Studio Tour

Here's where I write and illustrate. (I hand write first drafts of manuscripts at the drafting table, and also work on later drafts here with the help of a thumbnail book dummy.) A taboret directly to the left of the drafting table holds the majority of my art supplies, so that they’re quickly within arm's reach.





  I place full size book dummies across this long table, so I can easily view them from a distance and replace pages as I edit.  
  I think archival storage of works of art is paramount. In addition to metal Mayline flat files, I store art in archival acid free boxes kept on wooden flat files.  

Some of my favorite books on writing are Writing Picture Books by Ann Whitford Paul, Invisible Ink by Brian McDonald, and A Poetry Handbook by Mary Oliver. My go-to books on illustrating are Writing with Pictures by Uri Shulevitz and Illustrating Children's Books by Martin Salisbury. Some of my favorite artists I look to for inspiration are John Singer Sargent, Rembrandt, and Vermeer.

  I group all of my art supplies based on color family so that I don’t have to search when looking for the perfect color. I use primarily Winsor & Newton or Daniel Smith watercolors and Golden acrylics. Lately, I do most of my work in pastel, and tend to use Faber Castell, Caran D'Ache, and Sennelier brands.  
  Here's where I write and edit manuscripts (from second draft forward). Once the artwork is completed, I scan it in here and make adjustments in Photoshop. I also use Photoshop during the composition phase of sketches to adjust placement and scale of imagery within a sketch.  



All content © Rebecca Harrison Reed. All rights reserved.