Steven Salerno illustrator

December 13, 2022 by steven salerno

My latest illustrated picture book, ON THE CORNER OF CHOCOLATE AVENUE is available starting today from publisher Clarion Books/Harper Collins. It's the inspiring life story of Milton Hershey -the chocolate king who brought milk chocolate to America. Wonderfully written by Tziporah Cohen & illustrated by Steven Salerno.

And here is the direct link to the podcast, The Happy Writer... hosted by NY Times bestselling author Marissa Meyer. In this latest episode Marissa chats with Tziporah Cohen and Steven Salerno about their new picture book - ON THE CORNER OF CHOCOLATE AVENUE: HOW MILTON HERSHEY BROUGHT MILK CHOCOLATE TO AMERICA - as well as the process and timeline of a picture book, from manuscript and revisions to artist selection, preliminary sketches, and beyond; the vast amounts of research that go into the creation of a nonfiction picture book, for both the prose and the illustrations; why its important for writers to leave room for the illustrator to bring their own ideas and interpretations to the story; how so often rejection is a result of poor timing, not necessary the quality of the work; having the confidence to identify as a writer; and a few different inspiring stories of perseverance - from chocolate makers to writers!

http://www.marissameyer.com/podcast

And here is the link to my illustration web site where you can view some of the illustrations from ON THE CORNER OF CHOCOLATE AVENUE

https://www.stevensalerno.com/on-the-corner-of-chocolate-ave

illustrator & children's book author STEVEN SALERNO -bio update / August 27, 2022 by steven salerno

illustrator & children’s book author **Steven Salerno** (photo 2019) -visit stevensalerno.com

STEVEN SALERNO has illustrated 37 picture books for major publishers -with 5 of these titles being both the author & illustrator: Little Tumbo (Marshall Cavendish Children’s Books), Coco the Carrot (Marshall Cavendish Children’s Books), Harry Hungry (Harcourt Children’s Books), Wild Child (Abrams Books for Young Readers), and his most recent author/illustrator title is Tim’s Goodbye (Farrar Straus Giroux 2018).

Steven Salerno lives and works in Manhattan (NYC) and is a graduate of Parsons School of Design. (Note: while a student at Parsons his instructor for a year long picture book illustration course was the famed author/illustrator Maurice Sendak, creator of Where the Wild Things Are.) Over Steven’s long freelance illustration career, in addition to the 37 picture books he has illustrated thus far, he also creates illustrations for magazines, newspapers, print & web advertising, publishing, packaging, and retail graphics.

visit stevensalerno.com to view many samples of his editorial and advertising illustrations -and click here to see a list of all his picture books published through 2023.

**Steven Salerno** has illustrated 37 picture books to date, and is both the **author & illustrator** for 5 of these titles (shown above) -visit stevensalerno.com

**Steven Salerno** working on an illustration for the picture book, ***BOOM!*** -published by Hyperion Books/Disney. -visit stevensalerno.com

LATEST PICTURE BOOK NEWS

In December 2022 Steven’s most recent illustrated picture book was released, On the Corner of Chocolate Avenue -How Milton Hershey Brought Milk Chocolate to America (nonfiction) written by Tziporah Cohen and illustrated by Steven Salerno, published by Clarion Books/Harper Collins. The true story of the poor kid from Pennsylvania, Milton Hershey, who first introduced his innovative HERSHEY’S milk chocolate candy bar back in 1905 -and went on to create his massive chocolate empire, becoming one of the largest chocolate candy producers in the world.

COVER: ***On the Corner of Chocolate Avenue -How Milton Hershey Brought Milk Chocolate to America*** (nonfiction) written by **Tziporah Cohen** and illustrated by **Steven Salerno**, published by Clarion Books/Harper Collins 2022. (A **Junior Library Guild GOLD STANDARD** selection for 2022) -visit stevensalerno.com

one of the inside of book illustrations from *On the Corner of Chocolate Avenue -How Milton Hershey Brought Milk Chocolate to America* (nonfiction) written by **Tziporah Cohen** and illustrated by **Steven Salerno**, published by Clarion Books/Harper Collins 2022. (A **Junior Library Guild GOLD STANDARD** selection for 2022) -visit stevensalerno.com

