Come join me on Crust Boulevard for a visit inside the fridge where Lady Pancake and Sir French Toast live. If you haven’t read the previous three books in this hilarious series, that definitely won’t detract from your enjoyment of the popular food friends’ fun and frolic.
In Short & Sweet, the latest installment from author Josh Funkand illustrator Brendan Kearney, time may be running out for Lady Pancake and Sir French Toast. The meal-worthy mates have discovered they’re going stale! Fortunately, their new friend, Baron von Waffle, suggests they “check out Professor Biscotti’s brochure,” for what could be a cure.
Lady Pancake and Sir French Toast decide the professor’s despoiling machine is what’s needed to save them so, accompanied by the Baron, they head to the laboratory.
In just minutes the decaying duo gets zapped back to health. However, one slight glitch in Professor Biscotti’s device has caused the food friends to shrink down to kid-size. They also do not seem to recognize their pal Baron von Waffle and dash off in fear.
The chaos that’s occurred has caused the Baron’s feelings to be hurt. He’s worried Lady Pancake and Sir French Toast are so scared of him that he’ll lose their friendship. While the professor works on fixing her despoiling machine, Baron von Waffle works on a way to lure his pals back to the lab.
Meanwhile, the frightened food first finds safety at a nearby pasta playground and then a local library. I love how Funk, a huge fan of libraries, has successfully fit one into his story. In a way, it’s a love of reading that leads Lady Pancake and Sir French Toast back to Baron Waffle. He believes he’s come up with a clever way to entice the two breakfast food buddies back to the lab and hopefully, with Professor B’s help, maximize them back to friend-size! Will the teeny twosome be restored to grown-ups? Well, I certainly won’t be a spoiler!
The premise of this picture book is such fun and adds a new dimension to the zany, adventure-packed Lady P and Sir FT collection. Once again, the talented team of Funk and Kearney have brought us a read-aloud that starts its rollicking from the very first spread. Filled with wordplay that easily rolls off the tongue, Short & Sweet can also boast engaging, well-metered rhyme in a fast-paced story that kids will want to hear over and over. Kearney’s high-spirited art is bursting with visual treats. You’ll find cucumber footrests at Professor Biscotti’s lab, punny book titles in the library, and perhaps my fave, Juice Springsteen sporting his trademark headband above his brow while rockin’ out atop a pot pie in the final spread. There’s lots to love in book #4 so get a copy, get comfy, and get ready to be entertained. Just remember not to read on an empty stomach!
Reviewed by Ronna Mandel
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Lady Pancake & Sir French Toast: SHORT & SWEET
Josh Funk is the author of books like the Lady Pancake & Sir French Toast series, the It’s Not a Fairy Tale series, the How to Code with Pearl and Pascal series, the A Story of Patience & Fortitude series, Dear Dragon, Pirasaurs!, Albie Newton, and more.
For more information about Josh Funk, visit him at www.joshfunkbooks.comand on Twitter/Instagram/Facebook at @joshfunkbooks.
Clickhereto order a copy of Short & Sweet. If you’d like other books in the series, click here.
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Greta is a little girl who lives in a beautiful forest threatened by Giants. When the Giants first came to the forest, they chopped down trees to make houses. Then they chopped down more trees and made even bigger homes. The houses grew into towns and the towns grew into cities, until now there is hardly any forest left. Greta knows she has to help the animals, but how? Luckily Greta has an idea that will lead to the Giants and the animals working together in harmony. An additional section at the back explains that in reality the fight against the giants isn’t over and Greta needs the reader’s help.
This book has been printed sustainably in the UK on 100% recycled paper. By buying a copy of this book, you are making a donation of 3% of the cover price to Greenpeace UK
INTERVIEW WITH ZOE PERSICO
Please tell us how you came to be a picture book illustrator?
