butterfly come to life!
For almost a decade, Kait Walsh taught five and six year-olds in a classroom. Now she spends her days creating art and stories for kids and kids at heart. Her art is a love letter. A letter that has been sketched, painted, cut, carved, stamped, sewn, glued…everything but the kitchen sink! But like all the things she has ever worked on, the real magic happens in the spaces where it interacts with you! Follow Kait on Instagram for more art, more stories and more community.
Out in just a couple of weeks, I’m so pleased to share the book trailer for Alma and the Beast by Esmé Shapiro with you today! It’s magical and mysterious, just like the book!
My favorite thing about this picture book is the way it plays with expectations and perception and reversals, namely who is Alma and who is the beast. It might not be who you first assume! In fact, like the cover, this book turns what we expect from a fairy tale on its head. Plus, a shaggy forest containing a “plumpooshkie” butterfly—I mean, this world is as inventive and charming as a world can be.
If you’ve read Ooko, her first author-illustrator offering, you’ll know that Esmé Shapiro likes to experiment with perception, the unexpected, playfulness, hand-drawn type, and quirky yet gorgeous artwork where you can see the strokes and seep of watercolors and paint, all with a fantastical quality. (She also illustrated Yak and Dove by Kyo Maclear, whose picture book life I’ve featured.)
And now…the trailer! Made by Esmé Shapiro, followed by an interview with the author-illustrator and some behind the scenes photos.
This Picture Book Life: How did you conceive of ALMA AND THE BEAST?
Esmé Shapiro: I always have believed that ideas land on our heads like little clouds. They have a mind of their own and we never know when they are going to choose us. The idea for Alma and the Beast landed on my head about six years ago in the form of an image. The image was of a little girl being surprised by a hairy being in her garden. It was a striking idea, and I wanted to unfold the story around it.
TPBL: What were you thinking about when you got the idea and began the process of creating it?
ES: Once the image came to me, I wanted to understand it more. The big thing I wanted to explore was, what did hair mean to me? This little hairy girl in the garden – who was she? I have always been fascinated with the symbology of hair. To me, it represents the side of ourselves that is more connected with nature and to our instincts. InAlma and the BeastI used hair as a symbolic device for our inner wildness, our untamed and true selves.
Originally, the story was told from the point of view of the little girl, who was frightened to see a bluish grey hairy girl in her garden. Eventually I started to question why I was telling it from the perspective of the little girl. I suppose I related to her right off the bat because she looked more like me. I felt it was important to challenge that impulse, because the little hairy being would be just as frightened to see the little girl. That’s when I decided to flip the story on its head and tell the tale from the perspective of the hairy girl. That’s when the fun started.What wouldherworld look like? And how would that change in perspective challenge our ideas about what we expect from a picture book and from other people?
TPBL: What did you want to achieve or get across to readers especially in terms of reversals and perception?
ES: Kids and adults alike are often wary of people they don’t understand, when really if we just took the time to get to know them, we would find we are much more alike than different. We all just need to feel safe and most importantly, be loved for who we are. In Alma and the Beast, I wanted to show that empathy is a powerful tool that can bring us closer together in understanding each other. I think the reversal in point of views from the beginning helps hit this message home. It was important to me to show that, at first, Alma was imperfect in how she reacted to this strange human creature in her backyard. She even refers to her as “a beast.” But a conversation with the “beast” leads Alma to understand that this creature is really just frightened and far away from home. Alma’s empathic moment brings these two girls together, and eventually leads her on an adventure into friendship and understanding.
TPBL: Where did you find inspiration for Alma’s “hairy world”?
ES: I drew a lot inspiration from nature, especially willow trees, who seem to always have the best hair styles. That’s why I wanted a willow tree to be the portal between the two worlds, because they seem like they could belong in either realm. I started to see grass as the earth’s hair, and I thought about fuzzy moss and the thin lines on bark, too. And, of course underwater plants, like lanky kelp and stringy seaweed. I imagined that in the hairy world, the plants and trees are always a little wiggly. I tried to channel Mary Blair, and the strength of her landscape design for early Disney animations. I wanted Alma’s world to seem like it could possibly exist if we just looked long enough through the forest – perhaps in a bog behind a log.
