MY BED is officially launched!

I’m happy to finally report that MY BED is officially released today, Sept. 8th! Thank you to all of you who pre-ordered signed copies of the book. Please be patient while I process 500+ orders and make a gazillion trips to the post office. I hope to get most of them out this week. Some of you may have received yours already, as I jumped the gun a bit and sent out some ahead of schedule. (Don’t tell my publisher!)
You can order signed copies in my shop here.

The book, MY BED: Enchanting Ways to Fall Asleep around the World takes the viewer on an international journey, showing where children sleep in varying cultures and living environments around the world. I like to think that it will help both children and adults view the world as a good place.

In creating the illustrations for My Bed, I feel as if I’ve gotten to visit all the children in the places they live around the globe, even though I stayed home. Author Rebecca Bond wrote a poem that celebrates our differences, while also bringing us together through the universal theme of children sleeping in their safe little beds. When making the artwork for each of the featured locations, I thought about what makes each child’s bed and home unique, as well as warm and welcoming. My aim was to portray a distinct sense of place for each culture, using architecture, furnishings, and landscapes as guides. I researched the different regions, looking at photos of children and their living situations, both inside and out, now and in the past.

I started working on the illustrations over 4 years ago, but after the 2016 election I put it aside for a year and a half and delved into political satire with the Wee Folk Players and the stop-motion animated film, Liberty and Justice. Looking back, this period has been the most trans-formative, both personally and professionally. Through the twists and turns of the past few years, I’ve learned that sharing my vision, whether it be in a precious, poignant or provocative way, is important.

Liberty and Justice – stop-motion animated film

Many of you have followed along through the process of making the scenes for the book. And there’s more to come! Throughout the fall, I will be posting stories and pictures about different aspects of the illustrations. Up until now, I haven’t posted images of the whole scenes, just details and process photos. But now that the book is out, I’ll show a few. For a full list of posts about making each scene, click here.

Click here to find out how I made the scene from Afghanistan.

Click here to see posts about how I made the Dutch scene.

Click here for a peek at making the South American scene.

Click here to see how I made the Indian scene.

BEDTIME STITCHES Exhibition
And there’s more exciting news! Salley Mavor: Bedtime Stitches, the touring exhibition of original embroidered artwork for the book debuts at the Cahoon Museum of American Art in Cotuit, MA. The exhibition will be there from Sept. 11 – Dec. 22, 2020. To ensure a safe and welcoming experience when you visit, please pre-register for timed entry. Masks will also be required. For those of you who live too far away to come see the show in person, the museum will be sharing the exhibition on their website as much as possible. To see other locations for Bedtime Stitches, go here.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram

bed book peek – Mongolia (part 3)

This is Part 3 in a series about how I made the Mongolian scene for my new picture book MY BED: Enchanting Ways to Fall Asleep around the World. I’m thrilled to say that the book will be published very soon – in 10 days! Thank you for following along during the past few years, while I shared bits and pieces of the process. For a full list of posts, go to this page.

Update: Signed copies of My Bed can ordered in my shop here. 40 pages, 9″ x 9″, words by Rebecca Bond, pictures by Salley Mavor, published by Houghton Mifflin Harcourt. ISBN 978-0-544-94906-5

BEDTIME STITCHES Exhibition
And there’s more exciting news! Salley Mavor: Bedtime Stitches, the touring exhibition of original embroidered artwork for the book debuts at the Cahoon Museum of American Art in Cotuit, MA. The exhibition will be there from Sept. 11 – Dec. 22, 2020. To ensure a safe and welcoming experience when you visit, please pre-register for timed entry. Masks will also be required. For those of you who live too far away to come see the show in person, the museum will be sharing the exhibition on their website as much as possible. To see other locations for Bedtime Stitches, go here.

Along with the illustrations, additional artworks will be on view, including two fairy houses, many of my wee folk dolls, Polly Doll, as well as composition books and objects from my home studio. Also included is a doll house I built in 1975 while in college and which I’ve spent the past few months renovating and redecorating (photo below). These additional artworks will only be on view at the Cahoon Museum show.

