Illustrator Contrasts and Comparisons

          Richard Scarry and Paul O. Zelinsky both found success in the competitive world of children’s literature illustration. Though their styles, methods, and goals for their artwork varied dramatically, they had one incredible, predominant commonality—their passion for art. They both lived it and breathed it. It occupied their minds, their very beings. Regardless of the challenges each encountered professionally, they found both peace and exhilaration in the creative process and ultimately helped millions of fans find that same peace and exhilaration when reveling in their artwork.

Pages 44-45 in Richard Scarry's Best Word Book Ever

Zelinsky and Scarry had two very different philosophies in creating art for children’s literature. Scarry was extraordinarily systematic of his process, illustrating color by color, animal by animal, layer by layer. Zelinsky, however, states, “I’m not very systematic about process. The most important thing is the text” (Young Children, 2013, p. 92). Scarry’s illustrations were the story. His anthropomorphic characters provided the slapstick humor, the morals, the silliness, the idea that every part of life, indeed, every physical item in life, is important and has a role to play.

             

Page 20 in Rapunzel by Paul O. Zelinksy

            Both are copious researchers. Scarry “enjoyed the sometimes extensive research his detailed books required” (Richard Scarry, 2010). His editor, Ole Risom, told a story of sitting with Scarry in Venice when a “wild street musician came by, with a violin, a drum strapped on the back of his head and carrying a whistle. Dick started sketching him, then went chasing after him so he could make more sketches” (Richard Scarry, 2010)). Zelinsky believes that “research is what makes historical settings so interesting to illustrate” (Peck, 1999, p. 572). For Rapunzel, for example, he researched 16^th century Italian hand mirrors and hairbrushes, two very important pieces for Rapunzel’s illustrations. He also researches historical artistic techniques, working hard to find just the perfect technique to bring the story to life, to give the reader a way to intensify their connection. His illustrations balance the text; they deepen the story, often providing secondary, surreptitious plot lines.

Zelinsky may delight in the research of artistic technique, but he is also a true believer in artistic innovation, both in his style and in his illustrations, as is evidenced from his delightful array of stylistic techniques. From the pen and ink illustrations of Dear Mr. Henshaw to the “sticky, shiny oils” in Wheels on the Bus to watercolor and inkjet of Z is for Moose, Zelinsky’s overarching style is fluid and evolutionary (Bader, 2013, p. 24). Scarry’s style remained constant throughout his career as a children’s book illustrator, but like Zelinsky, he had his own brand of innovation. After some time in the industry, Scarry saw a gap in children’s books and ultimately created a new and inviting type of picture book illustration that provided an entirely different method of reading. The individual panels, with each item and each character carefully labeled, may well have been the first books created for reluctant readers (although that was yet a termed to be coined) because RS himself struggled so much in school. He wanted to create books that would speak to all children, not just those proficient in reading.

The instant popularity of Richard Scarry’s Best Word Book Ever propelled Scarry to continue creating comfortable, relatable characters and their “wildly imaginative” adventures (Richard Scarry, 2010). This formula continued entertaining and educating millions of children, yet “elitist attitudes about mass-market books have caused some to label Scarry’s books as unimaginative carbon copies of each other” (Silvey, 2002, p. 395). But he had a recognizable brand. Zelinsky, by contrast, has published such a variety of styles that readers cannot immediately recognize his work. Because of his adventurous sense of trying new techniques, they are not always identifiable as his, whereas Scarry created an easily identifiable product. Zelinsky recognizes this and is comfortable with it. He told Rocco Staino in a KitLit interview that “people often don’t really know me, but they may know the books separately, not put them together…. And I kind of like that” (2015).

The artwork of both illustrators is beloved by countless readers, children and adults alike. However, the children’s literature industry never formally recognized Richard Scarry with any awards or honors. Zelinsky has earned countless honors, including winning the coveted Caldecott Award for Rapunzel in 1998 and receiving Caldecott Honors for Rumpelstiltskin, Hansel and Gretel, and Swamp Angel.