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ENTRY TYPE: new
WORK TITLE: Mama Hug
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: http://www.chocosweete.com/
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COUNTRY: United States
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LAST VOLUME:
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PERSONAL
Married.
EDUCATION:Enrolled in community college and Art Center College of Design courses; graduated from Ringling College of Art and Design (computer animation), 2011.
ADDRESS
CAREER
Illustrator, animator, and designer. DreamWorks Animation, CA, intern, became art department artist and designer for films including Madgascar 3, Penguins of Madagascar, Mr. Peabody & Sherman, Captain Underpants, The Boss Baby, The Boss Baby: Family Business, and Trolls 3, 2010-15, remote contributor, 2015–; freelance artist, designer, and illustrator, 2015–.
AVOCATIONS:Hiking, rock climbing, camping.
MEMBER:Society of Children’s Book Writers and Illustrators.
WRITINGS
Contributor of illustrations to periodicals, including American Girl Magazine.
SIDELIGHTS
[open new]Stevie Lewis has illustrated dozens of children’s books, many of which speak to her interest in the great outdoors and the wider world. She was raised in Palmdale, California, in Antelope Valley, as an only child. Concerning early creativity, she told Amanda Smith of 24 Carrot Writing: “I remember always having a pencil in my hand as a kid. You would always see me doodling on the edges of my notebook, or on napkins in the restaurant. It just flowed out of me, and became the way I shared and communicated with the world.” About her broader childhood experience, she explained to Kathy Temean of Writing and Illustrating: “Growing up in a smaller town, as an Asian American, I always felt different. I was torn between the Chinese side of the family, the side that only spoke Mandarin and ate unusual foods, and the kid I was in school who tried to fit into a typical American upbringing.” Because her mother neither spoke Mandarin around her at home nor enrolled her in Chinese school, Lewis never learned Mandarin, but she would always be deeply interested in Chinese food, medicine, and culture.
A move brought the family to Santa Clarita, north of Los Angeles, where Lewis attended junior high and high school. She enjoyed drawing so much that she enrolled in community-college and art-school evening courses while still in high school. Japanese animation was a major stylistic influence, but instructors suggested she should remove anime-style pieces from her portfolio. As it happened, three California art colleges declined to admit her, but she earned a scholarship to attend Ringling College of Art and Design, in Florida, and there majored in computer animation. She and fellow student Avner Geller won a student award and gained admission to both state and international film festivals with their animated short Defective Detective. Having scored an internship with DreamWorks the summer after her junior year, working on the film Madgascar 3 out of the San Francisco Bay Area, Lewis gained a full-time position in the company’s art department after graduating. There she contributed to a number of mainstream feature films, including Mr. Peabody & Sherman, Captain Underpants, and The Boss Baby. Although Lewis had imagined settling into a permanent position as an art director, after half a decade at DreamWorks and a bout of burnout she realized that the Bay Area was not where she wanted to spend her life; coincidentally, DreamWorks planned to close its Northern California office. When her roommate brought her to a climbing gym, Lewis was instantly hooked, and after trips to Tahoe and Yosemite, she decided to quit her full-time position and outfit a Honda Element as a living space for long-distance trekking adventures. Later she customized a larger van. Becoming an avid outdoors enthusiast, she visited locales from Arizona to Kentucky to Utah to Alaska while working freelance over her computer or with her art supplies travel kit, including colored pencils, inks, and gouache paints. She also enjoys working with watercolors and paper cutouts. Lewis eventually made a home with her husband in Montana, but they travel together frequently, and she would draw on her many journeys in illustrating the “Magic on the Map” series by Courtney Sheinmel and Bianca Turetsky.
Speaking with Smith, Lewis observed regarding the evolution of her artistic style: “When I left DreamWorks, my art became more about the outdoors and the wonderful people I met while traveling. I was inspired by how the rocks, trees, and lakes were rich with texture and life. … I felt like I reconnected with why I chose to be an artist in the first place. To share my experiences with those around me.”
After getting enlisted to provide illustrations for chapter-book series by Allison Gutknecht and Angelica Banks and for Duke Kahanamoku, an early reader about the founding father of surfing, Lewis made her picture-book debut with Prince & Knight, by Daniel Haack. Traveling with his parents on a quest to meet eligible ladies, a prince must rush back to his kingdom to protect it from a fierce dragon—and falls for the handsome knight who fights alongside him and saves his life. A Kirkus Reviews writer proclaimed that Lewis’s “lush colors and dramatic sequencing clearly show her background in animation and lend a timeless, Disney-like quality to the story.” The sequel, Tale of the Shadow King, led a Kirkus Reviews writer to affirm, “With rich colors and cinematic sequences, Lewis’s animation-inflected art shines in this fantastical tale.”
Lost in the Library: A Story of Patience & Fortitude, is a celebration of the New York Public Library by Josh Funk starring the lion statues flanking the entrance. When Patience goes missing, Fortitude tours the building until finding his companion reading in the children’s section. Lewis visited the library before undertaking the project, and a Kirkus Reivews writer noted that she aptly includes the “library’s decorations and architectural details” as well as “recognizable images from several classic picture books.” A sequel, Where Is Our Library? A Story of Patience & Fortitude, written to commemorate the library’s relocation, prompted John Scott to declare in School Library Journal that “the illustrations are animated, capturing the streets at night featuring the dark shadows and bright lights of the big city.”
In Stacy McAnulty’s “Our Universe” series are several books illustrated by Lewis, including Moon! Earth’s Best Friend and Mars! Earthlings Welcome. The books are full of fascinating facts and friendly anthropomorphized planetary bodies. Reviewing Moon! in Booklist, Emily Graham remarked that Lewis’s “adorable and entertaining digital illustrations” help “make learning a breeze.”
Lewis adapted a story surrounding a trip to the aquarium for Baby Shark: Based on the World’s Catchiest Song. With children gathering as a baby shark is joined by mother, father, and hungrily grinning grandparents, a Kirkus Reviews writer commented, “Kudos to Lewis for creating a plausible visual narrative and peopling it with diverse children.”
Fatima’s Great Outdoors, by Ambreen Tariq, finds a young immigrant from India feeling out of place among her white American classmates until a camping trip reminds her of her mother’s fortitude catching lizards and building fires back in India. A Kirkus Reviews writer observed that Lewis’s “bright illustrations … heavily influenced by her animation background,” contribute to a camping story that “feels refreshing and new, with its layered inclusion of big feelings.” An imaginative young Black girl takes center stage in I Am Thinking My Life, by Allysun Atwater. Finding the depiction of life challenges as storms “visually appealing,” Monisha Blair affirmed in School Library Journal that Lewis’s “contemporary cartoon-style illustrations are full of joy in vivid colors.”
Lewis teamed up with well-known environmentalist author Bill McKibben on We Are Better Together, which celebrates community and cooperation in supporting animals, trees, and the planet. For the illustrations, Lewis drew from personally witnessed sights like the arrays of orange cones protecting saplings in post-fire reforestation tracts around Flagstaff, Arizona, where she lived for a couple of years. A Kirkus Reviews writer praised Lewis’s artwork for “radiating a warm glow that highlights the hopeful message.”
The Queen of Chess: How Judit Polgar Changed the Game, by Laurie Wallmark, pays homage to the Hungarian woman who became chess’s youngest Grandmaster at age fifteen and joined the World Chess Hall of Fame in 2021. Carolyn Phelan noted in Booklist that “viewers will be drawn to the many moods expressed in Lewis’s handsome, occasionally amusing illustrations.” About Mama Hug, honoring the love between a brown-skinned mother and her child, a Kirkus Reviews writer declared that Lewis’s “cheery, earth-toned palette of pinks, oranges, browns, and greens radiates the warmth exuded by the contented pair.”[close new]
BIOCRIT
PERIODICALS
Booklist, June 1, 2019, Emily Graham, review of Moon! Earth’s Best Friend, p. 68; June 1, 2023, Carolyn Phelan, review of The Queen of Chess: How Judit Polgar Changed the Game, p. 72.
Kirkus Reviews, February 15, 2014, review of A Cast Is the Perfect Accessory (And Other Lessons I’ve Learned); November 1, 2016, review of Blueberry Pancakes Forever; April 1, 2018, review of Prince & Knight; July 1, 2018, review of Lost in the Library: A Story of Patience & Fortitude; December 15, 2019, review of Baby Shark! Based on the World’s Catchiest Song; November 15, 2020, review of Mars! Earthlings Welcome; January 15, 2021, review of Fatima’s Great Outdoors; March 1, 2021, review of Tale of the Shadow King; April 15, 2022, review of We Are Better Together; April 1, 2023, review of Pluto! Not a Planet? Not a Problem!; November 15, 2024, review of Mama Hug.
School Library Journal, November, 2013, Annette Herbert, review of Don’t Wear Polka-Dot Underwear with White Pants (And Other Lessons I’ve Learned), p. 78; November, 2015, Diane McCabe, review of A Week without Tuesday, p. 93; April, 2019, Vivian Ho, review of Let’s Mooove!, p. 69; October, 2020, John Scott, review of Where Is Our Library? A Story of Patience & Fortitude, p. 65; January, 2022, Monisha Blair, review of I Am Thinking My Life, p. 60.
ONLINE
24 Carrot Writing, https://www.24carrotwriting.com/ (August 20, 2018), Amanda Smith, “Stevie Lewis: Art on the Road.”
AZ Daily Sun, https://azdailysun.com/ (April 7, 2022), Mackenzie Chase, “‘We Are Better Together’: Children’s Book Illustrator Stevie Lewis Takes on Climate Change and Living Simply.”
Maria Marshall website, https://www.mariacmarshall.com/ (May 23, 2025), “The Picture Book Buzz—Interview with Stevie Lewis.”
Pop Goes the Page, https://popgoesthepage.princeton.edu/ (October 5, 2021), “Studio Snapshots: Stevie Lewis.”
She Explores, https://she-explores.com/ (May 23, 2025), interview with Lewis.
Society of Children’s Book Writers and Illustrators website, https://www.scbwi.org/ (May 23, 2025), author profile.
Stevie Lewis website, http://www.chocosweete.com (May 23, 2025).
Writing and Illustrating, https://kathytemean.wordpress.com/ (September 9, 2023), Kathy Temean, “Illustrator Saturday–Stevie Lewis.”
Stevie Lewis is an illustrator of over 30 children’s books. She is also enjoys painting, hiking and climbing outdoors, and spending time with her husband and dog.
Her most recent works include The Queen of Chess by Lauri Hallmark, and How to Eat in Space by Helen Taylor.