Doll house built in 1975, renovated in 2020

Now, back to the Mongolian scene. Part 1 and part 2 are about making the little yurt, sheep, plants, door and flag. This 3rd and last part is about the yurt’s cozy interior that appears in the cutaway.

In my research, I found photographs of families inside their yurts, sitting on beautiful carpets, always with a stove in the center. I noticed painted red furniture, so I made a little chest decorated with a chain-stitched locking key pattern.

To keep the felt straight and firm, I edged the pieces with wire, which is stitched over so you don’t see the shiny metal.

For the stove, I used black felt and various hooks and eyes that look like mini hardware.

As with the red chest, the different pieces are edged with wire to keep them firm. For the feet, I sewed on square clay beads. The stove pipe is made with acid free card board covered with felt.

I made a little tea kettle of wood and wire. The lid is a button with a seed bead knob sewn on top.

A little metallic acrylic paint makes it look authentic.

I made a little rug using brocade upholstery fabric as a base and chain stitched a bold pattern around the border.

The child has a painted wooden bead head and wire hands.

He only need one arm because most of his body will be hidden under the covers.

For the bed covering, I embellished a piece of printed cotton that must be at least 50 years old. In fact, every piece of fabric and felt used in all of the illustrations for this book came from my collection. That goes for all of the found objects as well.

I used red leather strapping to represent the painted red slats that hold up the walls. Lengths of leather are folded over and sewn together and then sewn in rows.

And lastly, I sewed glass and metal beads on top of the chest, just to make it look homey. I hope you enjoyed this behind the scenes peek at making the Mongolian scene. For a full list of posts about My Bed, please refer to this page.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

Bed book peek – Mongolia (part 2)

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This is Part 2 in a series about how I made the Mongolian spread for my new picture book. Photographs of my stitched bas-relief scenes will be printed in MY BED: Enchanting Ways to Fall Asleep around the World. Here are links to posts about making other illustrations for the book: South America, JapanNorth AfricaGhana, Russia, Scandinavia, North AmericaHollandIran, and Afghanistan. To see a list of all my books, click here.

Update: Signed copies of My Bed can ordered in my shop here. 40 pages, 9″ x 9″, words by Rebecca Bond, pictures by Salley Mavor, published by Houghton Mifflin Harcourt. ISBN 978-0-544-94906-5

Art Exhibition: An accompanying national tour of the original artwork reproduced in the book will debut at the Cahoon Museum of American Art in Cotuit, Massachusetts from Sept. 11 – Dec. 19, 2020. Information about the exhibition is on this page.

Part 1 looks at the process of making the yurt or ger, sheep, and plants in the Mongolian scene. This Part 2 will focus on the creating the door.

My_Bed_Mongolia (1 of 1)-39When researching the yurts or gers in Mongolia, I was impressed with the bold and beautiful doors. They are made of wood panels painted with traditional geometric motifs in predominately primary colors. For my design, I referenced several doors I saw in photos, combining the squares and triangles to make a pattern I liked.
I don’t remember exactly how I transferred the design from paper to the felt, but it probably involved a ruler and eyeballing it with a chalk fabric pencil. The red basting stitches mark where panels will later be placed on top. I colored in the patterns with chain stitched rows of cotton flower thread. The yellow triangles are made with fly stitches.

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Stitching patterns like this is the closest I get to doing old-style embroidery. It feels as calming as coloring in between the lines in a coloring book. 

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To replicate the wood panels, I cut strips of felt and outlined them with blanket stitches. To make them firm, I edged the panels with wire, which I covered over with stitches.

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For the door’s hardware, I poured through my collection of hooks and eyes until I found some of the right scale.

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I sewed them in place back to back, so they looked like door hinges.

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In the research photos, I often saw red flags flying on poles near the doorways. To make mine, I cut the corner off of an old red hankie that had delicate white edging. I then finished off the other two sides. I added wire around the outside edge so that it could be bent to look like a flag flapping in the wind.

If you’ve followed me for a while, you will have noticed that besides fabric, thread and beads, wire is an essential component of my artwork. I use it as a structural framework to keep limp materials upright and to form free-standing shapes.

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Another feature of the doors is a hanging rope-like pull. To make one, I braided strands of pima cotton.

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Please stay tuned for Part 3 in this series, which will be about making the child and the interior of the Mongolian yurt or ger.

