

“Creative Footprint” encompasses a series of dialogues with creative people and like-minded art enthusiasts exploring and examining the ways in which we leave our mark on culture and community. Created by Marc Dennis, artist and professor at Elmira College, “Creative Footprint” is designed to facilitate connections, offer insight, create possibilities, and generate tangible networks for regional artists, craftspeople, gallerists, curators, writers, poets, performers, educators, institutions, collectors, musicians, and basically anyone interested in the creative process, encouraging a greater sense of community and appreciation of our upstate region. My guest: Tedd Arnold

Profession: Children's book author and illustrator

Residence: Elmira, NY

Education/Training: BFA, University of Florida, Gainesville, FL

Visit Tedd's website here









Q: (Marc): Hi Tedd, thanks a lot for taking the time to participate in my project. Let me start off with some basic stuff -- where were you born, where did you grow up and why did you decide to stay in upstate New York?





A: (Tedd): I was born in Elmira, NY. As I entered 6th grade, my father lost his job. We moved to Florida where I lived for 25 years. A job opportunity in New York City brought me back north with my wife Carol and our two sons in 1984. After two years in NYC we moved to Elmira. Compared to our residence in Yonkers, NY, Elmira is family-friendly, affordable and offered good neighborhood schools for our boys.





Affordability was important because I was transitioning from employment to self-employment at that time. My publishing career had just begun. I brought a handful of contracts to Elmira, set up a studio in the parlor and completed work on my first book, “No Jumping on the Bed,” which was published in 1987.





Q: Many know you to be a very successful children's book writer and illustrator, I've been fortunate enough though to see some of your other artwork such as your paintings and drawings that many people are likely not aware of. My question with regards to your paintings, is how do they fit into your overall game plan as an artist? Do you need to make paintings? Did you train as a painter and then became an illustrator? How do they differ from your illustrations? Please explain.





My BFA from the University of Florida involved a studio major in printmaking, specifically etched plate. I painted throughout college and after. When it came time, sadly, to earn a living, I was initially conflicted about becoming an illustrator for hire. The in-the-clouds world of art school had engendered an attitude that commercial art was distasteful. That was the 70s! Nevertheless, the demand for food on the table was strong. I took work as a textbook illustrator, then as an advertising graphic designer and illustrator.





Meanwhile, I continued painting for myself and working with a group of artists on conceptual art shows and events. My wife, Carol, had been a Kindergarten teacher and the books she was reading in her classroom eventually inspired me to spend most of my free time creating children's book ideas and illustrations.







Gradually, I ceased my post collegiate art efforts to devote all my energies to children's books. During six years of gathering rejections from editors, a job as book designer for a publisher took our growing family to New York City.





Our two-year stay in the city created the opportunity to seek out a literary agent. I soon obtained my first book contracts. The painter in me took an ever more distant back seat as my book career took off and our children took over my life. But I never had cause to say never again.





After 15 years of publishing I had accomplished more than my modest dreams had hoped for--and our kids were on their way out the door. I once again took up brush and canvas in my free time. Truthfully, I also credit President George W. Bush and his war in Iraq for stirring up some radical feelings similar to those I held back during the Vietnam War.





My renewed interest in painting quickly developed a dark if not overtly political edge. It surprised many friends who knew only my children's book work. But I like to point out that my children's book work also surprised many of my old friends who once knew only my painted and conceptual work from the 70s. I feel no conflict as an artist.





I am working within a personal continuum. I communicate stories and ideas with words and pictures. Like all artists, like every living person, I strive to define myself daily and I am in no way troubled by entertaining more than one definition. In children's book parlance, that's just part of being a grown-up.