Studio Snapshots: Stevie Lewis
Posted on October 5, 2021
Get ready to be amazed… this studio is on wheels! Today, we’re visiting Stevie Lewis. For half the year, Stevie, her partner, and her dogs (Kiki and Tigger, seen smiling above) travel to hiking and rock climbing destinations. And Stevie takes her work with her in a sweet van she customized herself! An animator for four years, Stevie has also illustrated a number of beautiful picture books. Her newest releases, I Am Thinking My Life (Bala Kids), and We Are Better Together (Henry Holt) will be available in 2022.
Picture 1: Here’s a picture of my workspace, which I share with my partner while we’re on the road in our van. I built out the van (all by myself!) before I met him, and we travel as often as we can. I usually work from the road on my computer.
Picture 2: Having a van home makes traveling feel very comfortable. I can park anywhere, and gather endless inspiration from the outdoors. Here’s the van parked off a road in Moab, Utah, where I enjoyed painting and drawing in the desert.
Picture 3: Another view of the kitchen/studio/living room area. It’s so important to stay organized living in such a small space!
Picture 4: The trunk is where we keep our outdoor climbing, camping, and biking gear, as well as any art supplies I bring on the road with me.
Picture 5: Sometimes I”ll bring my art outside, and use traditional mediums like color pencil and gouache. I can’t bring too many supplies with me on the road, but I can manage a few paints and pencils! I’m looking forward to having a real, non-moving art studio someday!
Stevie Lewis
Author, Illustrator
About
Stevie Lewis had a hard time fitting in when she was a kid. But, she eventually realized it’s okay to be different, and that she had a special gift, the ability to tell stories through her art. Aside from drawing, she loves hiking and climbing. She has illustrated several children’s books including Sun! One in a Billion, Moon! Earth’s Best Friend, and Mars! Earthlings Welcome, all written by Stacy McAnulty, and most recently We are Better Together written by Bill McKibben. She recently moved to Montana, where she lives with her partner and two dogs.
‘We Are Better Together:’ Children’s book illustrator Stevie Lewis takes on climate change and living simply
By MACKENZIE CHASE Apr 7, 2022
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Shortly after moving to Flagstaff, Stevie Lewis came across a curious sight while exploring her new surroundings.
“I happened upon an old burn area up on the 180 and I saw all these trees that were planted in these tiny little orange cones,” she said, describing a reforestation technique used by the U.S. Forest Service in areas damaged by fire or over-harvesting. “I remember taking some photos, being like, ‘Oh, this is an interesting image I've never seen before.’ I just wasn't aware of those practices until that moment.”
Little did she know at the time, Lewis would draw from those photos several years later when she was approached to illustrate We Are Better Together, a children’s book written by environmentalist and author Bill McKibben, forthcoming from Macmillan Publishers on April 22, 2022.
The book takes a compassionate approach to big issues that impact everyone regardless of age, gender, socioeconomic status and political beliefs. From solar power and wildlife recovery to following Leave No Trace principles, readers of all ages will appreciate the rich palettes used to demonstrate how working together benefits the planet.
“I had to do a lot of research on climate change approaches, preventative tactics and, in that example, replanting and regrowing our forests,” Lewis said. “There were a few pages that I struggled with, and this happens from time to time on every book project that I'm on, but it's really up to the illustrator to interpret [the text] in whatever way they see as creatively fit.”
And her characters are reflective of the diverse world in which we live, with many drawn from people Lewis knows in real life.
“I'm really conscious about including a wide variety of different colors, shapes and sizes. Maybe it's just second nature because I want to see more books that are inclusive,” she said. “Being Asian American, I often read books as a kid that weren't representative of me and what I look like.”
While Lewis has been illustrating children’s books for the past eight years, her education is in animation, with 12 years of experience under her belt. However, she made the decision to step away from her full-time job at DreamWorks Animation and focus on herself following intense burnout and the impending closure of the studio’s northern California office where she had been working.
“The timing just sort of worked out to where I had been wanting to travel and really just do it while I'm young, I guess. So I quit my job in 2015 and moved into my car and didn't really have an end goal,” Lewis said. “It wasn't like, ‘I'm going to do this for a year and then I'm going to go back to my life.’ It just sort of became the norm and I took it day by day.”
The flexibility of illustration allowed her to continue working on the road without the strict deadlines and heavy workload that led to her burning out in animation. She was able to create her own schedule while she traveled around the country, hiking and rock climbing in some of the country’s most picturesque locations. But living simply didn’t always come easy.
“The transition was hard at first in the sense that I had no idea what I was doing, and I wasn't an outdoor person before,” Lewis said. “I wasn't really aware of who I was as a person until I hit the road. There's a lot of time to self-reflect and you just realize, ‘Wow, I really don't need all these things that I thought I did.’ In my travels, I've noticed I've just become more connected with nature, the impacts that humans have on it.”
She is intentional in the way she incorporates these experiences in her art whenever possible, allowing viewers a peek into how life can be lived if we just slow down and take the time to work with nature rather than against it, listen to our body’s needs and nurture it rather than pushing it to its physical and mental limits.
Now back at DreamWorks in a remote position and continuing to illustrate on the side, Lewis and her partner are preparing to return to their full-time nomadic lifestyle at the end of this month with her two 12-year-old Maltese, Tigger and Kiki, along for the ride.
We Are Better Together helped put some things into perspective for Lewis. Despite the frustration and guilt of being a consumer when corporations continue to produce packaging that isn’t accepted by recycling programs, she hopes books like this and decades of advocacy building upon itself will encourage others to shift their mindsets and lead to change.
“Reading Bill's work, a lot of his nonfiction work, it can be very depressing, honestly,” Lewis said. “How do you take that and translate it to inspire children in a positive way versus making it feel like there's no hope?
“I used to always make myself feel really bad, like, ‘Oh my gosh, I took like this really long shower,’ or, ‘We're driving around a gas-guzzling van and living in it, living the dream, but at the same time I'm leaving a huge impact.’ But at the end of the day, am I? Because I didn't have a house at the time and I wasn't using all these other resources. So how can we be kinder to ourselves? Be more compassionate to ourselves to not get burned out on trying to do better for the earth? I don't know the answer, but I think the way to approach it is with compassion.”
Stevie Lewis: Art on the Road
8/20/2018
2 Comments
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~ Hosted by Amanda Smith
Stevie has been living on the road for the past three years, furthering her passion for climbing, art, and the outdoors. Striving to live simply and tread lightly on the earth, she gathers inspiration from a variety of places, be it climbing in the high desert at Smith Rock, hiking in the forests of southeastern Alaska, or sharing laughs with strangers around a campfire. After working four years in animation at DreamWorks, she now illustrates children's books and creates art based on her travels. Her latest work includes PRINCE & KNIGHT (Daniel Haack; Simon and Schuster), THE FINDING SERENDIPITY series(Angelica Banks; Scolastic), and LOST IN THE LIBRARY (Josh Funk; Henry Holt & Co.), which will be on shelves August 28, 2018.
1. Tell us a little about your journey. How did you become an illustrator?
I remember always having a pencil in my hand as a kid. You would always see me doodling on the edges of my notebook, or on napkins in the restaurant. It just flowed out of me, and became the way I shared and communicated with the world. I decided to seriously pursue a career in art when I was a senior in high school, and ended up getting accepted to Ringling College of Art and Design in Sarasota, Florida. After working endless nights and creating, with my friend, Avner, our senior film, Defective Detective, I landed a dream job at DreamWorks Animation in the Bay area. After 4+ years of working there, I decided it was time to pursue children's book illustration.
2. You made a bold move, leaving a secure job in film animation, to follow a passion. What prompted this decision?
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Working in animation was an amazing experience. I was surrounded by a wonderful team in the art department, and everyone who worked there was supportive, helpful, and full of team spirit. We were a small team of artists who got along really well. But, at one point we were unfortunate to have had a superior who wasn't the best leader. It was a rough time, and it affected everyone. Morale was low for a while, and I realized that a dream career in art shouldn't feel like that. It felt like the time to move on, and try a new venture. At the time, I had immersed myself in the rock-climbing world. I'd been taking several trips to Tahoe, Yosemite, and other local areas to learn how to climb outdoors. It had prompted me to move into the back of my Honda Element, and travel around the United States and Canada for a year. The combination of those two things happening in my life, convinced me to take the risk and do something completely new and exciting.
3. At an NESCBWI conference a few years ago, author-illustrator Dan Santat spoke about a similar move and how it had changed his art stylistically. How does your on-the-road lifestyle impact your art? Did you notice a big change in your art when you changed your lifestyle?
The change affected me in a really positive way and allowed me to be the artist I am today. When I left DreamWorks, my art became more about the outdoors and the wonderful people I met while traveling. I was inspired by how the rocks, trees, and lakes were rich with texture and life. I began to incorporate those elements more into my work, and share more of my art with others, through little portraits of them with their vans, or illustrations of all of us hanging out around a campfire. I felt like I reconnected with why I chose to be an artist in the first place. To share my experiences with those around me.
4. I’m an art supply hoarder. To me art supplies and a living out of a van sound incompatible. Most of your current art is digital. Did you make a decision about art media limits before you went on the road?
Ha, I know what you mean. I used to work with traditional media much more when I was in college. But, since I started working in animation, my work became heavily digital-based. It's incredibly easy to make changes, especially with big files and detailed pieces. Sometimes you'd have a note that would ask you to remove a few buildings and add a park with trees in its place. I can't imagine how hard that would be to do on paper. It's funny because I worked with a few guys who have been around since the PRINCE OF EGYPT days, and did all of their artwork with pencil, airbrush, or a variety of traditional techniques. Now they all work digitally and it's expanded their work to a new level. But it is nice to be able to go back to pencil and paper when desired. Living in the van, I've had to make a few sacrifices. While I don't have to pay rent, I had to limit what I could bring along (especially living with two dogs and a 6'4" partner). I pretty much have room for my computer, a small collection of gouache paints, color pencils, and some ink materials. Let's just say I have to make several trips to the art store when I'm working on a traditional project.
5. What is the one medium (besides digital) you have to have? Why?
Lately I've been experimenting a bit more with paper cutouts. It's been a change in pace and challenge for me. I like how I can reuse and recycle paper from old magazines or catalogs, and how it almost creates a sense of dimension off the page. Every year I try to focus on a new style or medium, just to mix things up. Next year I want to try screen printing!
6. When you first receive a manuscript to illustrate, what is your process?
After reading a manuscript for the first time, I immediately have ideas of what I want to illustrate. Once I’ve read it through a few times, done thorough research, and confirmed with my editor any details they want to see, I start sketching. They’re usually rough sketches, just to see my ideas on paper. If necessary, I’ll do research in person, for example, I flew out to the New York Library in Manhattan to spend some time sketching, taking photos, and gathering ideas for LOST IN THE LIBRARY, written by Josh Funk. Since that book took place in a beautiful, historical location, I wanted to capture as many details as I could.
