Rebecca Green's Blog, page 4

FLURRIES OF DOUBT

Happy December little icicles.

Is it cold where you are? Is the ground covered in white?
Last weekend we decorated the porch for the Holidays and just as we got the lights up, the snow started to fall. Flurries of large snowflakes whipped through the bare trees, so majestic. Winter is almost here.

This sort of weather always makes me feel like locking myself in my studio to make things - one of the reasons I love living in Michigan again. For some reason though, I’ve been intimidated by my work lately. I've been thinking a lot about the finicky balance of control and trust when making art. For many of us, the image we have in our heads never translates directly onto paper. It'd be better for me to accept this rather than fight it but it’s scary not to know what's on the other end. What makes this all ironic is that I like not knowing where a painting is going…but it still scares the hell out of me. Am I making sense?! Don’t even get me started on leaving the mystery there when working for clients - they want to know what they’re getting. It’s confusing!

Since this has been on my mind, I've been listening close to all the little doubts that pop up when I'm making things and let me tell you, it's a snowstorm of confusion. This month, I’d planned to share those doubts as I’m sure so many of you can relate. But then the snow arrived. The magical season caught me off guard - why would I make a post on something so dark? I started to doubt writing a post about doubt!

I decided to just do an illustration of a snow scene, something light and inconsequential.

But you know what, snow is not light and inconsequential, and neither is art! They are both wondrous and they both put up a fight! So this is me combining the magic of snow and the reality of creative doubt - all bundled up in one gift to you.

Here you have it then, flurries of doubt and how to melt them…

STUCK INSIDE

If I go for a walk in the snow everyday, the hassle of putting boots on is nothing. It's cold but it feels invigorating to be out in the fresh air and anyway, it's just what ya do. But if I stay stuck inside for too long, the thought of going out in the cold becomes a monumental dread. The same is true for art - if I show up and draw something daily, the hassle of putting pen to paper is nothing. But if I avoid it for too long, I become stuck inside my own head which is not a great place to be. I start to feel overwhelmed by the thought of going back into the storm. Staying warm in my procrastination and excuse laden bubble is too tempting. It feels safer to not make anything, at least then I won't make a fool of myself, come up empty, or feel a lack of control.

Consistency and habit dilute the fear of starting anything. Suddenly it doesn't feel like such a big hurdle to show up and make something, or to put your boots on and enjoy the cold.

A REMEDY to get you going again….

Do something little everyday, even a 10 min drawing of your breakfast, a three sentence story, or a little song on your keyboard.

Make art easy - if getting out an easel and paints is daunting, have a notebook you can grab to jot down little drawings.

Make something in secret. Something I love but hardly ever do. There is pressure to perform and I feel it, but the thought of making something no one will see feels freeing.

Make a deadline or a promise to someone. If you have to go to work, you’ll be forced to put your boots on and get on with it. Same is true for art. It’s not always some mystical inspired dreamtime, it’s also a responsibility or a task. Get the paper out and get on with it.

LOOK CLOSELY

It's a wonder to see a snowflake close up isn't it? To examine its intricate patterns, and to think - all of those add up to a snowstorm. When I scrutinize the snowstorm in my head and pinpoint each individual doubt, I'm overwhelmed, but also it helps give me clarity to see all the building blocks of fear. Overall it just feels like chaos, but if I let each little doubt speak up it sounds like…

this won't be general enough…this is too sweet…this isn't very cool, why can't i make cool edgy work? this looks too much like this other artist's work...why am I drawing like this? i should have sketched this out…i should have just gone for it, why did i plan this so much? this would be easier on the ipad…oh how i hate the ipad! is this my style? is this moving my work forward? this looks outdated…who will like this on instagram?

And on and on.
Every question of doubt has an answer that I could probably write a whole post on. Listening to them individually and trying to see where they’re stemming from is helpful. I've always struggled with not being 'cool' but I’m an old soul so there you have it, I love sweet heart-melty things. I've always struggled too, with being boxed in or trapped, and the idea of style is stifling to me.

A REMEDY to calm the storm…

Listen individually to your doubts. They may have to do with image, or money, or worth.

Look back at older work to see how far you’ve come. You’ve worked through doubt enough to at least get you here - reading this - so we know you’ve climbed creative mountains!

Write the doubts down and say them aloud. Often, they sound silly when we face them. Or, tell them to a friend, I’m sure they’d never let you say such awful things about yourself.

Understand that really, your brain is trying to keep you safe. But creativity isn’t safe, it’s always changing and surprising us.

IT’LL PASS

One of the hardest parts of winter is that it seems to last forever. Skies are grey and there isn't an inch of green anywhere to be seen. It feels as if Spring will never come. This can be true of creative practices too. It feels like a project will never end, or that it’s impossible to pivot to something new. Worse, sometimes we put so much pressure on an individual piece that we’re sure it’ll be the last piece we ever make. I’m guilty of this - I sometimes feel like I have to fit everything I’ve ever creatively wanted to do in one project and then I psych myself out thinking it’s too precious or important. But nothing lasts forever (both majestic and terrifying!) Spring comes and warm weather follows. A new project comes and we move on and continue to learn and grown and shift. That seemingly important painting starts to feel like a lovely memory (or something you never want to look at again!)

A REMEDY to keep going…

Think quantity over quality. Quality with come with quantity, but it’s best to not let things feel precious.

Consider every thing you make with a long term view, and know that everything will change, even if it feels like things take forever

Don’t take your work so seriously! (Or take it seriously if you’re slacking, I never know who I’m talking to here 😂) But know that while art is important, it doesn’t knock the earth off its axis.

Fall in love with the process, not the end result, it’ll help keep you grounded when things shift.

I did ask my Dessert Club on Patreon what their doubts were regarding making work. It was refreshing to hear different artist’s perspectives - some put energy into starting pieces because they knew that’s where the struggle lay. Others were finding a balance of planning or just diving right in. Either way, we ALL have doubts when showing up creatively. It’s nice to know we’re not alone and that fighting those doubts, or inspecting them up close, it really very worthwhile.

Leave a comment below if doubts ever swirl your mind while working - or perhaps you’ve found ways to dismantle them? I’d love to hear (I read all the comments!)

I also want to give a HUGE thank you to everyone who purchased something in my shop this month! We just about sold out of everything! Your packages are on the way - I apologize if you’re overseas, they make take some time but I’m sending good thoughts into the ether that everything arrives safe and sound!

OK! I’m off to work - I have sketches for an upcoming client project due, some planning for some future books, and more. And we’re decorating our tree today! I’ll post pics on Insta - actually, my vintage Christmas ornament collection is the only thing I really cherish so it’s such a treat getting them out every winter.

OK friends,
Stay warm and cozy and kind!
And don’t let those doubts stand in your way!
xo, Becca

PS - Our porch decorations! My mom helped me - rather, she did almost all of it! She’s so talented. She’s reading this right now too - Mom, quit your secretary job and become the antique queen you really are! Everyone, tell my mom she’s capable! hah

Ok for real! Have a great December everyone!!

The STUDIO

“A little hut, curtains drawn so I don't see the squirrels up in the apple trees in the orchard. The light on, right away from the house, no vacuum cleaners, nothing.”
-Roald Dahl

There's something undeniably captivating about an artist’s studio - almost as much as the work created there. I haven’t talked about studios much on the blog so I thought it’d be fun to dive in since I’m in the middle of setting my own new space up! Today, we’re digging in to inspiring workspaces (including an interview with one of my favorite artists about her space!!) and the before and after(ish) of my new workspace.

photo from Fremantle Arts Center

While living in Japan, I noticed a new appreciation for studios. Many of the larger exhibitions had recreations of the artist's workspaces as part of the show. In Tokyo, I saw Shaun Tan's exhibition, The World of Shaun Tan: Welcome to Nowhere.
There, they had his workspace brought to life! (I couldn't take photos but here's a video of him working in his real studio!)

The museum hosting his show was the Chihiro Iwasaki Museum - dedicated to the life and work of Chihiro Iwasaki - and they had her lovely atelier recreated as well.

Chihiro Iwasaki in her studio

Where an exhibition did not have studios recreated, there were always cases filled with the artist's tools, toys, and objects from their life. One example was from Tove Jansson's exhibition I saw in Osaka, The Art and The Story. Here, you can see the photo of the artist in her studio and in the cases, some of her tools. (Read the whole article about the exhibition here by Benjamin Clark.) OMG this show was inspiring and so is her workspace. (Her space had a little attic passage where her and her love Tuulikki could connect for dinner. I die.)

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My working environment has always been important to me. While I could technically work anywhere, I also really value having my own dedicated space. I suppose the same is true for many of the artists I found while doing research. Here’s some other gems you might love…

Cutest little work desk from Helen Stephens

Felecia Forte's dreamy shared studio building in San Francisco

The Pottery Studio of Bernard Leach

Renovated Barn/Artist Studio from Cafiero Select

A peek into an art place from Jillian Tamaki

LOVE seeing peeks of Vanessa Brantley Newton’s studio. Bonus - this one is a book reading!

All of these preserved art studios you can visit!

Obviously Oliver Jeffers's dream world of a studio...*sigh*
OR we could visit his studio in Belfast and cry our eyes out it looks so gorgeous

Beatrice Alemagna's Magical Space

and Yoshitomo Nara’s work based on his studio, if that’s not an indicator of the magic of it all…

While we’re on the subject of inspiring spaces, I thought it’d be super fun to dive deep into another artist’s studio and immediately, Sarah Walsh came to mind. I’ve been a huge fan of her work for years - not only is she consistent in making work for her clients and herself, she has a wildly enticing use of patterns and shapes. Lines and mark making show up, but in a specific way - purposefully there. She is so bold in her color choices too, which I love, and it just seems like every piece has heart in it, whether she’s creating work about social issues, her own personal story, or commercial illustrations. AND her studio is DREAMY. She has a shared space in Kansas City and I love every peek of the place I see on IG so I asked her to share…

- Can you tell us about your workspace?