Growing up I had many artistic influences that led me to go into what I do today, especially in books. I struggled with reading, but the illustrations always kept me eagerly invested and inspired. I originally wanted to be an animator, but quickly figured out that illustrating was my passion and wanted to figure out how I could achieve it as my career. I returned to my love for children’s books and knew I wanted to create works of art that would help others like they did for me. With family, friends, my partner, and educators who always supported me every step of the way I signed onto my current agency, got an early jump start into my career, and graduated college. I’ve been working as a freelance illustrator for over five years now and happily receiving great projects such as Greta and the Giants.
What medium/technique did you use to create the illustrations in GRETA AND THE GIANTS and how did the metaphor of the giants as symbols of corporate greed influence your choices?
I use Photoshop CS6 and a Wacom Cintiq Pro 24 to create my illustrations, though I am heavily influenced by traditional materials and try to capture the magic of them through digital means. I use custom brushes that emulate watercolor, gouache, colored pencils, and so on. Before starting the final art for Greta and the Giants I knew that I really wanted to push some new painting techniques, so I practiced using traditional materials beforehand to figure out how I can capture them digitally.
The giants were quite a challenge! I needed to figure out how to portray the giants in a fantastical, but realistic way. It would have been too easy to use stereotypes as a crutch for their design and using certain physical traits to show how “ugly” they are is harmful because that’s telling readers having those traits are negative. I thought that illustrating them mostly from perspectives of Greta and the citizens of the forest, such as them looking up and only seeing their shoes and pants as well as not being able to see their faces as clearly due to the massive distance between them, was a perfect and simple way to achieve that the giants “have their heads in the clouds” more than anything else. They realize that they are causing harm and want to do better and I wanted to make sure their designs were an easy transition to the last spreads of the book as well. They have always worn normal clothes just like everyone else and their size doesn’t change. They are still giants! The change comes into how the new compositions show a better connection and understanding between them and the forest dwellers.
I was taken immediately by the gorgeous jewel tones in your palette. Please explain the decision behind that.
Thank you! I had a lot of fun with this palette for this book. When the design team told me they really wanted to a painterly look and using light for color and mood contrast I was immediately excited. I’ve always tried to push these elements in my personal work and I knew I wanted to push myself even more for this project. Since I have been painting traditionally on the side more, I’ve found new color palettes that I wanted to emulate in Greta and the Giants. I used warm tones for heavily lit areas and went with cool tones for shadows. I mixed colors on top of each other like I would with watercolors to keep interest and connection in each area. I have been in love with using a very bright candy red lately and knew it would be the perfect accent color in a sea of multiple shades of green. For the last spread I wanted to go with a sunset palette to help end the book on a warm and uplifting note. Overall, I would say the goal for this book was to have a mostly nature-inspired palette (greens, browns, oranges) with accents of fantasy-inspired colors (pinks and blues).
What inspired you about this particular story?
Throughout the years I’ve been finding ways to alleviate my carbon footprint on the planet as best as I can and having the chance to work on this project was right up my alley. I was inspired on now only how I can help show others on what we can do to help fight climate change, but to come together and speak up against “giants” by the power of your voice. I hope the illustrations in Greta and the Giants inspire children to ask questions. I hope it inspires parents and guardians to teach them about what is happening. I hope it inspires adults to speak out and vote.
Do you have a favorite illustration in the book?
Yes! Funny enough my favorite illustrations are the spreads that include the city. I rarely paint urban subjects and it was a fun challenge to depict what the giant city could look like from a distance. I’m proud of how it turned out!
I also enjoy illustrating animals as well. Any time I got to paint the fox was always fun for me!
What was the biggest challenge of creating the art for this picture book that’s dealing with a serious topic aimed at younger readers?