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Then, I’ll spend a bit of time doing color thumbnails, to try and layout the lighting and color progression of the book. With LOST IN THE LIBRARY I started with neutral earth tones until Fortitude stumbles upon the children’s room, full of fun shapes and color. It’s really fun to see it all come together from rough sketches to final color, something to be proud of!
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7. What does your typical work day look like?
Since I live out of my vehicle, my mornings are usually slow. After making a cup of coffee and enjoying some yoga and a light meal, I get myself ready for the day with podcasts and music. Most days I work out of my van, which has a table to work on and solar panels to charge my tablet computer and other electronics. I’ll usually work a few hours in the morning, and take a mid-day break and go for a hike with my dogs. I’m very lucky to be parked in national forest, with endless access to biking and hiking trails. Then I’ll work for the rest of the day until my boyfriend gets off work. When I’m not working out of the van, I’ll end up in a coffee shop or at a library for most of the day.
8. There is a lot of dialogue about the importance of all children being able to recognize themselves in the books they read. Is this something you think about during the initial concept art of a book? How can an illustrator contribute to diversity and representation in kidlit?
It’s true. As a first generation Asian American, I’ve struggled to fit in throughout my life, especially when I was a young kid. I can’t think of any kids’ books growing up, that I read, which represented someone like me. I’ve always wanted to see diversity in animation and children’s books, and advocate for it when I can. Luckily, the few publishers I’ve worked with have been on the same page, if not pushing for it right at the beginning. When I worked on PRINCE & KNIGHT, we went back and forth on which main character would be the person of color, but it wasn’t a question that there would be diversity throughout the book. It’s hard to reach everyone, but it’s incredibly important to try. You never know if your book will be the one to make someone, somewhere in the world, feel like they belong.
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9. You have also illustrated some middle grade books. How does the process of illustrating an MG differ from PB?
Honestly, the process wasn’t too different. I mostly approached it the same way, with plenty of research and sketching before jumping into the project. The major difference was the number of colored paintings in picture books. It was quite overwhelming at first, and I was nervous because I had to finish the entire full-color project in the same amount of time it took me to work on a middle grade book (color cover plus B&W interiors). What’s really fun about working on picture books was that I felt I had more freedom to explore different ideas, compositions, and lighting. I think it was because of the different format and the fact I had entire pages to fill.
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10. While working on LOST IN THE LIBRARY, what was your greatest surprise or biggest challenge?
Before starting work on LOST IN THE LIBRARY, I’d never done a rendition of such a large, beautiful building, and I was nervous I wouldn’t do the best job since I hadn’t visited the library before. So I flew to NYC in hopes of seeing the library in person, and spending some days sketching, taking photos, and planning out the book. Oh, and I also never drew a lion before, so that was a challenge as well! But, in the end it worked out really well, and I feel like it all came together nicely. I’m really proud of the book, and thankful for the team at Henry Holt for believing in and trusting me with such an amazing project.
11. When I first saw illustrations from LOST IN THE LIBRARY, the expressions on the lions’ faces made my heart soar. What brought you the most joy in illustrating this book about Patience and Fortitude?
I loved creating a portrait of these lions. They’re so sweet and charming, and iconic for those who frequent the library. My favorite part of the book was when Fortitude discovers Patience in the children’s room, a place full of joy, learning, and most importantly, fun. For children, that’s what a library is all about. It was such a nice way to tie the book together.
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11. During the last couple of years. Have you stumbled upon a parallel, epiphany, or metaphor regarding climbing and creating that you can share with our readers?
With any serious hobby or passion, you’re bound to find those parallels. For me, I’ve found that climbing is surprisingly a creative, thoughtful sport. As with art, climbing pushing me to think outside the box, especially when I’m stuck on how to climb something, or when I need to overcome worry of heights, safety of the gear, or fear of failing. The way you need to move your body to find the easiest way to ascend the rock requires placing your body in different ways, and getting creative. Another parallel I’ve made is how difficult being creative can be, when you feel stuck. With climbing, I’ve gone a few long stretches of not climbing either because I’ve been injured, working, or simply uninspired or motivated. And, I’ve come to terms with the fact that we as artists or climbers, shouldn’t blame ourselves when these moments happen. Sometimes they’re out of your control, and the best you can do is get back into it when it feels right.
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Thank you, Stevie, for sharing your journey, process and amazing art with us!
The Picture Book Buzz - Interview with Stevie Lewis
For half the year, Stevie Lewis travels out of her van, furthering her passion for art and the outdoors. She is also an avid hiker and rock climber. After working for four years in animation, working on Boss Baby, Penguins of Madagascar, Peabody & Sherman, and Go Go Cory Carson, she now illustrates children's books. Stevie currently lives in Northern Arizona where she lives with her partner and two dogs.
She’s the illustrator of 20 books, both picture books and chapter books, including Baby Shark (2020), Moon, Earth's Best Friend by Stacy McAnulty (2019), Smart Girl’s Guide: Travel (2019), Magic on the Map series, Prince & Knight by Daniel Haack (2018), Lost in the Library by Josh Funk (2018), Sun! One in a Billion by Stacy McAnulty (2018), A Smart Girl's Guide to Social Media (American Girl 2017), Duke Kahanamoku (You Should Meet) (2017), Finding Serendipity (2013). and And Other Lessons I've Learned series. As well as the upcoming Fatima's Great Outdoors by Ambreen Tariq (2021), and Mars! Earthlings Welcome by Stacy McAnulty (2021).
Her newest picture book, Where Is Our Library?: A Story of Patience and Fortitude, releases on October 27th.
Welcome Stevie, Tell us a little about yourself. (Where/when do you write/illustrate? How long have you been writing/illustrating? What is your favorite type of book to write and illustrate.)?
My name is Stevie Lewis and I've been living in Flagstaff, Arizona for the last two years. I've been drawing since I can remember. I would draw on napkins, the margins of my notebooks, any blank space I could find. After going to art college, I specialized in visual development for animated films.
In 2015, after working at DreamWorks for many years, I decided to quit my job and move into my Honda Element. I built out a bed in the back and sold all my belongings. I wanted to travel by myself around North America and climb while doing art based on my travels. It was such a wonderful year, that I upgraded to a larger van, so I could work on the road more comfortably. Soon after, I met my wonderful partner and we traveled to Alaska and much of the western US with our two dogs, Kiki and Tigger.
Currently, I illustrate children's books and work on animated projects (part-time). I especially love books that show a different perspective on life, culture, feelings, etc. Also, any books about the outdoors! I think more children should be exposed to the beautiful places our world has to offer.
That sounds like an amazing adventure. What is something no one (or few) knows about you?
Almost all dreams I have are either scary or apocalyptic, even though I would describe myself as a very happy person!
Interesting! Who was your favorite author, illustrator, and/or favorite book as a child?
My favorite picture book was Mrs. Nelson is Missing and my favorite chapter series was the Series of Unfortunate Events. I love the illustrations in both of those series, mostly because they are very stylized and different than other books.
I wonder if Lemony Snickett explains your dreams? If you could share one thing with your younger self and/or kids today what would that be?
Learn how to accept compliments, like your work, and trust the process. Since I was a kid, I've always struggled with self-confidence. Even now, as an adult, I have to catch myself when responding to compliments on my work. Often artists are most critical of our own work, especially when we are learning. It's difficult to grow when you don’t think that you’re good at your craft. I would tell my younger self to say 'thank you' when I received a compliment, and to enjoy each stage of the learning process.
That's a tough skill! What about the Patience and Fortitude books and specifically Where Is Our Library?: A Story of Patience and Fortitude intrigued you?
Originally, I thought I wasn’t be qualified to illustrate these books. Ha, going back to the last question - ironically, I questioned my abilities. I wasn't a New Yorker, I'd never been to NY Public Library, nor had I been tasked with such a project that focused on old, beautiful architecture. But, after doing a few samples of the lions, and trying to find the right style for the books, it really grew on me. Now, I think these are my most cherished books. The first book was a joy to illustrate. I loved visiting NYPL and bringing the lions to life in the illustrations. With the sequel, I was excited to explore what adventures the lions would go on, at night, throughout New York City.
Wow! I know a couple of lions who will be happy to hear they are part of your most cherished books! What is your favorite medium to work with? Your least favorite or hardest? What is your favorite spread in Where Is Our Library?
I love working with paper cutouts, and painting with watercolors/gouache, but I don't often have the chance to work in those mediums. Because digital is so convenient, I mostly use photoshop to create my illustrations. I do my best to add textures to make it feel less 'digital' - and someday I hope to create a book entirely with traditional media. My favorite spread is when they are walking the 'high line' in NYC. It was a fun opportunity to play with different times of day, using the same setting.
Maybe one day you'll get to do a picture book with paper cutouts. What/who is your greatest source of inspiration? (as a child or now as a writer or illustrator.)
My biggest inspiration is following other artists on Instagram, Pinterest, etc. There are so many talented illustrators out there. When I was in art college and while I worked at DreamWorks, I was surrounded by artists who inspired me to be better, to try new styles and techniques. I think we learn the best when surrounded by others who are also perfecting their craft.
I totally agree with you. It's the same for authors, too. Many illustrators leave treasures or weave their own story (or elements) throughout the illustrations. Did you do this in Where Is Our Library? Could you share one or more with us? What's something you want your readers to know about Where Is Our Library?
Text © Josh Funk, 2020. Image © Stevie Lewis, 2020.
Josh wanted to pay homage to many other books created by NY authors and illustrators and books about NY. There are some hidden gems throughout the pages, featuring some of those books. Also, I completed most of the illustrations while I was traveling in Mexico on a climbing trip. It was a beautiful place to be working on such a lovely book.
I guess that's the benefit of digital illustrations. Are there any projects you are working on now that you can share a tidbit with us?
I recently finished a couple books. One is titled Fatima's Great Outdoors by Ambreen Tariq. (releasing 3/21) It's a story about an immigrant family that goes camping for the first time, and teaches us that public lands are for everyone. The second book is a sequel to Prince & Knight by Daniel Haack. I was fortunate to be asked to do the sequel!
That was such a fun gender-bending of the Cinderella fairy tale! We'll have to keep our eyes open for these books. I really like Fatima's cover. How are you staying creative these days? What things do you do to “prime the well”?
I love to rock climb. As I write this, I'm in my van in southern Utah, heading north to explore some new climbing spots! I love being outdoors and meeting new people in beautiful places!