 It is in the Historic River market area in Kansas City. Basically if you kept going past our studio building you’d end up in the Missouri River. It’s cold, windy and very industrial but we love it. I share the sunny space with Tammy Smith, a ceramic artist, Rachel Allen, a designer and watercolor painter, and Tina Niedlein, a writer. Between us there are 5 dogs coming in and out of the studio at all times! For the most part they’re never there at the same time aside from my dog Lucy and Tammy’s dog Bubba. They’re bff’s. Then there’s Tina’s dogs, Jimmy and Junie and Rachel’s dog Jasper. And that’s just in our studio. There a ton of other talented folks in the building as well. A print maker, a photographer, another illustrator, a stage prop designer and an interior designer. An incredible furniture designer named Matt Castilleja leases the whole building and runs his business on the first floor. He’s our “landlord” but has become our good friend. He’s a gem and makes the most stunning heirloom furniture for people all over the country.

Right down the street there’s a variety of foods to eat and drink, great people watching, different languages to be heard, an amazing antique mall and even a great gift shop that sells some of the products I make with Blue Q. They also have plants, crystals and incense!

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- What is your favorite thing in or about your studio?

That I share it with three really great and talented humans. We all encourage each other and keep each other motivated. I know the set up is rare and I’m extremely grateful for it. I also love how much sun it gets! My plant addiction is on another level!

- If money and space were no object, what would your dream workspace look like?

This is a corny and humble braggy answer but I feel like I have my dream workspace. I really try hard not to take it for granted. But like anything in life, you get used to things after a while and I try to remind myself to stop and look around sometimes. Soak it in…because nothing lasts forever. I want to enjoy this magic while I have it!

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HUGE thank you to Sarah for taking the time to share her space and work with us. Feels like a true gift - we got to see other artist’s spaces too AND all the dogs. I’m so envious of a space with so many paws in it. And, I truly love what she said about her current studio being a dream. I don’t think that’s braggy, I think that’s appreciation. You can find more of Sarah’s work HERE!

I've worked in many different locations: a college cubicle space, an old warehouse with broken windows and no heat above an antique store, a fine art studio called The Lodge, in the half bedroom in our Denver apartment, a shared office in an a converted laundromat, a short stint at the old Fort Houston co-working space in Nashville where I rented a table in the wood shop and my work was covered in dust…and then I opened the Warren with Kayla Stark in the Shoppes on Fatherland. That coworking space held anywhere from 5-10 artists and was a dream. After that, I worked in the corner of my dining room/living room in Osaka where I made a standing desk out of a coffee table. Coming back to MI, I had a temporary studio in the dining room/living room/kitchen in our apartment before finally setting up my dedicated studio in our new home. I feel spoiled setting up a space that is all mine!

My new studio is the back bedroom upstairs in our new (old) house. The house was built in the 1800’s but the room is much newer, feels like it’s from the 70s? When we moved in, the bedroom was yellow and brown. You can click thru the gallery below - each image has captions if you want more info!

This is a little extra bedroom that was built onto the back of the house. I felt like a kid at summer camp walking in here (tho let’s be real, I only went to church and cheerleading camp so what do I know?) " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596457643-PAORXVVG7BRZASZ9U0P4/Snapseed+3.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
There’s a room at the back FULL of cabinet space. The little blue shelf on the wall is actually an opening too - it opens from the other side. The back room is the color of the shelf, an old slate blue.. which is the color I matched to paint the whole room! It’s also the color of……" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596457868-DAI1DK28N9Q9SXY91S70/Snapseed+4.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
There is not actually a lighthouse here (though you might find one in my studio if you look hard enough). My mom coined the term and I love it. They are back stairs leading to my workspace for who knows what reason but aren’t they a dream?" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635598500578-BZJABXEN0QO8QUG8LIYZ/IMG_4849.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
I tested pink bc I thought it’d be warm but it was TOO PINK. The slate color of the stairs, the backroom and the shelving - it just sang to me. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596471822-DCTQ1NZHBECD13LFBFQR/IMG_4899.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
UM I have lighthouse stairs AND Half Sea Fog color…are you sensing a theme? Almost feels like I don’t live into the middle of acres of farmland. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635598428820-EUUPK7MXFYVFYMM92PJZ/IMG_4934.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
I wasn’t sure if I should keep the campy look of the trim…" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596459011-UFBW5KPSKF3HDTB616KU/IMG_4900.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize [image error]
Decided to keep the window and doors but paint all the other trim. I primed the walls with two layers of kilz bc I thought for a second I would do limewash but it was too weird on paneling. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635598428753-LEYWXVA9XLL53E9I0ICF/IMG_4933.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
I matched the paint pretty well huh?! Even I was kinda shocked. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635598429559-U4HQPXVOXGU134AS4KR4/IMG_4935.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
Piles of STUFF. Lots of this has been packed away for years while we lived in Japan so it felt extra special to dig it out. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596464619-AORIW2NNT6SZTKJ0HSZP/2021-10-06+11.27.50.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize [image error]
Alas, in her new home. I knew she’d be going by the window. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596464382-CYUX28KJU8CJJVVIHL3O/2021-09-28+19.06.04.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
This is the shelving in the back - just to give you a peek. I’ve filled it with packing stuff for my shop but I do want to paint it on the insides sometime…" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635596469907-BNLO8HAH8A8BK5QDQ1GA/2021-10-06+12.32.41.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
This writing desk was left in the house!! It’s nice to have somewhere to sit to write and do computer stuff. Makes me feel like an author…
Here you can see the room is starting to feel like an actual workspace." data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635597093264-V07XF89MXSRNEN2XWMC8/2021-10-11%2B12.46.02.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize

AND…. Here it is…after! I’ve got a lot of work I still want to do but for now, it feels like a cozy place to work. ALSO you can obviously tell I’m not an interior designer - my before pics were garbage - forcing me to take an equally garbage after shot!

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My own sweet little cozy spot in the world. Feeling 1000% lucky. Below, you can see more details…

Overlooking trees and bean fields. SO peaceful!" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776554007-VT2K5Y5K6UT5DFYE3B8L/IMG_5001.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
Paints, Colored Pencils, and a blip of a huge inspiration cork board I’m still filling up…" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776554650-2QFSOOQ8480UEFPGBC81/IMG_5006.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
Estate sale finds, gifts, and wood. I love old wooden anythings. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776555957-3V5HSCMGQ1JM83VV400F/IMG_5008.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
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When I sit here, all I can see out the window is the sky and the tops of trees. I’ve been sitting there in the morning working on new books…" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776562591-A9YFLXFU8G9IG624Y700/IMG_5016.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
From Isabelle Arsenault, one of my faves. Seems fitting with my sea fog blue and my. lighthouse stairs…" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776566572-SBMB13VQ4SBLKC7PR6W5/IMG_5018.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
Two little sculptures from Japan to remember our babies when we were there. We lost our little June two weeks before our return so it’s nice to have her in the studio with me. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776566474-MNI3DDNN7TKAK4P8KC2I/IMG_5019.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
My dream is to spill out into the next landing room for shipping/wrapping/packing so that’s the next adventure. Right now, all this stuff is sort of haphazardly here.." data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776572253-QIZMZGGPL18CRCXCSTXV/IMG_5022.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize [image error]
Or the beginning of one…" data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776572323-TGV43YWFZ4BC8JT5IX8U/IMG_5023.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
Work from Julia Bereciartu and Hisanori Yoshida, and notes for myself. " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635776575846-828WD1EUXR5XAVUCS0JE/IMG_5027.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
From my friend Chihiro Takeuchi! " data-lightbox-theme="light" href="https://images.squarespace-cdn.com/content/v1/507477a584ae87aa2d96202b/1635777420218-KB5A23JND4GKC4YEX1N8/JPEG+image-2A2EBEDFED7E-1.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > View fullsize
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I’ll keep you posted as the space develops. I have plans for building a shop/shipping area, as well as tearing out the ceiling and outdated wall units but as I’m learning with all this house stuff…one project at a time, or at least one day at a time.

AND I’ve got a little bit more for you if you really can’t get enough studio talk. I’m sharing an in depth walk thru of my studio today on The Dessert Club Patreon! I’ll be sharing the three most important things in my studio and we’ll dig a little deeper into the space, we’ll open some drawers and cabinets and who knows what else!

Thank you so much for reading, as always. Means so much to connect with you every month through these bulletins. I’m curious - what is your current studio situation? Let me know in the comments - are you working from the dining room table? From your dream studio? An extra room in your house? An old warehouse? Please share!

Hope your November starts off like magic and that you’re walking into this month feeling cozy, content, and at ease. This is truly my favorite time of year so I’m soaking up every orange leaf and bit of blue sky before the quiet and wondrous winter arrives.

Take care friends!
xo, Becca

The Magic Of PERSONAL WORK

Hello my ghouls! It's October! I mean IT’S REALLY OCTOBER! I stood shivering outside this morning in the dewy grass and my heart skipped a spooky beat. I love Autumn. Besides the joy of crunching earthy leaves, wearing sweaters, and eating copious amounts of chili, cinnamon, and pumpkin, this is the time I feel most like myself, inspired to create. I know so many of you feel the same. SO, I thought it’d be a great month to talk about personal work.

This isn't my first post on the subject - remember when we made creative compass jars and filled them with potential projects? We also covered visualization practices in the midst of navigating new creative endeavors.  There was also a post a while back devoted to visual journaling. Or you might recall that my debut picture book, How To Make Friends With A Ghost, was a personal project before it got published!

WHAT IS PERSONAL WORK?

Personal work can vary depending on the day, how much time you have, or what you currently need creatively. Today, I’m breaking down personal work into three categories. These distinctions might be arbitrary - different types of personal work can blur, overlap or better yet, build off of one another. It’s a mishmash maze of creating that I’m trying to untangle so this is more for clarity’s sake than it is about rules.

I’m also sharing tips on incorporating personal work into your existing process. A question I get often is how to make time for our own work when there is pressure to create for our brand, client, or career. While making art for a living IS an incredible job, it's easy to focus all of our inspired energy on our career and forget why we loved making art in the first place. Without nurturing our creative source, we can be overwhelmed by a lot of 'shoulds' and you know how I feel about shoulds.

