Zelinsky's Artistic Techniques

           Zelinsky not only had the opportunity to see art in its countless forms at the Art Institute of Chicago, but to also develop a personal understanding through his experiences in Japan and Italy, he had an innate sense of the unending possibilities of art. Combined with his interest in how things are engineered, he is able to see new possibilities in everything he creates. His supportive family gave him the confidence to explore, to test, to experiment both in art and in life, and as a result, he is not afraid to branch out into the unexpected. He truly believes that his art should reflect the story it illustrates, providing depth and humor and pathos. If that means finding an innovative method or recreating old-world methods, he is more than willing to jump in and learn how to make it happen. “His great technical skill enables him to experiment with a wide range of styles and media” (Evans, 2008, p. 48). Swamp Angel, for example, was painted on wood veneer, so thin that it was more paper than wood. Even the kind of wood used was significant to Zelinsky. It had to be wood that could be found in the Tennessee mountains, since the Swamp Angel is a Tennessee woodswoman. He ultimately ended up using cherry, maple, and birth veneers. The sequel, Dust Devil, was similarly painted on wood veneer, but this time on cedar and aspen, trees found in the northwest, the story’s setting (Children’s, n.d.).

From top left: Rumpelstiltskin, The Wheels on the Bus, Dear Mr. Henshaw, Z is for Moose, The Shivers in the Fridge

He “likes the challenge of trying a different technique for each book and works with a variety of media, including pastels, watercolors, pen and ink, colored pencils and oil paints” (Schroder, 2008, p. 14). Ever a fluid artist, though, Zelinsky has also embraced digital illustration. “Z is for Moose”, for example, was drawn in pencil, but he used “digital stuff” for the background and to add decorations on flat things” (KidLitTV, 2015). 

Two Minute Take

Paul Zelinsky at the Skokie Public Library

Video retrieved from Youtube.com on 5/8/17

Moveable books, those with interactive elements like pull tabs, wheels and flaps, have also made their way into Zelinsky’s repertoire of artistic creation. His first moveable book, Wheels on the Bus, met with undeniable success when it came to market in 1999. Its creation was just as much as success as its sale, though. It required an entirely different technique than Zelinsky generally used, requiring him to paint the artwork “in many pieces, small and large, so that they could be printed and cut out for assembly.” With typical Zelinsky dedication, finalization of the art did not signal the end of the project. He followed the book to China to oversee production and “ensure that the colors on each part were correct and fit together” (Shroder, 2008, p. 17).

Zelinsky doesn’t just accept a story to illustrate, he adopts it. He gets to know it intimately, absorbing the text to make sure it “is absolutely right for him” (Evans, 2008, p. 49). “When I read a story to illustrate it, I want to capture the feelings… and figure out how to make pictures that support and intensify them,” Zelinsky said. (Silvey, 2002, p. 493). He considers taste and smell and light and textures and sound, looking for a blend that will resonate with his viewers, evoke memories, form a holistic sense of not just looking at an illustration, but becoming a part of it. Bringing that sense of inclusion to graphic form is a lengthy process. Zelinsky starts the process by sketching rough thumbnails, loosely determining how he can support the story’s “pacing, rhythm, and emotional impact” (Schroder, 2008, p. 15). He recognizes that those first images are often a very long way off from final illustrations. Personal satisfaction with his work requires copious research, searching for the style that fits exactly right. With books like Rapunzel or Wheels on the Bus or How I Hunted the Little Fellows, although created via different techniques, all use line, composition, and texture to convey a sense of realism, to create a world the reader can easily imagine themselves a part of. Shivers in the Fridge, on the other hand, is described by Zelinsky as “round, smooth, loose and crazy and nuts” (KidLitTV, 2015). This style conveys humor, fantasy and imagination instead of carefully planned realism. 

Zelinsky’s artwork isn’t just a profession. It is his passion. He is, in his own words, “emotionally, pathologically attached to his books” (KidLitTV, 2015). His awards confirm his talents. His readers confirm his passion. 

 Video retrieved from YouTube