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To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

bed book peek: Ghana (part 4)

This is Part 4 in a series of posts about making the bas-relief scene set in the West African country of Ghana. A photograph of the piece will be reproduced in my upcoming picture book, MY BED: Enchanting Ways to Fall Asleep around the World. An accompanying US tour of the original artwork used to illustrate the book will begin in the fall of 2020. Information about the exhibition is on this page.

Part 1 shows the process of making the smaller house and background figure.
Part 2 is about making the child and his house in the foreground.
Part 3 shows how I made the shade tree and the bird.

Update: My Bed can now be pre-ordered in my shop here. The book’s release date is in Sept. 2020 and people have asked if they can pre-order autographed copies ahead. So, if you put your order in now, I’ll have a better idea of how many copies to get. The book will be shipped to you as soon as it arrives!

The book is about where children sleep around the world, with each spread depicting a different culture and living environment. The story is written by Rebecca Bond and will be published by Houghton Mifflin Harcourt in Sept. 2020. Here are links to posts showing other finished illustrations for the book: South America, JapanIndiaAfghanistanRussiaNorth America, ScandinaviaHolland and Iran. To see a list of all my books, click here.

This post shows how I made the leaves, plants and woven fence. It completes the 4 part series about stitching and constructing the many parts in the Ghanaian illustration. Since the shade tree is a prominent feature of the scene (and the text), I wanted to make it as 3-dimensional as possible. Sometimes I embroider leaves to a background fabric, but this tree would stand alone as a separate object. That meant that each individual leaf had to be cut of felt, stitched around the outside and edged with wire. At the time, I didn’t pay attention to how many, but out of curiosity, I just counted 89 leaves.

I grouped them in branches of 3, 4 and 5 leaves and added fly stitches to look like veins.

The clusters accumulated on my work table over the course of a few days.

Then I joined the small branches to the larger branches of the tree (which I described in Part 3) and wrapped embroidery floss around the thick and thin wire.

The trick is to get a seamless transition between the felt and wire branches. Wire provides the flexibility to bend and arrange the branches this way and that, to evenly fill the gaps and overlap the leaves.

i also made felt plants with long thin leaves. For extra stability, I stitched wire both around the outside edge and down the center vein.

For the hanging plant, I made wire stems and attached glass bead leaves.

The planter is an acorn cap. I sewed the plant and 3 pieces of wire to a circle of brown felt. I rarely use glue, but figured it was the best choice for holding the felt/wire/plant inside the acorn cap.

I found a plant hook of the right size in my hook & eye collection, which has really come in handy for this book project.

I cut a piece of felt for the fence and stitched 2 rows of wire to the top edge to keep it from being too floppy. I found some small flat pieces of wood in my stash of misc. parts and sewed them to the felt. Then, I stitched silk ribbon in a diagonal square pattern to make it look like it was woven with plant fibers.

I hope that you enjoyed this series about making the Ghanaian scene. Over the past year or so, I’ve written about most of the illustrations in the book, but there are a few more to go. My Bed’s release date of Sept. 8th, 2020 is just around the corner! If you’d like to pre-order autographed copies, please go to my shop. To see a complete list of the “bed book peek” blog entries, please go here.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

bed book peek – Ghana (part 3)

This is Part 3 in a series of posts about how I made the stitched bas-relief scene set in the West African country of Ghana. A photograph of the piece will be reproduced in my upcoming picture book, MY BED: Enchanting Ways to Fall Asleep around the World. An accompanying US tour of the original artwork used to illustrate the book will begin in the fall of 2020. Information about the exhibition is on this page.

Part 1 shows the process of making the smaller house and figure in the background and Part 2 is about making the child and his house in the foreground.

The book is about where children sleep around the world, with each spread depicting a different culture and living environment. The story is written by Rebecca Bond and will be published by Houghton Mifflin Harcourt in Sept. 2020. Here are links to posts showing other finished illustrations for the book: South America, JapanIndiaAfghanistanRussiaNorth America, ScandinaviaHolland and Iran. To see a list of all my books, click here.