OK! Let’s dive into the three P’s of Personal Work! PLAY, PRACTICE, and POLISH

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Play is where I start if I'm feeling lost, overwhelmed, or scared in my creative process. I’ve talked about play in depth before. It’s wildly important in any artistic process - even to just loosen us up for new connections to take place in our brains. This is the low-stakes kind of personal work where you show up to your table and try not to expect too much. Often, this is where I uncover new marks, lines, color combinations, or ways of stylizing characters, but there have also been 'play days' where I simply loosen up and don't unearth anything but ease.

I use junk materials when I’m ‘playing’ like scrap paper or old brushes. This is where I use markers because they are quick - something I don't often use in finished work. Your style of play is going to depend on you and your work - it could look like dressing up in costume, throwing paint at a huge piece of fabric, cutting tiny dots out of paper - anything goes. I usually put down blocks of paint, marker, or cut paper and see what the shapes look like, or I get out old books and draw from the photos. Seriously though, anything goes!

Incorporating play to your process…
I have the best consistency if I block it into the same time every week. Maybe Wednesday afternoons are scheduled for play, or if you only have a half hour after lunch, set a timer and go to town. The hardest part about making play happen is that it can feel useless and indulgent and I promise it's not. Our brains need exploration and ease!
Another great way to incorporate play is to do warm ups before you actually start working. If you’re looking to do more loose and fun warm ups, I’m sharing a fun month long prompt list on The Dessert Club Patreon today too! (More on The Dessert Club at the end of this post!)

Playing with pan pastels and drawing characters. (I tried these but don’t like them sadly!)

Following the ink lines, following my instinct

A detail from Draw Every Day, Draw Every Way

I was talking shop with fellow illustrators in one of my old studios and we were discussing the idea of practice in an art career. For some professions, practice and improvement seem built in - athletes train at the gym and have scrimmages. Chefs test recipes, again and again just to find the perfect texture and flavor. (Though I'm SURE we were simplifying and assuming.) For artists though, it felt and still does, like practice has to be on display. This has only gotten worse with an exhausting pressure to be performing every second on social media.

We NEED to practice without the idea that it will directly translate to something A. finished or B. for display.

A sketchbook is an excellent practice place - we can get our ideas out, however fuzzy and illogical they seem. We can study the shapes of trees or jot down how the light fell on someone's ear. We can save scraps of pattern or paint quick colors we want to keep for later. And while YES some people sketchbooks are works of art, for some of us, it doesn't work that way. These are practice places.

Incorporating practice to your process…
This might depend on the season of your life or career. You might be style testing for a picture book or working on ideas on a project. Or, you might be trying a new material. The goal here is learning purposefully, making mistakes, getting out of your comfort zone, honing your craft. Once we're out of school or training in any profession, it's easy to put extra learning to the wayside but we have to challenge ourselves to keep things interesting and fresh.

Tests for A Year With Mama Earth

Drawing in Kyoto, 2018

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Tree studies from the UP!

Polished personal work simply means ‘finished’ and I think shared in some capacity.
At times there is work I am passionate about making but I may not know how it fits into the larger context of my career. This work might be more suited to gallery work, or it might look like cooking or sculpture, or it might be deeply personal. Those projects deserve attention, to not be left half finished in a folder somewhere. In fact, the most clarity I’ve found in my career comes from these projects.

I was doing a podcast interview with Dan Blank a couple years ago and we were discussing my ghost book which began as a personal project, one I never imagined would be a real book. I had trusted in the story enough that I finished it, printed 125 copies, and put the whole story up on my blog. (That is where my editor spotted it!) I was explaining the process to him and he pointed out how much power there was in finishing & sharing it and it dawned on me how many projects we have in us that never get to that polishing stage.

The other kind of polished work is the self initiated project, or ones I create specifically for my career or portfolio in a more entrepreneurial fashion. A lot of illustrations in my portfolio are polished personal pieces and those are crucial to letting clients know what to hire me for. I recently listened to a brilliant podcast that breaks these self initiated projects down even more - The Creative Pep Talk podcast about the Six Different Kinds of Personal Projects, and Andy does a marvelous job breaking these down - it really opened my eyes to how many different types of self initiated projects there can be!

Incorporating polished projects into your process…
I treat self-initiated projects like actual client projects, complete with sketches and final deadlines. Schedule them in as you would any big project, and while they do get moved around a bit due to actual hired work, it’s important to keep pulling them into your calendar.

Henri & Miko, a picture book I’m currently developing!

Celia, self-initiated project

Thunderstorm Feast, Personal Project

I hope no matter where you are in your creative place, whether you’re just beginning or you’re a seasoned pro, that you do take adequate time to make art for yourself. It’s usually the work that feels the most indulgent that people connect with, and I always try to keep that in mind.

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This wouldn’t be a post about personal work if I didn’t tell you I quietly launched THE DESSERT CLUB last week! I’ve been working on this membership for months, and while it didn’t work to launch it on this site for technical reasons, I did launch it on PATREON! I would have loved to do a huge launch with much fanfare, but alas my life is complex right now and a little scattered. It’s playing out organically for the best - sort of like when you invite your friends over for coffee vs putting on a parade for thousands of people. I’ve already got the sweetest patrons on there and would love for you to join if you want to dive a little deeper into these posts. It’s also just a super appreciated support, allowing me to have adequate time to do more work for myself, while showing you the behind the scenes. You can learn more about it HERE!

OKAY I’m off to Denver for the weekend to see my sweet friend perform in a play and to eat lots of delicious food. I’ll be coming home to a new house full of boxes and half started projects but I’m grateful for it all, and for you! For reading all the way to this point!

Until next time, keep that cider flowing,
XOXO, BECCA

Hello from inside THE ART CAVE

HI FRIENDS! Happy September!

I’ll be honest, I was stressed about writing this post because I’m overwhelmed and in the throws of a deadline. I’ve been feeling stretched thin, vulnerable, and isolated - tucked away and focused on finishing a book. Today though, I’m eager to chat. I feel an upswing of social energy AND I’ve just missed you.
(tbh I also ran out of paper and as I live over an hour away from a decent art supply store, I’m waiting for some to be delivered…perfect day to write!)

Many of us make art as a means for connection but creating alone, nose to the grindstone, can feel like the antithesis of social connection. The isolation of making art for a living can be rather brutal. It’s nice of course to make your own schedule and draw in your pajamas but I’m not talking about working for yourself - I’m talking about living in the THE ART CAVE, where you don’t come out to eat or wash your clothes or do anything that makes you feel human.

I’m getting better at being a human outside of my work but that’s because I’ve lost myself enough times to know it’s not worth it. Today, I’m sharing a couple tips that have helped me when find I find myself insanely busy and unable to break away from a major deadline. Let’s jump in!

When I’m writing, I sit in silence or listen to instrumental music. I find something I can zone out to if I’m doing idea work. Everyone is different though, so if you find your best ideas with The Office on in the background, by all means, do it! Find what helps you get into the right headspace.

Currently, I’m doing paintings that I’ve already drawn out so I’m past the ideation phase. When I get to this ‘busy work’ side of things, my mind is happy following along with audio books or podcasts. I’m currently listening to the audio book, The Essex Serpent by Sarah Perry. Dark and spooky! (I just read that Keira Knightley is starring as Cora for an adaptation of the book - that’ll be lovely…I can’t wait to see her in men’s tweed jackets, so cute!) Check your local library for audio books through Overdrive, a free app that lets you access your library’s digital books!

When staying focused is hard, set a timer. Even if it’s thirty minute intervals. If you need five minutes to get up and stretch every half hour, do it! Task switching takes so much mental energy yet for many of us, it’s the norm. We think we’re focused because we’re standing at our desk, but we check texts, do a ‘quick’ scroll through instagram or tiktok (where did 40 minutes go?!) pop on to see if we got an email (“oh I’ll email them back later”, meaning I’ll read the email twice and waste time that I am sure I don’t have!)
We need to FOCUS. When we’re ‘in the flow’ that’s all fine and dandy but client work doesn’t always invoke the mysterious and captivating sense of flow. So wind your clock and press on!

This is the other side of setting a timer. Take breaks like you mean it. Scrolling down a rabbit hole of someone online who you’re envious of isn’t a purposeful break. But walking your dog is. Stretching or sitting with a cup of coffee is. Calling a dear friend to say, “I only have a minute but I wanted to hear your voice” is. Try not to check email on a break. Email is a whole other part of work, it’s not a break. Social media is not a great break either, as it can leave us feeling even more isolated. We want to feel rejuvenated when we set the timer to jump back in, not even more behind.

Last week, I ate frozen pizza almost every night, I looked a wreck in dirty clothes, didn’t move my body (even to stretch) and it felt like a miracle that I showed up for myself to meditate and journal. I felt awful and resentful. It’s really just the littlest things that can pull us back into ourselves, though. This week, I’ve found short simple exercises to do (like this 30 min cardio from fitnessblender ( I love them!) which makes my body and brain happy. I also planned easy meals with lots of plants - throwing a bunch of frozen veg on a pan to roast alongside some tofu is just as easy as a frozen pizza, (think something like this) AND I baked a batch of apple cookies because I needed to feel like myself again in the kitchen. This isn’t to make anyone feel shame either - eat what makes you feel vibrant and move in a way that is joyful - those are the takeaways. For me, it makes a huge difference that I show up for my body and mind.

There is the satisfaction (and paycheck) that comes when we finish projects but honestly that doesn’t motivate me. Besides connecting with people which IS motivating, I also need treats. While I haven’t done it in a while, I used to plan an hour massage after every book I finished (hope I can do that again soon). I schedule a pedicure, plan a little trip for myself, make a complex and fun recipe, or just soak in the tub for hours listening to Agnes Obel. Also, chocolate.
When we take time to treat ourselves and relish in the feeling of completion, it makes jumping into the next project much more doable.