Steven Salerno also has been working on a very special picture book project for VIKING -an imprint of Penguin Random House. In 2019 the publisher had asked Steven if he would illustrate 5 new MADELINE picture books written by John Marciano Bemelmans, the grandson of famed Ludwig Bemelmans (b.1896 - d.1962) who was the author/illustrator creator of the five original classic MADELINE picture books which were released from 1939 through 1961. Yes, THAT Madeline! The brave little girl in the yellow hat living in a Paris boarding school along with eleven other young girls, all under the watchful gaze of the towering Miss Clavel. This special project request meant that Steven wasrequired to create the illustrations for these 5 new MADELINE picture books in the recognizable drawing stye of Ludwig Bemelmans! Thus far Steven has competed the first 4 titles in this 5 book series:

1) Love from Madeline (this book was released in January 2022)

2) Madeline’s ABCs (this book was released in June 2022)

3) Madeline’s 123s (this book was released in November 2022)

4) Madeline’s SEASONS (this book was released in Spring 2023)

5) the 5th picture book in the series is still in development.

**above:** the new mini-hardcover picture book, **LOVE From Madeline** -written by **John Marciano Bemelmans** & illustrated by **Steven Salerno**, released in January 2022 by VIKING (imprint of Penguin Random House) -visit stevensalerno.com

**above:** detail of the Title Page from the new mini-hardcover picture book, **LOVE From Madeline** -written by **John Marciano Bemelmans** & illustrated by **Steven Salerno**, released in January 2022 by VIKING (imprint of Penguin Random House) -visit stevensalerno.com

**above:** detail of the one of the interior illustration spreads from the new mini-hardcover picture book, **LOVE From Madeline** -written by **John Marciano Bemelmans** & illustrated by **Steven Salerno**, released in January 2022 by VIKING (imprint of Penguin Random House) -visit stevensalerno.com

AWARD NEWS

In 2019 The Crayon Man -The True Story of the Invention of Crayola Crayons (nonfiction) written by Natascha Biebow & illustrated by Steven Salerno was released by publisher Houghton Mifflin Harcourt. It’s the story of Edwin Binney, who loved color, but his chemical manufacturing company in the late 1800’s only produced black ink, black crayons, black powder, and black dyes… until the day in 1903 when Edwin finally came up with just the right recipe for making color crayons especially for school children, which he and his wife named CRAYOLA CRAYONS… This wonderful picture book not only was a Junior Library Guild Gold Standard Selection, but in 2020 it also won the prestigious Irma Black Award for Excellence in Children’s Literature, voted for by children all around the world.

COVER: **The Crayon Man -The True Story of the Invention of Crayola Crayons** (nonfiction) written by **Natascha** **Bibow** and illustrated by **Steven Salerno**, published by Houghton Mifflin 2019. (A **Junior Library Guild GOLD STANDARD** selection for 2020 and winner of **The Irma Black Award for Excellence in Children’s Literature in 2020**) -visit stevensalerno.com

Madeline, Ludwig Bemelmans, and ME -creating illustrations for series of new MADELINE picture books / January 7, 2021 by steven salerno

overview of the series of new Madeline picture books that will be illustrated by Steven Salerno

"Gizmos, Gadgets and Guitars -The Story of Leo Fender" -my 31st illustrated picture book... / July 31, 2020 by steven salerno

MY LATEST PICTURE BOOK

This post briefly describes the various stages involved in creating all the sketches & illustrations for my 31st illustrated picture book, Gizmos, Gadgets and Guitars -The Story of Leo Fender, written by Michael Mahin. It is slated for release in Fall 2021 by publisher Christy Ottaviano (Henry Holt & Co,/Christy Ottaviano Books, an imprint of MacMillan Publishing).

above: cropped detail view of a completed illustration for Gizmos, Gadgets and Guitars -The Story of Leo Fender. In this scene an early 1950’s Rock n Roll musician is playing an innovative FENDER Telecaster slim, solid body electric guitar. — **above:** cropped detail view of a completed illustration for ***Gizmos, Gadgets and Guitars -The Story of Leo Fender.*** In this scene an early 1950’s Rock n Roll musician is playing an innovative **FENDER Telecaster** slim, solid body electric guitar.

**above:** a view of the cover for ***Gizmos, Gadgets and Guitars*** -written by **Michael Mahin** & illustrated by **Steven Salerno**, and is slated for release in fall 2021 by publisher **Christy Ottaviano** (Henry Holt & Co,/Christy Ottaviano Books, an imprint of MacMillan Publishing. Cover design by **Patrick Collins**.

above: in this view I am creating a dark sepia crayon drawing -depicting a long line of out-of-work people during the 1930’s Great Depression. The drawing was then scanned into Photoshop along with other drawn and painted elements all to create the … — **above:** in this view I am creating a **dark sepia crayon drawing** -depicting a long line of out-of-work people during the 1930’s Great Depression. The drawing was then scanned into Photoshop along with other drawn and painted elements all to create the final composed illustration…

above: a cropped detail view of the dark sepia crayon drawing seen directly above this one. — **above:** a cropped detail view of the **dark sepia crayon drawing** seen directly above this one.