That sounds like so much fun. It might be silly to ask (and potentially get you in trouble), but what is your favorite animal? Or one you are enamored with at the moment. Why?
Hmm, I’m not sure. I love dogs so much, hopefully that’s not a cliche answer! They are such great companions. When I was creating the library lions, I was dog-sitting at the time. I took care of these two, large mastiffs in Alaska for the summer, and used their large bodies as reference for the lions. I’m thankful they were around to be the best reference I could have asked for!
Thank you, Stevie for stopping by and sharing with us. It was wonderful to chat with you.
Be sure to come back on Friday for the Perfect Picture Book post #PPBF on Where is Our Library?
To find out more about Stevie Lewis, or get in touch with her:
Website: http://www.chocosweete.com/
Facebook: https://www.facebook.com/chocosweete/
Tumblr: https://chocosweete.tumblr.com/
Instagram: https://www.instagram.com/chocosweete/
If you missed it, check out Monday's interview with the author Josh Funk (here).
Illustrator Saturday – Stevie Lewis
Stevie Lewis is an illustrator of 30 children’s books. She is also enjoys rock climbing, lifting weights, hiking, going to farmer’s markets, and spending time with her husband and dog.
Other recent works include I am Thinking My Life by Allysun Atwater, and We Are Better Together by environmentalist Bill McKibben. For half the year, Stevie Lewis travels out of her van, furthering her passion for art and the outdoors. She is also an avid hiker and rock climber. After working in animation, she now illustrates children’s books including Prince & Knight by Daniel Haack.
HERE IS STEVIE DISCUSSING HER PROCESS:
A lot of reseach went into this book. I had flown to New York from Juneau Alaska (it was a long day of flying!) so I could see the library in person.
I did all of my early sketches in pencil in my sketchbook. I’ve always believed hand drawn sketches are an amazing way to plan a book. They help the final artwork have a traditional feeling, versus illustrating everything digitally.
Lighting is something I try to incorporate in every book if possible. Since this book took place during the night, I wanted to have different lighting scenarios throughout. I love being able to highlight characters with a patch of light or hide things in the shadows!
This spread in particular was inspired by MC Esher’s work. I wanted to show the passage of time, when Patience was looking for Fortitude in various parts of the library. It ended up being one of my favorite spreads!
Sometimes I’ll do tiny thumbnail drawings before sketching in more detail. This is also a great opportunity to play with color in a blocky, rough stage. I usually won’t send these tiny thumbnails to my art director/editor, but they are an important part of the process.
Always keep in mind where the text will go! One can’t work without the other (unless it’s a wordless picture book). I always like to plan for it in my composition early on if possible.
Lighting is also great for showing a shift in the story, a breaking point, a climax, or to highlight a character visually. Here, I used the sunlight coming in through the window to highlight Fortitude who was reading books in the children’s section. Sunlight hadn’t appeared yet in the story, so it felt like a great time to use it here.
Lighting is also great for showing a shift in the story, a breaking point, a climax, or to highlight a character visually. Here, I used the sunlight coming in through the window to highlight Fortitude who was reading books in the children’s section. Sunlight hadn’t appeared yet in the story, so it felt like a great time to use it here.
INTEVIEW WITH STEVIE LEWIS BELOW:
When did you realize that you had a talent for art?
Since I was a little kid, I’ve always had a marker or crayon and paper in hand and drew all the time. I was an only child and didn’t always have someone to play with. Drawing helped me pass the time and imagine and create my own worlds. As I grew older it became more of a serious hobby, and I took some art electives in high school. My lovely art teacher, Ms Licht, saw some potential in me and I was encouraged to enroll in AP art as a sophomore.
Where did you grow up?
I grew up in a small town of Palmdale, CA. Then we moved to Santa Clarita, CA where I spent my junior high & high school years. Growing up in a smaller town, as an Asian American, I always felt different. I was torn between the Chinese side of the family, the side that only spoke Mandarin and ate unusual foods, and the kid I was in school who tried to fit into a typical American upbringing. My mother didn’t speak Mandarin at home, and I never went to Chinese school, so I never learned how to speak the language. Even now I still feel pulled in both directions. I have a deep curiosity of Chinese culture, food, and eastern medicine, but feel a disconnect due to the language barrier and inability to communicate with my family.
How did you decide to attend Ringling College of Art and Design?
In highschool, I enrolled in some community college art courses as well as evening classes at Art Center College of Design. I spent all my free time drawing. Even though I was influenced by Japanese Animation, I was told by various people to remove those pieces from my portfolio. I was rejected from CalArts, UCLA, and Art Center in Pasadena. I had decided to apply to Ringling College in Florida as a backup in case I was rejected from colleges in California. Not only was I accepted but also received a scholarship which helped tremendously to pay for tuition.
Did you take any animation classes?
While I had dreamed of studying traditional animation, Ringling College didn’t offer that as a major. Instead, I majored in computer animation. Our first year was made up of foundational art courses, and the rest of the years were deep into everything computer animation. For our senior thesis project, we had to develop and create a 3-4 minute short film. I chose to work with my good friend and fellow student, Avner Geller, and our film was called Defective Detective (you can find it on youtube). We won a student Academy Award and it was accepted into many film festivals around the states and internationally.
I noticed you left Ringling College of Art to take a job with Dreamworks. How did you connect with them?
Each year, recruiters would visit Ringling looking for students to hire for internships and jobs out of college. Dreamworks had visited while I was a junior, but were only hiring graduating seniors. Most other studios were only hiring seniors, including Disney, Pixar, and various other studios in Los Angeles. Since I was unable to formally apply, I ended up mailing in my portfolio blindly to Dreamworks not expecting anything. A couple weeks later I got a call from Kendal Cronkhite, production designer of the Madagascar films, and all-around amazing human, who was interested in hiring me on as an intern. She created a paid position for me that summer and I moved to the Bay Area to work on Madagascar 3 alongside so many amazing artists, now long-time friends. When the summer was over, I went back to Ringling to finish my short film.
Can you tell us a little bit about what you did at Dreamworks?
After I graduated from Ringling, I was offered a full-time position at DreamWorks again with many of my old colleagues. I worked in the art department on various films including Penguins of Madagascar, Peabody and Sherman, Captain Underpants, Boss Baby 1 & 2, and most recently Trolls 3. Since the art department is early on in production, we get to do early development as well as design backgrounds, props, environments, and paint color keys to help inform the lighting of the film. Generally an artist is on a film for an average of 2 years, and learns to adapt their style to the film. Each film is different, which helps you grow tremendously as an artist, especially working alongside talented peers.
How long did you work with them?
I’ve worked on/off with DreamWorks since 2010.
Did you move out of the Bay Area when you left your job with them?
I quit working at DreamWorks full-time in 2015. I had been seeking a change in my personal life, eager to explore the US, Canada, and Mexico by car. Climbing had a huge impact on my decision, so I sold everything I owned and moved into a Honda Element. I lived off my savings for a better part of the year, and enjoyed growing in ways I could have never imagined. The climbing community and various climbing areas have greatly inspired me and shifted my overall perspective on life. I went from being someone who thought they’d settle down in the city, work a 9-6 until I retired, maybe become an art director one day, to being someone who valued living near mountains, being outdoors, small communities, while also doing what I loved. The bay area just wasn’t a place where I saw a future.
When did you decide you wanted a career in Illustrating children’s books?
After doing various chapter book projects, I really appreciated the freedom of book work. I could make my own schedule and still do what I loved doing in my free time. Gradually, I was able to be more selective and take on projects that interested me. Once I was offered a picture book project I finally saw a path towards a children’s book career.
How do you market yourself as a children’s illustrator?
I mostly post on my website & instagram account and will share some process images of books I’ve worked on. I try to do interviews for recently released books and am active in my SCBWI chapter. I’ll also go to book festivals, do some speaking events, and try to meet other authors and illustrators.
Was Don’t Wear Polka-Dot Underwear with White Pants: (And Other Lessons I’ve Learned) by Allison Gutknecht published by Aladdin in November 12, 2013) the first book you illustrated?
Jessica Handleman at Simon & Schuster was the first art director I’ve worked with. It was a wonderful experience and Jessica really helped me through the process of illustrating my first chapter book.
I see that you illustrated two more books, A Cast Is the Perfect Accessory by Allison Gutknecht and Never Wear Red Lipstick on Picture Day by Allison Gutknecht in 2014 and then in 2015 another book, Pizza Is the Best Breakfast by Allison Gutknecht with Aladdin in 2015. Did you know you were doing four books with Aladdin when you signed the contract?
Originally I did not know it would be a series. Generally, if the first book is successful the author will be asked to write more books, if they haven’t already. I believe there were only four total books in the series.
Did you have an agent right as you started your children’s book illustrating career? If so, who and how did you connect with them?
I did not have an agent for many years, mostly because I didn’t know how to acquire one. I also didn’t think I needed one and assumed I could understand and negotiate contracts on my own. I was unrepresented for 6 years or so. However, I was approached by Ed Maxwell after completing my 5th or 6th picture book. I was hesitant at first but I’ve been working with him since. He has helped me with the writing and pitching of my own stories as well.
Were these books with Aladdin your first illustrated book series?
Yes, that series with Allison Gutknect was the book series I have worked on.
I notice you like to travel and have a small camper you use on your adventures. Is it hard to bring your computers and art supplies with you while you are on the road?
I illustrated 3 Smart Girl Guides and worked on/off with American Girl Magazine illustrating story spots for them. Those books were so fun to work on. The illustrations were playful, colorful, and I learned a lot about layout and being an inclusive illustrator.
On May 1st 2018 you illustrated Prince & Knight by Daniel Haack for Little Bee Books. Was this the first illustrated LGBTQ book?
Aside from it being the first LGBTQ+ project I’d worked on, it was also my first picture book project. I was approached by Little Bee Books to illustrate a familiar story about a prince and knight but with a twist. At the time, I didn’t think anything of the subject. I grew up in a home with progressive parents and accepted the project without a second thought. It was interesting to see the response to the book once it was released, which was overwhelmingly positive as there weren’t too many similar books yet on the market.
In 2018 you illustrated another book with Henry Holt, titled Lost in the Library by Josh Funk. Was this book part of a multi-book contract?
This was my second picture book. I was approached by Henry Holt to illustrate a book in partnership with the New York Public Library and Josh Funk. He wrote this wonderful rhyme about the two library lions that are perched outside the library on 5th street in New York. I flew to New York so I could have a private tour and take plenty of photos for research. Working on non-fiction books are very different from fiction books due to the amount of time spent searching for reference images, sketching accurately, and staying true to the story it was inspired by.
