The process I go through for making a book amounts to creating the book about four times. The first time is in my sketchbook, which I make little thumbnail drawings, one for each of the pages, each of these little boxes represents a double page spread. It's here that I write the book. I write the story, I design the look, the layout. The next stage is to do a full-size dummy. Cut out pieces of paper done in pencil, but to the size and the shape that the book will actually be, with more detail, each individual page is done on tracing paper to the size that I'm going to do the finish painting. This is the longest stage of doing the book usually, but it's also fun. This is where I go, okay, what's everything really going to look like? I can go out and just find as much cool stuff to draw as I can. We met in Parsons School of Design. We sat next to each other for three, four years, we competed. Bitterly. Yeah, true. It was a bitter competition. Unfortunately, unfortunately, we fell in love and decided that we couldn't spend any time away from each other. We came on the concept of the third artist, which was a combination of the two of us, who does something that neither one of us would do separately. We once heard a statement to make life an art that really intrigued us because it meant make art everything you touch and everything you do. That must be the ideal of life. One of the great joys and big differences about doing the art for kittens' first full moon was that I used to brush because I could just lay down a nice decline. In the days when I illustrated this book, we weren't allowed to use full colors, so we had to separate all our colors out. It's supposed to be my grandfather's story, but actually it's my own story and I borrowed my grandfather's history. As soon as I imagined a young boy laying in bed waiting to hear the sound of the bells from Santa's play, the story came to me more like a memory than something that I made up. I used the oil very loosely with a quick brush strap ring. I just threw caution to the winds using every material I felt like. It was a little bit of chalk, some watercolor, pen and ink, colored pencil, whatever was at hand. I thought and I thought about how to draw a Shite Penguin. You will eventually spot a boy in the crowd and he will start to move through the train station. When I was a kid I loved being able to find things and I would think, where has this been? I spent a year carving the pictures out of wood. Looky knife began as a response to the LA Rive in 1992. I had vowed that my next book should have a spunky girl as its heroine. There was one line that I liked and the line was the cat that the moon was a bowl of milk. This idea of a game that was not always make believe that when things happened on the game board they actually happened. We wanted to portray it with a very many different cultures and it's just not Africa, one big place. Hi, this is where we should have it. My scratch board pictures are so detailed that I have to look through a magnifying light as I am working. Eddie was not content with the restricted life that he and Al were living. Safety tip number one. Keep your shoelaces tied. To all the worlds of the world, for landing their good name, and the tangible symbol for our darkness. It wasn't until September 11, 2001 when the towers went down that I remember Philippe's walk and thought this was a story that I wanted to tell. The phone rang at something I could do with the morning. I said, oh my god, something terrible has just happened. And it was something called a complimenty to tell me that now I can't want to call the car level. And we drank half a bottle of champagne and three in the morning.