THE PICTURE BOOK PROJECT

Back in July of 2019 publisher Christy Ottaviano (Henry Holt & Co,/Christy Ottaviano Books, an imprint of MacMillan Publishing) offered me another wonderful picture book project -to illustrate their upcoming title, Gizmos, Gadgets and Guitars –The Story of Leo Fender, author Michael Mahin’s jaunty, insightful story of Californian Leo Fender (born in 1909), who as a kid on his parents produce farm was fascinated with all sorts of gadgets and machines. As a teenager Leo immersed himself in studying electronics –initially radios, and then as an adult in the 1930’s during the Great Depression he opened his own electronics repair shop -which included installing sound systems, and repairing electric amplifiers and electric lap steel guitars. Through trial and error Fender eventually began experimenting with designing his own electric lap slide guitars and amplifiers… and also began developing his own prototypes of slim, solid body electric guitars. By the early 1950’s his unique innovative guitar designs were well on their way to becoming the most successful mass-produced electric guitars in history, intrinsically linked to the emergence of the budding new American music genre, Rock n Roll. Musicians around the world all know the iconic names of FENDER guitars: Telecaster and Stratocaster. The story & illustrations follow Leo from a 6 year old kid, all the way through his creative design career and into old age, with Leo always still thinking and tinkering -exploring new ways to improve upon his famed guitar designs.

(note: Gizmos, Gadgets and Guitars -The Story of Leo Fender is my 31st illustrated picture book, and my 3rd nonfiction picture book for publisher Christy Ottaviano. My previous other two nonfiction picture books for Henry Holt & Co,/Christy Ottaviano Books are:

The Fantastic Ferris Wheel -The Story of Inventor George Ferris (2015) written by Betsy Harvey Kraft & illustrated by Steven Salerno. (Henry Holt & Co,/Christy Ottaviano Books, an imprint of MacMillan Publishing) see the illustrations

PASS GO And Collect $200 -The Real Story of How MONOPOLY Was Invented (2018) written by Tanya Lee Stone & illustrated by Steven Salerno. (Henry Holt & Co,/Christy Ottaviano Books, an imprint of MacMillan Publishing) see the illustrations

MY ROUGH THUMBNAILS & SMALL PRELIMINARY ROUGH SKETCHES

Once the publisher’s offered contract terms are negotiated and it is officially signed, I then commence with creating my very rough thumbnail sketches some drawn directly onto the text manuscript as a read it over and over again. They are followed by rough, small preliminary sketches (about 3”x5”). And as with all the other nonfiction picture books I’ve illustrated I’m also sorting through thousands of potential period photos to choose perhaps one hundred photos I’ll end up actually using as specific photo reference that helps me correctly reflect the time period described in the story -which starts in 1915 when Leo was only six years old, and goes up through to the mid-1950’s when Leo first released the design of his iconic FENDER Stratocaster guitar…

These initial stages of early rough sketches are for my-eyes-only and are not shown to the editor and art director. It is only after I have developed a stage of intermediary larger sketches to the point of confidently knowing my intentions with the images that I then complete my full-sized final sketches which are then formally presented to the publisher for their review and valuable feedback.

Below, are samples of some of the initial rough thumbnail sketches & rough preliminary sketches…

above: When I first receive the story manuscript, as I read it over and over and over again I simultaneously doodle tiny, thumbnail sketches directly into the margins and within the text -quick shorthand sketches to record my initial ideas and visua… — **above:** When I first receive the story manuscript, as I read it over and over and over again I simultaneously doodle tiny, thumbnail sketches directly into the margins and within the text -quick shorthand sketches to record my initial ideas and visual concepts. These extremely rough sketch-doodles are never shown to the editor or art director. They are just for my-eyes-only. Kind of shorthand jots to begin exploring how I might best illuminate the text.

above: a cropped detail view of one of the tiny thumbnail sketches doodled right into the margins of the text -a quick shorthand sketch to record my initial ideas or visual concept. — **above:** a cropped detail view of one of the tiny thumbnail sketches doodled right into the margins of the text -a quick shorthand sketch to record my initial ideas or visual concept.