I do want to add one more thing that I feel should be a guidepost in nearly every situation: gratitude.
Yes, it sucks to be super stressed under deadlines and not be able to poke your head above water. The past year and a half has taught us a new a humbled reality and with it, intense loss, isolation, and sorrow. When I feel myself slipping into despair, I always ask myself what AM I grateful for and there is, of course always something. I am thankful for work, for healthcare workers, for food on my table, for safety, for people who love me, for the overwhelming but nonetheless comforting truth that nothing lasts forever. So if today finds you in a spot you’re not thrilled to be in, know that it will pass, keep your head down but your chin up, work hard, and celebrate as often as you can. <3

I hope you have the best start to September, a month full of Autumn dreams, crisp winds in the air, lots of coffee, and fiery moments of joy. I’ll be back soon to share exciting news, updates, books in the works, and a membership to boot! OH and probs lots of apple desserts because now everything Fall is FAIR GAME.

Spidewebby hugs to ya!
xo,
Becca

COLOR PALETTE Q&A ||| THE DESSERT CLUB!!

FRIENDS! How are you?! Happy August!

This month, we’re talking about COLOR PALETTES and I’m changing things up with a casual Q+A.
Be warned - I’m no color expert. In fact, I weaseled my way out of color theory class in college! I’m not discussing color wheel, terminology, or psychology of color, but simply my experience.
A couple weeks ago I put a call out on IG for color questions and got a plethora of good ones - you guys are amazing.

Before I jump into questions, here are a couple examples of my color palettes. They are usually muted but have space for bright pops of color. There are hues I shy away from and others I feel more confident with. ALSO know, I’m talking mainly about mixing with acrylics, gouache, or dry media. I am deplorable at digitally picking colors - you don’t want to learn from me in that regard, trust me.
(Each image below is linked to a process post about that book if you want to see more, including a bit about choosing a color palette!)

Color Palette for Madame Saqui, All Images © RebeccaGreen, 2020

Color Palette for How To Make Friends With A Ghost, © RebeccaGreen, 2017

Color Palette for Becoming A Good Creature, All Images © RebeccaGreen, 2020

COLOR PALETTE Q+A

What's your process for selecting a color palette for a picture book?
There are typically three factors I pay attention to when choosing a palette for a book: Artist’s taste, Context, and Narrative/Emotion.

Artist’s Taste - I gravitate towards muted tones, ‘aged’ colors, greens, corals and yellows, and also ashy and purpley blues. I assess my reaction to colors and try to find ways to pull my favorite ones into my projects. I also like the challenge of using a brand new color.
Context - I look for clues within the book. What weather/seasons are represented? Are there specific historical or cultural details that call for certain colors? Are there colors that should be avoided? Sometimes, the text will highlight colors and it’s my job to build upon the words.
Narrative/Emotion - When I read the manuscript for the first time, I pay attention to what colors come to mind. I visualize the story as a whole (as much as I can) to see where I can use color as a tool to show emotion and storytelling. Maybe this means a vivid night scene with darks or a raging pink sky, or perhaps I know I’ll need flashes of yellow for a bright moment.

Do you always keep primary colors in mind?
I’m not a stickler when it comes to color rules, but usually I pick a range of primaries (red, blue, and yellow) because I can get a good range from just a handful of paints. While I never actually use primary tubes (your basic primary cyan/primary magenta/primary yellow) I opt for colors like vermillion,ash blue, and ochre for example. With these, plus black and white (or more often sepia and white), I can get a variety of colors that feel balanced. Sometimes though I do have a full palette where I’m adding in greens and purples.

2019 Holiday Card for Parnassus Books!

How do you resist grabbing ALL the colors?
Self control!! It’s hard, but now that I’m more used to doing limited palettes, it’s much easier to improvise with what I have vs trying to balance in too many colors. If I need a green and I all I have is ash blue and ochre, I make a green from that for example. BUT some artists do grab ALL the colors and their work is fantastic - it’s all a bit subjective, so don’t feel too pressured to limit yourself.

How do you keep interest while limiting a color palette? Tips for monochrome palettes?
Doing a limited palette can, imo, be MORE interesting because you have to work smart, utilizing texture, layout, mark making, etc. We all know that limitations promote creativity and a limited palette is no exception. Can I share with you one of my favorite picture books with only two colors? My Best Friend by Julie Fogliano illustrated by the legendary Jilian Tamaki . I cannot even come to terms with how good at drawing she is. The colors here do not feel uninteresting - they feel purposeful, classic and calculated.

My Best Friend by Julie Fogliano and Jilian Tamaki

How do you keep track of the color palette for each project for consistency?
I have to take a picture of the paint tubes or materials, or write my colors down - juggling multiple books at a time, I can sometimes get the palettes confused. Some artists make thorough color mixing guides but my process is far less precise. If your colors are flat and exact, you might want to mix the paints thoroughly and put them in jars. For me, I like the variations in colors so I just mix as I go. Working with dry media is easier of course, you can just keep track of the pencils/markers/etc.

How do you keep consistent with the palette throughout the WHOLE project?
When doing a project as large as a picture book, it only makes sense that we find our groove half way through (or later!) Often the last pages look different than the first - this happens to me a lot, and I either have to go back in and completely redo some pieces or I edit them digitally. Here’s a great example - for Madame Saqui, I sent in an early cover that was navy blue and red, and a bit cold. When I finished the book, the palette had grown soft and warm. I had to adjust those hues in procreate & photoshop.

How do you create mood/ change the mood while staying in your color palette?
If mood or emotion is super important in the project, that’s best to prioritize at the beginning so color can be used efficiently. There is a lot of information out there on color psychology , so if you need to express emotion with color, dig into that. Also - test out options - do studies in different palettes and see which one has the emotional component you’re looking for. Also keep the ‘amount’ of color in mind - one small splash of color is different that a WHOLE spread of that color.

How do you keep your colors from getting muddy, dirty or grey?
Got many versions of this question! I love muted and aged tones and almost always push the saturation down a bit. A game changer for me was when I learned to mix the complimentary (opposite) to tone a color down instead of using black. To tone down green, I add red (or pink if I want it washed out). To mute blue, I add orange, to mute purple, add yellow. Look at the color wheel and find the complimentary color of the one you’re trying to push back. You’re not looking for equal parts, just a touch of red to tone back green, a touch of blue to mute an orange.

How do values affect your palette?
I’m not a good rule follower here, as I don’t pay much attention to value unless the lighting situation is paramount. If you turned my paintings black and white, they might not work that great, which I hear is a gauge for a good illustration but I beg to differ! That all said, I think the question is - do I need new colors when the value shifts, and you don’t, you just have to understand how to tint or shade a color. I found this article helpful in explaining this, but as we already discussed, I don’t often add black to my colors unless black is clearly IN the palette. If I need a really dark color, I’ll usually add sepia, navy blue, or a really dark green to shade colors. Tinting is easier - this is making colors lighter by adding white. I usually use Titanium White, which is strong and opaque but if you need something softer, look for a mixing white or a zinc white (these are more transparent).

Does a fixed color palette define your art style, is it important for recognition?
I also got the question: Is it a good idea to use only three colors and not change for consistency?
I feel awful if someone has told you that, for I can’t imagine sticking to three colors, I’d get so restless! This is truly a personal choice. If you feel you SHOULD limit yourself for recognition but inside your rainbow loving heart is dying, please use all the colors you want. I know artists that only use 2 colors and that’s it. I know artists that use every color imaginable. There is so much more to ‘style’ (though I don’t even like that concept) than color. Your voice and work also includes content, textures, shapes, layouts, line quality and more. Yes, on IG or a website it’s smart to have the colors balanced but if you’re making work you really love, the colors will harmonize. This may take a long time, and it probably won’t all come through in client work (that’s the kicker!), but it comes from making a lot of personal work.

How do you expand your palette and not get stuck in a color rut?
I do thrive on the challenge of a new material or color, and I’m currently on a mission to tackle blue. As we speak, I’m working on a book about a polar bear so guess what! I’m putting blue in this book, and lots of it. I also recently fell in love with periwinkle, a color I despised for much of my life. Being open is key but also knowing what colors terrify you is a good place to start. I suggest pulling in a single color at a time with your current palette so you can understand how it harmonizes.
There are two colors I never use - magenta and teal. Above is a study for a picture book I just finished where I was sure I was going to squeeze magenta in. It didn’t make the cut in the end, but it’s only a matter of time. MAGENTA you can run, but you can’t hide!

If you could pick five Holbein gouache colors for a YEAR what would you choose?
GOOD question! Could I just take my color palette ? OK five colors - this is hard. I CHOOSE Vermillion, Sky Blue, Ivory White, Light Yellow, and Sepia. I’ll have my primaries in there so I could potentially make a ton of different colors from those!

THANK YOU to everyone who sent questions. I didn’t get to all of them, but tried to grab the ones I could explain efficiently. Color is natural for some artists and a mystery to be learned to others - we all have our strengths. I do hope these insights were helpful.
In my search for info on color palettes, I did find some cool resources that might be of use as well.
COOLERS on IG - a daily palette!
COOLERS Website - generate or find color palettes
COLOR GLOSSARY if you’re wondering about terminology
HISTORY OF THE COLOR WHEEL - the color wheel was created by Sir Isaac Newton, I literally had no idea - PROB would have learned that in color theory!

In other colorful news, I’m starting a membership this month!
It’s called THE DESSERT CLUB! It’ll be fun and tasty and informative but also playful and who knows what else!
Learn more below…

Welcome to The Dessert Club, a monthly celebration of illustration, process, and of course, dessert!

For those who are new here (welcome!) My name is Rebecca Green but you can call me Becca.
I’ve been illustrating for over a decade and have worked in many different industries including fine art, editorial, and publishing. I’m currently authoring and illustrating my own books plus a handful of books for other authors.
As many of you know, I love to share, talk shop, and dive deep into the technical and creative processes of my creative career. Every month, I share insights into my own process as an illustrator on my blog, and I send a fresh little Bulletin Newsletter to the inboxes of my ‘bulletin fam.’

So what’s this ‘membership’ about? I like to think of it as a dessert, a little something extra. You’ll get Sprinkles - members only exclusive process peeks, insights, and tips. It also includes Drawn Delights (for my fellow food lovers!) I’ll be baking/cooking a monthly goodie, drawing bits and bobs from the recipe, and exploring themes of celebration. And finally, I’ll share Bon Bons - monthly giveaways - books, prints, and more, as well as discount codes and treats.

