ONCE UPON A TIME: Colorado Children’s Book Writers & Illustrators Exhibit

November 3 – December 3, 2017

Boulder Public Library
Canyon Gallery
1001 Arapahoe Ave, Boulder, Co. 80301

Call for Illustrators and Writers of Children’s books that live in Colorado!


A fantastic opportunity to participate in a showcase of children’s book illustrations during the month of November.

Each illustrator accepted into the show will have one finished, framed illustration (ready to hang with wire on the back) from their book or book dummy accompanied with a 32” x 40” foam core Educational Board featuring some aspect of your process to show the public how you created your piece. (If you need examples, look at some of my previous blog entries.) For example, you may want to show a series of your sketches featuring how you created one of your characters, or show your storyboard. This isn’t a usual gallery show, but it is a show with an educational element to inform the public about how we work.

Participants must deliver and pick up their pieces at the library gallery in Boulder and either bring goodies for the opening (on opening night) or donate $10.00 upon delivery of your work to purchase refreshments on your behalf. More details about delivery and pick up time and other details will be available upon acceptance into the show. To enter, fill out this form: https://airtable.com/shrXMw13FfJtNYMgs

For Both Writers & Illustrators:

Color Copies of Published Books: Please mail a printed color copy of each of your book covers. These will be featured in a large display within the exhibit.

Press Notebook: Print two pages for the Notebook that will be on public display throughout the show. The pages will be shown as a spread. Mail these pages along with the Color Copies (above).

  • Page 1 shows your book/s (8.5″ x 11″)  Show images of your book covers in any creative format you like.
  • Page 2 is a Press Sheet (8.5″ x 11″) This page is written content about you and your book/s. Include on this sheet with names of author/illustrator, a short bio forauthor/illustrator, and contact/book ordering information.

Speaking and demonstration slots are available on the weekends for writers and illustrators to speak in the exhibit gallery. If you’re interested in participating, we need creatives to talk about the children’s publishing field, talk about their process in writing or illustrating or talk about the many kinds of children’s books that are published. A 20 min talk with 10 minutes at the end for QnA is a wonderful format, but talks up to 1 hour will be considered. We’re open to varying ideas but we must have your speaking idea submission sent via email by the 28th of August (for the fall newsletter sent out by the library). There may be a small stipend for speakers.

To Apply/Due Dates:


More information will be emailed out upon acceptance into the show.

We (Roberta Collier-Morales, Cherish Flieder, and I, Benjamin Hummel) thank you for your participation!



Here is a graphic (below) and a short link to make sharing EASY: http://bit.ly/CO-Kid-Lit-Exhibit



The New Hummel Illustration Shop

If you haven’t noticed, there’s a new menu button on this Hummel Illustration website called “Shop”. The shop page is designed to showcase three types of items: recently finished originals, commercial products that include my art, and independently published works.

Any time I finish a piece of original art, I will temporarily put it in the shop to be available for sale. Currently, the item on the page now is a horse drawing I did a few weeks ago. I was able to get it matted and framed, and I think it looks pretty slick. It will remain here for a while, either until it sells, or until a new piece of art takes its place.

It’s also here where I hope to sell any commercial product that happens to include my art (so when “Lights On!” is released in October, I will feature it here).

It’s also here where our independently published works will be available for sale. Published under Cherished Solutions, most of these books and pamphlets are actually instructional books that I have been writing over the course of several years of teaching. As they get completed, they will be valuable resources for any learning art student, and will be available as either an instant download or as printed book mailed upon purchase. Expect to see my workbook on drawing folds to be released around the end of August. (More on that in an upcoming blog post.)

For those of you who remember Painting for Life, this page will be a carryover from the old Painting for Life website. Currently, the PFL website is down, but I hope to resurrect it one day, and make it a more permanent place to showcase my fine art, which will be accessible via a link from this Shop page.

For now, the intent of the Shop page is a temporary display of those items I wish to feature, with the full archive available soon from Painting for Life. And, if you simply cannot live without the framed horse drawing, I suggest you jump on it soon, as these items move quickly!

How to Make an Art

Sometimes the process of going from a rough idea to a final finished drawing, reading for illustrating, can be daunting. How do we go from the vague to the specific, and what is the process in doing so? The key word here is process. When we break it down to a step-by-step process, we can focus on each step, one at a time, building upon previous work, until we arrive at a finished piece. Here is how it works in practice:

Above is a finished drawing I created for a project I’m working on.