above: on the left side you can see a clipboard that contains the story manuscript that is littered with my initial sketch-doodles. And on my drawing table are scattered the next step bigger but still very rough early sketches, where I’m further wor… — **above:** on the left side you can see a clipboard that contains the story manuscript that is littered with my initial sketch-doodles. And on my drawing table are scattered the next step bigger but still very rough early sketches, where I’m further working out the myriad of image possibilities I have in mind to hopefully best illuminate the text. These early rough sketches are drawn with pencil, crayon or ink…

above: another view of some of the many small rough preliminary sketches I develop enroute to eventually figuring out exactly what images I will create to best illustrate the text. I purposely make this stage of sketches very small (about 3” x 5”) s… — **above:** another view of some of the many **small rough preliminary sketches** I develop enroute to eventually figuring out exactly what images I will create to best illustrate the text. I purposely make this stage of sketches very small (about 3” x 5”) so I can try out different concepts relatively quickly. Even at this very early stage you can see I am already also **working out where the text blocks will be positioned**. This stage of rough preliminary sketches are also *not* shown to the editor or art director.

above: a closer view of some of the many small rough preliminary sketches… the horizontal RED lines within these small sketches are beginning to work out where the text will be positioned relative to the art images. — **above:** a closer view of some of the many **small rough preliminary sketches**… the horizontal RED lines within these small sketches are **beginning to work out where the text will be positioned relative to the art images.**

above: a view of one of the many small rough preliminary sketches… a vignette of western swing band musicians -these sketches are crude but effective in helping me see what images might work better over another. Some are only about 2” x 3” in size -… — **above:** a view of one of the many **small rough preliminary sketches**… a vignette of western swing band musicians -these sketches are crude but effective in helping me see what images might work better over another. Some are only about 2” x 3” in size -most are in the range of 3” x 5”. I am working out the basic dynamics of what the image content will be and the positioning of the elements in tandem with the text. These extremely rough sketches are never shown to the editor or art director. They are just for my-eyes-only. Kind of shorthand sketches to begin exploring how I might best illuminate the text.

above: a view of one of the many small rough preliminary sketches… they are crude but effective in helping me see what images might work better over another. Some are only about 2” x 3” in size -most are in the range of 3” x 5”. I am working out the… — **above:** a view of one of the many **small rough preliminary sketches**… they are crude but effective in helping me see what images might work better over another. Some are only about 2” x 3” in size -most are in the range of 3” x 5”. I am working out the basic dynamics of what the image content will be and the positioning of the elements in tandem with the text. These extremely rough sketches are never shown to the editor or art director. They are just for my-eyes-only. Kind of shorthand sketches to begin exploring how I might best illuminate the text.

above: another view of one of the many small rough preliminary sketches… this one of the young teenage Leo character at his work table. This little ink sketch is about 3” x 5” in size. — **above:** another view of one of the many **small rough preliminary sketches**… this one of the young **teenage Leo character** at his work table. This little ink sketch is about 3” x 5” in size.

LARGER, MORE REFINED SKETCHES

After I spent 2 to 3 weeks exploring image possibilities via these many tiny thumbnail sketches and many small rough sketches I’ve slowly formulated a concrete plan for all the final illustrations. I then feel confident enough to start a series of next level larger, more detailed sketches which are about 5.5” x 8.5” in size…. and essentially are a storyboard of how the entire picture book will look, including the approximate blocking of where the text will be positioned relative to the art images.

Below, are some of these next level larger, more detailed sketches…

above: view of one of the larger stage sketches, which are about 5.5”x8.5” in size… and allow me to see fairly accurately how the picture book is going to look.In this sketch young Leo is on his parent’s produce farm, drawn to tinkering with all thi… — **above:** view of one of the **larger stage sketches**, which are about 5.5”x8.5” in size… and allow me to see fairly accurately how the picture book is going to look.
**In this sketch young Leo is on his parent’s produce farm, drawn to tinkering with all things mechanical…**
However, even at this stage all the intended image are still not firmly set. I still make changes and even scrap images entirely to try new approaches illustrating a particular scene. **For example this sketch seen above of young Leo atop the tractor was eliminated.**

above: this is a side sketch… of a Rock n Roll drummer character seen in the background behind a lead guitarist character in one of the scenes. — **above:** this is a **side sketch**… of a Rock n Roll drummer character seen in the background behind a lead guitarist character in one of the scenes.

above: a cropped detail view of one of the larger stage sketches… This one depicts Leo circa 1950 holding up his iconic FENDER Telecaster -a slim, solid body electric guitar…note: when in high school young Leo wore round style eyeglasses… and althou… — **above:** a cropped detail view of one of the **larger stage sketches**… This one depicts **Leo circa 1950** holding up his iconic FENDER Telecaster -a slim, solid body electric guitar…
**note:** when in high school **young Leo wore *round* style eyeglasses**… and although as an adult he wore different eyeglass styles, for the purposes of **character continuity** I depicted Leo throughout all the illustrations wearing only *round* style eyeglasses.