Did you know that Josh Funk had written Where Is Our Library? And that you would be illustrating it in 2020?
I knew it was ‘in the works’ but hadn’t heard anything final until I was presented with the contract.
How excited were you to get the deal with Random House to illustrate four books of the MAGIC MAPS Series written by Courtney Sheinmel and show off the things that inspire you while camping?
It was an exciting project to be a part of! I had been doing artwork based on my travels and my creative director, Eric Wight, who was working at Rodale had reached out to me about illustrating a book about a magic camper. He was inspired by the work I had done while on the road, and thought I would be a good fit for the project.
How much black and white interior art did you create for each of these chapter books?
Usually it’s about 20 interior spots plus cover art.
You did a really great job illustrating Fatima’s Great Outdoors by Ambreen Tariq that was published on (March 30, 2021) by Kokila. How did they discover you to illustrate their book?
Thank you!! I’m really proud of that book. I believe Kokila had found my work online and through a previous project I’d worked on. I had heard of Ambreen before and the work she had been doing for Brown People Camping, and was thrilled to be able to illustrate this book about inclusivity and the outdoors. Since I’ve been a climber, I’d have to say that for most of my years climbing has been a predominantly Caucasian sport. Being able to work with Ambreen and also help spread the word to other ethnicities and backgrounds, the joys of camping in beautiful places in the US was priceless.
When Henry Holt signed you to illustrate Bill McKibben’s book, We Are Better Together for 2022 publication, did they or Bill come to you with already formed ideas about how this book should look? Or did they give you a free hand to take it in the direction you wanted?
I had little to no direction for this book surprisingly! I was just presented with the text and had free reign with the illustrations.
Your new book Pluto published in May this year by Henry Holt and Co. (BYR) (May 2, 2023. Do you think there will be another book in the series?
Yes, I’m working on the next book right now. However I’m not sure about future books beyond that! We’ll have to wait and see.
I recently featured THE QUEEN OF CHESS by Laurie Wallmark published by little bee books (July 25, 2023). What type of research did you do for the book?
It took some time to do the research for this book. I personally didn’t know much about chess, but my husband had been studying chess and playing often. Through him, I learned more about the game and began to research Judit Polgar along with other female players. I wanted the book to feel warm in color palette, with an almost vintage feel.
Are all the illustrations done for How to Eat in Space by Helen Taylor Little, Brown Books for Young Readers coming out on October 31, 2023)?
Yes! It’s been completed for over a year now, but it always takes some time before a book is officially published. This book is a very fun look into how to eat in space! It’s filled with tons of facts and tips/tricks. Look out for this book in stores soon!
You say your favorite medium to use? is. Did you study that in college?
I mostly create digital artwork, mostly because it was the most convenient medium to work with while living in a van. In college, I explored more mediums such as acrylic, gouache, paper cutout, etching, charcoal and color pencils. I still use them on occasion for personal projects and early sketching of picture books, but revert to digital for the final submission.
Do you use Photoshop or Procreate with when illustrating?
I have used both! Lately I’ve been mostly using Procreate because it’s so simple and easy to use. Very convenient for traveling as well!
Do you have any desire to write and illustrate your own picture book in the future?
I have written and pitched a project that’s been approved by a publisher. I can’t say too much about it but it was inspired by my time in Montana. Last year, I began to do daily paintings of homes and nature areas around town. They didn’t take more than 30 minutes usually, but it was a great exercise in color and light. I continued to do them well into winter, until it became too cold to bring my iPad outside. That being said, those paintings gave me an idea for the book I ended up pitching to publishers and I’m excited for it to be out in the world one day!
What do you think helped develop your style?
I consider myself so lucky to have been surrounded by talented artists and peers. During my years in college I was influenced by the storytelling sensibilities of Ronald Searle and Sempe. Studying abroad in Paris for a summer at Gobelins, l’école de l’image, also helped shape my view of animation style. Once I was working for DreamWorks, I learned several styles of various films and had to adapt accordingly. But, I think what inspired me the most was living on the road, and doing art for myself again. So much of my art career has become about creating work for other’s visions. Even though it’s wonderful and you learn a lot when you’re on a film, it can become all consuming. I began to forget why I became an artist in the first place. All those years in my youth of drawing on napkins, escaping into my own world of characters and worlds, and sketching people on the train or in the classroom had become memories. When I lived on the road, I was able to find myself again and focus on developing my own style.
What was the most favorite book you’ve worked on?
I am Thinking my Life written by Allysun Atwater and published by Shambhala Kids. When I first submitted sketches for the project, my art director immediately said they weren’t going in the right direction. The text was abstract and challenging for me to interpret. I was really hard on myself during that time and considered withdrawing from the project altogether. But a phone call with my editor convinced me to try again but with a different approach. She believed in my ability to interpret the text, and made some suggestions. In the end I grew tremendously as a storyteller, was so grateful for her trust and was so proud of the book.
Any exciting projects on the horizon?
I’m currently working on a dream project with Yosemite Conservancy Publishing about rock climbing in Yosemite. I’m also working on another book in the Stacy McAnulty series of planets.
Any words of wisdom you can share with the illustrators who are trying to develop their career?
Pursue what interests you and don’t be afraid to step out of your comfort zone. For me, that was leaving my amazing job at DreamWorks against many people’s judgements, including my parents, so I could try living a different life. I also loved climbing and the outdoors, and wanted to find a way to be a part of that world, while also still pursuing animation and books. Oftentimes, I see student work attempting to ‘be what studios want’ instead of being genuine and uniquely themselves. People will gravitate to you for your style and your artistic sensibilities, and you will be happier for it!
BELOW ARE SOME PHOTOS OF STEVIE IN ACTION:
STEVIE ROCK CLIMBING
STEVIE WORKING ON THE ROAD
STEVIE WORKING OUTSIDE
STEVIE ENJOYING COFFEE AND THE VIEW
I LOVE THIS ILLUSTRATION – IT’S TRUE A PICTURE IS WORTH A THOUSAND WORDS – I am smiling as much as Stevie just looking at it.
Stevie, thank your for taking the time to answer the interview questions and sharing your process. It was a nice way for all of us to get to know you. Please keep me posted on all you future successes, so I can share them with everyone.
Here are some links you can use to visit with Stevie:
WEBSITE: http://www.chocosweete.com/
INSTRAGRAM: https://www.instagram.com/chocosweete/
TWITTER: https://www.linkedin.com/in/stevielewis/
Talk tomorrow,
Kathy
Stevie Lewis
Artists, Graphic Design, Illustration, Vanlife
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Stevie Lewis
Stevie Lewis, aka “Chocosweete” has been living out of her Honda Element for the last year. She’s artist, animator, and avid climber. Living in the Element provides her the opportunity to travel and climb all over the country, all while working remotely and learning about herself along the way.
Unless otherwise noted, photos and illustrations by Stevie Lewis. Climbing photo in banner image by Derek Cheng.
Read her interview below!
Get To Know Stevie
You’re a freelance artist and animator, and dirtbag climber who’s been living on the road since April of 2015. How did your lifestyle come to be?
download-7I’ve always loved creating art, it’s my way of expressing myself. Since 2011, I’d been working my dream job at an animation studio, learning from amazing artists, and living in the big city of San Francisco. But one day, my roommate took me to the climbing gym, and I was instantly hooked. I started to reject the conventional 40-hour work week, and began to have dreams of living out of my car, traveling, climbing, and creating art for ‘myself’ again. The year before I left for the road, I worked hard and pulled in extra work on the side, not only to save money, but also to build a freelance life on the road. Luckily it’s worked out, and I’m really happy with the variety of work I get to do. Sometimes from a campsite in the mountains!
a_campvibes
You chose to put a platform in the back of your Honda Element – “climber style.” How is it working out for you? Would you recommend it for another woman traveling solo?
The Element is perfect. Really. I couldn’t have asked for a better car for a solo gal. I feel like it would be tight for two people, or anyone over 5 foot, but for me it’s great. I have plenty of space for my gear, books, clothes, and kitchen things underneath the bed, and to it feeling like home, I’ve added little christmas lights that plug into my solar. The 4WD and high clearance were definitely put to use on those rough, desert roads. It’s also less obvious than a big white van. When it came to finding a place to sleep in a city, I would look for suburban neighborhoods with ample street parking. I felt safe knowing I wouldn’t be bothered, since my car blended in with the rest.
Before you hit the road, why did you say to yourself, “someone like me couldn’t do this”? What was holding you back?
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I don’t know, everyone was super supportive, and I had figured out the logistics (sort of). I think a part of me was worried I would just be alone the whole time, that the friends I had in San Francisco would all forget me, or something silly like that. I was also worried that I was throwing my career out the window… so many of my peers and coworkers were going on to be art directors on fun films or TV shows, and I was going to live out of my car. I was eager to do other things, but I also thought my life was nothing to complain about. Sometimes you’ll hear, why mess up a relationship that works? I think it’s one of those things that will be unanswered until you jump in, and take the chance.
Be brave, humble, and have no regrets.
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If you could talk to the “you” of winter 2015, what would you tell her?
I would tell her to not let her insecurities consume her. Be brave, humble, and have no regrets. Shit happens and things don’t always work out. But, when they do, be open to them and embrace them for what they are.
Photo by Derek Cheng
Photo by Derek Cheng
How has the climbing community shaped your travels?
The first night of my trip, I remembering sitting in my tent thinking “I made a huge mistake”. I was incredibly nervous, I didn’t know anyone, and I felt insecure about myself and my climbing ability. But, the following morning, a few people joined me at the picnic table and asked if I needed a partner. Seven months later, I’m climbing with them in Kentucky and Utah. I’m so thankful for the acceptance, generosity, and kindness of the climbing community. I’ve often felt part of a small family, a good crew. After a long day of climbing, we’d all gather back at camp and cook a big group meal, share dish duties, and drink beer. There were a few places where I’d planned to stay for a week, and ended up there for two months. One thing I’ve realized: it’s truly a blessing to be able to share your passion with like-minded people in some of the most beautiful places in the world.
You work remotely on the road. Do you ever find it challenging to balance work and play? Do you have any advice for other women looking to work remotely?
download-11At times, I do find it challenging. But, it’s usually when my buddies are going out climbing for the day, and I have to spend the day working at a cafe. Working at an animation studio has really taught me to be organized to meet my deadlines on time. Working on the road is no different, except sometimes the wifi is nonexistent, or half the week is spent climbing. I usually don’t accept jobs that will take up too much time. But, if they do, I communicate with my clients so they’re aware of my part-time schedule. I try to be as transparent as possible. I’ll let them know if I’ll be without reception on certain days, or if the job isn’t doable within the time frame they suggest. But, most of the time they’re pretty chill, and are willing to work with my schedule. I’d often wake up early in the morning in order to get a few hours in at the coffee shop before climbing later that day. It’s nice to chip away at the work little by little, rather than cram it in all at once.