The membership will be $5 a month (no fancy multi level tiers) and will be accessible right here on my site.
To be notified when The Dessert Club launches this month, sign up for my newsletter below!

Thanks for being here on the first of a new lovely month.
I hope your Summer is treating you well, and you’re finding time to get out in the Sun.

We’ve been camping and hiking and kayaking, making S’mores and listening to the trees sway. I’m working diligently on the line work for a new picture book and also in the writing stages of my own stories (YAY!) and also house hunting and trying to learn canning and preserving. All good things I’m immensely grateful for.

:) With love, until next time,
Becca

Holbein Factory Tour + Paint Set Collaboration

Someone CUE THE CONFETTI! I'm SO excited about this month's post, and have been secretly chomping at the bit to share with you one of the coolest things...

Your friend RG has her own paint set. What is LIFE?

Let me explain in a more poised announcement...
This past year, I collaborated with the Japanese art supply company, Holbein, on a 12 color collection of my favorite acrylic gouache paints. In addition to selecting the palette, I also created the illustration for the box set and worked with the design team in Japan to create the packaging.

The box set just recently launched and to celebrate, I’m taking you on a tour of the Holbein factory in Osaka and doing a deep dive of box set illustration process. Ready?! Like really ready? Get your tea, make sure your pet is fed and your plants are watered because this post is a beast! OK let’s dive in!

HOLBEIN FACTORY TOUR, OSAKA JAPAN

HI! It’s me. It was SO HOT out but worth it to see this place.

I've been painting with Holbein Acrylic Gouache since around 2014. While I work with an array of media, the thing I love about Acrylic Gouache is that you can get so many different looks and textures with it - not to mention it dries completely and quickly so lots of layering is possible. (To get a tutorial of a gouache technique, you can sign up for my newsletter!)

In 2018, my husband Matt and I moved to Osaka where he accepted an English teaching position. I had no idea my favorite paint was made in the very city we moved to so you can imagine I was beyond giddy to stumble upon the factory while researching for tutorials. I emailed them at once! I had to see this place. In order to do a tour*, I had to have at least a group of five. I connected with my talented illustrator/author friend Chihiro Takeuchi to see if she'd like to go with me. She then connected with the lovely folks at Kawachi, an art supply store based in Osaka and a group of around eight of us went. I was like a kid in a candy shop. Or a brownie shop, you know me.
Holbein does do tours to the public but there must be at least five in your party, and if there is English needed, they must know in advance. Sadly right now, they are not offering tours due to Covid.

My sweet friend Chihiro at the Holbein Factory!

The Tour

I'm not sure what I expected a paint factory to be like - maybe a big machine laden warehouse? While there were lots of machines, there were also lots of nice people doing work by hand, large old cases of magical looking vintage bottles, impressive computers and color testing equipment, and scientists working at their desks.

We started in a classroom learning about the history of the company, the process of making paint, and material details of products like watercolor, gouache, and acrylic. It was so cool - I felt like a student in science class again. Below is an handout of the process of making paint!

They also showed us examples of different oils, binders, and pigments. Some are synthetic while others are organic.

Now it was time to go onto the factory floor where the paint is made. I can’t say I could walk you entirely through the process but there was lots of pouring, mixing, and grinding. Below, the medium is being added to the pigment.

He are the rollers which grind the paint to the perfect viscosity. The red and blue paint are watercolors.

Here are some other little details that I fell in love with…

Next we visited the area where the paint is filled into tubes. Some of the work is done by hand and some of the work is done by machine. On the left are two Holbein employees filling sets of tubes. On the right we have a machine that crimps the ends of the tubes!

Can you guess what the employee below is cutting? It looked to us like rubber or black licorice!

It’s watercolor! It will be placed in the tiny white trays and used as a hard watercolor paint.
Now it was time to move on to the testing area. Large shelves of all sorts of colors and elixirs.

The glass plate below is called a Hoover Muller. It allows pigment and binder to be quickly mixed for color testing in small batches - to test for quality of pigment.

And of course some little color swatches just for fun. You’ll notice one of my favorite shades of blue/periwinkle/smalt blue! There were lots of areas for testing colors, computers for exacting the science and more. Lots of calibrations and calculations to get the best quality.

Finally, at the end of the tour, we all made our own watercolor from binder and pigment. I honestly commend anyone who does this on a regular basis - it was a workout!

If I could go back to the factory a hundred times I would, everyone was so kind.
Huge thanks to Holbein, to Kawachi Art Supply, and to Chihiro and the others that went on the tour. It was such a lovely thing to see the the process on the other side of my paint tubes. If you’re visiting Osaka in the future, you can reach out to inquire about a tour, or visit the gallery and showroom (which is much easier to get to and you won’t need to book anything!)

12 COLOR BOX SET of ACRYLIC GOUACHE

So how did a box set come about?
During the factory tour, I connected with Seriguchi San, a kind Holbein associate who explained the process in English to me. He was incredibly helpful. After the tour, we stayed in touch and he asked if I'd be open to collaborating on a paint set - their first time collaborating with an artist outside of Asia. I said YES OF COURSE. My artwork on a box of paints would have knocked me over, but to hand pick the colors - I can’t even.

First I had to decide on a palette. There are 102 Acrylic Gouache colors so it was hard to choose just 12. I knew the box was my palette so to speak but my palette changes and I usually only use 4-5 colors at a time so it was a hard to gauge. I also wanted the set to work for beginners as well as seasoned painters alike.
So, I took a trip to the Holbein showroom in Osaka and they let me test every color possible.

The showroom/gallery!

So many colors to choose from!

Ultimately, I wanted it to reflect my work so I chose a range of primaries that I use often. I also tried to avoid colors that could easily be re-created - for example, I love naples yellow but for as much as I use it, I can create a lighter yellow with white/yellow/other tints etc. Once I had the range of colors nailed down, I reached out to a couple artists that I knew worked in acrylic gouache to see what colors they recommended. (Thanks Flora Waycott & Joe Anderson!)

Testing out colors! Some of the these made it - some didn’t…

Here are the colors I settled on.
Vermillion, Coral Red, Mustard, Emerald Green, Sap Green, Pale Aqua, Smalt Blue, Ash Yellow, Ash Blue, Burnt Sienna, Sepia, and Gold (for little details and flourishes!)
You can make a massive range from just these colors. Some I use straight from the tube (ash & smalt blue and coral red) and some I use more for tinting like ash yellow. You know I like my work to look a little old and worn - adding ash yellow to just about any color brings out some age.
Vermillion is one of my favorites, I love to add bright dashes of it. The emerald green is something I’m quite into lately, and I love toning it down with coral red or ash yellow. I don’t use a ton of brown in my palettes, but I do use sepia often and also burnt sienna. Actually I use sepia for my blacks a lot of time if I want the whole palette to feel warm. (For example, in Becoming a Good Creature, all my darkest areas were sepia) The paint set should really have an additional primary black and titanium white, though I assumed most everyone had those.

The insert in the box does give a couple examples of limited color palettes options within the set too!

Next, it was time to design the box illustration.

These were the first studies. I wanted to merge animals with food and celebration (no surprise there) but to also combine my love for Japan and for my home state of Michigan. At first, I was pretty focused on the design and laying out the box. Then I ‘found’ this little cherub on the right and decided to play more in this direction. I loved him! (If only I had the guts to call these lines my finals!) I decided to follow this thread and play, drawing random characters and food…

After exploring a bit, I decided to go with three animals - all holding a food dish in celebration, almost like a parade. I also played around with the foliage (which you’ll see on the right). I of course needed to portray a sort of cherry blossom, as they are revered in Japan, but I also added another that is dear to my heart - the white clover. This covered the ground around my house and school growing up in Michigan and I also spotted it everywhere in the park by our apartment in Japan (along the Yodogawa River.) I’m not one to cheerlead for plants (I’m learning to love them) but no one can argue that white clover is not underrated!

I used the design template from Holbein and pieced together a mock up/sketch. They approved it and were happy to move forward!

Next, it was time for a little paint study. I didn’t plan too much for this one, just started painting to see what happened. I loved the pink Autumn moon - decided that definitely needed to be part of the final image.

I felt confident about going to final but I needed to lay out the exact linework. The box is such a specific size and everything needed to be tightly designed (you’ll see on the box there is a lot of text). Below is another study, trying to piece all the characters together. That middle one kept changing! I also considered little mice bc they are SO cute.

Below was the first rendition of the line work. I drew it quite large (maybe 8x15”) to retain detail (and WOAH that clover got intense!) It’s a shame that middle figure didn’t make it to the final because they’re holding a bowl of zenzai soup! I decided to call the painting THE FEAST OF THE CLOVER MOON which isn’t a real astronomical term but one I made up because I can.
(Technical side note: I’m often asked why I draw paintings out in warm colored pencil (pinks and reds). The drawing gets covered with opaque paint, but even if it shows a little, a warm line is a nice one, it doesn’t stand out like a black/blue line in my paintings. Also, colored pencil doesn’t smear like graphite.)

Once the line work was done, I wanted to test some palette options. I scanned the drawing and printed it out at my office (aka 7/11 aka the Konbini!) At first I tried using all 12 colors in the painting but that was too overwhelming. As you can see below though, just 12 colors can make for a huge atmospheric or emotional shift in a palette!

I decided to go with a darker background so the moon could really stick out. I laid in the sky and then started on the ground. This is all I have of this version actually, as we all know it didn’t end here - we have a totally different version on the final! I painted a lot more but wasn’t happy because A) it was so busy and B) I knew I’d lose all that detail when I shrunk it down (which is why I always paint everything to size.)

Back to the drawing board! I did the final illustration the size of the box and reworked the characters. I don’t have a ton of process images for the final oddly enough. When I get this far into it, I’m ready to finish the damn painting AND I’m in the flow and can’t be bothered to take too many pics!

And the rest is production history! Scanning, working with the design team with Seriguchi-San and the team in Tokyo, lots of approvals, English text decisions, all the hard work from the team in Osaka, shipping etc! And voila! I have a final box in my hands of my very own paint set.