TPBL: Please tell us about the process of making the trailer, which is wonderful!
ES: Thank you so much for your kind words! I knew from the beginning that I wanted to send Alma and the Beast into the world with an animated book trailer. The world just begs to be explored through sound and movement. But there was only one small problem: I don’t know how to animate.
So I tried to teach myself – but, boy, was that difficult! My instinct was to imagine the story as if it were a play. So I made a stage out of paper cutouts and created little paper dolls of Alma and the Beast. Then I took photos of it at a photo studio in the back of my friend’s shop. I spent a few days slowly moving the paper dolls across the stage. It took a long time and many bowls of soup to get through it.Then I brought the footage home and thought it looked wonderful, but it was really missing the hair moving through the wind. I taught myself how to draw on top of the photos to create a sense of movement.
Once I was finished animating some hair flowing in the wind and tiny squishy bugs, I had my incredibly talented friend Allyson make the soundtrack. Allyson has been very supportive of this hairy tale from the beginning and feels very close to it. So when I asked her to make the music for the trailer, I barely had to give her any direction. She used sounds from a really old-fashioned sampling keyboard called a mellotron. The recorded sounds are from people playing instruments in the 1950s. It gives the sound a really interesting texture. The result is a song that is equal parts whimsy and bizarre. In my mind, it carries you away to another realm: Alma’s hairy world.
Thanks so much, Esmé, for the trailer, the behind the scenes photos, and sharing your process with us! And big thanks to Tundra for images and review copies as well.
We’re giving away a pair of books in honor of Alma and the Beast‘s release! Hop on over to my Instagram account (@writesinLA) to enter a giveaway for both of Esmé Shapiro’s author-illustrated books, Ooko and Alma! Come see!
“The morning sun blares through your window like a million brass trumpets.
It sits and shines behind your head—like a crown.”
Using the metaphor of a king going off to their kingdom for the first time, a child embarks on a first day of kindergarten. They’re buoyed by encouraging parents, a friendly teacher, and the knowledge that they’ve got this. And it’s especially nice to see a Black child as the focus of this empowering off to school book.
The King of Kindergarten sets a child’s mind at ease. It says that school doesn’t have to be scary, especially when you’re meant to be there, you have a place, you’re on a mission of soaking it up, of learning, and of kindness too.
The illustrations are as vibrant and reassuring as the words. Kindergarten is absolutely fizzing with fun and color, shapes and swirls. And that sun appears on many pages, shining behind the main character’s head—”like a crown.” Spotting the crown (there from the first spread on the character’s PJ’s!) and sun motifs is part of this delightful experience.
Read this one before school starts to get any young reader “ready to reign” (and play and learn and share and nap).
The crown, sun, and colorful swirls of the art in this book were our inspiration for a crown craft to match. I enlisted Jen Pino from Vroman’s (who once contributed some picture book gems to this blog) because she is a passionate book person, a super talented craft person, a bookstagrammer, and a friend.
Over to Jen!
Hi! First off, I want to say a huge thank you to Danielle Davis for letting me be a part of celebrating this joyous book! I am a huge Vanessa Bantley-Newton fan and when I heard that Danielle wanted to do a craft around The King of Kindergarten, I immediately had to join in. A little about me: I absolutely adore crafting, but am not the greatest with providing instruction. However, I also believe that there are many different ways to create, so for those who are like me, this one’s for you.
We are going to make a crown worthy of a royal kindergartener.
