Illustration © D. Yael Bernhard
This illustration was commissioned by an educational publisher as part of an “easy reader” book series for children. This branch of juvenile publishing produces and distributes reading materials within school systems. The first easy readers were the “Dick & Jane” series, dating all the way back in the 1930s and reaching its height of popularity in the 1960s and 70s. Since then, easy readers have branched and blossomed in many directions, introducing young readers to new vocabulary words that fit into simple stories. Subject matter may range from everyday activities to childhood adventures to portraits of historical figures and more.
In recent years, easy readers have taken on the task of introducing elementary school children to other cultures. Multicultural settings and characters are increasingly popular and politically correct. They may be presented in a contemporary context or as a simplified version of an indigenous folk tale. As the illustrator of several “trade” picture books (regular retail books) with multicultural themes, I developed my own style of depicting other cultures, and was offered quite a few of these contracts.
While the stories in easy readers are somewhat whitewashed in their depiction of foreign lifeways, I still feel they contribute something positive to the world, if only just by piquing a child’s interest. After all, the point of an easy reader is to teach reading and vocabulary, not to provide a nuanced view of what it’s like to grow up in a village in India, or as a Latino immigrant in America. Some of the books also bring in other themes, such as rescuing an animal, exploring science, or overcoming the challenge of riding a bike or learning to swim.
In this particular book, a young Navajo boy is sent on a vision quest in the Arizona desert. As he sits on the edge of a mesa, he’s overcome by the silence and beauty of the snow-dusted canyon before him, and begins to see the Kachinas (spirits revered by his ancestors) wheeling in the sky. I enjoyed painting this landscape, with the little boy dwarfed by the vast wilderness. I had to work quickly, for unlike trade books, educational books are short, and the production schedule moves fast. I had only ten days or so to complete half a dozen illustrations. The cover is almost always taken from one of the interior images, and the whole thing is buttoned up in a matter of weeks. Bundled with dozens of other books, off it goes to press somewhere in Asia, never to be seen again by those who create it. The artist must relinquish the reproduction rights, and rarely sees the printed book. But it pays fairly well and the editors are generally not fussy.
For me this sort of work is an opportunity to simplify and streamline my work. Backing off and letting an image breathe can be difficult. Often I get bogged down in details, creating elaborate designs that take a great deal of time to articulate. While this develops patience and skill, there is also value in unadorned simplicity. Navigating these levels of engagement is an important skill for visual artists. Like a good cook who can create meals that are either lavishly spiced or plainly nourishing, the artist should be the one to decide just how complex and layered their work will be. Deadline pressure definitely helps.
I’ve never seen snow on the desert personally, but I can imagine it as a rarefied environment, with the breath of the world exhaling clarity and wonder. This little boy, though he comes from a life of frugal means, is blessed with an inner vision that will carry him forward in the tradition of his ancestors. I can’t help but wonder: what does this story kindle in the mind of a second-grade public school student?
The sky’s the limit.
A good week to all –
D Yael Bernhard
http://dyaelbernhard.com
children's books • fine art • illustration
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