Long ago in
Korea, a young boy named Sun-sin spent his days playing with his pet turtle
Gobugi and dreaming of sailing around the world. As a poor villager, though,
his dream to travel seemed impossible. Then one day, the king's court announced
a contest to find the best design for a new battleship to defend the land from
invaders. The winner would sail the ocean with the royal navy.
Determined to
win, Sun-sin attempts to build an indestructible battleship with a few found
items. Each attempt fails miserably against the powerful sea, and with it
Sun-sin s dream also sinks to the bottom. Turning to Gobugi for comfort,
Sun-sin notices how his pet turtle is small but mighty, slow but steady, and
impossible to sink. Suddenly, Sun-sin has a great idea.
Loosely based
on the true story of Admiral Yi Sun-sin and his Turtle Ship, this delightful
tale by debut author Helena Ku Rhee and debut illustrator Colleen Kong-Savage
introduce young readers to a fascinating episode in Korean history and naval
engineering.
“Kong-Savage’s
collage illustrations bring the story to life through almost 3-D imagery and
are beautiful to look at…A great mix of myth and history for most picture book
collections.” —School Library Journal starred review
“The splendor
of Kong-Savage’s paper collages adds to the storytelling with rich overlapping
compositions and patterns. This debut packs a double punch modeling the
experimental process while spotlighting an intriguing historical figure and his
warcraft. —Kirkus Reviews
“…Kong-Savage’s
striking, precise paper-collage scenes are equally effective in conveying the
sweeping drama of ocean views and the personality and warmth in close-ups of
Gobugi’s small, green face. An afterword about the story’s historical roots
closes this engaging tale with a strong STEM focus from two debut creators.” –Publishers
Weekly
Could you tell us about your
previous illustration work?
In my other
illustration life I make pictures and do graphic design for small businesses
and nonprofits. I help create their visual brand to communicate their
personality and what they’re about. I also have design a collection of cards
called Konga Line. One day it will be a greeting card empire, but for now it’s
distributed through Greeting Card Universe.
What made you want
to work with kids books?
Who wouldn’t want
to work with kids books? You draw characters that make you grin as you go
along. You play with a colorful palette. If you work in mediums that you can
touch, people won’t consider you outdated. Nobody considers you old-fashioned
for holding a pencil instead of a stylus.
What was your
favorite illustrated book growing up?
The Monster at the
End of this Book: Starring Lovable, Furry Old Grover! written by Sesame
Street writer/producer Jon Stone, illustrated by Michael Smollin. It’s brilliant, and Grover is indeed lovable.
Who are some of
your favorite illustrators? Who do you look to for inspiration?
Two of my favorite
illustrators are Robin Rosenthal (https://www.robinrosenthal.com/)
and Mikela Provost (http://www.mikelaprevost.com/).
I follow them on social media. Robin’s characters are such characters—some take
themselves very seriously and have no idea how hilarious they are. Mikela’s
images are also often funny, and very sweet. Her paintings are beautiful and
warm. I’m also a fan of Lane Smith—I love his humor, and there’s always so much
texture in his illustrations, no matter how complex or simple. Emily
Gravett—again, I am charmed by characters—and Shaun Tan, I love them both for
their mastery in drawing. Jane Ray for her color. Paul Zelinsky for being a
chameleon, always experimenting with styles. And of course, Ezra Jack Keats for
his beautiful collage/painting style, for color, for his sweet characters, and
because his pictures just make me feel good inside.
What initially drew
you to THE TURTLE SHIP?
I was drawn because
the editor said, “It’s a historical fiction, so it involves research,” which
made the assignment sound like a lot of work (and it was), but now I had an
excuse to learn about a whole new culture in 16th century Korea. What did they
wear? Where did they live? What does the palace look like? What’s the story
behind the turtle ship? Who is this Admiral Yi Sunsin? Why is he such a hero?