FINAL SKETCHES FOR PRESENTATION TO THE PUBLISHER

After I’ve completed all the larger sketches (seen above) which confirm exactly what my image intentions are for the final illustrations… next, I enlarge them in Photoshop to the actual full size that the illustrations will appear in the printed book and refine them even further to create my FINAL illustrations to officially present to the editor and art director.

The publisher (consisting of the editor, art director and designer) will carefully review all my final sketches and offer me their expert comments and suggestions -which are invaluable and can help me in refining some of my image concepts & scenes to make the final illustrations the very best they can be.

Below, are some of these FINAL sketches…

above: view of one of the full-sized FINAL sketches, 18” x 12” -which were officially presented to the publisher for their review…This sketch scene is of young teenage Leo when he was operating his fledgling radio repair business out of his bedroom. — **above:** view of one of the **full-sized FINAL sketches**, 18” x 12” -which were officially presented to the publisher for their review…
This sketch scene is of young **teenage Leo** when he was operating his fledgling radio repair business out of his bedroom.

These final stage sketches are created with pencil and crayon, then scanned into Photoshop -where they are further modified and refined as well as adding digital color sparingly to indicate some possible color direction. In this final sketch stage I usually do not lock myself into indicating specific colors -which allows me more flexibility when creating the actual final illustrations..

above: view of one of the full-sized FINAL sketches, 18” x 12” -which were officially presented to the publisher for their review…In this sketch because Leo has begun designing and building his own prototypes of electric guitars and amplifiers he’s … — **above:** view of one of the **full-sized FINAL sketches**, 18” x 12” -which were officially presented to the publisher for their review…
In this sketch because Leo has begun designing and building his own **prototypes of electric guitars and amplifiers** he’s studying guitarists playing their electrified *acoustic* guitars **and asking them many questions about how they play, and what they want and need from a guitar…**

above: a cropped detail view of one of the full-sized FINAL sketches, 18” x 12” -which were officially presented to the publisher for their review…This sketch depicts Leo’s FENDER Stratocaster electric guitar model which was first released to the ma… — **above:** a cropped detail view of one of the **full-sized FINAL sketches**, 18” x 12” -which were officially presented to the publisher for their review…
This sketch depicts Leo’s **FENDER Stratocaster electric guitar model** which was first released to the marketplace in the early 1950’s…

PROCESS OF CREATING THE FINAL ILLUSTRATIONS

To create a final illustration for this picture book I first draw the main characters and objects with a dark sepia crayon on paper (using my final sketch as my guide). I also paint various background textures with gouache on paper -then scan all these various elements into a hierarchy of layers within Photoshop where I compose the final illustration and also paint color digitally. Typically one of the final illustrations created this way in Photoshop is comprised of about 25 independent layers. Of course all these layers which build each final illustration are then flattened before I provide the final digital file to the publisher.

Below, are views of some of these DARK SEPIA CRAYON DRAWINGS which are at the core of the completed final illustrations…

above: view of one of the final dark sepia crayon drawings, this one of young Leo’s workspace filled with miscellaneous gadget parts and tools… This drawing is scanned into Photoshop along with other drawn and painted elements -all into a hierarchy … — **above:** view of one of the **final dark sepia crayon drawings**, this one of young Leo’s workspace filled with miscellaneous gadget parts and tools… This drawing is scanned into Photoshop along with other drawn and painted elements -all into a hierarchy of various layers which are composed into the final illustration, including digitally painted color.

above: view of one of the final dark sepia crayon drawings, this one of a western swing band musician from the 1930’s… This drawing is scanned into Photoshop along with other drawn and painted elements -all into a hierarchy of various layers which a… — **above:** view of one of the **final dark sepia crayon drawings**, this one of a western swing band musician from the 1930’s… This drawing is scanned into Photoshop along with other drawn and painted elements -all into a hierarchy of various layers which are composed into the final illustration, including digitally painted color.