I would say finding the right visual balance of fantastical and visually showing a depiction of a real life issue. I wouldn’t be doing the message justice if I went a super happy and bright route for the illustrations. I want to show the dark sides of what’s happening to our home and make it easy to readers to understand that. I also wanted to show signs of hope and warmth as well. I use bright and inviting colors and character designs that young readers can gravitate towards. I paint light shining down on characters such as Greta to show that she is a beacon of hope. It’s little things like this that I add in my illustrations to help readers understand that things are serious, but we don’t have to be kept in the dark. It’s amazing how color and light and design choices can naturally click in your brain to know when something is “relaxing” or “melancholic” or “frustrating”. Illustrations are so important and I love that I get to create them.
As the giants learn about the negative impact of all their building and polluting, they begin to take on less fierce qualities. Was this intentional?
Absolutely. As I mentioned in the previous question regarding the giants, I really wanted to portray the giants in a way that they aren’t so different from the rest of the forest dwellers. Earlier spreads of the book emphasize how tall they are, how hard it is to see their faces from far away, and so on. There’s a disconnect and the giants aren’t aware of the damage they are causing. Towards the last spreads you can see their faces better and their postures and expressions are much more approachable. They are still giants, but there is now a more positive relationship between them and the folks living below them. I am hoping our real life “giants” can listen and start a positive dialogue with us to a better and healthier future.
Which illustrators have most influenced you as an artist?
I have so many! Some illustrators that have influenced me include Amélie Fléchais, Elena and Olivia Ceballos, Yvan Duque, Matthew Forsythe, Rebecca Green, Robin James, and many many more.
Thank you Zoe for your thoughtful answers. I hope everyone picks up a copy of Greta and the Giants to appreciate the beautiful artwork you’ve described in the interview and to see how wonderfully it complements the story.
• FIND OUT MORE ABOUT ZOE ON HER WEBSITE.
• PUBLICATION DATE IS NOVEMBER 19 BUT YOU CAN PRE-ORDER A COPY HERE TODAY.
• CLICK HERE FOR A HELPFUL DISCUSSION GUIDE.
Visit the below bloggers for reviews and other Greta and the Giants related coverage.
BRUNHILDA’S BACKWARDS DAY BLOG TOUR
Written and illustrated by Shawna J.C. Tenney
(Sky Pony Press; $16.99, Ages 3-8)
It’s day three of the Brunhilda’s Backwards DayBlog Tour and I’ve got this question to ask readers: What comes to mind when you think of a witch – someone mean and warty riding a broomstick and wearing a pointy hat, with a cat as a sidekick, and always up to no good? That sounds exactly like the witch in Brunhilda’s Backwards Day, the debut picture book from author and illustrator Shawna J.C. Tenney.
Tenney takes us through a typical Brunhilda day, from her start getting out of “the wrong side of the bed,” and putting on her ugliest outfit (because what witch do you know who wears designer dresses?), to finding great satisfaction in chanting troublesome spells:
Lumpy grumpy fly pie stew!! Hocus Pocus hippity hoppity spew!
Oh the wickedly witchy things she concocts to annoy people! But it seems Brunhilda isn’t alone in brewing up mischief. Her feline friend, who all along appears rather reluctant to wreak havoc, has some plans of her own!!
When Bruhilda awakens the following day, her warts are gone, she has only oatmeal not spider mush to eat for breakfast, and horror of horrors, her ugly dress has turned into a “fluffy pink ball gown.” And try as she might to do all her awfulness, Brunhilda soon finds herself unable to be cruel. In fact she actually delights in bringing joy to the children and families she ordinarily would upset.
Seeing Brunhilda’s transformation in both words and illustrations is pure pleasure. There’s even an early foreshadowing Tenney’s included on the book’s title page illustration showing the wicked witch pouring water on her cat. Tenney’s text, in a fabulous font, is simple, and succinct. It’s surrounded by lots of lovely white space which also serves to contrast the empowering pink, pulsating purples and gorgeous greens in the artwork.
Brunhilda’s Backwards Day begs to be read aloud with a cackling voice and a crooked finger, while pointing out all the magical goings on in the vibrant artwork. I totally enjoyed this charming Halloween treat and have no doubt your kids will fall under Brunhilda’s happy spell.