Update: Signed copies of My Bed can ordered in my shop here. 40 pages, 9″ x 9″, words by Rebecca Bond, pictures by Salley Mavor, published by Houghton Mifflin Harcourt. ISBN 978-0-544-94906-5

In this part, I’ll show how I made the shade tree and the bird. Please bear with me while I try to explain ways of working that don’t easily fit into a logical sequence. These are techniques I’ve figured out intuitively over many decades of manipulating materials in my hands and I will do my best to translate into words what my hands have taught me.

In the beginning, I made thumbnail sketches of all of the pages in the book and enlarged them to full size. I used the drawing of the Ghanaian scene to trace and cut out a template of the tree.

Using the template, I traced and cut the trunk shape out of acid-free mat board. Over the years, I’ve gotten more diligent about using archival materials that won’t deteriorate or stain over time. You can read how I learned my lesson in this post about repairing an older piece.

To give the mat board a stitch-friendly surface, I glued layers of thin quilt batting to the front and back of the mat board. That way, there was something to catch the needle onto. I built up the thickness of the trunk by sewing tapered layers of felt to the top.

To make thinner branches, I sewed insulated electrical wire to the top where the trunk divides into 3 sections. I covered the tree trunk and thicker branches with brown felt, using a gazillion stitches on the back to pull it tight around the front.

I stitched a zigzag bark texture to the front with variegated pima cotton (Watercolours by Caron). To make the knot in the tree, I cut out a donut shaped piece of felt and blanket stitched it to the trunk.

To make leaves, I cut out pieces of felt and edged them with blanket stitches. Then, I stitched jewelry wire around the outside edges and formed stems by twisting wire.

I attached clumps of 3 or 4 leaves to the tree branches by winding the thin jewelry wire around the thicker insulated electrical wire.

Then, I wrapped the thick and thin wire with embroidery floss, covering the bumps and lumps until it looked smooth.

The original sketch didn’t include a bird, but after watching the scene come together, I decided to add a third blue focal point to catch the eye. The other 2 are the boy’s blue shorts and the blue skirt worn by the woman in the doorway. They stand out in contrast with the overall orange, brown and green color palette. I researched birds in West Africa and found a spectacular bird called the splendid glossy-starling.

For the bird’s head, I painted a wooden bead blue and formed a beak out of jewelry wire, which I wrapped with embroidery floss. Then I stuck the wire through the bead hole and used the extra length of wire to make the bird’s feet.

I made the bird’s body out of felt and added a wire tail. This starling is really glossy, so I stitched some bling with purple metallic thread on its tail and underbelly.

After sewing the bird’s wire feet to a thick branch on the tree, I could almost hear it sing!

Please stay tuned for Part 4, which will cover how I made the plants and woven fence.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

bed book peek – Ghana (part 2)

This is Part 2 in a series of posts about how I made the stitched bas-relief scene set in the West African country of Ghana. The piece will be reproduced in my upcoming picture book, MY BED: Enchanting Ways to Fall Asleep around the World.

Here are links to posts showing other finished illustrations for the book: South America, JapanIndiaAfghanistanRussiaNorth AfricaNorth AmericaScandinavia and Iran. To see a list of all my books, click here.

Update: Signed copies of My Bed can ordered in my shop here. 40 pages, 9″ x 9″, words by Rebecca Bond, pictures by Salley Mavor, published by Houghton Mifflin Harcourt. ISBN 978-0-544-94906-5

In Part 1, I showed the process of making the house and the small figure in the background. Now, I will concentrate on the house and child in the foreground.

Way back in the beginning, after my sketches were approved by Houghton Mifflin’s editorial team and before I started working on the finished scenes, I made heads of all of the children who would inhabit the pages of the book. I wanted to meet the children before embarking on what I knew would be at least a 2 year commitment. After falling in love with them, it didn’t matter how long it would take to make the places they call home.

Except for the fingers and toes, the children’s bodies are basically made the same way as the dolls in my how-to book, Felt Wee Folk. I painted their faces on wooden beads and made wigs by gluing on a piece of felt to the crown of the head, which acts as a needle friendly surface to sew on thread hair.

I dressed the Ghanaian boy in cotton shorts and a shirt.

He needed a woven sleeping mat, so I blanket stitched rows of “weaving’ on a piece of felt with variegated pima cotton thread.