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The paint sets are available in Japan here. If you’re outside of Japan (which most of you are!) you can contact Holbein (info@holbein.co.jp) to inquire about local distributors. I know they’ve already had some orders from Australia, Indonesia, Singapore, Germany and the Netherlands. My wildest dreams come true!
AND we’re doing some giveaways next week on Instagram - I’m giving away a couple of prints of the cover illustration, but we’ll also be giving away a box set of paints.

PHEW OK was that the longest blog ever? What year is it? Where’s my coffee?
I feel like there’s a thousand other things to tell you about. New books coming out, new ones to be written, a membership platform I’m building that’s coming soon (I’d planned for July but alas this box set launched and my little membership got pushed back…look for updates throughout the month!). All good things, all things I’m grateful for and will be sharing in due time.

Thanks for being here - if you’re still reading I owe you a hug and a slice of lemon cake.

CHEERS friends! And please, If you get the set, share pics, I’d love to see these box sets in the wild and to know if the color palettes are helpful. Just tag me on IG!!

xoxo,
Becca

And because I’m curious, do you have a favorite paint color? Anything you can’t get enough of at the moment?

Navigating a New Creative Endeavor | PART TWO

Hello Friends!

It's June! The trees in Michigan are sporting glorious shades of green, the air is thick and I'm dreaming of camping and swimming. I've had lots of bonfires, eaten too many s'mores (already!) and Mori is loving all the walks. As I'm writing this though, I'm sitting in Nashville in my friend Meera's kitchen - feeling lucky to be traveling a little, and seeing friends. We've been cooking a ton - on tonight's menu is this cauliflower black bean dish and a vegan chocolate pie. Yesterday I met with some of the artists from The Warren, our old studio, and it was so nice to catch up. Time is a wild, wild thing. But before I get too sentimental (which I'm prone to do) let's dive in to this month's post!

Last month we discussed navigating new creative endeavors and I shared a couple exercises on visualization - seeing in your mind's eye and in the world what you want in your future. This month I’m sharing thoughts on REALIZATION which is just a fancy word for getting things done. Here are six tips on actually 'doing' the work you dream about - some have to do with the technical aspect of productivity and others are just helpful perspectives to keep in mind. Let’s get to it!

ORGANIZE 
This might be a no brainer, but wasn’t to me - I'm still learning how to break large tasks into smaller ones. Last year, I systematically organized my dream projects (books, retails, etc) into manageable to-do lists and even that felt like a momentous step forward. I started to recognize a map with clear guideposts, instead of seeing my goal as an amorphous ‘someday’ dream.

To organize tasks for a new creative endeavor, take your visualization exercises from last month's post and make a list of everything that needs to be done for your new project to be out in the world. First, do a brain dump of everything that comes to mind - list everything you need to do (or research) in order to make the project a reality. You can list details about the actual project too, how it will look, how you will market it - whatever comes to mind!
Next, organize the list into chunks - starting broad and working down to the details. For example, let's say I want to 'create stationery.' I might list types of stationery, paper and printing options, packaging, distribution details, artwork needs, etc. Next, I’d do very specific to-dos. Perhaps I want to make greeting cards and notecards. I’d get particular on which greeting cards I’m making and what artwork I need for them. Or perhaps I’d list all the samples I’d need (paper/packaging etc) and research vendors.
Once I have everything listed out, it’s much easier to see the game plan come together. Suddenly it feels very possible!

SCHEDULE
While it can be difficult to plan new creative projects amidst life responsibilities and current client obligations, dream projects can sadly fall to the wayside unless we make it a part of our schedules. I used to do Personal Work Wednesdays where I wouldn’t touch a client project but instead only focused on my own work. (I may start those again, I miss them!) I remember an epiphany I had when I discovered these Personal Work Wednesdays were feeling too indulgent - it dawned on me how unreasonable it was to expect to work on my own projects 2 or 3 days a week, when I couldn't even justify one.
Personal work has always taken me farther than client work - it's riskier but the payoff is more rewarding. I realized I had to schedule in personal work much the same as client work. (And not to brag but I’m my favorite client so why wouldn’t I?!)

I highly suggest setting hard deadlines for personal work and scheduling in time for your new projects alongside current obligations. While it can be scary to work on things for our own pleasure, or not yet for income, it’s key to a long lasting creative career. And, setting deadlines helps us to take our work more seriously - something many creatives can benefit from.

Extra resource rec: Lisa Congdon’s Time Management class helped me a lot in scheduling!

START SIMPLE
When we're heading into a forest, do we choose the thickest mass of bramble to bust through or do we scout out a clearing in the trees? Most of us would look for the easy and simple way in! Sometimes we fail to carry that over into our creative lives and instead overcomplicate things by feeling the need to complete everything at once (just me?) Recently I was talking to my creative mentor about my inability to prioritize things I wanted to pursue. For example, I dream of having a retail shop and collaborating or creating a host of goods and products. I was getting overwhelmed by what to do first and her advice was to start simple - taking the path of least resistance. She suggested I reopen my online shop with just prints - maybe cards, and once that grows, I can reevaluate and add more.

If it's overwhelming to consider embarking on a totally new endeavor, consider a simplified path. What do you already have experience in? What’s the most basic facet of your new creative endeavor that you can complete so you feel you’re making headway?
(PS - My online shop is finally opening back up in September!! Also planning to do some markets and sell in person this holiday season - what a dream!)

ENJOY IT
Recently I’ve felt the need to disappear for a while, create the brand and work I wanted, and come back with a bang. The whole 'make an album in a cabin in the woods' sort of idea. But again, the same creative mentor offered something much more doable and rewarding - "Why don't you just take your audience on the journey too?" I realized that I've never made work in a cave, but instead I've enjoyed the process as much as the end result, and I've always been open to sharing as I learn.  The process can sometimes be more exciting than the end product - it’s where everything seems possible.

Accepting and celebrating where we are in our creative endeavors is key. A creative career is a rewarding one, but also keeping a lightness and a passion in our process helps us feel fulfilled as we create, not just when we're finished.

MOMENTUM
Don’t underestimate the power of momentum. One of the biggest challenges can be starting - we all know the terror of the blank paper staring back at us. Procrastinating can be helpful to a point but when the waiting is fueled by fear, a wall can paralyze us from even trying. It still happens to me all the time, and I consider myself an active artist.

There are a couple things you can do to break the ice when you feel the hesitancy of beginning. You can do warm ups - drawing simple shapes, lines, and doodles to get your mind and hands loose. Working on scrap paper helps when fancy paper is terrifying. Maybe it helps to write a little or dance a bit or sing in the shower to feel more free. When I'm feeling stuck, I pull something out of my creative compass jar and work on that. Next thing I know, showing up at my work desk doesn't seem so daunting.
Once you’ve bypassed the hard part of starting, check your 'to do' list to what you can accomplish. Before you know it, you're well on your way of achieving the projects you love.

ONE DAY AT A TIME
Recently I was reminded by a plant on my windowsill that progress happens one day at a time. I’m a new plant mom and I bought a sweet little geranium on the cusp of blooming. Each day I watched her unfold unhurriedly - in her own time, quite unrushed. The small leaves unfurled into soft lime folds and the bright petals untwisted and spilled out in a vibrant magenta. She’s gorgeous. But guess what - she took the time she needed to make sure everything was done right by her. And that’s what I’ll do too. I’ll enjoy the process and remain grateful for the opportunity to bloom. I’ll keep working hard and I’ll take things one day at a time. Maybe that’s just what you need too?

PS - This little geranium illo is a test run, but the final will be a print in my shop when it opens in September. How about that!

As always thank you so much for being here every month, for sharing in my world and work, and for giving me an audience to talk shop with. One of my favorite things is sharing my process, things I’m learning, and ways to have a more rewarding and long lasting creative career.

Doing these monthly bulletins has been so fulfilling for me, something to look forward to every month, and I hope for you as well. In that spirit, I’m happy to announce in addition to these monthly posts, I’ll be starting a membership platform on my site in July. Nothing will be taken away from the posts, but having a paid membership space will allow me to invest more time, share, and be able to keep creating content I love to create. More on that in the month to come…keep your eyes peeled!

OKAY I hope your June is filled with wonder and fireflies (I already saw a couple in Nashville!)
I hope these little tips help you feel at least one step closer to making the work you love.
Take care of yourselves and each other - see you next month!!

xo, Becca

Navigating a New Creative Endeavor | PART ONE

Hi Friends! Happy May!
How are you? Hanging in there? Ready for Summer?

I’m going to be honest, my brain is tapped from all the computer and client work I’ve been doing, not to mentioned I just lost hours by accidentally deleting 9/10ths of this whole blog post. AHHH Squarespace has been so glitchy lately on blog drafts, so note-to-self and note-to-you, back up your posts in pages or evernote.
But I love you all so here I am to write it again.

I’ve been working a lot as of late, settling into our new life in Michigan, and finishing up two picture book deadlines. I also started a new windowsill herb garden and in the week I’ve had it, it hasn’t died, which I consider a win!

I don’t have an eloquent segue into this blog post, but starting a garden is close.
Today we’re talking about beginning again, starting over, navigating new creative endeavors.
Beginnings are ever present. Mornings. Blanks sheets of paper. Workouts. We are always seemingly starting over. But what about the huge changes? The gigantic leaps? I’ve always handled change with ease but the massive broad shifts into new territory are overwhelming. And the farther I am in my career, the scarier they get.

In October, I talked about launching ‘Into the Unknown,’ sharing ways to ease transition. Six months later, it reads like a packing list for an expedition. Now my boots are almost on the ground and my legs are shaky. Moving from a hazy amorphic feeling of a plan to concrete steps is difficult. Details are easy for me, the big picture is not. Creating is easy for me, business is not. So how do I go about creating my big picture business while relishing in the creative details?

The short answer is: I’m learning! Since you’re here (and I’m glad you are) we can navigate this together. Two things I’ve found really helping in navigating change: Visualization and Realization. Today I’m sharing a couple visualization tools and next month we’ll dive into realization.