above: a detailed view of the final dark sepia crayon drawing shown directly above this one… — **above:** a detailed view of the **final dark sepia crayon drawing** shown directly above this one…

above: view of one of the final dark sepia crayon drawings in progress -of young Leo as a teenager operating a radio repair business out of his bedroom. My sketch is on the light box, and on top of the sketch is another sheet of paper upon which I c… — **above:** view of one of the **final dark sepia crayon drawings** in progress -of young Leo as a teenager operating a radio repair business out of his bedroom. My sketch is on the light box, and on top of the sketch is another sheet of paper upon which I create the final drawing using the sketch underneath as a guide. On the side are some reference photos of the real **Leo Fender** as a teenager. The final drawing is then scanned into Photoshop along with other drawn and painted elements including digitally painted color -all into a hierarchy of various layers which are composed into the final illustration.

above: view of one of the final dark sepia crayon drawings in progress -of Leo as a young man when he was working as an accountant. My sketch is on the light box, and on top of the sketch is another sheet of paper upon which I create the final drawi… — **above:** view of one of the **final dark sepia crayon drawings** in progress -of Leo as a young man when he was working as an accountant. My sketch is on the light box, and on top of the sketch is another sheet of paper upon which I create the final drawing using the sketch underneath as a guide. On the side are some reference photos of the real **Leo Fender** as a teenager. The final drawing is then scanned into Photoshop along with other drawn and painted elements including digitally painted color -all into a hierarchy of various layers which are composed into the final illustration.

above: view of the final dark sepia crayon drawings which is for the front cover art -and conceptually is a kind of time warp -because it depicts Leo as a boy yet he’s holding his iconic FENDER Telecaster guitar which he did not actually invent unti… — **above:** view of the **final dark sepia crayon drawings** which is for the **front** **cover art** -and conceptually is a kind of time warp -because it depicts Leo as a boy yet he’s holding his iconic **FENDER Telecaster guitar** which he did not actually invent until he was an adult. This final drawing is then scanned into Photoshop along with other drawn and painted elements including digitally painted color -all into a hierarchy of various layers which are composed into the final COVER illustration.

above: one of the many various painted gouache textures that are an integral background element in some of the final illustrations… — **above:** one of the many various **painted gouache textures** that are an integral background element in some of the final illustrations…

THE COMPLETED FINAL ILLUSTRATIONS

To create a final illustration for this picture book I first draw the main characters and objects with a dark sepia crayon on paper, using my final sketch as my guide. I also paint various background textures with gouache on paper -then scan all these various elements into a hierarchy of layers within Photoshop where I compose the final illustration and also paint color digitally. Typically one of the final illustrations created this way in Photoshop is comprised of about 25 independent layers. Of course all these layers which build each final illustration are then flattened before I provide the final digital file to the publisher.

Below, are cropped detail views of some of the completed FINAL illustrations created in Photoshop.

above: a cropped detail view of one of the completed FINAL illustrations… this one of a teenage Leo working on repairing a radio, a business he was operating out of his bedroom. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of a **teenage Leo** working on repairing a radio, a business he was operating out of his bedroom.

above: a cropped detail view of one of the completed FINAL illustrations… this one of an adult Leo who just lost his job as an accountant due to the Great Depression era. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of an adult Leo who **just lost his job** as an accountant due to the Great Depression era.

above: a cropped detail view of one of the completed FINAL illustrations… this one of the gas station where Leo’s fledgling RADIO REPAIR shop was located in the 1930’s. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of the gas station where Leo’s fledgling **RADIO REPAIR shop** was located in the 1930’s.

above: a cropped detail view of one of the completed FINAL illustrations… this one of Leo intently studying the electronics schematics of lap steel guitars and amplifies. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of Leo intently studying the **electronics schematics** of lap steel guitars and amplifies.

above: a cropped detail view of one of the completed FINAL illustrations… this one of western swing band musicians on stage in the 1930’s — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of **western swing band musicians** on stage in the 1930’s

above: a cropped detail view of one of the completed FINAL illustrations… this one of jazz guitarists in the studio, circa mid 1940’s. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of **jazz guitarists in the studio**, circa mid 1940’s.

above: a cropped detail view of one of the completed FINAL illustrations… this one of Leo developing his first Telecaster guitar in the workshop -his slim, solid body electric guitar, a huge design departure from the traditional hollow body aco… — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of Leo developing his first **Telecaster guitar** in the workshop -his slim, solid body electric guitar, a huge design departure from the traditional hollow body acoustic guitars that were merely electrified.