To help make it look like the boy is inside the porch, I built a 1/2″ deep box out of balsa wood that I covered with felt. I’ve also used this method in other scenes for the book to create more depth, such as the inside of the house boat in the scene from Holland. It takes advantage of the space inside the stretcher, behind the background fabric. The box is inserted in a hole cut out of the stretched fabric. Objects recede (about 1/2″), as well as protrude (about 3/4′), making the piece more spatially dynamic.

To replicate the stone and mud texture on the house, I appliqued pieces of felt with blanket stitches. For extra structure, the window frame is outlined with wire.

I also chain-stitched spirals to look like stones in the wall and sewed a row of over-lapping bone bead shingles to the roof.

I stitched silk ribbon on felt to create the texture of a straw roof for the porch.

I made a mud and stone wall out of felt to go along the back of the property.

This photo gives an idea of how the box in the porch area recedes.

In future posts, I will show the process of making plants, the shade tree, the bird, and other parts of the scene.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

bed book peek – Ghana (part 1)

This is the first in a series of posts that will show how I made another illustration for my upcoming picture book, My Bed. The scene is set in Ghana, in the sub-region of West Africa. By the time I worked on this one, I’d gotten into the habit of taking photos of almost every little step along the way. So, I have a lot of material to share, which is divided into several categories that I’ll write about over the next few weeks.

Update: Signed copies of My Bed can ordered in my shop here. 40 pages, 9″ x 9″, words by Rebecca Bond, pictures by Salley Mavor, published by Houghton Mifflin Harcourt. ISBN 978-0-544-94906-5

Here are links to posts showing other finished illustrations for the book: South America, JapanIndiaAfghanistanRussiaNorth AfricaNorth America, Scandinavia and Iran. To see a list of all my books, click here.

As with all of the scenes in the book, I started by searching online for photos of buildings and living areas in the region. I took this information and drew a series of thumbnail sketches, working out a composition that focused on a child in their particular environment.

Today, I will show how I made the house that’s off to the side, with a small figure of a woman in the doorway. I selected wool felt from my stash, keeping in mind an overall palette of warm earth tones, complimented with blues and greens. (For questions about felt, please read this post.) It’s actually my favorite color combo, which I chose for my studio walls and window trim.

Even though the house is pieced together in a flat pattern, I wanted to create a sense of inside and outside, so I cut out the side window and door. I sewed wire around the edges to make a structural framework for the otherwise limp felt, adding a crisp outline that helps define its shape.

For the roof, I colored some vintage cotton ricrac with a brown magic marker.

To make the ricrac look more 3-dimensional, I outlined the bottom edge with a darker brown marker. Then, I stitched the ricrac rows in place at the pointed tops, which naturally raised up the bottom part, creating a bit of a shadow.

The window frame is first edged with blanket stitch and then outlined with wire.

I added a subtle zigzag pattern to the window and door frames.

I made a 1 3/4″ figure to stand in the doorway. Her traditional head-wrap is made with silk ribbon that I stitched in place. Throughout the book, children are the featured characters, with very few adults lurking in the background, depicted in tiny scale.

In future posts, I will show the process of making the child resting on a woven mat, the shade tree and other parts of the scene.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

bed book peek – back cover

Today, I’d like to share how I made the embellished border strips that will go on the back cover of MY BED. While the cover of the book introduces the children in their beds, the back is purely decorative. I wanted it to be a cross-cultural celebration of color, pattern and texture that hopefully will make the person looking at it to want to open the book. There were a couple of practical requirements, too, like a place for the bar code and an open area for the publisher to print promotional copy and add book reviews in future printings. The above photo is a print-out of an early proof that shows what it will look like.

UPDATE: My Bed can now be pre-ordered in my shop here. It’s release date is isn’t until Oct. 2020, but people have asked if they can order autographed copies ahead. So, if you put your order in now, I’ll have a better idea of how many copies to get. The book will be shipped to you as soon as it arrives!

The design includes multiple narrow (about 1/2″ wide) lengths of felt that I embroidered and pieced together in the style of a log cabin quilt. I edged each strip of felt with blanket stitch and then sewed on wire, to make the long sides firm and straight, like bones on a corset. Otherwise, the strips would be too limp and wobbly to work with. You can’t see the wire because it’s wrapped with thread.