VISUALIZATION

“The clearer you are when visualizing your dreams, the brighter the spotlight will be to lead you on the right path.”
-Gail Lynne Goodwin

When launching into new territory, it’s helpful to see the details in our minds and in the world. It makes the hazy emotional cloud of an idea become much more distinguishable and concrete.

SEE IT IN YOUR MIND

There are endless visualization articles, studies, and meditations abound.
One simple one I do from time to time is a writing exercise where you write down your perfect day in the future. I get super detailed in mine, like I can see what type of flooring is in my house, what the clouds look like outside the window and what kind of coffee mug I’m drinking out of. While you can be as vague as you’d like, I do encourage you to try and be intricate where the creative work is involved.

OK! Grab a piece of paper or a journal (something you won’t lose - these are nice to keep)
Don’t overthink it - this is freewriting and no one has to read it.
Imagine your perfect but ordinary day 3-5 years from now. Since this is focused on work, don’t choose a day off or lavish vacation.
I’ve provided some questions to consider below - feel free to use any, all, or none!

On your perfect but ordinary future day:
+ What time do you wake up?
+ Are you alone? Is there anyone else there?
+ Do you wake up with anything on your mind?
+ What’s the first thing you do?
+ What will you wear for the day?
+ What is the weather like, or the scene outside your window?
+ What’s for breakfast? Do you have a morning routine?
+ You’re on your way to work now, what’s your studio like? Describe in detail.
+ There’s a creative project on your ‘desk’ that you’re excited about. What is it?
+ Do you have any meetings? Are they virtual? Will you travel?
+ It’s time for lunch - what will you have? Will you be alone? Will you meet someone?
+ Back at work for the afternoon, do you change projects?
+ Do you have something to ship or deliver?
+ Do you have any plans after work? Is there a show or event?
+ What do you need to get done before you leave for the day?
+ What’s for dinner? Will you eat at home? Out and about? With anyone?
+ How will you unwind from the day?
+ What was your favorite part of your day?

The first time I did this, I was astonished at how easily I could visualize my perfect day. Since then, I have ‘memories’ of this daydream to see if I’m on the right track. When we lay the foundational tracks for our future, it’s easier to check in and see if we’re where we’d like to be. Our creative or future goals can change and that’s ok too. The main point is to be able to see where we’d like to end up so we can harness our energy in the present to move towards our future goals.

SEE IT IN THE WORLD

One of the hardest parts about a creative endeavor is that often we’re trying to wrap our brains about something we can’t actually see. Doing a moodboard, for me, is one of the closest ways of ‘seeing’ my vision in the real world. Sometimes making the mood board is more interesting than actually doing the projects!

I encourage you to make a mood board for your new endeavor. You can make a board on pinterest, or you can create one from magazine and material cut outs. You can also create a PDF, print it and hang it on your studio wall. Whatever you choose, have it close and available for the times you feel uncertain with which direction to go. I also find that it’s helpful to combine outside inspiration with some of my actual work. That way, the goal doesn’t seem so out of reach.

I’m part of an organization of visual entrepreneurs called the Art Brand Alliance (which I’ll talk more about next month) and we’ve been doing a string of creative visualization exercises. Alongside that, for the past year or so, I’ve been diving deeper into the things that delight me, my story, my values, etc. For one of our recent meeting in the ABA, I created this vision board, which I feel is the closest I have come to visually representing my new direction of work, which for now I’m calling Rebecca Green 2.0! Some of the work is mine and the other is credited.

From top left:
Scene from Jiří Trnka's "The Czech year", Mon Cachet Vintage Envelope, Tove Jansson and Tuulikki Pietilä with Moomin House, Chickpea Magazine Cover, Apple Cider Donut (me), Celia (me), Wes Anderson’s Fantastic Mr. Fox Set, Vintage Crayons via Christian Montone, Vintage Wooden Box, Christmas Table by Cote Maison, Night Ride (me), Cutie Mystery Girl at her desk, credit unknown - who is she!?, and Henri & Miko (me)!

Sharing this publicly feels vulnerable because it’s quite close to my heart. For months now I’ve wanted to hide away and burn everything down so I could start from scratch and build a new version of my work. This is hard to do when work is seemingly permanent online and picture books take years to come out. The ‘real work’ always seems so far away.
I recently met with creative coach, Betsy Cordes, who runs February 13 Creative & Art Brand Alliance and she helped me realize the benefit of sharing as I grow. It’s what I’ve done since I started this blog and my illustration career 11 years ago. I’ve brought you with me as I learn and this should be no different.

Next month, I’ll share more of what I’m learning in terms of putting a plan into action - moving from dream to reality. *Spoiler alert, it takes time! For an impulsive person like your ol’ friend RG, that’s hard!

If you’re interested in hearing more about transitions, my new work, and the thoughts behind it, I recently did a podcast with Dan Blank where we discuss just this topic. We also talk a bit about social media and this very blog post/newsletter! This is the third time I’ve spoken with Dan and he’s just such a supportive and caring mentor to creatives and writers alike. Have a listen here.

Also I literally just walked to my windowsill and some of my herbs are drooping and wilted. HOW does anyone keep plants alive?! Tune in next time to Plant Killers! I’ll give you all my best tips to be the worst gardener in history.

OK but for real - cheers to Spring and newness. Go save your blog draft. Take care of yourself and others. Eat some fruit. Feel the sun on your face if you can. May all our futures be bright and full of compassion and creativity.

Until next time,
xo,

Becca

PS - Thanks SO MUCH for sharing all your sweet thoughts and experiences on last month’s post regarding moving and relocating. Lots of stories about change, locations, and even fond memories about mochi and 7/11s! While I can’t respond to all the comments, I read and relish in each one. You guys are the best.

Navigating a New Creative Endeavor

Hi Friends! Happy May!
How are you? Hanging in there? Ready for Summer?

I’m going to be honest, my brain is tapped from all the computer and client work I’ve been doing, not to mentioned I just lost hours by accidentally deleting 9/10ths of this whole blog post. AHHH Squarespace has been so glitchy lately on blog drafts, so note-to-self and note-to-you, back up your posts in pages or evernote.
But I love you all so here I am to write it again.

I’ve been working a lot as of late, settling into our new life in Michigan, and finishing up two picture book deadlines. I also started a new windowsill herb garden and in the week I’ve had it, it hasn’t died, which I consider a win!

I don’t have an eloquent segue into this blog post, but starting a garden is close.
Today we’re talking about beginning again, starting over, navigating new creative endeavors.
Beginnings are ever present. Mornings. Blanks sheets of paper. Workouts. We are always seemingly starting over. But what about the huge changes? The gigantic leaps? I’ve always handled change with ease but the massive broad shifts into new territory are overwhelming. And the farther I am in my career, the scarier they get.

In October, I talked about launching ‘Into the Unknown,’ sharing ways to ease transition. Six months later, it reads like a packing list for an expedition. Now my boots are almost on the ground and my legs are shaky. Moving from a hazy amorphic feeling of a plan to concrete steps is difficult. Details are easy for me, the big picture is not. Creating is easy for me, business is not. So how do I go about creating my big picture business while relishing in the creative details?

The short answer is: I’m learning! Since you’re here (and I’m glad you are) we can navigate this together. Two things I’ve found really helping in navigating change: Visualization and Realization. Today I’m sharing a couple visualization tools and next month we’ll dive into realization.

VISUALIZATION

“The clearer you are when visualizing your dreams, the brighter the spotlight will be to lead you on the right path.”
-Gail Lynne Goodwin

When launching into new territory, it’s helpful to see the details in our minds and in the world. It makes the hazy emotional cloud of an idea become much more distinguishable and concrete.

SEE IT IN YOUR MIND

There are endless visualization articles, studies, and meditations abound.
One simple one I do from time to time is a writing exercise where you write down your perfect day in the future. I get super detailed in mine, like I can see what type of flooring is in my house, what the clouds look like outside the window and what kind of coffee mug I’m drinking out of. While you can be as vague as you’d like, I do encourage you to try and be intricate where the creative work is involved.

OK! Grab a piece of paper or a journal (something you won’t lose - these are nice to keep)
Don’t overthink it - this is freewriting and no one has to read it.
Imagine your perfect but ordinary day 3-5 years from now. Since this is focused on work, don’t choose a day off or lavish vacation.
I’ve provided some questions to consider below - feel free to use any, all, or none!

On your perfect but ordinary future day:
+ What time do you wake up?
+ Are you alone? Is there anyone else there?
+ Do you wake up with anything on your mind?
+ What’s the first thing you do?
+ What will you wear for the day?
+ What is the weather like, or the scene outside your window?
+ What’s for breakfast? Do you have a morning routine?
+ You’re on your way to work now, what’s your studio like? Describe in detail.
+ There’s a creative project on your ‘desk’ that you’re excited about. What is it?
+ Do you have any meetings? Are they virtual? Will you travel?
+ It’s time for lunch - what will you have? Will you be alone? Will you meet someone?
+ Back at work for the afternoon, do you change projects?
+ Do you have something to ship or deliver?
+ Do you have any plans after work? Is there a show or event?
+ What do you need to get done before you leave for the day?
+ What’s for dinner? Will you eat at home? Out and about? With anyone?
+ How will you unwind from the day?
+ What was your favorite part of your day?

The first time I did this, I was astonished at how easily I could visualize my perfect day. Since then, I have ‘memories’ of this daydream to see if I’m on the right track. When we lay the foundational tracks for our future, it’s easier to check in and see if we’re where we’d like to be. Our creative or future goals can change and that’s ok too. The main point is to be able to see where we’d like to end up so we can harness our energy in the present to move towards our future goals.

SEE IT IN THE WORLD

One of the hardest parts about a creative endeavor is that often we’re trying to wrap our brains about something we can’t actually see. Doing a moodboard, for me, is one of the closest ways of ‘seeing’ my vision in the real world. Sometimes making the mood board is more interesting than actually doing the projects!

I encourage you to make a mood board for your new endeavor. You can make a board on pinterest, or you can create one from magazine and material cut outs. You can also create a PDF, print it and hang it on your studio wall. Whatever you choose, have it close and available for the times you feel uncertain with which direction to go. I also find that it’s helpful to combine outside inspiration with some of my actual work. That way, the goal doesn’t seem so out of reach.

