I have two large lamps that light up my board like an operating room. My drawing board is a World War II era metal monster that can move up and down and tilt to any angle. I store art supplies in the mini frig and use the sink for cleaning brushes and washing my palette. Because it’s a sunroom in its former life, the studio has a wet bar, complete with a mini frig. The studio has a slate floor which is good because if I spill paint, it’s easy to clean up.
Carol schwartz dc windows#
Having good light is very important so the many windows in my studio give me an open feel and the freedom to create. How does your space affect your creative process? It’s great if I need to paint a sky, going from light to darker tones, or a smooth creature such as a shark or whale. I can also put it in my airbrush which gives me a smooth look. It can be used in a transparent way as with traditional watercolors or in a more opaque way as with acrylics. I can get small details easily which is important for my science and nature work. I began working with this media in college and quickly learned to love it. My illustrations are done in gouache, which are opaque watercolors. In the morning when the sun is shining in, getting to work is delightful and I am grateful for such a beautiful view. One year we even had a family of coyotes make a den under the deck and have five pups.
Wildlife is everywhere and it’s easy to get caught up in watching a flock of turkeys or several deer grazing on things I wish they weren’t eating. It feels like a state park in my backyard. I look out on several acres of wooded ravine. My studio in Bayside, fourteen miles north of downtown Milwaukee, is a sunroom with big windows on two sides, facing East. I moved with my family to Florida, North Carolina, Ohio and now Wisconsin. I have had many studios since living in Maryland. My thesis project was a children’s book about the Everglades which I wrote and illustrated. In the summer of 2014 I earned my MFA in Illustration from the University of Hartford. One of my highest honors is to say I was included in an exhibition at the Society of Illustrators in New York, Female Illustrators Past and Present. It was also a Children’s Choice for 1992 and selected for the Original Art Exhibition. One of my first books, Sea Squares, by Joy Hulme was selected as an Outstanding Science Trade Book by the National Science Teachers Association and the Children’s Book Council. I began illustrating children’s books while there and joined The Children’s Book Guild of Washington, DC, which fueled my knowledge and passion for books. My clients included The Washington Post, Time Life Books and the National Geographic Society, to name a few. There were many illustration opportunities in the Washington, DC area. I moved to Maryland after college where I was busy raising a family and building my illustration business. It was at the Kansas City Art Institute that I realized artists were creating illustrations for magazines and books and that’s what I wanted to do. Growing up in Kansas City, Missouri, I always knew I wanted to be an artist. I’ve been illustrating for the educational market since college when one of my professors at Rhode Island School of Design put me in touch with Houghton Mifflin. Before that, my focus was for a wider variety of clients, including newspapers, advertising agencies and institutional venues. I’ve been working as a children’s book illustrator for 24 years. Tell us a little bit about yourself and your creative medium. Today she shares her beautiful wooded studio in Bayside, Wisconsin, and fills us in on why having a cat sleep on your lap while working, might be problematic 🙂 Her artwork has appeared in over 50 picture books. Today on Tuesday Tour s, we’ll take a look at where illustrator Carol Schwartz creates her art. Carol has worked with a wide variety of clients and her illustrations have been published in magazines, newspapers, advertising, and books for children.
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