After stitching the strips together, I embellished different motifs on each one with beads, silk ribbon and embroidery stitches.

I combed through my vast collection of beads, which all seemed to be waving their hands wildly, calling out “pick me!”. The hardest part was selecting which ones to use and coming up with a combination that was interesting, but not cluttered looking.

I love embroidering simple stitches with silk ribbon.

I wanted each strip to be distinctive, but also work in harmony with the others.

The border looked like a window when it was finished

The last part involved sewing the border in place on top of a solid felt center piece. Since the book is a perfect square, everything had to line up just right.

At this stage of the process, all of the art is finished and photographed. The book is in production and scheduled to be released in October 2020. Autographed copies can be pre-ordered in my shop here. Please keep in mind that while this book is technically a children’s book, it’s really for all ages! Over the past 2 years, I’ve published posts about making several of the different scenes, with more on the way before the book comes out. Here’s a list of the posts I’ve written so far:

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

The Red Chair

During the 80’s and 90’s, life was simpler. At least it seems that way, looking back. All I did was take care of my family and make art. That was before the internet, social media, Netflix and all the other ways of “connecting” and being entertained. So, I look back nostalgically at some of the artwork I made back then, like The Red Chair. It is one of the few pieces that I held onto from that period. I just couldn’t bring myself to sell it and it’s been hanging in my studio for 26 years.

From time to time, I’ve offered printed reproductions of The Red Chair in my shop, where they’ve been a favorite gift for new mothers. The cards have also been popular with breast feeding organizations, who’ve purchased them in bulk. Note Cards and Prints are again available in my shop.
Set of 4 Note Cards – $10.00 Buy here
8 x 10 Print – $15.00 Buy here

Back when I made the piece, my figures were flat in the back, in shallow relief (about 1 inch max). For the skin, I used an old woven wool petticoat of my grandmother’s (she was born in 1890). The cloth had been laundered so many times in hot water that it had felted to the point where you couldn’t see the weave. After painting the cloth with fabric paint, I’d embroider the faces. I had to rip out the stitching over and over, until their expressions came out the way I wanted. I used every last inch of that petticoat until it was all gone and I’ve never been able to find anything comparable. So many of the materials and found objects I’ve used over the years are one-of-a-kind, which forces me to adapt and tailor my approach to meet the needs of every new piece.

The chair was modeled after one in our living room that came from my (wool petticoat) grandmother. I changed the straight angular back into a rounded curve, which seemed to better reflect the subject matter. I sculpted the chair feet with Fimo dough. I used upholstery fabric for the chair, wallpaper (embellishment added), floor and carpet.
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If you’re wondering about the Buddha, it’s been treasured by my family for 4 generations, ever since my great-grandfather, James Mavor bought it from a missionary while visiting Russia in the late 1800’s.

Opportunity to Pre-order MY BED

My upcoming picture book My Bed is now available for pre-order in my shop here. It’s release date is isn’t until Oct., but people have asked if they can order autographed copies ahead. So, if you put your order in now, I’ll have a better idea of how many copies to get. The book will be shipped to you as soon as it arrives!

It’s been 10 years since Pocketful of Posies came out and for years I honestly didn’t know if I’d ever feel like doing another picture book. With such a labor intensive techniques, illustrating a book is a big commitment! I needed the freedom to make other kinds of art, which I’ve done. But, I missed being a part of the children’s book world, so here we are!

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

This little piggy stayed home

We’re all homebodies now, like this little piggy, as we try to keep the corona-virus from spreading even further than it already has. In searching for comforting images to share during these unsettling times, I noticed that there are an awful lot of scenes with characters in domestic settings in my picture book, Pocketful of Posies: A Treasury of Nursery Rhymes. In many cases, the people and animals are safe inside, peering out of windows, which seems to reflect our collective experience right now. So, as you shelter in place, please take a moment to escape into this warm and fuzzy world, where everything is all stitched up, safe and sound.

This coming fall, it will be 10 years since Pocketful of Posies was published. The book is a favorite baby gift, but it’s really for all ages, especially now, when we all want to feel safe and secure. Personally autographed copies are available in my shop here.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.