I’m part of an organization of visual entrepreneurs called the Art Brand Alliance (which I’ll talk more about next month) and we’ve been doing a string of creative visualization exercises. Alongside that, for the past year or so, I’ve been diving deeper into the things that delight me, my story, my values, etc. For one of our recent meeting in the ABA, I created this vision board, which I feel is the closest I have come to visually representing my new direction of work, which for now I’m calling Rebecca Green 2.0! Some of the work is mine and the other is credited.

From top left:
Scene from Jiří Trnka's "The Czech year", Mon Cachet Vintage Envelope, Tove Jansson and Tuulikki Pietilä with Moomin House, Chickpea Magazine Cover, Apple Cider Donut (me), Celia (me), Wes Anderson’s Fantastic Mr. Fox Set, Vintage Crayons via Christian Montone, Vintage Wooden Box, Christmas Table by Cote Maison, Night Ride (me), Cutie Mystery Girl at her desk, credit unknown - who is she!?, and Henri & Miko (me)!

Sharing this publicly feels vulnerable because it’s quite close to my heart. For months now I’ve wanted to hide away and burn everything down so I could start from scratch and build a new version of my work. This is hard to do when work is seemingly permanent online and picture books take years to come out. The ‘real work’ always seems so far away.
I recently met with creative coach, Betsy Cordes, who runs February 13 Creative & Art Brand Alliance and she helped me realize the benefit of sharing as I grow. It’s what I’ve done since I started this blog and my illustration career 11 years ago. I’ve brought you with me as I learn and this should be no different.

Next month, I’ll share more of what I’m learning in terms of putting a plan into action - moving from dream to reality. *Spoiler alert, it takes time! For an impulsive person like your ol’ friend RG, that’s hard!

If you’re interested in hearing more about transitions, my new work, and the thoughts behind it, I recently did a podcast with Dan Blank where we discuss just this topic. We also talk a bit about social media and this very blog post/newsletter! This is the third time I’ve spoken with Dan and he’s just such a supportive and caring mentor to creatives and writers alike. Have a listen here.

Also I literally just walked to my windowsill and some of my herbs are drooping and wilted. HOW does anyone keep plants alive?! Tune in next time to Plant Killers! I’ll give you all my best tips to be the worst gardener in history.

OK but for real - cheers to Spring and newness. Go save your blog draft. Take care of yourself and others. Eat some fruit. Feel the sun on your face if you can. May all our futures be bright and full of compassion and creativity.

Until next time,
xo,

Becca

PS - Thanks SO MUCH for sharing all your sweet thoughts and experiences on last month’s post regarding moving and relocating. Lots of stories about change, locations, and even fond memories about mochi and 7/11s! While I can’t respond to all the comments, I read and relish in each one. You guys are the best.

Goodbye Osaka, Hello (again) Michigan

The weather was grey this morning but I’m not complaining. I’m happy (almost deliriously) to be home in Michigan. It’s not that I don’t miss Japan, I do. In fact, my husband and I both woke up thinking about it - he misses the alleyways and taking the train to work. I miss onigiri and the grocery stores.

But we can’t live everywhere at once, can we?

MICHIGAN: A Tiny Backstory

I didn’t grow up traveling. A momentous trip for my family was a drive to the town next door for the traditional stop at Long John Silvers and Best Buy. Simply riveting, as you can imagine. Then there was the mostly annual trip to my grandmother’s house in a tiny town in Tennessee. Aside from living in that same small TN town for a couple years in middle school, my growing-up mostly took place in Michigan.
When I was 19, I enrolled in art school and moved to Grand Rapids where I met my husband, who was in a teaching program. One of the reasons he was drawn to teaching was that he could travel and live anywhere (though if you met him, you’d know it’s because he’s an amazing advocate and role model for young people!) How wonderful, I thought, I’d like to be able to live everywhere too!

So we moved! And we moved again. And again!
And today, I’m sharing some bite size bits about these places we’ve lived these last ten years. One thing I loved, two things I learned, and three things I miss. And because location affects my work, I’m also sharing a couple pieces from that time and place as well as a look into my workspaces.

ONE THING I LOVED
TWO THINGS I LEARNED
THREE THINGS I MISS View fullsize
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GRAND RAPIDS, MI 2005-2012

ONE THING I LOVED
+ Being part of the community. Between college and living there for 7 years, I reveled in a sense of home and belonging. To be honest, I haven’t had that sense of true belonging since.

TWO THINGS I LEARNED
+ Trying new things. I basically became a new human in Grand Rapids. My work flourished and changed, I ate vegetables for the first time in my life, I made friends and lost friends, and met my husband.
+ I learned what it felt like to thrive and gain momentum in my work. The payoff of completely investing myself in a task helped me build confidence.

THREE THINGS I MISS
+ The Sparrows Coffee Tea & Newsstand (I worked there so I may have served you coffee!)
+ Martha Vineyard’s Grocery + Nantucket Bakery (I’d die for their sourdough)
+ Selling and Shopping at the UICA Holiday Artists Market

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PHOENIX, AZ 2012-2013

ONE THING I LOVED
+ I’d never been drawn to the dessert, but being there in person, I fell in love with the big sky, the details of cacti, and the lizards doing pushups on the wall outside our window.

TWO THINGS I LEARNED
+ I learned (after the fact) not to rush. We lived in Phoenix for one year, and while I was eager to leave, I think back now to the experiences we didn’t take advantage of while we were there.
+ I learned to jump into opportunities. I did exhibitions, signed on with an editorial agent, did a mural, and was part of a studio of incredible humans.

THREE THINGS I MISS
+ First Fridays on Grand Ave, and at The Lodge Art Studio, my old art studio!
+ The Sunday brunch at NAMI. My husband and I tear up remembering the hominy corn ‘grits.’
+ Driving 89A through Oak Creek Canyon, from PHX to Flagstaff (where you have to eat at BIFF’s bagels!)

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DENVER, CO 2013-2015

ONE THING I LOVED
+ The weather was a dream. Cold but sunny, dry, and perfect, with the loveliest thunderstorms in the afternoon. And of course the majestic Rockies and all the Golden Aspen leaves clapping in the wind.

TWO THINGS I LEARNED
+ Sadly I realized that I disliked working from home! I met another illustrator and we got a workspace together which made all the difference.
+ I learned that my work could be steered in a direction almost without me knowing. I left my editorial agent to pursue work I longed for.

THREE THINGS I MISS
+ OMG I miss all the amazing vegan food in Denver. Most of all City, O’ City.
+ The sweetest little coffee shop The Weathervane Cafe
+ Visiting Golden, Silver Plume, or Georgetown

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Nashville, TN 2015-2018

ONE THING I LOVED
+ The firepit in our front yard! We loved having friends over to have bonfires.

TWO THINGS I LEARNED
+ To make picture books! I started illustrating them full time and signed on with a children’s publishing agent.
+ I learned how to co-run a studio space. I loved the drawing nights and daily interactions.

THREE THINGS MISS
+ Riverside Grillshack! Get the sweet potato burger and the best fries!
+ Parnassus Books (I painted a mural in their children’s section!) and The Bookshop.
+ Sunflower Cafe!! A bit out of the city but amazing vegan food. (Also close to Vui’s which is so good!)

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OSAKA, JAPAN 2018-2021

I could (and will) spend a whole post talking about Japan! It’s hard to say ‘One thing I loved’ because I could list a million. But look for that another day!

ONE THING I LOVED
+ The people. Everyone I met was caring, humble, interested, and kind. My husband and I already dream of going back to visit.

TWO THINGS I LEARNED
+ It was so refreshing to step out of the American picture book market for a bit. I feel like picture books in Japan take more risks and are more free, child like, and expressive.
+ How to live in another country! How to speak a tiny bit of Japanese, (I don’t need a bag or I’d like coffee please, hot, take out, thank you!). I learned how to navigate on trains and in the streets and alleys, how to open onigiri, how to take my shoes off at every door - the list is long friends!

THREE THINGS I MISS
+ MOCHI! This little sweets shop was my fave. Take your treats and some konbini snacks to the Yodogawa riverside park! You can walk or bike for miles or see Sakura in the Spring.
+ Visiting Nakazakicho! Lots of little shops, coffee, food, etc and the buildings are especially adorable.
+ Taking the train to northern Kyoto to visit Mamezen - amazing vegan ramen - and the incredible bookshop, Keibunsha Ichijoji.

‘HOME’

Being home in Michigan feels wonderful. While I’m not sure what the future holds or even what city we’ll land in, we’re thrilled. It means we can actually invest in things because we’re not moving all over the place. I can develop long term relationships within my community, volunteer more, paint my walls, maybe even have a studio where I can build 3D things and do pottery. I also just signed up for my first CSA farm share and I’m wildly excited to can tomatoes and peaches, and pickle veggies. All the things I’ve been waiting to do.

What about you, are you in the process of moving? Have you lived in a thousand places? Are you in your forever home? Share what you’ve learned in the comments, I’m so interested to hear people’s experience with relocating. The biggest lesson I learned was self compassion and patience. Being in a new place can be hard - it’s like uncovering a whole new version of yourself. It can take time to make deep connections and feel a sense of belonging. I’ve found it best to reach out to potential communities before I arrive - so I can jump in to events, volunteer and see friendly faces. Also, keep the move (and everything) in perspective. I’ve been incredibly privileged to be able to move. I haven’t had to flee because of war or violence - but by choice. I’ll never be able to fully grasp how lucky we are. And one more thing - sometimes you just have to say ‘Hi’ first - we’re all sort of waiting for that. :)

Alright! Gotta run - I’m actually writing this from a small town in Mississippi. It’s 6 am and we’re leaving in an hour to drive North with a trailer full of old wooden furniture and kitchen things - items too precious to give away when we moved. ALSOOOOO my DRAWING DESK, can I tell you how much I’ve freaking missed my drawing table! It’s a dream. Maybe next month I’ll have some pics to share of my makeshift living room studio - I have a picture book due next month, NBD!

Thanks for being here, I’m truly grateful for all of you, always.

xo, Becca