Take a photo of your five must have items for life on the road.
Tablet, boots, tea, coconut oil, and hat.
element-1
What has been your biggest surprise thus far?
I think the biggest surprise has been how easy it is to be alone on the road Before I left, family and friends had warned me to be careful, some were appalled that I was going alone. I was even scared! You’ve seen those movies. Girl goes somewhere alone, someone follows her, girl gets kidnapped, never seen again … the end! Well, fortunately it’s not like that. I’ve never felt unsafe on the road. The only time I was a little nervous wasn’t when I was in a remote place, but when I was walking around by myself in Brooklyn. Be smart. Don’t sleep in your car on an empty street (you don’t want to stand out) and keep your possessions hidden. I want to see more single girls out there on the road!
o_potrero_chico
How have you grown (as a climber and a person) in the past 11 months?
download-12I feel like I’ve struggled with my self-esteem most of my life. Unfortunately, those insecurities crept in when I started climbing. I was intimidated by the strong people around me who were climbing hard and pushing themselves to their limit. But, I was lucky to have met some really cool folks early on in my trip who motivated and inspired me to try harder routes. I started believing in myself more, not only as a climber, but as a person. I’ve become so much more open than when I lived in the big city. I jumped in Crater Lake, dumpster dived, climbed 2,000 feet, took a 30 foot fall (on a rope, of course). I’m excited to keep growing and learning more about myself and the world around me.
What’s next?
After Bishop I’ll probably head north, and make my way toward Squamish, B.C. for the summer. Maybe Alaska, maybe Burning Man, maybe Tennessee for the winter? Honestly, I have no idea. I’ll be going wherever the road takes me!
Follow along Stevie’s journey—
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GUTKNECHT, Allison. Don't Wear Polka-Dot Underwear with White Pants (And Other Lessons I've Learned). illus, by Stevie Lewis. 144p. S & S/Aladdin. Nov. 2013. Tr $15.99. ISBN 9781442483934; pap. $5.99. ISBN 978-1442483927. ebook available.
Gr 1-3--Eight-year-old Mandy Ben remembers her five years without siblings as the best time of her life. Now she has an annoying three-year-old brother, and the five-month-old twins take up way too much of her mother's time and are always "damp." Mandy also has to contend with Dennis, who makes fun of her in school for wearing polka dot underwear that shows through her white pants, and her teacher doesn't listen when Mandy asks to be George Washington in the second-grade's Presidential Pageant. During difficult days, she takes solace in her love for her toy cat/IY character Rainbow Sparkle; her stash of gummy bears; and everything periwinkle. She is given the role of narrator in the pageant, learns to compromise and rehearses well, and enjoys the feeling of success and the undivided attention of her parents at the event. A few black-and-white line illustrations appear throughout. Gutknecht portrays Mandy as a typical, egocentric second grader. While this early chapter book is not a necessary purchase, children will relate to the protagonist.--Annette Herbert, F. E. Smith Elementary School, Cortland, IVY
Copyright: COPYRIGHT 2013 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Herbert, Annette. "Gutknecht, Allison. Don't Wear Polka-Dot Underwear with White Pants (And Other Lessons I've Learned)." School Library Journal, vol. 59, no. 11, Nov. 2013, p. 78. Gale General OneFile, link.gale.com/apps/doc/A351434082/ITOF?u=schlager&sid=bookmark-ITOF&xid=5b0856b2. Accessed 23 Apr. 2025.
Gutknecht, Allison A CAST IS THE PERFECT ACCESSORY Aladdin (Children's Fiction) $15.99 3, 4 ISBN: 978-1-4424-8396-5
Eight-year-old Mandy is back, as bossy and insecure as ever (Don't Wear Polka-Dot Underwear with White Pants, 2013). In the second installment in this chapter-book series, Mandy's friendship with Anya is in jeopardy. Goody-goody Natalie steals Mandy's thunder again-this time by breaking her wrist. Their teacher assigns Anya to be Natalie's assistant, which leaves little time for Mandy and Anya to play. Mandy's jealous reaction to seeing Anya with another friend is to retreat, pout and be, as her mother says, a "crankypants." Mandy's behavior threatens to overwhelm the book right from the beginning. In the first chapter alone, she eats a bit out of each piece of pizza in the box, calls her father a "bad babysitter," demands gummy bears and "fancy-dancy periwinkle sunglasses" of her grandmother, and calls her little brother "stupid." It's easy to see why she clings to Anya so fiercely, but this does not make Mandy any more likable. Young readers might learn a little from Mandy, but it's unlikely that they would choose her as a friend. More likely, they will empathize with poor Anya, pulled between a smothering BFF and a new buddy. The all-too-simple resolution is a relief, but it's also completely unbelievable. Even the most wayward child readers would agree that Mandy needs stronger adult direction. (Fiction. 7-10)
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"Gutknecht, Allison: A CAST IS THE PERFECT ACCESSORY." Kirkus Reviews, 15 Feb. 2014. Gale General OneFile, link.gale.com/apps/doc/A358424938/ITOF?u=schlager&sid=bookmark-ITOF&xid=24a57453. Accessed 23 Apr. 2025.
BANKS, Angelica. A Week Without Tuesday. illus. by Stevie Lewis. 384p. Holt. Feb. 2016. Tr $16.99. ISBN 9781627791557.
Gr 4-6--In this fantastical sequel to Finding Serendipity (Holt, 2015), Tuesday and her dog, Baxterr, are beckoned back to the land where all stories are created. Her mother's famous character, Vivienne Small, is in need of immediate help for her troubled world. Things are going horribly wrong: mountains have grown so much that they pierce the sky, and strange, terrorizing birds known as vercaka arrive from another world. Vivienne shares a possible clue to the mystery from a note tucked into the collar of a dying winged dog: "I cannot hold the worlds apart much longer. Have you found our answer?" Tuesday delivers this note to the Librarian in charge of all books and is informed that the fictional worlds are colliding and out of control. Tuesday, with the assistance of Vivienne and Baxterr, is commissioned to find and help the Gardener, the man in charge of keeping the story worlds apart. On the way, they are attacked by the murderous vercaka, witness oceans from another world pouring into theirs, and see the sky cave in like the bottom of a fishbowl. When Tuesday finally discovers the Gardener, she finds he is old and losing his memory. She must step in and take his place, never to return home to her world again. Banks's wondrously whimsical language helps transport readers into this imaginative world. The complex landscape may demand extra concentration, but those who follow closely won't want to come back to our mundane universe. Budding writers might be particularly interested in this tale. The illustrations enliven and clarify this magical story. VERDICT Creative young authors as well as fantasy lovers will enjoy this inventive book.--Diane McCabe, John Muir Elementary, Santa Monica, CA
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McCabe, Diane. "Banks, Angelica. A Week Without Tuesday." School Library Journal, vol. 61, no. 11, Nov. 2015, p. 93. Gale General OneFile, link.gale.com/apps/doc/A433878052/ITOF?u=schlager&sid=bookmark-ITOF&xid=d450d197. Accessed 23 Apr. 2025.
Banks, Angelica BLUEBERRY PANCAKES FOREVER Henry Holt (Children's Fiction) $16.99 2, 7 ISBN: 978-1-62779-156-4
The third book in the Finding Serendipity series finds Tuesday McGillycuddy back in the fictional world of Vivienne Small, but this time Tuesday's adversary is a jealous character of her mother's own imagination.Tuesday and her mother, Sarah (aka Serendipity Smith, the world-famous author of the Vivienne Small series), are struggling with depression, brought on by the death a year earlier of Denis McGillycuddy, husband of Sarah and father of Tuesday. Within the world of Vivienne Small, Serendipity's depression has both caused an earthquake and continual winter and unleashed Loddon--a character imagined by the child Serendipity. Loddon, jealous of Vivienne, captures her and forces her to summon Serendipity, but it is Tuesday who arrives by mistake. What follows is both an adventure story as Tuesday fights for her life (with Baxterr, the winged dog, and Tuesday's godmother, Colette Baden-Baden, searching for her) and a story of healing as Serendipity faces fears begotten in a lonely childhood. Writing duo Banks (adult authors Heather Rose and Danielle Wood) weaves these narratives together with admirable skill and compassion, bringing a sophistication to this story of the writing life, including wonderful writing metaphors, such as "Other [staircases] stopped...short...as if you were simply meant to jump." While the themes of depression and emotional healing may pass over some readers, others will doubtless feel seen and validated. Lewis' spot illustrations show the human characters as white. Richly complex and nourishing. (Fantasy. 10-13)
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"Banks, Angelica: BLUEBERRY PANCAKES FOREVER." Kirkus Reviews, 1 Nov. 2016. Gale General OneFile, link.gale.com/apps/doc/A468389096/ITOF?u=schlager&sid=bookmark-ITOF&xid=49cc74a8. Accessed 23 Apr. 2025.
Haack, Daniel PRINCE & KNIGHT Little Bee (Children's Fiction) $17.99 5, 1 ISBN: 978-1-4998-0552-9
A prince of marriageable age looks far and wide for a partner who sings the same tune.
"Handsome and sincere," the prince accompanies his parents to meet ladies from nearby kingdoms. While the royals are away, a fire-breathing dragon ravages their home kingdom. The prince races home to protect his realm only to find a knight in shining armor battling alongside him. The two work together to defeat the dragon, but in the process, the prince loses his grip and nearly falls to his doom. The visored knight sweeps in to catch the prince, takes off his helmet to reveal his identity, and the two instantly realize their connection. Villagers and royals alike cheer for the two men's relationship and, soon, wedding. Lewis' lush colors and dramatic sequencing clearly show her background in animation and lend a timeless, Disney-like quality to the story. The art notably does not shy away from depicting the intimacy between the men, keeping it on par with images of heterosexual relationships that already dominate children's media. Though the royal family is white, the happy villagers and the prince's new betrothed add some necessary racial diversity to the mix.
Victorious--it may even usurp King & King (2001) as the premier queer-friendly fairy tale for this age set. (Picture book. 4-8)
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"Haack, Daniel: PRINCE & KNIGHT." Kirkus Reviews, 1 Apr. 2018. Gale General OneFile, link.gale.com/apps/doc/A532700407/ITOF?u=schlager&sid=bookmark-ITOF&xid=d449d974. Accessed 23 Apr. 2025.