above: a cropped detail view of one of the completed FINAL illustrations… this one of a Rock n Roll musician playing the innovative FENDER Telecaster -a slim, solid body electric guitar developed in the early 1950’s. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of a Rock n Roll musician playing the innovative **FENDER Telecaster** -a slim, solid body electric guitar developed in the early 1950’s.

above: a cropped detail view of one of the completed FINAL illustrations… this one of a contemporary Rock guitarist on stage slinging her FENDER guitar from side to side. — **above:** a cropped detail view of one of the **completed FINAL illustrations**… this one of a **contemporary Rock guitarist on stage** slinging her FENDER guitar from side to side.

PROJECT TIMELINE

So from August 2019 through November 2019 I worked exclusively on creating all the necessary SKETCHES for Gadgets, Gizmos, and Guitars, making my official presentation to editor Christy Ottaviano and art director/designer Patrick Collins at the end of November 2019.

Once all the sketches were fully approved in December 2019 I then immediately began work on creating all the final illustrations, based on the approved sketches. So, from December 2019 through March 2020 I was working diligently every day on the final illustrations for Gizmos, Gadgets and Guitars. And by the third week of March 2020 I had completed about 80% of the final illustrations…right on track with my deadline schedule. However, unfortunately I then suddenly contracted the Covid-19 virus -which stopped me from working. In fact it stopped me from doing ANYTHING for about 60 days! In brief it was hell… I got pneumonia and I literally could not do anything for about two full months and then began to slowly feel better. To put it in perspective I was very unlucky to have contracted the virus, but then I was VERY lucky being able to fight off the virus and recover at home and did not have to be hospitalized! So, by the end of May I could begin working again, slowly at first in short work sessions, then longer and longer sessions as the days went on.

By early June I had finally completed all the ‘inside of book’ final illustrations, and submitted them to the publisher. Whew! Now I just had to create the final art for the front cover and the endpapers, which traditionally I do not address until I have first completed all the inside of book illustrations.

A PEEK AT THE PROCESS OF CREATING A FINAL ILLUSTRATION IN PHOTOSHOP

As I have described earlier in this post, to create a final illustration for this picture book I first draw the main characters and objects with a dark sepia crayon on paper, using my final sketch as my guide. I also paint various background textures with gouache on paper -then scan all these various elements into a hierarchy of layers within Photoshop where I compose the final illustration and also paint color digitally. Typically one of the final illustrations created this way in Photoshop is comprised of about 25 independent layers.

Below is a step-by-step look at one of the final illustrations. This illustration actually had 24 Photoshop layers… but for purposes of brevity for this step-by-step view I condensed things to appear as if the final illustration was created in Photoshop with just 6 layers… however, this condensed peek will still give you a basic concept of how the illustration was constructed. This particular illustration depicts a scene where young Leo is working on his parent’s produce farm when one day he slipped off the back of a truck bed and hit his eye on a fence post… and the accident caused him to lose his eye! Poor Leo!

Again, the step-by-step view seen below has been condensed from the actual 24 layers in Photoshop down to just 6 layers, in order to very briefly show the basic method in which the illustrations are constructed:

above: using my sketch as my guide, I draw the main characters and objects with a dark sepia crayon, and then scan all these elements into Photoshop. Here is my drawing of a farm truck placed into a Photoshop layer… — **above:** using my sketch as my guide, I draw the main characters and objects with a dark sepia crayon, and then scan all these elements into **Photoshop**. Here is my drawing of a **farm truck** placed into a Photoshop layer…

above: Here I have added my drawing of young Leo into another Photoshop layer… — **above:** Here I have added my drawing of **young Leo** into another Photoshop layer…

above: Here I have added my drawing of the fence post into another Photoshop layer… — **above:** Here I have added my drawing of the fence post into another Photoshop layer…

above: above: Here I have added texture and also painted digital color into more Photoshop layers… — **above:** **above:** Here I have added texture and also painted digital color into more Photoshop layers…

above: Here I have added painted digital color in the truck as well as adding the orange grove trees in the background into Photoshop layers… — **above:** Here I have added painted **digital color** in the truck as well as adding the **orange grove trees** in the background into Photoshop layers…

above: Here, to compete the Leo character, I have painted digital color into more Photoshop layers… — **above:** Here, to compete the Leo character, I have painted **digital color** into more Photoshop layers…

The above illustration actually had 24 Photoshop layers… but for purposes of brevity for this step-by-step view I condensed things to appear as if it was created with just 6 layers… however, this condensed peek will still give you a basic understanding of how the illustration was constructed.

