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. |
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| 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. | ||
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| 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. | ||
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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. |
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| 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. | ||
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| 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. | ||
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All content © Rebecca Harrison Reed. All rights reserved. |