Funk, Josh LOST IN THE LIBRARY Henry Holt (Children's Fiction) $17.99 8, 28 ISBN: 978-1-250-15501-6
When one of the marble lions guarding the main entrance to the New York Public Library goes AWOL, the other scampers off in pursuit.
Seeing Patience's plinth unoccupied and dawn at hand, worried Fortitude steps off to track his longtime sidekick down in rigidly metric verse: "Patience told stories of ducklings and moons, / Of wardrobes and buttons and fun. / On cold snowy evenings or hot afternoons, / Fortitude cherished each one." The quest takes readers on a quick tour of the iconic building from the Astor Hall entrance to the lofty Rose Reading Room and then back to ground level, where the errant kitty is found at last in the Children's Center surrounded by open books. The lions make it back to their assigned places in time, but Fortitude is hooked: " 'Patience,' he said, 'when there's no one around, / Tonight can we sneak in and read?' " The lions sport jutting jaws, a la Tony the Tiger, and anthropomorphic expressions, but Lewis endows the two with properly leonine manes. Along with depicting the library's decorations and architectural details with reasonable fidelity (though nowhere is there even a glimpse of a computer), she includes recognizable images from several classic picture books. According to an unobtrusive note, the Children's Center is scheduled to move to another building in 2020, so notwithstanding the multiple literary references, this won't have a long shelf life as a guide for young visitors. Still, the iconic lions have greeted all comers since 1911 (though they weren't given their current names until the 1930s) and will continue to do so for many years to come.
An inviting entree, if (not unlike the institution itself) a bit staid. (endnotes) (Picture book. 5-7)
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"Funk, Josh: LOST IN THE LIBRARY." Kirkus Reviews, 1 July 2018. Gale General OneFile, link.gale.com/apps/doc/A544638092/ITOF?u=schlager&sid=bookmark-ITOF&xid=257adbce. Accessed 23 Apr. 2025.
SHEINMEL, Courtney & Bianca Turetsky. Let's Mooove! illus. by Stevie Lewis. 128p. (Magic on the Map: Bk. 1). Random. May 2019. Tr $12.99. ISBN 9781635651676; pap. $5.99. ISBN 9781635651669.
Gr 1-3--At the very start of the summer, second-grade twins Finn and Molly find a camper in front of their home. Their father has swapped their family car for his dream vehicle with plans to take the family on the ultimate vacation. But before he gets the chance, curiosity overcomes Finn and Molly when they decide to check out the camper in the middle of the night. The twins discover that the camper is actually a magic transporter called Planet Earth Transporter (aka PET) that sends them on assignment from their home in Ohio to Colorado where their adventure begins. They end up on a cattle drive where they make new friends, gear up like cowboys, and learn about the state. But when Snowflake, the ranch's prized cow, is stolen, the twins embark on solving the mystery before returning safely home. VERDICT A beginning chapter series that's part geography lesson, part adventure, and part mystery. A solid addition for medium and large collections.--Vivian Ho, Port Washington Public Library, NY
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Ho, Vivian. "SHEINMEL, Courtney & Bianca Turetsky. Let's Mooove!" School Library Journal, vol. 65, no. 3, Apr. 2019, pp. 69+. Gale General OneFile, link.gale.com/apps/doc/A581175253/ITOF?u=schlager&sid=bookmark-ITOF&xid=1d8c8b8a. Accessed 23 Apr. 2025.
Moon! Earth's Best Friend.
By Stacy McAnulty. Illus. by Stevie Lewis.
June 2019.40p. Holt, $17.99 (9781250199348). K-Gr. 3. 523.3.
If the Earth had a best friend, who would it be? Why, the Moon, of course! As in Earth! My First 4.54 Billion Years (2017), McAnulty gently introduces a celestial body by letting it tell its own story. The Moon excitedly explains how she came to be and her close relationship with the Earth. She also dispels some myths about herself: a cow has yet to jump over her, despite what nursery rhymes may say. Unafraid to insert specific numerics into the conversational text, this book imparts loads of scientific facts under the guise of a lighthearted autobiography, and the reader can't help absorbing much along the way. The humorous voice, accompanied by Lewis' adorable and entertaining digital illustrations, makes learning a breeze. Back matter includes a short author's note, a game of "Two Truths and a Myth with Moon," as well as more data, nomenclature, and a list of sources. Perfect for children--and grown-ups--who have questions about the greater universe. --Emily Graham
Copyright: COPYRIGHT 2019 American Library Association
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Graham, Emily. "Moon! Earth's Best Friend." Booklist, vol. 115, no. 19-20, 1 June 2019, p. 68. Gale General OneFile, link.gale.com/apps/doc/A593431584/ITOF?u=schlager&sid=bookmark-ITOF&xid=81969699. Accessed 23 Apr. 2025.
Lewis, Stevie BABY SHARK! Henry Holt (Children's Fiction) $8.99 1, 7 ISBN: 978-1-250-26318-6
A trip to the aquarium triggers a "Baby Shark" flash mob.
A parent and child enter the aquarium hand in hand. "Will we see a shark?" the child asks. "Will we see a baby shark?" Of course they do: A cutely snub-nosed (and biologically impossible) shark pup smiles from the tank…and the earworm takes over. "Baby shark! Doo doo doo doo doo doo!" The verse repeats twice more, the "doo doo doo" printed in wavy lines, before it is punctuated by a concluding "Baby shark!" With the turn of the page, it is joined by "Mama shark!" and another child walks up. Cue "doo doo doo." Then Daddy shark appears, and a third child joins the group, pointing as the earlier two make the "Baby Shark" hand motions. Grandma shark (distinguished by faint wrinkles around the lips, as is Grandpa on the next page--perhaps they forgot their dentures?) swims up next, and then all are seen grinning like the "hungry sharks" they are before the children, now numbering five, "run away!" to join their caregivers, "safe at last!" Kudos to Lewis for creating a plausible visual narrative and peopling it with diverse children. Like all the other "Baby Shark"-themed books in the current tsunami, however, it relies heavily on its readers' preexisting familiarity with the song for its success.
An ephemeral but pleasantly coherent take on the viral hit. (Board book. 2-4)
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"Lewis, Stevie: BABY SHARK!" Kirkus Reviews, 15 Dec. 2019. Gale General OneFile, link.gale.com/apps/doc/A608364649/ITOF?u=schlager&sid=bookmark-ITOF&xid=70614752. Accessed 23 Apr. 2025.
FUNK, Josh. Where Is Our Library?: A Story of Patience and Fortitude. illus. by Stevie Lewis. 40p. Holt. Oct. 2020. Tr $18.99. ISBN 9781250241405.
PreS-Gr 2--The famed stone lions of New York Public Library (Lost in the Library) are back for a new romp. This time they are searching for the entire Children's Center,; it has up and disappeared while they were outside guarding the library, as they do every day. A search through New York City and several of the branches of the New York Public Library system eventually leads them across the street to the new Stavros Niarchos Foundation Library. Of special delight are the covers of children's literature classics that are seen throughout the pages which will have readers exclaiming in recognition. These also work to further the connection between this new title and cherished books of the past. The illustrations are animated, capturing the streets at night featuring the dark shadows and bright lights of the big city. There is one section where the lions are outdoors in lower Manhattan and the background is very bright, which is inconsistent with the pairs' need to find the library before the sun comes up and they must resume their positions. Regardless, children will enjoy the engagingly illustrated lions with their anthropomorphic expressions and will be glad that all works out in the end with a new home for the Children's Center. VERDICT For children who live in or have visited New York City, this is especially appealing. For larger collections and those in the NYC area.--John Scott, Friends School of Baltimore
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Scott, John. "FUNK, Josh. Where Is Our Library?: A Story of Patience and Fortitude." School Library Journal, vol. 66, no. 10, Oct. 2020, p. 65. Gale General OneFile, link.gale.com/apps/doc/A638792739/ITOF?u=schlager&sid=bookmark-ITOF&xid=6ffb676c. Accessed 24 Apr. 2025.
McAnulty, Stacy MARS! EARTHLINGS WELCOME Henry Holt (Children's None) $18.99 2, 9 ISBN: 978-1-250-25688-1
Good news! Planet Marvelous is looking forward to visitors from Planet Awesome.
With the same exuberance that propelled readers deep into her Ocean! Waves for All (2020), illustrated by David Litchfield, and its three predecessors in the Our Universe series, McAnulty looks to the next planet out for a fresh set of enticing natural wonders. Billing itself a “party planet” (“I want to be the FIRST planet with human guests”), the russet raconteur trumpets its unique attractions. These range from moons Deimos and Phobos (“I know Earth is totally jealous”) to Olympus Mons and Valles Marineris, which is “four times as deep as the Grand Canyon! And not nearly as crowded.” Sure, unlike Spirit, Opportunity, and other rovers, human visitors will have to pack their own water and oxygen in addition to traveling millions of miles…but given a few technological advances, soon enough it’ll be time to “get this party started!” Prospective tourists diverse of age and race are dancing already on Earth in a final scene in anticipation of a trip to our “reMARkable” neighbor. Quiz questions and a timeline cap an enticement that echoes Susanna Leonard Hill’s Mars’ First Friends: Come on Over, Rovers! (2020), illustrated by Elisa Paganelli, in its fizzy mix of fact and fancy. (This book was reviewed digitally with 10-by-20-inch double-page spreads viewed at 75% of actual size.)
Just the ticket for an armchair outing to the red planet. (sources) (Informational picture book. 6-8)
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"McAnulty, Stacy: MARS! EARTHLINGS WELCOME." Kirkus Reviews, 15 Nov. 2020. Gale General OneFile, link.gale.com/apps/doc/A641314309/ITOF?u=schlager&sid=bookmark-ITOF&xid=edbf3679. Accessed 23 Apr. 2025.
Tariq, Ambreen FATIMA'S GREAT OUTDOORS Kokila (Children's None) $17.99 3, 30 ISBN: 978-1-984816-95-5
Fatima’s first camping trip in America reminds her of life in India.
After a rough week at school, feeling different from all the White American children (she and her older sister appear to be the only students of color at their school) and doing poorly on a quiz, Fatima is eager to head off to the woods with her family. Her father says camping is “a great American pastime.” A spider outside their tent at night terrifies both her and her aapa, but it also reminds them of their mother’s bravery, catching lizards in India and throwing them out the window. In the morning, they are eager to cook their bacon (it’s beef and therefore halal), but Fatima and Papa can’t get a fire going. It’s Mama to the rescue again: In her small town, she had to build fires in a wood-burning stove. Fatima remembers visiting her nani’s house as she watches and learns. As the Khazi family packs up for home, Fatima is sad to leave the forest behind and go back to a life filled with busy parents and an unwelcoming school. But she returns with stories to share and more adventures to look forward to. All secondary characters at school and the campground are White until a final spread shows a multiracial group holding a “Brown People Camping” banner (the author founded the movement), Fatima and her family smiling next to it. This unique take on the family camping story feels refreshing and new, with its layered inclusion of big feelings that children grapple with, from immigration and fitting in to mixed emotions about siblings. Lewis’ bright illustrations are heavily influenced by her animation background. (This book was reviewed digitally with 11-by-18-inch double-page spreads viewed at 67.5% of actual size.)