Step One: Concept

The rough thumbnail I selected was one where we see a child’s desk and an assortment of articles abandoned, with the child seen running off in the window behind the desk. Once I established this as the general idea for the drawing, I redid the sketch as a semi-rough sketch.

Step Two: Semi-Rough Sketch

Perspective is important, but I haven’t started putting in any grids in yet. However, I know generally where the vanishing point should be and I point the receding lines that direction. But I’m not going to take the time for accuracy. That comes later. I’m just concerned about getting all the parts and pieces down.

Step Three: Preparation

When I’ve finished with the semi-rough, I’ll scan it in, scale it up anywhere between 200-400%, and reprint it. Then I’ll layer a sheet of tracing paper or marker bond on top and tape it in place.

Step Four: The Perspective

Tracing a few of my rough lines, I can determine exactly where my vanishing point and horizon line should be. I’ll use my T-square to draw in the horizon line. In this particular case, I actually have two vanishing points. I made the assumption that this child’s desk’s surface is at a slight incline. This means I need a slope vanishing point, somewhere above my original vanishing point. Everything that’s on the surface of the desk will be aligned with this new vanishing point and the subsequent new “horizon line” that is associated with it.

The box of crayons is not parallel with the rest of the desk, thus, it cannot be drawn in one point like everything else. So I found it’s two vanishing points, aligned, once again, on the slope horizon line, and not on the original horizon line.

Step Five: Foreground Items


I still needed to add the chair and the stuffed pig. Since I wished to keep my perspective drawing clean, and knowing I would probably be doing additional erasing to get the chair right, it was important to grab another sheet of tracing paper, thereby not disturbing the finished perspective work underneath.

Step Six: Background Items

For exactly the same reason as the foreground items, I layered one more sheet for all of the elements inside of the window. Also, keep in mind, that every time you layer another sheet of tracing paper, remember to add and create registration marks all the way through your layers.

Step Seven: Compilation

Scan everything in as separate layers and use your registration marks to align them back up in your digital program (I use Photoshop). I’ll then use my Cintiq to clean up the scans and seam them together nicely.

Now the drawing is ready for painting. At this point, I’ll probably print it back out, to size of my finished art, and transfer to my illustration board or canvas.

That’s how it’s done!

I have many more tips available. Stay tuned as we release them here, on Youtube eventually, and through upcoming online courses, workbooks, and tutorials.

New Website Makeover!

Thanks to my lovely wife, Cherish, I recently updated my website. My yellow from yesteryear had to go, but I was still able to homage the honeycomb pattern subtly in the background.

But better than that was an updated gallery function that I could add in WordPress. Now when you go to one of my illustration pages, either Color, Black and White, or Caricatures, you can actually sort by categories. Over the course of 30 years, I have created tens of thousands of illustrations, so choosing which images to go with and how to organize them has always been a challenge. This new gallery function helps with that.

Go ahead and check out the new design! I’m sure you will be pleased. I certainly am!

The Final Illustration!

As the final blots of color scumbled across the surface of the prepared board, I drew in a deep breath and closed my eyes. It is finally finished! The last illustration, DONE! Six months and twenty paintings later, and this project has finally come to a close. After the momentary time of reflection, I pumped my fist in the air and shouted a big “HOOLAH!” My cat, dozing nearby, looked up at me with strange curiosity, but then again, that’s not too unusual for her. What an amazing sense of accomplishment and achievement!

The design decision for the book was to paint all images in a sepia tone except the last spread. The analogy is, as the White House moves into the twentieth century, it suddenly becomes filled with color. For this last painting, I went with a primary color palette, filling the composition with a selection of yellows, reds, and blues. Below is the final result.

Oh, wait, you need me to move my art supplies? Oh, that’s right, this one is a surprise. If you want to see this final illustration, you’ll have to pick up a copy of the book. You can pre-order by following this link here.

A Dynamo Generator

For those of you following my updates on Facebook, this blog, or Instagram, you’ll know that I’ve been working feverishly on the young readers picture book titled “Lights On!”

Below is an illustration featuring Ike, Samuel, and the Navy Admiral examining an Edison Dynamo generator that was going to be utilized as the power source for the White House.