I’d go to the art museum and call it work. I’d watch a blockbuster Korean movie
and call it work. Surf the internet… Creating the world in which this story
existed was like assembling a puzzle.
Could you talk a bit about
the process you went through illustrating THE TURTLE SHIP?
Half the process
was revision: drawing, rethinking, redrawing with feedback from the art
director. I did four rounds of pencil sketches for almost every spread. Final
illustrations were done in collage, which made a mess of my apartment (paper
bits everywhere), and now color was in the mix. So after sending Lee & Low
home scans of “final” illustrations, more edits were requested and made before I delivered
final artwork to the office to be professionally scanned. Upon delivery, I
spread all the collages across the conference table, and folks in the office
stopped by to oo and ah—it was so gratifying… And after I received the
professional scans of the original artwork, another round and a half of edits
done in Photoshop.
Was THE TURTLE SHIP
different from your usual illustration process?
Yes. Usually when
I illustrate for clients, they say, “Great!” My clients usually aren’t art
people—that’s why they hire me and trust my judgement. With a picture book art
director and editor, it’s a different story. I had a lot of freedom, but each
time I came back to them, they would point me in a slightly different direction
to strengthen the story or consider the reader.
What was it like
working with your art director and Lee & Low?
Awesome! This was
my first picture book assignment, so I learned a ton. I learned how much
processing goes on before settling on a final image. I learned simple rules,
like illustrate all motion going from left to right to match the flow of the
pages, or let the reader see the character’s face as much as possible because
that is how readers connect best. And with repeated prodding, I learned just
how complex in detail I can make my art. I’d get pages of notes, and feedback
was always clear. If I disagreed with a call, the art director and editor
always heard me out and sometimes even agreed with me. The process was a
dialog.
What was the most
challenging part of illustrating THE TURTLE SHIP for you?
The most
challenging part was trying not to go blind as I cut out all the tiny details.
My eyes got tired easily. I finally got a magnifying lamp. Before that, I would
literally not be able to see what I was cutting. I was looking at a blur in my
fingers as I snipped the paper, hoping it was coming out right.
What’s the biggest
lesson you’ll take away from the process?
Biggest lesson:
just when you think you’re pretty darn good at what you do, you’ll discover
there’s a whole lot more to learn.
What would you say
to others who aspire to illustrate books for children?
The process of
breaking into the industry is a marathon, so be prepared. It can take years,
even if you are a fantastic illustrator. There is so much noise, so much
talent, and I think publishers are hesitant to take chances with new artists
because they have no idea how easy or difficult you will be to work with. You
need to put in the hours. Always be building up your chops because the
competition is fierce, always be looking at what’s out there in picture books
and through social media. Keep sending out your work. The amount of your
success directly correlates with the amount of rejection you can tolerate
(illustrator David Gordon taught me that). Join SCBWI, go to their conferences
to gather information, feed your spirit, meet fellow artists/writers, and be a
part of a community. This is a tough climb with some jagged rocks. Connections
you make with fellow creatives will keep you going.
You can pick up a copy at Amazon, Barnes & Noble, IndieBound, Lee & Low, Target and your local bookstore!
Any fun facts about
you?
I fall asleep a lot
when I sketch, particularly when I don’t know what I’m doing, and I’m
struggling with the composition. Brain goes on strike and shuts down. Somewhat
inconvenient.
Colleen Kong-Savage is a full-time illustrator and graphic artist. When she first moved to New York City, Kong-Savage worked at an art supply store, where she spent half her paycheck on decorative papers. For this debut picture book, she spent countless hours researching the clothes, living conditions, and landscape of the Joseon Dynasty, and then finding the right paper for each item. The papers used in this book come from around the world, including Korea where traditional paper is handmade from mulberry bark. Kong-Savage lives in New York City.
You can pick up a copy at Amazon, Barnes & Noble, IndieBound, Lee & Low, Target and your local bookstore!
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