Animals have to be my favorite things to draw and paint, As for favorite times of the year, Christmas has to rate near the top. And finally, barns have always been places I’ve been drawn to for both their size and feeling of coziness in the stables.
That’s why illustrating Pippin the Christmas Pig for Jean Little & Scholastic was a special treat for me: all three came together in one story.
There were many drawings made for each of the paintings in the book, and although I’d love to share all of them, I’ve chosen to post the drawings of the barn. The exact building doesn’t exist other than in my imagination, but it was drawn on from barns I’d known since my childhood. Maybe one day I’ll own my own.
When I create a scene for a book, I like to create a space in which I could move around in and see from all angles. This image never appears in the book. I drew it so that I would know what entering the barn would look with all the important elements like the manger and even the door in the ceiling in place.
Barns often have trap doors in the upper floors to allow hay to be dropped down to feed the animals below. I used this one to give the reader a peek from above onto what was happening below.
I like putting different viewpoints into my pictures. Perspective changes add drama and excitement. Perhaps it may be because I’m not too fond of heights and this lets me conquer that fear, but never the less I find it fun.
I needed to set the stage for the scene where Pippin brings the woman and child into the warm stable from the cold outside. I chose a wide view to allow the cold of the open door to contrast with the warmth at the other end.
I also wanted it cozy, so I chose to create the warmth in the middle surrounded but the walls on three sides and the barrels and tractor creating a front wall. The mice on the barrels are spectators to the scene just like the readers who find themselves watching from behind. The stairs on the back left lead up to the upper barn and ultimately to the trap opening above.
Of course the empty stage is nothing without the actors, and here it’s Pippin bringing the woman and child in and confronting the surprised stable mates.
After the pencil there are colour studies to help set the feeling for each scene. In this book I wanted to contrast warmth of the stable with cold whether outside or upstairs in the barn loft.
Pippin the Christmas Pig is a book about the contrast of warm and cold hearts; hearts that eventually warm too. Jean wrote a lovely story and I was pleased to have been given the chance to illustrate it.