Special. (Picture book. 4-8)
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"Tariq, Ambreen: FATIMA'S GREAT OUTDOORS." Kirkus Reviews, 15 Jan. 2021. Gale General OneFile, link.gale.com/apps/doc/A648127071/ITOF?u=schlager&sid=bookmark-ITOF&xid=c1050b19. Accessed 23 Apr. 2025.
Haack, Daniel TALE OF THE SHADOW KING Little Bee (Children's None) $17.99 4, 27 ISBN: 978-1-4998-1121-6
Prince and knight return to take on an evil adversary.
This sequel to Prince & Knight (2018) picks up after the prince and knight’s wedding day and begins with a coronation (but, a little puzzlingly, the prince is never referred to as a king). The two men’s love “inspired everyone in sight,” but soon a “fog of darkness” descends upon the realm. Daylight disappears. The crops suffer blight. The prince gravely tells his husband, “We must face this threat tonight!” The pair consults with the kingdom’s “wise old sage,” who sends them to find the Shadow King, whose “soul is filled with rage.” After “trudging through the wilderness,” the prince and knight make it to the Shadow King’s fortress and best his army of monsters. Eventually, they reach the Shadow King and help repair the harm that resulted from his evil ways. With rich colors and cinematic sequences, Lewis’ animation-inflected art shines in this fantastical tale. Whereas in the first book knight rescued prince, the reverse happens here—a delightful counterpoint to heteronormative gender roles. Though excellent in its positive depiction of queer heroes, the book’s heavy-handed message is made worse by Haack’s awkward, rhyming text. Aside from the brown-skinned knight, the royal family presents White. Supporting characters add additional racial diversity. With the addition of the Shadow King and his squire, the story moves from tokenization toward a sense of queer community. (This book was reviewed digitally with 8.3-by-19.6-inch double-page spreads viewed at 56% of actual size.)
Pretty but preachy. (Picture book. 4-8)
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"Haack, Daniel: TALE OF THE SHADOW KING." Kirkus Reviews, 1 Mar. 2021. Gale General OneFile, link.gale.com/apps/doc/A653125513/ITOF?u=schlager&sid=bookmark-ITOF&xid=86ce2293. Accessed 23 Apr. 2025.
ATWATER, Allysun. I Am Thinking My Life. illus. by Stevie Lewis. 32p. Bala Kids. Feb. 2022. Tr $16.95. ISBN 9781611808971.
PreS-Gr 1--In her debut picture book, Atwater creates an empowering look at imagining the life you want to live. Through the pages, readers see a beautiful Black girl with large eyes and beads adorning her locs. The story follows her through her daily life of playing outside with blocks and other toys, eating dinner with her family, and getting ready for bed. She constantly creates and imagines her make-believe world and her place in it. Though the text is very sparse, with one to two sentences per page, Atwater and Lewis build emotion over the course of the story that will have readers cheering for the heroine. Lewis's contemporary cartoonstyle illustrations are full of joy in vivid colors. Challenges in the book are framed as storms, which are visually appealing. The story is well-suited for read-alouds where connections can be drawn and independent context provided. An author's note concludes the book and shares Atwater's own struggles in envisioning and building her life. VERDICT A welcome addition to early elementary and public libraries where Kobi Yamada and Peter H. Reynolds's work circulates well.--Monisha Blair
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Blar, Monisha. "ATWATER, Allysun. I Am Thinking My Life." School Library Journal, vol. 68, no. 1, Jan. 2022, p. 60. Gale General OneFile, link.gale.com/apps/doc/A688744171/ITOF?u=schlager&sid=bookmark-ITOF&xid=fb2ea9e4. Accessed 24 Apr. 2025.
McKibben, Bill WE ARE BETTER TOGETHER Henry Holt (Children's None) $18.99 4, 19 ISBN: 978-1-250-75515-5
Renowned environmentalist McKibben reminds youth of the importance of unity.
In a world divided by borders, ideals, and so much more, we all live on the same planet. If there is any hope to save it from destruction, we need to work together: "The human game is a team sport." McKibben extols the power of cooperation: "When we work together, we can do incredible things." Each page shows an example of the possibilities. Lights blink on at night after a day of installing solar panels (with wind turbines in the background), trees are replanted after a forest fire, and two people help tiny sea turtles along their journey by carrying them to the water. McKibben then shifts perspectives, focusing on the motivation for these actions. An undercurrent of love runs through all: "It's love that lets each of us see we're not the most important thing on Earth, and makes us okay with that." All scenarios are enacted by a racially diverse group, with Lewis' illustrations radiating a warm glow that highlights the hopeful message. While the text, adapted from McKibben's adult title Falter (2019), is sincere, it does read a bit disjointedly, and though it's straightforward, some of the ideas are a bit complex for younger readers. Full-page author and illustrator notes add personal reflections. (This book was reviewed digitally.)
A message told simply enough for young ones but best internalized by an older crowd. (Picture book. 4-8)
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"McKibben, Bill: WE ARE BETTER TOGETHER." Kirkus Reviews, 15 Apr. 2022. Gale General OneFile, link.gale.com/apps/doc/A700219946/ITOF?u=schlager&sid=bookmark-ITOF&xid=e6d29fe3. Accessed 23 Apr. 2025.
McAnulty, Stacy PLUTO! Henry Holt (Children's None) $18.99 5, 2 ISBN: 9781250813466
Meet Pluto, a "proud, playful, and popular non-planet."
Today's young readers likely grew up learning that there are only eight planets in our solar system, a fact that sets them apart from generations past. Pluto may well have been stricken from the planetary record, but in "his" own words, "Not a planet? Not a problem!" McAnulty's chipper text seems torn between a multitude of directions. It could have been a story about identity and how it's OK not to fit in. It could have been an exploration of the solar system, what's in it, and how humans have studied it. It could have offered knowledge about dwarf planets and what makes them special. It somehow manages to do all and none of these things, likely limited by the young age of its intended audience. What stands out most are the facts, interspersed throughout the text and also found in the backmatter; the story itself, conversational, bubbly, and littered with misplaced dog metaphors (Pluto dubs himself both a "runt" and a "stray"), isn't quite as engaging as it attempts to be. The highly anthropomorphized art is bright and cute, although the occasional floppy ears are somewhat disconcerting. Backmatter is highly informative, containing those juicy specialized details sure to please space-loving readers. (This book was reviewed digitally.)
An endearing but unfocused look at everyone's favorite dwarf planet. (author's note, statistics on Pluto, information on what makes something a planet, sources, "Pluto or Earth or Both?") (Informational picture book. 4-8)
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"McAnulty, Stacy: PLUTO!" Kirkus Reviews, 1 Apr. 2023. Gale General OneFile, link.gale.com/apps/doc/A743460636/ITOF?u=schlager&sid=bookmark-ITOF&xid=582e9513. Accessed 23 Apr. 2025.
The Queen of Chess: How Judit Polgar Changed the Game. By Laurie Wallmark. Illus. by Stevie Lewis. July 2023.32p. little bee, $18.99 (9781499813067). K-Gr. 3.794.1.
Judit Polgar, a young Hungarian girl, watched her two older sisters compete at chess and wanted to join them. After she turned five, her mother began teaching her the game. All three sisters played for five or six hours daily, and their parents aimed to see them playing at the highest level. Wallmark records some of Judit's childhood experiences playing competitively against men and women in international tournaments. In 1991, three years after earning the title International Master, 15-year-old Judit became the youngest person accorded the chess rank of Grandmaster. Hardworking, brilliant, and fiercely competitive, she was inducted into the World Chess Hall of Fame in 2021. From the intriguing jacket art onward, viewers will be drawn to the many moods expressed in Lewis' handsome, occasionally amusing illustrations. Wallmark, whose previous picture-book biographies include Ada Byron Lovelace and the Thinking Machine (2015) and Grace Hopper: Queen of Computer Code (2017), has a knack for making her subjects accessible to kids. Dispelling the notion that women are inferior chess players, this biographical picture book spotlights a triumphant child/heroine. --Carolyn Phelan
Copyright: COPYRIGHT 2023 American Library Association
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Phelan, Carolyn. "The Queen of Chess: How Judit Polgar Changed the Game." Booklist, vol. 119, no. 19-20, 1 June 2023, p. 72. Gale General OneFile, link.gale.com/apps/doc/A754223167/ITOF?u=schlager&sid=bookmark-ITOF&xid=f04f20da. Accessed 23 Apr. 2025.
Lewis, Stevie MAMA HUG Rocky Pond Books/Penguin (Children's None) $18.99 1, 7 ISBN: 9780593618592
Mama and baby--best friends.
A brown-skinned mother with green-rimmed glasses gazes lovingly at a tan-skinned little one lying in a crib and reaching up to her. So begins a quietly joyful celebration of a day in the life of this pair, narrated in rhyming couplets: "Mama cuddle / Mama swing // Mama dance / Mama sing." From bedroom to living room and out to a grassy yard, their day involves gentle play, Mama's comforting of her child after a fall, plenty of tickles, routines such as mealtime and bathtime, and so much more. These two are never far apart, and their rounded figures bend tenderly toward one another; a particularly sweet spread depicts the baby lying on Mama's chest ("Mama pillow on a Mama bed"). Lewis' cheery, earth-toned palette of pinks, oranges, browns, and greens radiates the warmth exuded by the contented pair, subtly transitioning to the deep blues and purples of sunset when it's time for bed. Straub's spare yet meticulously written text effectively captures each loving moment and leaves room for the illustrations to tell their own, complementary story through details such as a patch of bright sunflowers and a special constellation on the last page. Readers will savor smaller background details as well: a picture of a banana hanging on the wall, stacks of alphabet blocks, and a green toy dinosaur.
Simply, gracefully perfect.(Picture book. 1-4)
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"Lewis, Stevie: MAMA HUG." Kirkus Reviews, 15 Nov. 2024. Gale General OneFile, link.gale.com/apps/doc/A815560460/ITOF?u=schlager&sid=bookmark-ITOF&xid=9d4d5833. Accessed 23 Apr. 2025.