This particular illustration above depicts a scene where young Leo is working on his parent’s produce farm when one day he slipped off the back of a truck bed and hit his eye on a fence post… and the accident caused him to lose his eye! Poor Leo!

above: Poor Leo lost his eye in that accident falling off the back of the truck, but it never stopped him from still being able to work with tools and tiny electronic parts, and reading schematics! — **above:** Poor Leo **lost his eye in that accident** falling off the back of the truck, but it never stopped him from still being able to work with tools and tiny electronic parts, and reading schematics!

FRONT COVER & ENDPAPERS ART

With every one of the 31 picture books I have illustrated thus far, I always fully complete the inside of book illustrations first. Usually though, at some point during the process of creating the inside of book illustrations I do also submit a flurry of tentative cover sketches, because the publisher’s marketing department needs to begin to see the possible cover concepts beforehand, so they can begin their marketing strategies for the picture book.

So, by the time I have completed all the inside of book final illustrations the publisher Christy Ottaviano and the art director/designer Patrick Collins have also sharpened their thoughts on the various cover sketches I had already submitted -and chosen one we should develop as the official cover art image…

Below is a look at the final cover sketch, and my subsequent completed final cover illustration…

above: this is one of a handful of cover sketches I had submitted to the publisher and art director -and subsequently was their selection to be developed as the final cover art illustration. Note: The title type you see in this sketch was just inser… — **above:** this is one of a handful of **cover sketches** I had submitted to the publisher and art director -and subsequently was their selection to be developed as the final cover art illustration.
**Note: The title type you see in this sketch was just inserted as mock type to see if I am allowing sufficient space for the art director/designer to then actually implement their final title design.**

above: this is the final completed cover illustration. Note: The white silhouette shape in the background is the actual design shape of the FENDER Telecaster guitar body. — **above:** this is the **final completed cover illustration.** Note: The white silhouette shape in the background is the actual design shape of the **FENDER Telecaster guitar body.**

above: this is the final completed cover illustration with the designer’s tentative title type design in place. — **above:** this is the **final completed cover illustration** with the designer’s **tentative title type design** in place.

The very last piece of original art I needed to create for this Gizmos, Gadgets and Guitars picture book project was the endpapers art… Note: Not all picture books have endpapers art, so it is a special feature when they do.

If you want to view other endpapers art I created for some of my previous picture books, click here.

Below is a the final endpaper art…

above: this is the final completed endpapers illustration. In this version (which will be printed in the front of the picture book) the guitars in the correct upright position are the FENDER Telecaster guitar. And the guitars in the upside down posi… — **above:** this is the **final completed endpapers illustration**. In this version (which will be printed in the front of the picture book) the guitars in the correct upright position are the FENDER Telecaster guitar. And the guitars in the upside down position are the **FENDER Stratocaster guitar**. This endpapers art will be vertically flipped when printed in the back of the book so that the Stratocaster guitars can take their turn in the correct upright position.

Now that I have successfully completed all the illustrations for the Gizmos, Gadgets and Guitars picture book project…. the publisher needs nearly another year to produce/print the completed picture books, in time for their scheduled release date for this picture book in early 2021. Look for Gizmos, Gadgets and Guitars in fall 2021!

Currently I am fully engaged in my next picture book illustration project: The Secret Code Inside You -written by Rajani LaRocca, a non-fiction picture book title for publisher Little Bee Books, scheduled for release in Fall 2021. A whimsical, fun and informative introduction for young readers on how your DNA and genes make you uniquely into you!

To view my many other fiction and nonfiction picture books, as well as my illustration work for advertising and magazines, etc… visit stevensalerno.com

Gadgets, Gizmos and Guitars –The Story of Leo Fender ...my current picture book project / August 25, 2019 by steven salerno

a rough preliminary thumbnail sketch for a current picture book project, created by NYC based illustrator Steven Salerno. He creates illustrations for picture books, magazines, advertising, packaging, etc… Visit stevensalerno.com

BREXIT -Not So Smooth of an Exit? illustration by Steven Salerno / July 3, 2019 by steven salerno

a political commentary drawing of Brexit, Britain’s possible exit from the European Union, created by NYC based illustrator Steven Salerno. He creates illustrations for picture books, magazines, advertising, packaging, etc… Visit stevensalerno.com