The challenging thing about this project was finding the right image to base this illustration off of. I’m not an electrical expert, especially of antique electrical systems. I had no idea what in the world this thing should look like. After googling “antique generator” I came across several images of generators. Not knowing exactly which ones were historically accurate, I came up with this design.

However, we later discovered an obscure product sales sheet of an Edison Dynamo from around 1890, and realized that this drawing, though I spent a fair amount of time perfecting the perspective, was wrong. It would have to be redone, with the correct Dynamo image.

Sometimes that’s just the way it goes in this industry. It has to be right, so that’s what I did.

By the way, pre-orders are still being taken! Order now, get free shipping and get the book personally signed by yours truly.

A Liver Transplant Journey

On March, 30 2017, Benjamin Hummel gave a candid talk about dealing with life long chronic illness, which includes ulcerated colitis and primary sclerosing cholangitis, the two transplants that it resulted and his art journey during that process. This inspirational, and sometimes humorous, talk was presented to the students and faculty of the illustration department at Rocky Mountain College of Art and Design. Below is a video of that talk.

Depth and Space

Depth and space are part of the focus of this next illustration for the Light’s On! book on which I’m currently working. In this particular case, the illustration sits opposite of a beach scene and the contrast in the story is that while the President and his family are all relaxing at a beach vacation location to avoid the sweltering Washington DC summer heat, Ike is stuck in the hot crawl spaces of the White House. This is the only illustration in which I wanted to explore an extreme top down view. I decided to add a number of vertical perspective lines receding in order to emphasize the point of view. I wanted the image to convey a sense of uncomfortable vertigo and slight claustrophobia. Since I can’t turn up the thermostat in your living room as come across this illustration, I had to try and find other ways to visually give that sense of overwhelming heat.

To the right, you can see my process. I drew Ike and the perspective on two separate layers, combined them digitally, and then retraced the completed image on board.

By the way, pre-orders are being taken! Order now, get free shipping and get the book personally signed by yours truly.


The One Hour Caricature

When one has but one hour to pull off a caricature, what does one do? That was the issue I faced with this piece I did, minutes after the conclusion of one of the most surreal Super Bowls I have ever witnessed. My brother came up with the idea, and I immediately went to work on the pencil sketch. When I couldn’t get my scanner to work, I had to photograph it from my phone, at night. I cleaned it up as best as possible in Photoshop before applying some color overlays.

Overall, I’m happy with the likeness. Wish my scanner was working. Wish I had more time for rendering, but I wanted to get this out into the digital universe as timely as possible. I received great response from it, including a ton of “hearts” on Instagram. If you aren’t already following me on Instagram (really? why not?) I encourage you to do so @hummelillustration.

Replicating Louis Tiffany’s Masterpiece

Replicating Louis Tiffany’s masterpiece can be a challenging thing. This next illustration for the children’s book “Lights On!” illustrates Ike and Samuel walking down the Cross Hall as it might have looked in 1890. The problem is, there’s only 3 grainy photos I was able to find of the Cross Hall and the famed Tiffany glass partition that separated the Cross Hall from the entry way. In 1904, Theodore Roosevelt remodeled the White House and one of the things he did was have the stained glass wall removed in order to open up the space.


In order to make this illustration, I employed several tricks. First, I roughed up a generic point of view in my thumbnail sketches. Even though in this piece the vanishing points are really close together (much closer than would be in reality) I loved the gaping, cavernous feel it gave, so I kept the original perspective from my thumbnail sketches. (I tried a version where I “corrected” the placement of the vanishing points, and found the image to be too boring). I then gridded everything out and I aligned the columns, windows, and ceiling tiling in the grid.

Then, on a separate sheet of graph paper, I drew out the stained glass design as best as I could approximate. In Adobe Illustrator, I created a ceiling design based upon one of the photos I had. I took the flat stained glass design and ceiling design and digitally warped and fit them into my gridded perspective drawing. This was then all traced on board. For my underpainting, I separated the light areas and the shadow areas first, and then I proceeded to paint the detail inside of both. Believe me, the detail was as arduous as it looks. I labored over it, because I wanted it to have a wow factor at the end.

By the time I finished, seven days later, the paint on my palette had pretty much all dried up and my detail brushes were all shot. But, in the end, I think it’s worth it.

PS. I did not do enough research to know where the stained glass ended up, I’m guessing it’s in a museum somewhere. If you know, feel free to send me an email.