Richard Scarry & Paul O. Zelinsky

Tuesday, May 2, 2017

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.

Monday, May 1, 2017

Conclusion

Background image retreived from: Ivoryspring.wordpress.com

While Richard Scarry and Paul O. Zelinsky are both successful in their own right, each saw success manifest itself in very different ways. RS created a brand for himself, selling millions of copies of his books. He reached the very youngest readers in a way to not only underscore what was important to them, but in an engaging and innovative way. Scarry looked at his own struggles in school and, understanding the importance of literacy, synthesized his experiences into an entirely new format of children’s books. Through this, he helped publishers understand that toddlers and preschoolers had not yet been targeted with their own sub-genre of books, thereby opening up an entirely new division in children’s literature, illustration and publishing. Through his creativity and ability to enchant children, he built an empire, selling over 100 million copies of his books, spurring the development of an animated show, and countless branded items such as shirts, plush toys, and board games. Scarry became a millionaire many times over, but never won any awards for his illustrations.

Image retrieved from PaulOZelinsky.com

Zelinsky, on the other hand, has won countless awards and accolades. He continues to stretch himself to new heights with each and every new book he illustrates. As a result of his supportive and enriching upbringing, he has developed the courage to explore various techniques, utilize unusual materials, and innovate new methods. His innate curiosity gives him the impetus to not just study the visual aspects of an item so that he can incorporate it into his art, but to truly understand its mechanics, uses, history, and reasoning. This holistic approach gives his art, whether it is realistic or imaginative in nature, incredible depth and emotion; it brings the text to life and helps his viewers develop a much deeper relationship with the plots, the characters, and the setting.

It is important to recognize how both Zelinsky and Scarry symbiotically utilized their talent, innovation and adoration of their craft to create such different, yet equally impactful, illustrations. Each harnessed their backgrounds, influences and perspectives to create their visions, to share their creativity with the world, to become successful illustrators. But perhaps what speaks most strongly to their success is that both Richard Scarry and Paul O. Zelinsky are beloved by their viewers.

Sunday, April 30, 2017

Additional Resources

Articles and interviews:

Bishop, B. (2012, April 25). Richard "Huck" Scary Jr interview. Retrieved from https://www.babble.com/kid/how-busytown-is-built-an-interview-with-richard-scarry-jr/

Chelminski, R. (1979, October 15). This is the house the menagerie of Richard Scarry built. People Weekly, 105-110.

Conradt, S. (2016, June 15). 12 busy facts about Richard Scarry. Retrieved from http://mentalfloss.com/article/80863/12-busy-facts-about-richard-scarry

Lynch, M. (1998). Richard Scarry fundamentals. Retrieved from http://www.spidra.com/scarry.html

Marcus, L. S., & Wiesner, D. (2013). Show me a story!: Why picture books matter: Conversations with 21 of the world's most celebrated illustrators. Somerville, MA: Candlewick Press.

Pace, E. (1994, May 02). Richard Scarry, 74, children's book author and illustrator, dies. Retrieved from http://www.nytimes.com/1994/05/03/obituaries/richard-scarry-74-children-s-book-author-and-illustrator-dies.html

Richard Scarry. (2010). Retrieved from http://search.ebscohost.com/login.aspx?direct=true&db=b6h&AN=34912870&site=brc-live

Wulf, S. (1994, May 13). The whimsical world of Richard Scarry. Entertainment Weekly, (222).

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