What you’ll need:
Puffy paint and markers
To start off, I took craft twine and strung it around the top of my head as a sort of measuring device. I guess you could also use a tape measure. I then cut the twine at the right place and taped it to the table where I was working. From there, I lined up all of my yellow paper, glueing each at the seams, until it appeared that I had enough. A ruler would also be helpful for this process, if you have one on hand. I didn’t and so I drew a line where the twine ended on my paper and folded over the excess to meet that line. Then I was able to draw a straight line up and use that to cut that excess off.
After I had the right length, I drew the outline of a crown and then erased all lines that I didn’t need. Because I didn’t have a ruler, I again used the straight edge of another piece of paper to draw a line where the bottom of the crown should be.Then I proceeded to cut out the crown and the length that would wrap around my head.
Next, I got to work on a sun. Vanessa Brantley-Newtwon illustrates all these gorgeous suns throughout the book and I wanted to make sure I had one on my crown. This would be for the back, so that the crown could be worn on either side. Use any circular object and trace the top to get the base of your sun. Then you can draw some sun flares to cut out as well. After I had everything cut out, I glued all the pieces of the sun together and used my puffy paint and markers to give it a smile and blushed cheeks.
For the front of the crown, I wanted to include lots of swirls and pops of color, like Vanessa Brantley-Newton’s, whenever the characters are thinking or imagining. I drew out some blue swirls and a red blob and glued them to my crown, cutting off all excess paper. Next, I took my gold puffy paint and swirled it over the crown with my fingers (make sure you have something underneath your work!). I then added some white puffy paint details, a rainbow with my markers, some cut-out letters and another green swirl. Finally, when everything was glued down and had time to set (make sure your paint has time to dry), I glued both ends of my crown together.
And that’s it!
Thank you for this royal crown for this royally delightful book, Jen!!
Jen Pino works at the oldest and largest independent bookstore in Southern California, Vroman’s Bookstore. She’s worked there for almost 9 years and loves all things related to children’s books. Currently, she is the Book Buying Department Administrative Assistant and School Coordinator. Check out her bookstagram: Confessions of a Starstruck Bookseller (@coasbookseller), where she shares what’s new at Vroman’s Bookstore, reviews books, features gift guides, and showcases booksellers! Or take a look at her blog!
It’s been six years of This Picture Book Life in July.
To mark the occasion, I’m giving away the six picture books above to one reader! (N. America only.)
Another by Christian Robinson (2019), a wonderful, curious, and wordless mind-bender in Robinson’s signature illustrative style.
The Undefeated by Kwame Alexander and Kadir Nelson (2019), an incredible, jaw-droppingly gorgeous book the author describes as a “love letter to America. To black America.”
My Papi Has A Motorcycle by Isabel Quintero, illustrated by Zeke Peña (2019), a portrait of a hometown and a family and change and what stays the same.
You’re Safe with Me by Chitra Soundar, illustrated by Poonam Mistry (2018), a lullaby of a book to feel safe in any storm (and you can see the craft the illustrator contributed to a blog post last year here!).
How to Two by David Soman (2019), an inventive counting book that honors play and collaboration and inclusion.
It’s Time for Bed by Ceporah Mearns and Jeremy Debicki, illustrated by Tim Mack (2018), a bedtime book featuring Siasi, who would charmingly rather commune with Arctic animals than fall asleep.
Studio might be best described as an ode to being you and finding your singular expression and space to cultivate it, and then sharing that with the world. It has bright, thoughtful, detailed, and exuberant art and feels like a truly kismet collaboration between text and visual story. It explores and honors creativity and making. (And it was written by one of my dearest friends.)
Just look at all those different kinds of studios and makers on display! Even the title itself on that sign is in the very process of being made, which is such a brilliant thematic touch! There in the middle of the top row of windows is our main character, a bunny who we follow as they tour studios and see artists of all styles and stripes, soaking up the energy and options they might pursue. By taking a tour along with bunny, readers will get a chance to do the same.
And here’s one bonus spread from the inside as well!
In honor of Studio’s cover reveal, I asked the creators three questions each and they’re all giving us a tour of their studios, past and present! What a complete treat!
James: Art is a job, and the studio is the place where the work gets done. What having a studio means for me is the benefit of having a private, peaceful space where I can work out new ideas; a place where I can experiment and even get frustrated without feeling like I’m bothering anyone; where I can put down a project for the night and pick it right up in the morning, without having to put everything away. It’s the freedom to work the way you want to.
Melissa: The studio is the place where we make our work, but it’s also a place to be inspired. We decorate it with the kind of work that we like to see, fill it with books that we can reference, and houseplants and other trinkets that help make it a comfortable and inspiring place to be.
What and where was your first ever studio?
James: First ever? The kitchen table or an elementary school art classroom would probably be the most accurate answer, but the first studio that really felt like my own was an out-of-the-way photo darkroom at high school. I finally got that sense of freedom and ownership you get with a studio because I could work there independently, uninterrupted, and play whatever music I liked. It felt great to be in charge of my own space, which is something I didn’t have at home.
Melissa: My first studio was a very similar situation! I had wanted to study oil painting in high school but there wasn’t place in my high school art classroom so my teacher lent me an underused storage closet that I could use as a painting studio. I had my own key, which felt very grown up. In retrospect, it was probably a terrible idea to let a teenager use solvents in an unventilated storage closet but I couldn’t have been happier.
From our studio in Milwaukee circa 2006-2008. We built and ran a community print studio and workspace in a Milwaukee children’s museum called Discovery World and worked on our personal work after the normal workday was complete. The work hanging behind us was from our students.
From our studio in Milwaukee circa 2008-2013. It was in the basement of our house and was our first non-shared studio (we had worked out of the University of Wisconsin-Madison print studio – our alma mater – before moving to Milwaukee to run the Discovery World Print and Publishing Lab).
From our studio in Lincoln Heights (Los Angeles) circa 2013-2014.
How did you approach creating the visual story for STUDIO after reading the text?
James: First, we felt it was important to create a visual story, independent from the text, with a strong through-line. That way, readers of all ages and skill levels could return to the book and enjoy it, even if someone isn’t there to read it with them. We also wanted to treat this as a true picture book of artists’ studios, showing as much detail and as many tools and supplies as we could fit in. That way, young readers could get a sense of the studio as a real place—and of being an artist as a real job that they could aspire to.
Melissa: As the characters go through the various studios, our thought was to show the little bunny getting progressively more comfortable among the community of artists and feeling more and more free to express themselves, and in the end, join the community of artists.
From our current studio circa 2014-present.
Next up the author, Emily Arrow, who you may already know from her music!
What does a studio mean to you?
Right now, my studio means the place with:
my stack of books and notebooks
my sweet rescue dog
What and where was your first ever studio?
Finding a space to be creative has been one of my favorite adventures for as long as I can remember. When I was about 7 years old, my piano teacher helped me record my own songs in her home recording studio she called “Squeaky Floor Studios.” I was in my happy place with headphones on, listening to the music and finally being able to step into the song with my own voice. Other special studios over the years include the recording studios where I’ve recorded my “Storytime Singalong” albums!
3. Tell us about the genesis of this story concept.
Because I believe creating art leads to peacefulness, I believe spaces that foster creativity have a special magic. I love visiting artists’ studios, dreaming up ideas about where I might create a music video, and finding the creative spark that can turn even an ordinary place into a studio space. A few summers ago, I decided to create my work in a shared studio space in Nashville. That cozy studio full of artists and illustrators was bursting with creativity, twinkle lights, and collaboration. Naturally, it became the “place for my art to start,” and I wrote Studio.
And here are all three makers of this book, together!! How special is that!
And finally, a giveaway! Simply comment below to be entered to win this pair of pins from The Little Friends of Printmaking. (N. America only; ends Friday, June 28th at midnight PST.)
Big thanks to Emily and to Little Friends for collaborating on this post—photos were provided by them. And to Tundra for book images!